For this first personal exhibition in France, the Georgian artist, Thea Djordjadze, proposes to assemble more than sixty works produced since 1993 with which she delivers an intuitive experience within the building of the Museum.
The work of the artist Thea Djordjadze has been deployed for more than twenty years through sculptures and their installation, in a sensitive relationship to the space and the architecture of the place that receives them.
Made of plaster, foam, textile, wood or glass, found, modified, augmented objects rub shoulders with presentation devices - grids, showcases, shelves - that have lost their functionality. Other sculptures, often metallic, are designed from scratch in the workshop, taking up the fragment of a modernist building or materializing in volume a letter of the Georgian alphabet.
Arranged harmoniously here and there, the works form a long poem where the materials interact in layers, probe a past and present themselves in a new light in the exhibition space.
For this Georgian artist who has worked in Berlin since 2003, each exhibition consists of a reconfiguration, rereading or rearrangement of works imagined for other places.
His installations apprehend in a new context objects, buildings, furniture, techniques and craftsmanship carrying within them the remains of the histories of territories, languages and traditions of an enlarged Europe.
In the early 2000s, Thea Djordjadze decided that painting, directing the viewer's gaze to a single point, was not enough to embrace the world. The mode of installation then allows him to offer a freer experience, based on the immediate perception of the resonances between the objects staged, the volume of space, the light, the points of view from one room to the other. on the other, the dialogues between the materials and the architecture of the place. In short, the viewer is in the work.
In Saint-Étienne, the MAMC+ space entrusted to him, with its five rooms, its 650 m², its heights reaching more than 8 meters and its "white cube" aspect, supposedly neutral and without affect, nevertheless appears to him to be fragile.
The sixty works, produced between 1993 and 2021, respond to an "emergency" form that guides his choice of showing a rolled carpet, an immense metal screen or polished aluminum mirror walls.
Defining the exhibition entirely on site, in a form of impermanence, it is for Thea Djordjadze, through her very subtle gestures of the installation, to activate the physicality of materials, to awaken a memory of objects and to generate new clean energy at the Saint-Etienne site.
REMEMBER AND WITNESS
FEBRUARY 5 - MAY 15, 2022
MAMC+ Saint-Etienne Metropolis