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13 студзеня - 2 лютага 2015 года

Выстава - прэзентацыя Georgian Video Art

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Змены сацыяльна-палітычнага ландшафту заўсёды выступаюць тыргерам для развіцця любой краіны. Для Грузіі большасць працэсаў, якія адбываліся, пачынаючы з 1990-х гг., аказалася далёка няпростымі. Мастацкія практыкі могуць стаць дэвізам і адным з ключавых момантаў у стварэнні і адлюстраванні новай ментальнай і сацыяльнай прасторы. З’яўленне новых медыя і практык сучаснага мастацтва ідзе паралельна з рэканструяваннем і зменамі палітычнага, сацыяльнага і культурнага кантэкстаў у Грузіі і на ўсёй пост-савецкай тэрыторыі. З 1990-х гг. сучаснае мастацтва Грузіі стала альтэрнатыўнай лініяй гісторыі і культуры, быццам ствараючы паралельную рэальнасць.

У 2014 г. НДА Active for Culture стварылі анлайн архіў Грузінскага відэаарту - videoimage.ge, які змяшчае каля 400 прац 80 мастакоў і ўключае амаль усё, што было створана ў гэтым кірунку з 1990-х гг.

Active for Culture сумесна з Галерэяй сучаснага мастацтва “Ў” прадстаўляе альтэрнатыўную лінію развіцця сацыяльна-культурнага жыцця ў Грузіі праз адабраныя відэаарт праекты, якія адлюстроўваюць і аналізуюць грузінскую сітуацыю, дэманструюць розныя візуальныя перспектывы рэальнасці і дазваляюць стаць сведкамі/назіральнікамі пост-савецкага культурнага жыцця Грузіі. Можна сказаць, што грузінскі відэаарт прайшоў тры стадыі свайго развіцця за 24 гады існавання. На выставе ў Мінску будуць прадстаўлены працы розных перыядаў, куратары і заснавальнікі грузінскага відэаарт архіва распавядуць пра анлайн платформу, культурныя кантэксты, відэаарт практыкі ў пост-савецкай Грузіі і інш.

Працы 1990-х гг. Кока Рамішвілі, Ніко Цэцхладзэ і Іліко Зауташвілі цесна звязаны з палітычнымі і сацыяльнымі тэмамі, што былі актуальнымі пасля падзення Савецкага Саюза. Тыповым для гэтых прац выступае востры крытыцызм. Кока Рамішвілі шмат эксперыментуе з відэа і рухавымі выявамі. З 2000-х гг. пачынае актыўна праяўляць сябе новае пакаленне мастакоў: Вато Цэрэтэлі, Гіо Сумбадзэ, Ніка Мачаідзэ, Софія Табатадзэ і інш, якія выкарыстоўваюць ужо новыя візуальныя элементы, такія як анімацыя і Vjing. Трэцяе пакаленне прадстаўлена маладымі мастакамі Гегі Хабурдзанія, Марыям Мурадашвілі, Сасо Кумсіашвілі.

Для выставы адабраныя працы 10 мастакоў розных пакаленняў, што з’яўялецца спробай прадставіць як культурны кантэкст, тэмы, якія закранаюцца ў відэа працах, так і развіццё медыя ў Грузіі.

Куратары праекта: Алексі Саселія, Галактыён Ерыставі, Гіо Спандэрашвілі.

У межах выставы пройдзе шэраг лекцый і дыскусій з удзелам грузінскіх і беларускіх куратараў, арт-крытыкаў і даследчыкаў. Сачыце за праграмай мерапрыемстваў на сайце галерэі і на нашых старонках у сацыяльных сетках.

Вялікая падзяка тэхнічнаму партнёру - кампаніі Samsung і партнёру суправаджальных мерапрыемстваў - інтэрнет парталу ARTAKTIVIST

 

Адкрыццё выставы Georgian Video Art адбудзецца 

 

13 студзеня а 19-ай гадзіне

 

Уваход вольны

 

 

 

Партнёр суправаджальнай праграмы                                                                       Тэхнічны партнёр  

                                                                                 

 

Georgian Video Art

In 2014 “Active for Culture” created a Georgian video art online archive – videoimage.ge, which contains up to 400 works by 80 artists and includes almost all video/moving image pieces done since the 90s for the exhibition context.

With “Ў” gallery “Active for Culture’ presents the alternative line of development of social-cultural life in Georgia through the selected video art pieces which reflect and analyze the processes, show a diverse visual perspective of reality and let us become viewers of post-Soviet Georgian cultural life. It can be said that Georgian video art underwent 3 stages of its development (for 24 years). Thus works from different periods of Georgian video art development will be presented at the exhibition in Minsk. Exhibition is followed by the Georgian video art archive curators and founders’ talks/presentations about online platform, cultural contexts, video art practice in post-Soviet Georgia and etc.

