Thea Djordjadze

In the Holocene
João Ribas (Ed.)

Contributions by Berenice Abbott, Leonor Antunes, Marcel Broodthaers, Roger Callois, Hanne Darboven and Lucy R. Lippard, Eric Duyckaerts, Max Frisch, Frederich Froebel, Joao Maria Gusmao and Pedro Paiva, Florian Hecker and Quintin Meillasoux, Alfred Jarry, On Kawara, John Latham, Sol LeWitt, F. T. Marinetti, Daria Martin, Mario Merz, Helen Mirra, Man Ray, Ben Rivers and Mark von Schlegell, Pamela Rosenkranz and Erik Wysocan, Robert Smithson, Paul Valéry, Iannis Xenakis

In the Holocene is based on a 2012 group exhibition of the same name at the MIT List Visual Arts Center that explored art as a speculative science, investigating principles more commonly associated with scientific or mathematical thought. Through the work of an intergenerational group of artists, the exhibition and book propose that art acts as an investigative and experimental form of inquiry, addressing or amending what is explained through traditional scientific or mathematical means: entropy, matter, time (cosmic, geological), energy, topology, mimicry, perception, consciousness, et cetera. Sometimes employing scientific methodologies or the epistemology of science, other times investigating phenomena not restricted to any scientific discipline, art can be seen as a form of inquiry into the physical and natural world. In this sense, both art and science share an interest in knowledge, realism, and observable phenomena, yet are subject to different logics, principles of reasoning, and conclusions.

Works by Berenice Abbott, John Baldessari, Rosa Barba, Robert Barry, Uta Barth, Joseph Beuys, Alighiero Boetti, Carol Bove, Marcel Broodthaers, Matthew Buckingham, Hanne Darboven, Thea Djordjadze, Aurélien Froment, Terry Fox, Laurent Grasso, João Maria Gusmão and Pedro Paiva, Rashid Johnson, Kitty Kraus, Germaine Kruip, Daria Martin, John McCracken, Trevor Paglen, Man Ray, Ben Rivers, Pamela Rosenkranz, Robert Smithson, Hiroshi Sugimoto, Georges Vantongerloo, Lawrence Weiner

Copublished with MIT List Visual Arts Center
Design by Kloepfer-Ramsey-Kwon

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Thea Djordjadze
To Be In An Upright Position On The Feet


Thea Djordjadze makes expansive installations that she develops in situ and in close interaction with the surrounding spaces. The Georgian-born artist begins by exploring the specific qualities of a given exhibition space and then creates work that subtly transforms the perception and possible readings of the architectonic situation.
Ordinary staples such as fabrics, steel, glass, plaster, foam plastic, wood, and papier-mâché are the materials out of which Djordjadze manufactures sculptural objects. Presented in carefully composed arrangements sometimes complemented by found objects, paintings, and drawings, her installations recall domestic or functional settings. Her idiosyncratically proportioned sculptures suggest pieces of furniture or elements of an exhibition display such as beds, frameworks, pedestals, or showcases. The design vocabulary blends modernist geometric rigor with organic amorphous improvisation. Yet the elements correspond not only to each other, but always also to the given spatial context, building a palpable tension.
Thea Djordjadze’s process-based artistic praxis reads as an ongoing process in which existing and new elements, materials and objects are repurposed, reconfigured, and rearranged. Her exhibition project for the Secession implies transferring her studio and literally everything in it to Vienna. Here, the artist will respond to the iconic exhibition space and create a site-specific installation with her studio’s inventory, at once a kind of meta-exhibition, while her studio in Berlin remains empty.
This unique book documents through colour photography the artist’s studio, in great detail, prior to it’s emptying out into the exhibition space at Secession in late 2016.

Thea Djordjadze was born in Tbilisi in 1971 and lives and works in Berlin.

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Thea Djordjadze
Our Full


Berlin-based Thea Djordjadze is best known for her sculpture and installations with references to the modernist language. She works with materials like plaster, wood, ceramic and papier mâché to produce almost intuitive assemblages where unformed, premature pieces collide with or rest upon precise architectural or domestic constructions. These hybrid compositions deliberately display the traces of their creation. Besides numerous and detailed installation views from her solo exhibition at Malmö Konsthall, this catalogue documents Djordjadze’s methods and perspectives through several critical texts by Gabriel Lester, Andrew Maerkle, Chris Kraus and others.

