Weightless Sculpture
At the Venice Biennale Georgian pavilion was a great success
Valery Kitchin (blog author)
"Rossiyskaya Gazeta" - federal issue № 4473 from September 21, 2007
Two figures in human growth: he and she. Both are almost transparent, through them, as through the blinds, easily penetrates illusory light. Both are turned, as in a waltz, closer, as if to kiss, and again disagreeing on chaste distance.
But two more. Curved, like a circus in the gymnastics room. He and she as a single entity-a living pulsating ring, mobile and almost glowing from the inside.
These "dynamic sculpture" in the Georgian Pavilion at the 52 th Venice Biennale and at the Jubilee Exhibition Open to the island of Lido has always collect admiring spectators. They would more accurately be described as "living sculptures", but the author Tamara Kvesitadze prefers precise technological terms.
By profession Kvesitadze - architect, graduated from the Tbilisi University of Technology. But few lived in Italy, entered its carnival spirit and began to make dolls. They were unusual: prone to self-movement. "What fascinates me - this movement - says their author. - Mechanical Properties of my works are linked to the concept of change, transformation and cycles of life."
Tamara Kvesitadze - a native of Tbilisi, and they say, there still are its exposure. But she lived long ago in the United States, together with colleagues Paata Sanaya and Zuroy Gugulashvili opened Tamara studio, where he was transferred from the molding of your favorite exotic dolls to mechanical sculptures, opening a special poetry of interaction between living and mechanical. In their interpenetration.
Its Venetian exhibition called Re-Turn, ie the same cycle, unending perpetual motion. The figures for all their seemingly disembodied schematism and wonderfully sensual: they seem designed to express tenderness, radiate scarce human warmth. At the Biennale, in general, is very prone to speculative art and internally cold, they are plastic, metal - like a farewell from the classics, from the warm marble, from the forms, committed to the mental pain. And yet - from a proud Georgian dance, where the figures seemed to float, hovering in weightlessness.
http://www.rg.ru/2007/09/21/biennale.html