Works by 10 artists from different generations are selected for the exhibition, which is the attempt to represent both cultural contexts, themes reflected in the video pieces and the development of the medium itself in Georgian context. Visitors of the exhibition also will have the opportunity to carry out their own research of the Video Archive in a special part of the exposition.

 

About the Archive

Since the 80s, the Georgian art scene has created artifacts in various forms of media, which were novel to the social reality and circumstances of the respective time, but did not trigger any adequate analyses of these impulses and artworks. We believe that exactly this unavailability of information causes the widespread, critical attitude towards Georgian contemporary art. In this regard, the lack of platforms and therefore contextual bases, which should affect the development and interest in contemporary art, turns out to be the determining factor, whether this may be exhibition spaces, museums, archives, or educational institutions. Concerning all this, we decided to conduct a comprehensive research and collect our findings in the form of an online archive.

This project is the first step to reconsider the respective material which is crucial for the clarification of what we should call Georgian art history, what stages it has undergone, and ultimately, how it has shaped the cultural identity.

 

Georgian Art Context of the Recent Past

Similar to other post-Soviet countries, Georgia had to adjust to the newly gained independence and consequently, novel reality of life. The young nation aimed to become a modern, sovereign republic. However, the transformation process, which started in the 90s, was accompanied by a series of severe social, economic and cultural difficulties, which widely remain unsolved.

Visual art in Georgia, likewise other fields of art, had to withstand major repression under the totalitarian regime of the Soviet Union. Artists were given no opportunity to develop or express ideas which differed from the ideological frame. For 70 years, all artistic activity has to be synced with Soviet ideology and policies, whereas in other parts of the world, modern art in the 20th century was in constant search for new forms and media. New trends and practices resulted in novel discourses, new positions and strategies of representation, which ultimately led to the definition of the contemporary art as we know it today. The long-lasting isolation from current processes and the consequent information vacuum on the one hand blocked a multidimensional evolution, but on the other, individuals still found their ways around restrictions and managed to keep track with what was happening beyond the iron curtain. Most notably in Tbilisi of the 80s and 90s, certain individuals and collectives made themselves noticeable through independent artistic activity, which did not intend to be coherent with the inflicted boundaries of form and content. Their visual language spoke through photo and video art, conceptual painting, installation art, performance art and more; but only in almost 25 years of independence (from 1991 till today), people were truly given the possibility of nurturing and expressing their potential, contributing to improve their surroundings, and generally establishing a sphere of public activism, which had not been planted by governmental structures.

 

About the Research

The research we conducted in frames of this project maintains rather a descriptive than an evaluative approach and was based on the principles of anthropological methods, which in this case entail observational analysis of the visual material without explicit focus on its aesthetic value. Above all, this is contingent on our aspiration of maximum impartiality as researchers. The consequent exhibition “Descriptions”, representing a retrospective of the development of moving image in Georgia, which took place in March 2014 at the National Music Center in Tbilisi (Georgia) in a way marked the visual and spatial representation of the results. However, over the course of the research and the preparatory process for the exposition, the sheer amount of artworks increased steadily and excelled our expectations and hence, our perception of video art in Georgia massively. Simultaneously to the quantitative dimensions, an obvious diversity in form and content crystallized. In the context of Georgian moving image, we encounter video installation, performance documentation, video art, documentary, and animation. Ultimately, 21 artworks were chosen for the show, according to the general picture they represent. Corresponding to our theory that the development of video art in Georgia ran parallel to the predominant, hegemonic discourse and generated its very own, specific, and subjective way of describing everyday reality, the exhibition was named “Descriptions”.

As the socio-cultural context in general influences the interaction of the individual with the society, this is the first thing to examine in order to understand any cultural phenomenon. The focus of our research is in the analysis of the respective artworks in terms of social interaction – artist/society, in this regard we clustered the videos in groups according to the significances they carry. These distributions – politics, religion, culture, social and economic condition – later were divided into sub-groups, which enabled a more detailed access to the artifacts. For instance, the political factor in terms of the Georgian context includes notions of the breakdown of the Soviet Union, the democratization process, political crises, civil war, and the transition of ideological conceptions.

