Revolver, Berlin

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.

Thea Djordjadze - To Be In An Upright Position On The Feet
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Mladen Stilinović
On Money and Zeros



Nothing gained with dice. (P. Celan)

Dear Irwin, Malevich and Stilinović,

I have heard that you are saving money and that you have already collected more then thirty-five thousand. Why? Why collect money? Why not share what you have with those who have not even got a pair of trousers? After all, what is money? I have been examining this question. I have photographs of the most famous banknotes: for one, three, four and even five rubles. I have heard there are even banknotes worth 30 rubles each. Well, why collect them? Me, I am not collector. I have always despised people who collect post stamps, buttons, clocks, etc. They are stupid, dumb and superstitious. (D. Harms)

We have seen, we have realized – the more zeroes the less value. One zero, we know, is infinity; but two – two infinities?

A more and more evident transformation of all things into money. (P. Valery)

Zero as nothing, the beginning and the end, a state of immobility, in essence a non-language, incomprehensible, a monochrome. Money, the most accessible and the most comprehensible means of communication in languages. As many stories there are in money, that much is every story superfluous in zero. Zeroes are sad, absent – money is cheerful and present.

If art has realized harmony, rhythm and beauty, then art has realized zero. (K. Malevich)

Art is zero, art is money and vice versa and vice versa.

nothing begets nothing

nothing rears nothing

nothing waits for nothing

nothing threatens

nothing accuses

nothing grants pardon (T. Rozewicz)

But zero this is me, certainly I am not money yet.

Mladen Stilinović, 1994

Under the title “on Money and Zeros” a group of 90 small format works were arranged close to the ceiling of a room – collages, paintings, photos, objects, mobiles, textiles, drawings and texts by the Croatian artist Mladen Stilinović. Including work from more than 30 years, almost all the pieces shown reflect thematically on questions of money and often work directly with money as a material – a recurring theme in Stilinović’s work. This publication was produced on the occasion of an exhibition at the Grazer Kunstverein in 2006. It contains an essay by Mari Laanemets and an interview with Stilinovic (both in German and English). Contributors: Mladen Stilinovic, Mari Laanemets, Soren Grammel, Grazer Kunstverein, Branka Stipancic.

Mladen Stilinović (April 10, 1947 – July 18, 2016) was one of the leading figures of the so-called “New Art Practice” in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. He lived and worked in Zagreb, Croatia.

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