About The Work
In a work that recalls the photograms of Moholy-Nagy, artist Thea Djordjadze has composed this Texte zur Kunst edition from materials gathered from her immediate surroundings (a box, a cup, a lens, a spare fotomat photo), which, having been lain on a scanner bed and recorded, appear here distilled, a selected random moment in the process of their everyday use. What is captured by the machine is something not accessible to bare sight: a topography of surfaces turned alien as light passes through the eyeglass to reflect/register the portrait, before disappearing into the surrounding voids. It is the screen’s gaze we see here, the vantage of the contemporary kino-eye. This work, “Fomasas,” follows a logical process that was clearly apparent in the Berlin-based artist’s installation at MIT List Center this winter and can likewise be seen in the project for her exhibition at MoMA PS1 this spring. A student of Rosemarie Trockel, with whom she collaborated on the interior design for the art-film venue Image Movement in Berlin, Djordjadze produces work that operates not unlike structuralist film: less images or sculptures than stop-motion frames, impressions reflecting the conditions of creation, available means, political circumstances, and the forces of chance.
Courtesy of TEXTE ZUR KUNST
About Thea Djordjadze
From The Magazine
- News & Events: 10 of the Best Artworks at Frieze New York 2016
- News & Events: 12 Galleries to Know in the Thriving Brussels Art Scene
- Art 101: How to Understand the Spectral Minimalism of Thea Djordjadze's Sculpture
- News & Events: 10 Artists to Watch This April
- Interviews & Features: Meet the Dealers: Project Native Informant's Stephan Tanbin Sastrawidjaja Infiltrates the Art World From a Garage in Mayfair
Photograph
10.24 x 7.87 in
26.0 x 20.0 cm
Numbered and signed on the back
About The Work
In a work that recalls the photograms of Moholy-Nagy, artist Thea Djordjadze has composed this Texte zur Kunst edition from materials gathered from her immediate surroundings (a box, a cup, a lens, a spare fotomat photo), which, having been lain on a scanner bed and recorded, appear here distilled, a selected random moment in the process of their everyday use. What is captured by the machine is something not accessible to bare sight: a topography of surfaces turned alien as light passes through the eyeglass to reflect/register the portrait, before disappearing into the surrounding voids. It is the screen’s gaze we see here, the vantage of the contemporary kino-eye. This work, “Fomasas,” follows a logical process that was clearly apparent in the Berlin-based artist’s installation at MIT List Center this winter and can likewise be seen in the project for her exhibition at MoMA PS1 this spring. A student of Rosemarie Trockel, with whom she collaborated on the interior design for the art-film venue Image Movement in Berlin, Djordjadze produces work that operates not unlike structuralist film: less images or sculptures than stop-motion frames, impressions reflecting the conditions of creation, available means, political circumstances, and the forces of chance.
Courtesy of TEXTE ZUR KUNST
About Thea Djordjadze
From The Magazine
- News & Events: 10 of the Best Artworks at Frieze New York 2016
- News & Events: 12 Galleries to Know in the Thriving Brussels Art Scene
- Art 101: How to Understand the Spectral Minimalism of Thea Djordjadze's Sculpture
- News & Events: 10 Artists to Watch This April
- Interviews & Features: Meet the Dealers: Project Native Informant's Stephan Tanbin Sastrawidjaja Infiltrates the Art World From a Garage in Mayfair
- Texte zur Kunst Edition of 100 + 20 A.P.
- Ships in 10 to 14 business days from Germany.
- This work is final sale and not eligible for return.
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