Winterthur, CH

View of “Thea Djordjaze,” 2019.

View of “Thea Djordjaze,” 2019.

Thea Djordjadze

Kunst Museum Winterthur

Notions of provisionality and contingency have long been leitmotifs of the work of the Berlin-based Georgian artist Thea Djordjadze. Objects both found and fabricated coalesce in a particular configuration for the duration of an exhibition and are then dispersed back into their constituent parts. Djordjadze arranges elements paratactically; new resonances emerge as the physical relationship between individual objects—between, say, an angular metal sculpture, a Berber carpet, and a lumpy ceramic vessel—is reconfigured. And just as she adapts her works to the spaces in which they are installed, so those spaces are also transformed through a material dialogue with the works they contain.

For her recent exhibition “one is so public, and the other, so private,” Djordjadze deployed an impressive array of sculptures and installations that responded to the specificity of the space and frequently

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 2020 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.