Xelovnebis Saertasoriso Jurnali 3 / 2006
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g l o b a l s p o t l i g h t o p i n i o n site-specific The International Art Magazine i n t e r v i e w s loop’A r e v i e w s xelovnebis saerTaSoriso Jurnali 3 / 2006 1 18.10.06 / 22.10.06 ART CAUcaSUS ASSOCIatION TBILISI NatIONAL CHILDREN GALLERY TBILISI StatE AcaDEMY OF ARTS TBILISI GOETHE INSTITUTE BRITISH COUNCIL IN GEORGIA 2 Anthea Nicholson, Molten Borders and House-keeping 4 loop’A anTea nikolsoni, gamqrali sazRvrebi da Sinameurneoba 6 Keti Japaridze, Shoes for Departure, 8 qeTi jafariZe, samgzavro fexsacmelebi 12 Iliko Zautashvili, ‘Transparent’ Walls of Caucasian Labyrinth 16 Global iliko zautaSvili, kavkasiuri labirinTis ‘gamWvirvale’ kedlebi 18 Koka Ramishvili, Evil and its Revelation in the Works of Francis Bacon 22 koka ramiSvili, boroteba da misi gamovlenis gzebi frensis bekonis SemoqmedebaSi 25 David Hockney, British Council Collection / devid hokni 29 Spotlight Nathaniel McBride, Art and Risk 30 naTaniel makbraidi, xelovneba da riski 33 Audrey Bartis and Alexios Papazacharias about Rachel Whiteread 36 odri bartisi da aleqsios papazaqariasi reCel vaiTridis Sesaxeb 40 Ella Gibbs, From London with Love / ela gibsi, londonidan siyvaruliT 45 Nino Dzandzava, Experimental Films of Giga Chkheidze 49 Opinion nino ZanZava, giga CxeiZis eqsperimentebi kinoSi, 50 Annie Lovejoy, Mac Dunlop / eni lavjoi da mak danlopi 52 PMP Group / pmp jgufi 56 Carolyn Black, The Forest of Dean / kerolin bleki, dinis tye 59 Site-specific Lena Milosevic, Do not be Neutral about Art 62 lena miloseviCi, mTavaria ar iyo neitraluri xelovnebis mimarT 64 Natalia Mali, Many of them feel sorry form me as they see me as crazy person 66 natalia mali, bevrs vecodebi, radgan SeSlilad mimiCneven 68 Interviews Black Box Recorder / Savi yuTi 70 Electric Earth, /eleqtronuli dedamiwa 71 Carolyn Black, Process and Practice 73 kerolin bleki, procesi da praqtika 74 Front cover: Jasmin Jodry, Random Dance Company 76 Mo Stoebe, Ma, 77 Audio Addiction, 2006, UK Ellen Mara De Watcher, Arsenal: sound as a weapon 78 Back cover: Artists’ Action Reviews on the Freedom Square, elen mara de voCeri, arsenali, bgera, rogorc iaraRi 80 photography by Nia Roberts, Wales at Venice 82 Anthea Nicholson. Tbilisi, 2006 nia robertsi, uelsi veneciaSi 84 Selected Articles in Russian /rCeuli statiebi rusul enaze 88 Publisher: Art Caucasus Association; Founder: Nana Kirmelashvili; Editor in chief & Art director: Iliko Zautashvili; Sub editor: Magda Guruli; Translation: Magda Guruli, Maka Sakhvadze; Supervisor of English version: Servane Laine /France/, Guy Archer /USA/; Consultant: Peter Nasmyth /UK/; Supervisor of Georgian version : Nana Zardiashvili Design: MAGICON GROUP Printing: ‘Forma LTD’. Publishing and printing of the third edition was possible Art Caucasus Association CENTRE FOR GLOBAL through the financial support © COORDINATION OF British Council in Georgia of The British Council in Georgia loop’A established in 2005 CULTURE & ART The publishers of this magazine do not bear responsibility for advertising content. Also, views expressed herein are not necessarily those of the publisher. 3 Molten BORDERS AND HOUSE-KEEPING The long and fruitful contact between artists from the UK and the Caucasus is a good example of the way that creative dialogue refuses to submit to the constraints of political boundaries, cultural divides and language differences. Since 1992, when Bristol first saw the work of Georgian artists at Arnolfini Gallery, a bond has developed; a stretchable, flexible link that shrinks and grows as the climate permits or detains growth. It is a complex set of people, art, ideas, conversation, frustrations, real projects and future dreams. For me it has been a relationship of love that is inseparable from my creative practice. My partner and occasional collaborator, Mamuka Japharidze, is as bound up as I am in the peripatetic passage between the UK, his native Georgia and to other parts of the world. Artists these days are rather like global nomads, we belong to a restless tribe who easily transfer themselves from workshop to workshop, city to city, culture to culture. We are unshockable, us artists. These calls from beyond one’s native land are often pivotal moments for creative realization, we await them eagerly, we initiate them ourselves when we can. Mamuka and I have also followed this path. Tbilisi feels like just another touchstone when seen in the context of this International contact and travel. Bristol, where I live, is also just another touchstone, as is Anthea Nicholson London, Delhi, Yerevan, Baku, Belfast, Los Angeles, Berlin, Paris, Moscow, Taipei and on and on beyond the big cities to the less known towns, the valleys, the seashores