Vajiko Chachkhiani creates intersections between the outer world and the mind in subtle visual poetry. His films, sculptures, performances, photographs and large installations link human emotions with themes from politics, religion and literature.
Vajiko Chachkhiani (b. 1985 in Tbilisi/GE) studied mathematics and informatics at the Technical University Tbilisi/GE (2000–2003) and then attended the University of the Arts, Berlin/DE (2010/2014). His work includes films, sculptures, performances, photographs and large-scale installations. By using a subtle and intriguing visual poetry, Chachkhiani creates intersections between reality, the outer world and the human psyche. Although some of his works tend formally to minimalism, they are all nonetheless charged with narrative. He interweaves psychological conditions such as loneliness, violence and angst with topics from religion, politics, literature and poetry. Reoccurring themes in his works are conflict, culture/nature and the oscillation between the outer reality and the inner life of the individual. Chachkhiani lives and works in Berlin/DE and Tbilisi/GE.
Chachkhiani’s works have been exhibited among others at: Art Basel Unlimited, Basel/CH (2019); Berlinische Galerie, Berlin/DE (2019); Galleria de’ Foscherari, Bologna/IT (2019); The Bathhouse Gallery, Tokyo/JP (2018); Bundeskunsthalle, Bonn/DE (2018); Turku Art Museum, Turku/FI (2018); Georgian Pavilion at the 57th Venice Biennale, Venice/IT (2017); Museum für Gegenwartskunst, Siegen/DE (2014).
The following artwork will be shown as part of the EVROVIZION.CROSSING STORIES AND SPACES project:
Glass Bones, video installation, Shivering Heart, film, 10', wooden barn, 240 × 300 cm, Tbilisi/GE, 2018.
© Vajiko Chachkhiani
Vajiko Chachkhiani’s video installation Glass Bones consists of a small, traditional Georgian wooden barn. Here you can see the film Shivering Heart, Chachkhiani’s modern adaptation of a Georgian folk tale – a story about a son, his mother and his lover. Sandro, a 23 year-old who lives with his mother, is in love with Elene, but his feelings are not reciprocated. In fact, he does not matter to her at all. It is a story of desire, love and manipulation. The work calls into question the concept of identity, family and belonging. In his work, Chachkhiani links the tradition and mythology of his homeland Georgia with psychological states and emotions. Using a subtle visual poetry, Chachkhiani creates interfaces between reality, the outside world and the human psyche.
This artwork is part of the ifa art collection.
Kunstpreis der Böttcherstraße in Bremen 2020
The Kunsthalle Bremen presents ten promising positions in contemporary art. Renowned curators such as Johan Holten, Bonaventure Soh Bejeng Ndikung and Bettina Steinbrügge have nominated ten artists from German-speaking countries, whose works can be seen in an exhibition at the Kunsthalle Bremen from August 29 to November 1, 2020. The nominees included also artists from the EVROVIZON project: Janine Jambere, Henrika Naumann and Nevin Aladag
Selma Selman - Risk Change
*In 2018, I was part of the third international interdisciplinary art exhibition Personal, as part of the project Risk Change for which I received the White Aphroid Award for my works Dangers of the Body, The Body in Danger, Viva la Vida We Who Are Dreaming of. As part of the Risk Change project, my work was a part of My Art Is My Reality exhibition at the Museum of Modern and Contemporary Art, Rijeka (CR), curated by Sanja Kojić Mladenov. The Risk Change project gives a chance for those artists who genuinely GIVE so much attempt for change of society while using art, technology, and mobility. Therefore, it allows us to think outside of the box and make sure that we can have a better future if you all respect those categorized as others. *Selma Selman
Emilija Škarnulytė at Kunsthaus Pasquart
EMILIJA ŠKARNULYTĖ – Sunken Cities at Kunsthaus Pasquart, 3 July – 29 August With Sunken Cities (2021), Emilija Škarnulytė creates an immersive film environment in the Galeries, in which the different rooms function as a time-line. She produces the effect of total immersion in a multi-dimensional landscape in which our gaze is duplicated by the mirrored ceiling and we simultaneously become witnesses of a future, contemporary and past world. The artist opens the perspective with this black, reflective surface, allowing us to experience it as a visual horizon that looks like an ocean of liquid oil.
Nevin Aladag, Kunstforum, Bd. 262
Kunstforum, Bd. 262 Borderlines **Nevin Aladağ** Mustergültiges für unsere Zeit Ein Gespräch von Sabine Maria Schmidt Nevin Aladağ gehört aktuell zu den international gefragten Künstlerpositionen aus Deutschland. 1972 geboren im türkischen Van, ein Jahr später umgesiedelt nach Stuttgart, ausgebildet in München, ansässig in Berlin, steht sie für eine Position, die fern politischer Identitätsdebatten freie künstlerische Ausdrucksmöglichkeiten findet. In zahlreichen Werkserien untersucht sie die Kraft und den Erfindungsreichtum von kulturellen Transfers. Ihre Arbeiten handeln von Selbstbestimmung, Rollentausch, Fremdwahrnehmung und Multiperspektivität. Klischees und vorgeformtes Wissen werden grundlegend hinterfragt. Und sie nutzt die Poesie von Stimmen und Klängen, die sie unterschiedlichsten Körpern und selbstgebauten Instrumenten entlockt.