{"id":2961,"title":"IN SITU: Thea Gvetadze – Becoming Thea Merlani","date_begin":"2018-05-12T00:00:00.000+02:00","date_end":"2018-09-02T00:00:00.000+02:00","location":{"readable":"Antwerp","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/949/large/2._if_it_takes_forever__I_will_wait_for_you__2012.jpg?1520518054","poster_credits":"Courtesy the artist"},"translations":[{"locale":"en","name":"IN SITU: Thea Gvetadze – Becoming Thea Merlani","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eThea Gvetadze\u003c/strong\u003e is an artist creating images of enigmatic scenarios, loaded with tension, emotion and symbolism. Experimenting with traditional techniques in clay and textile amongst other materials, Gvetadze\u0026rsquo;s practice speculates with highly idiosyncratic forms of image-making, representation and story-telling. Her paintings in particular, often painted directly onto black velvet, are vivid and recondite compositions unyielding to the pull of such dark and cosmic ground.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eGvetadze\u0026rsquo;s solo exhibition at M\u0026nbsp;HKA will configure a selection of new and recent works in painting, ceramics and tapestry, which together demonstrate the variety and sophistication of her image-making. These works will be presented alongside the deeply loaded and personal \u0026lsquo;readymade\u0026rsquo; artefacts titled \u003cem\u003eEsophagus Foreign Bodies\u003c/em\u003e and \u003cem\u003eTrachea Foreign Bodies\u003c/em\u003e (both 2014) \u0026ndash; her father Paata Gvetadze\u0026#39;s personal display of soviet-era objects accidentally swallowed, that he removed from people\u0026#39;s throats during his career as a doctor.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThea Gvetadze lives and works in Tbilisi, Georgia. Following her studies at the Tbilisi State Academy of Art, she relocated to Amsterdam in 1993 to continue her studies at the Rietveld Academy, and subsequently attended the D\u0026uuml;sseldorf Art Academy. She has had solo exhibitions at Gallery Nectar, Tbilisi; Museum von Ostwall, Dortmund; and the Georgian Pavilion at the 50\u003csup\u003eth\u003c/sup\u003e Biennale of Venice, 2003. Gvetadze has also participated in exhibitions and projects at Art in General, New York; Cobra Museum, Amstelveen, The Netherlands; and Karvasla Tbilisi History Museum.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIN SITU\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThea Gvetadze\u0026rsquo;s exhibition is presented within the framework of the IN SITU programme at M\u0026nbsp;HKA. The IN SITU offers medium-scale monographic exhibitions by significant early- and mid-career artists from around the world. It focuses on the commissioning of new artworks and\u0026nbsp;experimental practices in what is M\u0026nbsp;HKA\u0026rsquo;s largest and most atypical exhibition space. The IN SITU programme is led by Nav Haq, Senior Curator, M\u0026nbsp;HKA \u0026ndash; Museum of Contemporary Art Antwerp.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVelvet Paintings (2012-)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThis series of works have been painted directly onto a black velvet ground. The works were inspired by her annual visits to Georgia whilst the artist was still living in Germany. Gvetadze took particular inspiration from her walks, seeing her encounters with different individuals \u0026ndash;\u0026nbsp;market traders, fishermen, gardeners and other inhabitants \u0026ndash; as part of the theatre of the street. Enigmatic in tone and with a certain darkness, they reflect stories of private lives, gestures and body language.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eEsophagus Foreign Bodies\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e (2014)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eTrachea Foreign Bodies\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e (2014)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEsophagus Foreign Bodies\u003c/em\u003e and \u003cem\u003eTrachea Foreign Bodies\u003c/em\u003e (both 2014) comprise personal displays belonging to Gvetadze\u0026rsquo;s late father Dr. Paata Gvetadze, of objects accidentally swallowed, that he removed from people\u0026#39;s throats during his career as a doctor. Removed during emergency procedures, we might consider each item as representing a life saved. Forming a sort of museum of soviet-era ephemera, these collections talk of the journey of \u0026lsquo;foreign\u0026rsquo; indigestible objects into the human body and back out again.