and the deserts of the world. This is not to say that everywhere is the same, but to feel at home on the earth and to say that making art is a kind of home-making, a kind of house-keeping of the human state. There is a mood in art practice in the UK that embraces this attitude of creative house-keeping, where the line between art and the everyday or the banal activity is almost erased. There is a sense of the artist-at-work cherishing the ordinary human scale of events, of nurturing involvement with the public by engaging in socially inclusive activities. Sometimes it is hard to say if the results are art or social work, creative statements or therapeutic sessions. The uncertainty, a kind of melting of borders, is exactly what makes the work interesting. The point being that neither high nor low matter, but that what matters is the underlying readiness for response to the call and preparedness to connect to the context whatever its status. Molten borders and house-keeping – that seems to sum up the nature of Mamuka’s and my way of being creative. Of the handful of collaborative works we have made over the last twelve years the key quality has been connectedness to the context, poetic free association and a light touch with materials. It is not easy to be both partners and collaborators and more often than not Mamuka and I go our separate paths in art and life. Trust is involved. I believe artists have an unusual propensity for trust and we ask in exchange for the trust of our audience. It is a strange business. A very human business is our fragility often exposed and raw. Our fellow travellers, whether they make art or not, recognise in each other’s footprints - our leavings and droppings, our creative tracks - the weight and moment of being a human. Meeting, somewhere in the world, it is an ancient desire; to make camp, build a fire, cook food and sit around the flames telling our stories and listening to the experiences of the other. Art-life constructs new versions of real-life and when it brushes closest to real-life a kind of static builds up, an energy that jumps across the so called divide between the art and the non-art. A work titled Table, which I made in collaboration with my UK colleague Bruce Allan and with Mamuka Japharidze embodied the attributes of an energetic, connective friction between art and life. Table was inspired by the Georgian concept of Supra, where a meal shared around a table is given poetic significance and raised to a sacral level by the intoned toasts and songs which come unplanned, out of the moment, and yet have a timeless ritualistic quality. We organized a banquet for one hundred guests; the constraints of space gave us the number, the site (a community hall in Bristol) gave us the zone from which most of our guests would arrive (although several special guests came from abroad). In the months leading up to the banquet, using our network of artists, friends and contacts we sent out a call across the world. The call was for a postable ‘something’ that would represent the sender in some way. The ‘something’ would be placed on or near the banquet table and in the absence of its sender it would speak for their presence. We were overwhelmed by the response, the care and the quality of the various objects, texts, images, recorded film and music that came in tenderly wrapped packages through the mail. We had not been able to offer any fee to these contributors, the things 4 g l o b a l they sent came purely from a desire to connect to the moment of the banquet and the guests. On the evening of the banquet our one hundred guests were able to handle and examine the sent contributions. The objects sent from around the world mingled with the table-ware, films were projected on the walls of the hall, performative actions took place, texts were read aloud. In the sensuality of eating and drinking, the exchange of talking and singing, the curious examining and impact of the contributed materials it was impossible to distinguish any tangible boundary between art and life. Mamuka made a record of the banquet tables using paper treated with cyanotype to capture an imprint of the surface clutter at the end of the evening. Along with the shadows of plates, glasses, cutlery, fragments of food and stains of spilled wine, the shapes of the things sent from our absent guests were also captured on the cyanotype prints. Compellingly present from far across the world. Since making Table, the idea has continued to inspire, we have made other table events and feasts and other people have initiated their own table events. The tribe of art-life mingled with life-art is alive and well. © Anthea Nicholson, artist and writer, Bristol. Eyeyeyeye circle - Walked in the sand as the tide came in.