Thea Djordjadze (* 1971 in Tbilisi, lives in Cologne) just got the art award of Böttcherstraße in Bremen in 2009, this award is endowed with 15,000 € and sustained by the Founders Circle of the Kunstverein in Bremen. Ten internationally renowned curators, museum directors and exhibition organizers proposes an artist, whose works will be presented in an exhibition. Nominated from Georgia-born artist Adam Szymczyk of the Kunsthalle Basel.
First noticed was the former assistant to Rose Marie Trockel at the 50th Venice Biennale, 2003. This was followed by several group exhibitions and in 2005 an initial presentation at Sprüth Projects Magers, Munich, together with Robert and Gerda Scheepers Elfgen and mid 2007 a first solo show at the prestigious Studio Voltaire in London. The following year she was in a solo exhibition by Kunstverein Nuremberg presents, they also adopted at the 5th berlin biannale and other important group exhibitions.
Profile: Thea Djordjadze works primarily with sculpture, but she has also been carried out performances and was involved in musical projects. For her sculptures are often ephemeral use, fragile, everyday materials that are derived from a vocabulary come home and femininity might indicate, such as plaster, ceramic, silicone, sponge, cardboard, textiles and soap. The racks, railings, walls and boxes, which are based sculptural objects or surrounded, are simple but delicate architectural structures of wood and metal. Their appearance is in stark contrast to the organic forms and "unfinished" surfaces of the modest commission based sculptures, which leaned on the walls, on shelves, or hang from railings. These passive-aggressive arrangements of objects that are simultaneously in conflict with each other and depend upon each other, create a cryptic and elliptical reference to the sculptures of classical modernism. The drawings and watercolors by the artist are often parts of the installations, double and increase their expressive effect, and also emphasize the fragmentary, unfinished status of the work. They are neither preliminary sketches of future work is three-dimensional studies of existing sculptures or autonomous works. It is as if the sculptures living body, the final form had in it remained motionless for a moment - while the drawings of this temporary manifestation deprive note.
The transitional nature of this work is sculptural installation in the Kunsthalle Basel by the inclusion of specific existing cultural artifacts strengthened. Thea Djordjadze selected from the collection of Richard Hersberger in Muttenz carpets from the nomads in various regions of the world were linked. In the culture of the nomadic act ornate carpets as status symbols and an abstract record of the personal and social history of their producers and their families. Besides fulfilling a practical purpose by providing the pieces of furniture to replace sedentary peoples. Carpets designate a home on time: a mobile city in the endless enclosures. (Source: Kunsthalle Basel)