 

Georgian Video Art and Moving Image

The association between video art and film is an interesting topic to discuss and especially in contemporary practices, the boundaries are blurry. In the cinematographic landscape, Georgian film has established its spot. At the beginning of the 20th century, Kote Marjanishvili used visual imagery in the form of projections as part of his stage plays. However, it is difficult to demonstrate a direct link between those two. Generally speaking, video art has been linked to artists and painting as a visual and aesthetic base, which seems reasonable considering the fact that the actors advancing this practice were, in fact, artists, and mainly painters. Many researchers state that certain frames of form and narration, which are characteristic for film, apply to video art as well and cannot be neglected. Still, this should not be seen as a straightforward adaptation. An additional, distinctive factor which emerged during our research was the apparent focus on the content rather than on the form. Apart from single artists, fewer artifacts seem to scout visual experimentation than to concentrate on the narrative and message which is intended to be delivered. Both researchers and artists confirmed this perception. As for the subject matter, Georgian video art is concerned with the topics of politics, religion, economics, media, and personal and social crises, whereas all of them should be contemplated within the specific cultural context. Naturally, these insights cannot be applied to the whole sphere of the Georgian video art, as there are many exceptional artworks which do not include these attributes and need to be surveyed independently.

With consideration of all mentioned above, we attempt to portray the development of the video art in Georgia subdividing it into three generations of artists (the three stages refer to the artists and do not refer to the artworks' year of origin).

 

First Generation

Video art of the first generation is linked to Koka Ramishvili, Niko Tsetskhladze, Temo Javakhishvili, Gia Rigvava, Davit Chikhladze, Mamuka Japharidze and Levan Chogoshvili; additionally, Niko Lomashvili and Iliko Zautashvili, although their artistic practice is dated later. Artworks created in this context often deal with the remained pressure of the Soviet past and the desire to overcome dogmatic ideologies. His “Own Door”, which in the same-named video Levan Chogoshvili vainly tries to break through, is a bold symbol for this effort. Temo Javakhishvili’s “Way” – the tire, which associates with movement and velocity, and the human being, who is sitting inside it, and does not move at all – are the faded memories of a light-hearted children's game turned into stagnation.

The quest for a new path is also what we see in Iliko Zautashvili’s “Sansara Loop”, where the blindfolded protagonist attempts to orientate himself. Finally, when coming upon his idol – in this case, a Buddha figure, the tables are turned. In the final scene, we view our seeker, now with regained eyesight, and the blindfolded Buddha.

Dogmatism and personal space is the topic of Niko Lomashvili’s “Defundamentalization”, a video installation on three monitors, which examines the juxtaposition of form and content. Followers of three religions (whose attribution is possible due to visible traits) perform praying rituals of other than their respective religion. A Jew is praying as a Christian, a Christian as a Muslim, and a Muslim as a Jew.

 

Transitional Generation

Artists of this generation are accompanied by the experiences of the past, but seek to overcome and deconstruct the former conventions and ideas, which generated a new content. These are Gio Sumbadze, Sophia Tabatadze, Nadia Tsulukidze, Nino Sekhniashvili, Wato Tsereteli, Konstantin Mindadze. This often was fostered by the fact that after the rise of the iron curtain, a certain amount of people went abroad, which becomes apparent in the artistic practice as well. With the newly gained perspective, the next question asked is: What’s next?

Wato Tsereteli provides us with a distinct example of this progress: “Techno” is an animation, in which, accompanied by music of the genre mentioned in the title, Lenin is being picked from his Mausoleum and buried far, far below ground level – an existential topic, gaining its specific significance by the means of representation.

The rhythm of ascending and descending on escalator and stairs is the object of observation in Gio Sumbadze’s video “Staircase”. One part of the video diptych is following the steps up a narrow spiral staircase, the other part records the infinitive downward movement of the escalator. Addressing the principle of infinite motion, Nino Sekhniashvili’s “The Gripes”, which shows the tireless movement of factory machines, is stressed with quotes from James Joyce's “Finnegans Wake”. The motions are as infinite, synthetic and confusing as Joyce's neologism-stuffed novel. (L. Pertenava)

As a result of independence and emancipation from the past, naturally the demand for re-definition and normalization of Georgian traditions and significances emerged, which, in the best case, may trigger self- reflection, and in the worst case, may turn into absurd abysses. The juxtaposition of these two poles is visualized in Sophia Tabatadze and Nadia Tsulukidze’s joint artwork “Let's Drink To Love”, which the protagonist does in a perfectly conventional manner, not being irritated by the fact that he is being shaven simultaneously.

 

New Generation

While searching for a new visual language, the artists of the generation whose cultural context is no longer restricted and unilateral, have emancipated themselves completely from the Soviet past. Although still remaining a point of reference, the accessibility of information and mobility allow the artist not to be chained to a certain local discourse any more, but according to the logic of globalization, also to generate ephemeral, abstract and experimental artifacts.

This generation includes Gegi Khaburzania, Ana and Tamar Chaduneli, Tako Maghlaperidze, IARE, Vasil Macharadze, Koka Vashakidze, Ana Martiashvili, and others.

Within the artistic practice of this current generation, a general recontextualization of Georgian video art is taking place. Recapitulating, video art in Georgia can be envisioned as a global medium which visualizes local content in a very individual, subjective way.