Gallery

Daniel Marzona, Berlin

Vajiko Chachkhiani

Vajiko Chachkhiani

Father(2), 2014
concrete, chair
80x120x55cm
unique work
Courtesy Daniel Marzona, Berlin 

Vajiko Chachkhiani

Wind to the Bones, 2015
lead
60x70x20cm
wall installation
unique work
Courtesy Daniel Marzona, Berlin

Vajiko Chachkhiani

The Day was Long (Fallen Ashes),2015
Burned shoes, Ashes
Floor Installation
150cm
Unique work
Courtesy Daniel Marzona, Berlin

Vajiko Chachkhiani

Endles Ends(3), 2015
burned tree branches
dimensions variable
unique work
Courtesy Daniel Marzona, Berlin

"Elephants on their way to vanish"

For their third consecutive participation in ART-O-RAMA, Daniel Marzona gallery presents a solo show by Georgian artist Vajiko Chachkhiani. The works of Vajiko Chachkhiani are shaped by a poetic humanism that exists between personal experience and political reality as well as between psychological exploration and material immediacy. Directly or indirectly many of his works center around an exchange of objects or actions between people, sometimes appearing as a performance. The artist condenses his subjects by using reduced forms in a subtle interplay between revealing and concealing. The ordinary materials and traditional craftsmanship of his works originate in everyday reality.

The installation consists of various objects taken from a living room interior in Georgia (wallpapers, carpets, lamps, electricity security wires and bobbins) and refers to his work “Living Dog among Dead Lions”, which is currently on view in the Georgia Pavillion at the Venice
Biennale 2017. Stains on the wallpapers and carpets trace framed photographs and furniture that were once placed there, thus preserving the process of change and transformation. Both, traces and objects, are symbols of social and cultural intervention "illustrating" the interactions of a person and making the irreversible phenomen of time visible. The abscense of these objects becomes concrete, exemplifying the indispensable value of such personal things and spaces as well as their ability to display history. What is left are the remains of a human life and his or her subconcious perception manifested through habitation.

The installation is an attempt to translate a series of poems, which refer to the inner life of a woman, whose content remains known only to Chachkhiani and their author and whose essential meaning, as is the case with all poems, is somewhat untranslatable.