WATCH OUT #7: Sonia González on Lou Hoyer
Ana Gzirishvili, Salome Dumbadze, Nina Kintsurashvili, Lado Lomitashvili, Qeu Meparishvili, Andro Eradze
SIXROOMFLAT
Project Info
- đź’™ Gypsandconcrete
- đź’š Ana Gzirishvili, Salome Dumbadze, Nina Kintsurashvili, Lado Lomitashvili, Qeu Meparishvili, Andro Eradze
- đź–¤ Ana Gzirishvili, Salome Dumbadze, Nina Kintsurashvili, Lado Lomitashvili, Qeu Meparishvili, Andro Eradze
- đź’ś Ana Gzirishvili, Nina Kintsurashvili
- đź’› Grigory Sokolinsky
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The flat hosting the group show SIXROOMFLAT by artists: Ana Gzirishvili, Salome Dumbadze, Nina Kintsurashvili, Lado Lomitashvili, Qeu Meparishvili and Andro Eradze has served multiple functions for different artistic practices for all the participants.This is the second exhibition in the space following up to the previous FIVEROOMFLAT in May of 2022.
For the SIXROOMFLAT show the flat accommodates a new room, or an idea of it, materialized as a spatial intervention. This metaphorical space traverses through the walls of existing rooms, breaking them into parts and at the same time acting as a central room, striving to unite all the others within itself. The act of togetherness, which has been a vital function of this flat, occurs through embracing of a new space within. This new body demarcates the contours of the former place, changes its functions, rearranges and shifts the thresholds, confuses the exteriors and interiors.
Sixroomflat exhibits various practices by participating artists including: sculpture, painting, installation and video. These artworks entangle with each other and with the newly formed space. They manifest topics such as embodied spatial memory, shifting thresholds and the relation between public and private. The exhibition reflects artists’ shared experience of the ever-transforming and unstable urban environment in Tbilisi where the margins of public and private are being constantly erased and redefined in a physical cityscape, as well as in memories. Transitionality and Inconsistency are mirroring general economical and cultural climate within the society. Staying vigilant for change, maneuvering around, diverting, deflecting, adapting and accommodating more than possible are ingrained in the cognitive memory of Tbilisians.
Through shifting the threshold lines we are observing the potentiality of marking new suggested trajectories and desire paths and inviting unforeseen actors within these newly formed spaces. These fresh demarcations are simultaneously erasing traces of the familiar, blocking intimate corners in our memories and in physical reality. These novel rearrangements and shiftngs generate vectors for possibilities and at the same time for traumas of loss.
Ana Gzirishvili, Nina Kintsurashvili