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Texte Zur Kunst #103
SEPTEMBER 2016 “POETRY”

TZK #103 addresses “poetry,” a language form central to the recent shift toward affect in contemporary critical writing. Seeing the “artist-poet” as a vital site for the intersection of politics, affect, and digitality, we consider her voice and her currency from various perspectives, pro and con, across generations, analyzing her rising success, also asking what is gained and lost in this move from “rational” thought to what one feels? Scanning populist poetry, anarchist poetry, post-millennial net-poetry, the poetry of surplus-language and social media, the art historical poetic/poet-turned-object, and shades of fading Poesie, this issue, conceived by the editors with John Kelsey and Isabelle Graw explores how the seeming immediacy of #poetry and the suggestion of a hyper-personal voice correlates with current economic demand to claim visibility.

ISSUE NO. 103 / SEPTEMBER 2016 “POETRY”

TABLE OF CONTENTS

PREFACE

TIM GRIFFIN
WHAT IS POETRY?

JOSHUA CLOVER
OBJECTIVELY SPEAKING / Remarks on Subjectivity and Poetry

ISABELLE GRAW
THE POET’S SEDUCTION / Six Theses on Marcel Broodthaers’s Contemporary Relevance

LIZ KOTZ
WORD PIECES, EVENT SCORES, COMPOSITIONS

MONIKA RINCK
THE PROMISE OF POETIC LANGUAGE

ADA O’HIGGINS
IF YOU DON’T LIKE THE REFLECTION. DON’T LOOK IN THE MIRROR. I DON’T CARE.

CHRIS KRAUS AND ARIANA REINES
THE FEELINGS I FAIL TO CAPITALIZE, I FAIL / Chris Kraus and Ariana Reines in conversation on auto-fiction and biography

FELIX BERNSTEIN
THE IRREPROACHABLE ESSAY / On the Amazon Discourse of Hybrid Literature

DANIELA SEEL
IMMEDIACY, I MEET WITH SKEPTICISM / Three questions for Daniela Seel

MICAELA DURAND
DEVIL SHIT

KAROLIN MEUNIER
HEARING VOICES / On the reading and performance of poetry

DENA YAGO
EMPIRE POETRY

SHORT CUT

FOUR THESES ON BRANDING / David Joselit on Berlin Biennale 9
MANTRAS DER GEGENWART / Hanna Magauer über die Berlin Biennale 9
ROTATION

SEHNSUCHT NACH DER VERLORENEN STADT / Johannes Paul Raether über “spiritus” von Honey-Suckle Company
BENJAMIN BUCHLOH, ART HISTORIAN / Christine Mehring on Benjamin H. D. Buchloh’s “Formalism and Historicity: Models and Methods in Twentieth-Century Art”
ES WAR ZWEIMAL SAGTE SIE / Vojin Sasa Vukadinovic über Eva Meyers „Legende sein“
LESS IS MORE? / John Miller on Justin Lieberman’s “The Corrector’s Custom Pre-Fab House”
SO MACHEN WIR’S / Eva Geulen über „The Use of Bodies“ (Homo Sacer IV.2) von Giorgio Agamben

SHORT WAVES

Gunter Reski über Victor Man bei MD 72, Berlin / Harry Burke on Dean Blunt at Arcadia Missa, London / Rhea Dall on Stephen G. Rhodes at Eden Eden, Berlin / Tobias Vogt über Thea Djordjadze bei Sprüth Magers, Berlin / Deanna Havas on Marc Kokopeli at Lomex, New York / Martin Herbert on Fredrik Værslev at Bergen Kunsthall, Norway

REVIEWS

HABEAS CORPUS / Simon Baier über Francis Picabia im Kunsthaus Zürich
MARCEL BROODTHAERS, ART HISTORIAN’S ARTIST / Trevor Stark on Marcel Broodthaers at the Museum of Modern Art, New York
MALEREI ALS SOZIALES HANDELN? / Christian Spies über Fernand Léger im Museum Ludwig, Köln
SIMULIERTE MUSEALISIERUNG / Philipp Kleinmichel über Isa Genzken im Martin-Gropius-Bau, Berlin
ELEGANCE IS RESISTANCE / Stephanie LaCava on Lukas Duwenhögger at Artists Space, New York

NACHRUFE / OBITUARIES

TONY CONRAD (1940–2016)
by Diedrich Diederichsen
by Jay Sanders

EDITION
MARTHA ROSLER
AMY SILLMAN
AMY SILLMAN

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