Two Solo Shows
Gvantsa Jishkariani, Tamo Jugeli
21 February – 7 April, 2019
Who will record history?
“Trees swimming in the sea
Flagman on top of the tree
Three men tear out a tree
The tree that had roads built and waters part?“
Gvantsa Jishkariani is based in Tbilisi, Georgia. After studying at Tbilisi State Academy of Art (BA in Architecture) she gained an Informal MA in Inclusive Mediation at Center of Contemporary Art - Tbilisi. In 2017, she won Tsinandali Award in visual arts.
Jishkariani is an artist whose primary medium is installation. Her work addresses first and foremost the topics of expectations, beliefs and taste. The temporary nature of the paradox that arises when searching for concrete definitions of right and wrong, east and west, old and new is one of her subjects of interest.
Gvantsa’s art is inspired by serendipity and intuition. She starts each work with preconceived composition and idea, but mostly without preliminary sketches. She wonders how ancient superstitions, social media and surrounding trashy images influence on everyday life; how emotions, memories, views and personality is created.
Since 2014 she, with ten other female artists is part of an art group New Collective. In 2017, Jishkariani founded Patara Gallery in an underpass shop in Tbilisi, which is a space for experimental, denied or not-yet-seen art and for game-changing young artists. In 2018 Gvantsa co-founded a The Why Not Gallery in Tbilisi, Georgia.
“You know what?! I don't have a good feeling about cakes around here” (Carolin Eidner)
‘People don’t have bread’ - they complained.
‘Let them eat cake then’ - answered Marie Antoinette
“Women have been greeted with cakes and buns when entering the patriarchal world. The cakes have also been given appropriate romantic/pathetic names: ‘goddess’, ‘mother’, ‘courtesan’, ‘fire-keeper’ ... - exactly bakery assortment type - and sugar, as is widely known, is white death. So today the venom filled nature of Patriarchate has become obvious and the utterly cynical attitude of Marie Antoinette towards social affairs has gained deep meaning: patriarchal society only deserves cynicism because of the criminal nature of its symbolic values. Societal impotence and its historical/criminal self consumerism can only be covered with cynicism. And Marie Antoinette’s words are a sarcastic gesture of the feminist view entering history.
Today only country bumpkins can believe in cakes.
Cake free woman’s conscious has made space for free-flowing games - beyond rational-logical conscious, symbolic hierarchies and their subordinate structures. Islands of emotional intensities have become intercrossing spaces. Here lies the ecstatic ex-static opening of breathtaking spaces, where no one is invited to compete and games are only for demonstrating individual nature.
Getting full with cakes has been replaced with disembodied energetic dance and woman is the only one bringing this to the world today with her intuition which has been oppressed for centuries.” - Gia Edzgveradze
Tamo is a self-taught young artist who only started painting two years ago but has entered the Georgian art scene like a comet. After her first exhibition at Art Villa Garikula residency she instantly gained recognition and support in Georgia but not only. Being open to critic and looking for professional mentors has gained her the recognition and support of Gia Edzgveradze, Georgian internationally acclaimed artist, who has been motivating and mentoring her ever since he saw her works. Cleverly using Instagram to give her work exposure has attracted her art the attention of young rising star artists like Anna K.E., Florian Meisenberg and Caroline Eidner and of such acclaimed professionals as Leonid Bazhanov and Jerry Saltz. Her interviews have been published several times in leading Georgian online and print publications and her intellectual maturity together with the strength of her works gained the artist total support from a Georgian leading bank and the biggest Contemporary art patron, TBC Bank, which is ready to financially support Jugeli in her future plans, residencies or studies. Her first solo exhibition will be held at Project ArtBeat gallery in February, which will be accompanied by the publication of her first artist book. Tamo’s great story together with her dedication, discipline, sensitivity, emotional and intellectual maturity paired with the support and advice she is receiving from her true professional supporters and the right path she is taking just now are the guarantors that this story will turn into a very rich and interesting biography in the nearest future.
Photo Credit: Angus Leadley Brown