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eZeda Tsinsvla\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e (2017)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThe ceramic work \u003cem\u003eZeda Tsinsvla\u003c/em\u003e is the artist\u0026rsquo;s first work since recovering from a serious injury eighteen months ago. It relates to the experiences since childhood of visiting the cemetery where family members are buried in the region of Adjara, Georgia. Inside a bus stop facing the entrance of the cemetery is large mosaic dating from the 1960s, depicting the scene of a bountiful harvest with young people under a blue sky. Its uplifting depiction of life sits in distinct contrasts with the death and sorrow of the graveyard. Gvetadze\u0026rsquo;s work picks out particular elements of the mosaic, pondering why exactly the work by an unknown author came to be located in the place where it remains today.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e1990s Paintings\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFollowing her studies at the Tbilisi State Academy of Art, the artist relocated to Amsterdam in 1993 to continue her studies at the Rietveld Academy. In political terms, this was a traumatic period of transformation in Georgia following the break-up of the Soviet Union in 1991. For the artist, the visual form of utopian \u0026ldquo;socialist realism\u0026rdquo; fell apart as a metaphor for the structures of the country. Before any real knowledge of the modes and languages of the contemporary art world, the young artist intuitively followed the rhythms of the changing reality around her, defining a path of change within these compositions that seek to visualise a sense of transition.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","name":"IN SITU: Thea Gvetadze – Becoming Thea Merlani","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eThea Gvetadze\u003c/strong\u003e is een kunstenaar die beelden cre\u0026euml;ert van raadselachtige scenario\u0026#39;s, vol spanning, emotie en symboliek. Gvetadze experimenteert met traditionele technieken in klei en textiel en andere materialen; haar praktijk richt zich op zeer eigenzinnige vormen van beeldvorming, voorstelling en verhaalvertelling. Haar schilderijen in het bijzonder, vaak rechtstreeks geschilderd op zwart fluweel, zijn levendige diepzinnige composities die de aantrekkingskracht van hun donkere en kosmische ondergrond weerstaan.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eGvetadze\u0026#39;s solotentoonstelling in het M HKA zal een selectie van nieuwe en recente schilderijen, keramiek en wandtapijten presenteren, die samen de verscheidenheid en verfijning van haar beeldvorming demonstreren. Deze werken zullen worden gepresenteerd naast zwaar geladen en persoonlijke \u0026#39;readymade\u0026#39; artefacten, waaronder \u003cem\u003eEsophagus Foreign Bodies\u003c/em\u003e en \u003cem\u003eTrachea Foreign Bodies\u003c/em\u003e (beide 2014) \u0026ndash; haar vaders persoonlijke presentatie van per ongeluk ingeslikte objecten uit het Sovjettijdperk, die hij gedurende zijn carri\u0026egrave;re als arts uit de keel van mensen heeft verwijderd.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThea Gvetadze leeft en werkt in Tbilisi, Georgi\u0026euml;. Na haar studie aan de State Academy of Art in Tbilisi, verhuisde ze in 1993 naar Amsterdam om haar studie aan de Rietveld Academie en daarna aan de D\u0026uuml;sseldorf Art Academy voort te zetten. Zij heeft solotentoonstellingen gehad bij Galerie Nectar, Tbilisi; Museum von Ostwall, Dortmund; en het Georgische paviljoen op de 50e Bi\u0026euml;nnale van Veneti\u0026euml;, 2003. Gvetadze heeft ook deelgenomen aan tentoonstellingen en projecten in Art General, New York; het Cobra Museum, Amstelveen, Nederland; en het Karvasla Tbilisi Historisch Museum.