13/08/2025
THEA DJORDJADZE – IN DETAIL
Today we want to highlight the work of Thea Djordjadze, whose sculptures and environments engage with the exhibition space in experimental ways. In the afterword to the publication “THEA DJORDJADZE”, the curator Corinne Diserens offers insight into the approach of the artist, who “never sees an exhibition as a singular thing but always considers it as part of what was before and what comes after”:
“[Djordjadze] often uses old pieces as additions to do something new. The systematic incompleteness of her sculptures isn’t based solely on the temporariness of their realisation in the space. They’re also designed to dissolve in one way or another. She always considers the sculpture’s potential as vacant space or void. The result is unstable. It is fragile even when she uses solid material. And sometimes the pieces can jump out, fall, or break until the right point of tension is found.”
“Thea Djordjadze constructs a model of the exhibition space but doesn’t use it apart from as a point of reference not to forget, to see the space, and to understand what is given to her. The artist is involved with the exhibition as a medium, a landscape where everything is in flux and being stirred by an artistic language that slowly deploys its beauty. […] An exhibition is like a portrait, a kind of translation, of the artist’s state of being in that moment, it is ephemeral and related to the Geist, the soul.”
Don’t miss Djordjadze’s current exhibition at .kunsthalle, open until October 5, 2025.
Images:
1, 5: “o potio n”. Installation views, Portrikus, Frankfurt am Main, 2018. Photos: Diana Pfammatter
2, 3: “one is so public, and the other, so private.” Installation views, Kunstmuseum Winterthur, Winterthur, 2019. Photos: Reto Kaufmann
4: “the ceiling of a courtyard.” Installation view, WIELS Contemporary Art Centre, Brussels, 2023-2024. Photo: We document Art
For more information about the book, visit our website.
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