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIN SITU\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDe tentoonstelling van Thea Gvetadze wordt gepresenteerd in het kader van het IN SITU-programma van het M HKA. Het IN SITU programma presenteert middelgrote monografische tentoonstellingen van belangrijke jonge en mid-career kunstenaars uit de hele wereld. Het richt zich op creatieopdrachten voor nieuwe kunstwerken en experimentele praktijken in de grootste en meest atypische tentoonstellingsruimte van het M HKA. Het IN SITU-programma staat onder de leiding van Nav Haq, Senior Curator, M HKA - Museum van hedendaagse kunst Antwerpen.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVelvet Paintings (2012-)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDeze reeks werken is rechtstreeks op een zwartfluwelen ondergrond geschilderd. De werken werden ge\u0026iuml;nspireerd door haar jaarlijkse bezoeken aan Georgi\u0026euml;, toen de kunstenaar nog in Duitsland woonde. Gvetadze raakte vooral ge\u0026iuml;nspireerd door haar wandelingen en zag haar ontmoetingen met verschillende individuen \u0026ndash; marktkooplieden, vissers, tuiniers en andere inwoners \u0026ndash; als onderdeel van het theater van de straat. De werken, duister en raadselachtig van aard, weerspiegelen verhalen over persoonlijke levens, gebaren en lichaamstaal.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eEsophagus Foreign Bodies (2014)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eTrachea Foreign Bodies (2014)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEsophagus Foreign Bodies \u003c/em\u003een \u003cem\u003eTrachea Foreign Bodies \u003c/em\u003e\u0026nbsp;(beide 2014) omvatten persoonlijke presentaties van Gvetadze\u0026#39;s overleden vader, Dr. Paata Gvetadze, van voorwerpen die per ongeluk werden ingeslikt en die hij tijdens zijn carri\u0026egrave;re als arts uit de keel van pati\u0026euml;nten heeft verwijderd. Elk object, verwijderd tijdens noodingrepen, kunnen we beschouwen als een gered leven. Deze collecties vormen een soort museum van vervlogen objecten uit het Sovjet-tijdperk en vertellen over de reis van \u0026#39;vreemde\u0026#39; onverteerbare voorwerpen naar en in het menselijk lichaam, en opnieuw eruit.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eZeda Tsinsvla (2017)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eHet keramiekwerk \u003cem\u003eZeda Tsinsvla\u003c/em\u003e is het eerste werk van de kunstenaar sinds zij herstelde van een ernstige verwonding die zij achttien maanden geleden opliep. Het heeft betrekking op kindertijdervaringen, meer bepaald het bezoeken van de begraafplaats waar familieleden begraven liggen in de Adjara-regio in Georgi\u0026euml;. In een bushalte tegenover de ingang van de begraafplaats ligt een grote moza\u0026iuml;ek die dateert uit de jaren 1960 en die een sc\u0026egrave;ne afbeeldt van een overvloedige oogst met jonge mensen onder een blauwe lucht. De opgewekte voorstelling van het leven staat sterk in contrast met de dood en het verdriet van het kerkhof. Gvetadze\u0026#39;s werk richt zich op bepaalde elementen van de moza\u0026iuml;ek, en verkent waarom het werk van een onbekende auteur zich precies op de plek bevindt waar het vandaag nog steeds is.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eSchilderijen uit de jaren 1990\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eNa haar studie aan de State Academy of Art in Tbilisi, verhuisde Gvetadze in 1993 naar Amsterdam om haar studie aan de Rietveld Academie verder te zetten. In politieke termen was dit een traumatische periode van transformatie in Georgi\u0026euml; na het uiteenvallen van de Sovjet-Unie in 1991. Voor de kunstenaar viel ook de visuele vorm van het utopische \u0026#39;socialistische realisme\u0026#39; uiteen als een metafoor voor de structuren van het land. V\u0026oacute;\u0026oacute;r enige echte kennis te hebben van de modi en talen van de hedendaagse kunstwereld, volgde de jonge kunstenaar intu\u0026iuml;tief de ritmes van de veranderende realiteit om haar heen, en definieerde binnen deze composities een verloop van verandering dat een gevoel van overgang proberen te visualiseren.\u003c/p\u003e\r\n"},{"locale":"fr","name":"IN SITU: Thea Gvetadze – Becoming Thea Merlani","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eThea Gvetadze\u003c/strong\u003e est une artiste qui cr\u0026eacute;e des images de sc\u0026eacute;narios \u0026eacute;nigmatiques, charg\u0026eacute;s de tension, d\u0026rsquo;\u0026eacute;motion et de symbolisme. Elle exp\u0026eacute;rimente des techniques traditionnelles avec des mat\u0026eacute;riaux comme l\u0026rsquo;argile et le textile, entre autres. La pratique de\u003cstrong\u003e \u003c/strong\u003eGvetadze sp\u0026eacute;cule sur des formes de cr\u0026eacute;ation d\u0026rsquo;images, de repr\u0026eacute;sentations et de narrations hautement idiosyncrasiques. Ses tableaux en particulier, le plus souvent peints sur du velours noir, sont des compositions vives et absconses qui r\u0026eacute;sistent \u0026agrave; la force d\u0026rsquo;attraction d\u0026rsquo;un tel fond noir et cosmique.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eL\u0026rsquo;exposition individuelle de \u003c/strong\u003eGvetadze au M\u0026nbsp;HKA comporte une s\u0026eacute;lection d\u0026rsquo;\u0026oelig;uvres nouvelles ou r\u0026eacute;centes, dont des tableaux, des c\u0026eacute;ramiques et des tapisseries. L\u0026rsquo;ensemble d\u0026eacute;montre la vari\u0026eacute;t\u0026eacute; et la sophistication de sa cr\u0026eacute;ation visuelle. Ces \u0026oelig;uvres sont pr\u0026eacute;sent\u0026eacute;es aux c\u0026ocirc;t\u0026eacute;s d\u0026rsquo;artefacts \u0026laquo;\u0026nbsp;ready-made\u0026nbsp;\u0026raquo; profond\u0026eacute;ment charg\u0026eacute;s et personnels, qui portent les titres \u003cem\u003eEsophagus Foreign Bodies\u003c/em\u003e et \u003cem\u003eTrachea Foreign Bodies\u003c/em\u003e (tous deux de 2014) \u0026ndash; la pr\u0026eacute;sentation personnelle de son p\u0026egrave;re, Paata Gvetadze, d\u0026rsquo;objets de l\u0026rsquo;\u0026egrave;re sovi\u0026eacute;tique que des personnes ont accidentellement aval\u0026eacute;s et qu\u0026rsquo;il a retir\u0026eacute;s de leur gorge au cours de sa carri\u0026egrave;re de m\u0026eacute;decin.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThea Gvetadze vit et travaille \u0026agrave; Tbilissi, G\u0026eacute;orgie. Apr\u0026egrave;s des \u0026eacute;tudes \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie des Beaux-Arts de Tbilissi, elle a d\u0026eacute;m\u0026eacute;nag\u0026eacute; \u0026agrave; Amsterdam en 1993 pour y poursuivre ses \u0026eacute;tudes \u0026agrave; la Rietveld Academie et s\u0026rsquo;est ensuite inscrite \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie des Arts de D\u0026uuml;sseldorf. Elle a pr\u0026eacute;sent\u0026eacute; des expositions individuelles \u0026agrave;\u0026nbsp;: Gallery Nectar, Tbilissi\u0026nbsp;; Museum von Ostwall, Dortmund\u0026nbsp;et au Pavillon g\u0026eacute;orgien \u0026agrave; la 50\u003csup\u003ee\u0026nbsp;\u003c/sup\u003eBiennale de Venise en 2003. Gvetadze a \u0026eacute;galement particip\u0026eacute; \u0026agrave; des expositions et des projets \u0026agrave; Art General, New York\u0026nbsp;; au Cobra Museum, Amstelveen et au Mus\u0026eacute;e d\u0026rsquo;Histoire Karvasla, Tbilissi.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIN SITU\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;exposition de Thea Gvetadze est pr\u0026eacute;sent\u0026eacute;e dans le cadre du programme IN SITU au M\u0026nbsp;HKA. IN SITU propose des expositions monographiques \u0026agrave; \u0026eacute;chelle moyenne d\u0026rsquo;artistes importants du monde entier, en d\u0026eacute;but ou en milieu de carri\u0026egrave;re. Le programme se concentre sur la commande de nouvelles \u0026oelig;uvres et les pratiques exp\u0026eacute;rimentales dans l\u0026rsquo;espace d\u0026rsquo;exposition le plus vaste et le plus atypique du M\u0026nbsp;HKA. Le programme IN SITU est dirig\u0026eacute; par Nav Haq, commissaire d\u0026rsquo;expositions au M\u0026nbsp;HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVelvet Paintings (2012-\u0026hellip;) \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCette s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres a \u0026eacute;t\u0026eacute; peinte \u0026agrave; m\u0026ecirc;me le velours noir et s\u0026rsquo;inspire des visites annuelles de l\u0026rsquo;artiste en G\u0026eacute;orgie, lorsqu\u0026rsquo;elle vivait encore en Allemagne, et plus sp\u0026eacute;cifiquement de ses promenades et de ses rencontres avec diverses personnes \u0026ndash; marchands sur les march\u0026eacute;s, p\u0026ecirc;cheurs, jardiniers et autres habitants locaux \u0026ndash; qui font partie du th\u0026eacute;\u0026acirc;tre de la rue. \u0026Eacute;nigmatiques, recelant une certaine obscurit\u0026eacute;, ils refl\u0026egrave;tent des r\u0026eacute;cits de vies individuelles, des gestes et des attitudes corporelles qui d\u0026eacute;voilent un langage non verbal.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eEsophagus Foreign Bodies\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e (2014)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eTrachea Foreign Bodies\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e (2014)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEsophagus Foreign Bodies\u003c/em\u003e et \u003cem\u003eTrachea Foreign Bodies\u003c/em\u003e (tous deux de 2014) comportent les pr\u0026eacute;sentations personnelles ayant appartenu au p\u0026egrave;re d\u0026eacute;funt de l\u0026rsquo;artiste, le Docteur Paata Gvetadze, et se composent d\u0026rsquo;objets que des personnes ont accidentellement aval\u0026eacute;s et qu\u0026rsquo;il a retir\u0026eacute;s de leur gorge au cours de sa carri\u0026egrave;re de m\u0026eacute;decin. Retir\u0026eacute;s lors d\u0026rsquo;interventions en urgence, on peut consid\u0026eacute;rer que chaque objet repr\u0026eacute;sente une vie sauv\u0026eacute;e. Constituant une sorte de mus\u0026eacute;e de babioles de l\u0026rsquo;\u0026egrave;re sovi\u0026eacute;tique, ces collections \u0026eacute;voquent le voyage aller et retour \u0026agrave; travers le corps humain d\u0026rsquo;objets \u0026laquo;\u0026nbsp;\u0026eacute;trangers\u0026nbsp;\u0026raquo; inassimilables.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eZeda Tsinsvla\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e (2017)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZeda Tsinsvla\u003c/em\u003e est la premi\u0026egrave;re que l\u0026rsquo;artiste a r\u0026eacute;alis\u0026eacute;e apr\u0026egrave;s s\u0026rsquo;\u0026ecirc;tre remise d\u0026rsquo;une blessure grave il y a dix-huit mois. L\u0026rsquo;\u0026oelig;uvre fait r\u0026eacute;f\u0026eacute;rence au cimeti\u0026egrave;re de la r\u0026eacute;gion d\u0026rsquo;Ajara, en G\u0026eacute;orgie, o\u0026ugrave; sont enterr\u0026eacute;s des membres de la famille et o\u0026ugrave; on l\u0026rsquo;emmenait quand elle \u0026eacute;tait enfant. Dans l\u0026rsquo;ancien abribus en face de l\u0026rsquo;entr\u0026eacute;e du cimeti\u0026egrave;re, une grande mosa\u0026iuml;que datant des ann\u0026eacute;es\u0026nbsp;60 repr\u0026eacute;sente une sc\u0026egrave;ne de moisson abondante r\u0026eacute;colt\u0026eacute;e par de jeunes gens sous un ciel bleu. Cette repr\u0026eacute;sentation joyeuse et rassurante contraste nettement avec la mort et la tristesse du cimeti\u0026egrave;re. L\u0026rsquo;\u0026oelig;uvre de Gvetadze s\u0026eacute;lectionne des \u0026eacute;l\u0026eacute;ments particuliers de la mosa\u0026iuml;que en se demandant pourquoi l\u0026rsquo;\u0026oelig;uvre d\u0026rsquo;un artiste anonyme a \u0026eacute;t\u0026eacute; install\u0026eacute;e \u0026agrave; cet endroit pr\u0026eacute;cis, o\u0026ugrave; elle se trouve toujours d\u0026rsquo;ailleurs.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eLes tableaux des ann\u0026eacute;es\u0026nbsp;90\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eApr\u0026egrave;s des \u0026eacute;tudes d\u0026rsquo;art \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie de Tbilissi, Gvetadze a d\u0026eacute;m\u0026eacute;nag\u0026eacute; \u0026agrave; Amsterdam en 1993 pour y poursuivre ses \u0026eacute;tudes \u0026agrave; la Rietveld Academie. Sur le plan politique, cette p\u0026eacute;riode de transformation, apr\u0026egrave;s la dissolution de l\u0026rsquo;Union sovi\u0026eacute;tique en 1991, \u0026eacute;tait traumatisante pour la G\u0026eacute;orgie. Pour l\u0026rsquo;artiste, la dislocation de forme visuelle du \u0026laquo;\u0026nbsp;r\u0026eacute;alisme socialiste\u0026nbsp;\u0026raquo; est comme une m\u0026eacute;taphore de l\u0026rsquo;effondrement des structures du pays. Avant d\u0026rsquo;acqu\u0026eacute;rir quelque connaissance que ce soit des modes d\u0026rsquo;expression et des langages du monde de l\u0026rsquo;art contemporain, la jeune artiste a intuitivement suivi les rythmes du changement de r\u0026eacute;alit\u0026eacute; qui s\u0026rsquo;op\u0026eacute;rait autour d\u0026rsquo;elle, d\u0026eacute;finissant une voie de transition dans son travail, qu\u0026rsquo;elle a tent\u0026eacute; de visualiser dans ces compositions.\u003c/p\u003e\r\n"},{"locale":"ru","name":null,"short_description":"","description":""},{"locale":"de","name":null,"short_description":"","description":""},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[{"id":3269,"name":"Thea  Gvetadze","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/040/910/large/thea_gvetadze.jpg?1525852650","poster_credits":null}}],"items":[{"id":19522,"title":"Love is the colour of my true love’s hairs","date_begin":"2010-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/059/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_31.jpg?1526379507","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19523,"title":"Untitled","date_begin":"2014-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/053/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_32.jpg?1526381933","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19524,"title":"Shavi Shotebi","date_begin":"2012-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/050/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_27.jpg?1526377260","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19525,"title":"Mamas","date_begin":"2012-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/048/large/1_mamas_2012.jpg?1526376671","poster_credits":"(c)photo: Courtesy the artist","actors":"Thea  Gvetadze"},{"id":19526,"title":"If it takes forever, I will wait for you ","date_begin":"2012-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/049/large/2_if_it_takes_forever_I_will_wait_for_you_2012.jpg?1526376779","poster_credits":" © Thea Gvetadze","actors":"Thea  Gvetadze"},{"id":19527,"title":"When I was young","date_begin":"2012-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/051/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_8.jpg?1526377353","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19528,"title":"Chepukha","date_begin":"2012-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/052/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_25.jpg?1526377429","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19529,"title":"What is a best thing a garden can do for a gardener? ","date_begin":"2018-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/070/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_17.jpg?1526382071","poster_credits":"(c)photo: Hans Theys","actors":"Thea  Gvetadze"},{"id":19530,"title":"Esophagus Foreign Bodies","date_begin":"2014-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/054/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_15.jpg?1526378101","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19531,"title":"Trachea Foreign Bodies ","date_begin":"2014-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/071/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_15.jpg?1526382150","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19532,"title":"No dance without a dancer ","date_begin":"2018-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/069/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_13.jpg?1526381236","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19533,"title":"Cabbage Hat","date_begin":"2018-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/055/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_22.jpg?1526378389","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19534,"title":"Becoming Thea Merlani","date_begin":"2018-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/056/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_19.jpg?1526378519","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19535,"title":"Sikvarulsa Malva Unda","date_begin":"1993-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/065/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_9.jpg?1526380809","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"},{"id":19536,"title":"Zeda Tsinsvla","date_begin":"2017-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/066/large/2018_IN_SITU_Thea_Gevdatze_photo_M_HKA_cc_42.jpg?1526380958","poster_credits":"(c)photo: M HKA, Antwerp","actors":"Thea  Gvetadze"}]}