Thea Djordjadze has created a new sculptural installation that explores the interplay between contrasting formal structures and tests. The central preoccupations of Heather and Ivan Morison's practice are how we navigate catastrophe and the essential struggle with change.
MA SA I A LY E A SE - DE
For her solo exhibition at the South London Gallery, Thea Djordjadze has created an entirely new sculptural installation in direct response to the main gallery space. It represents the latest step in her practice which she approaches as a continuous process of reconfiguring earlier works into fresh iterations, combined with entirely new sculptures made from materials accumulated in her studio. Here, however, for the first time all the components in the exhibition have been newly made, but in an evolution of thought that is inextricably linked with her previous methodology.
Djordjadze spends time in the spaces she works, absorbing their particular character then subtly transforming them into installations which defy definitive categorisation, hinting at domestic and functional potential but ultimately remaining resolutely sculptural. Using materials she has found in and around the South London Gallery building - planks of wood, an old staircase, floorboards, sheets of plexi-glass, plaster and paint - supplemented by others inspired by the material and atmospheric qualities of the space observed in the course of making the work, Djordjadze has created an installation which gently but thoroughly infiltrates our reading and negotiation of the room.
A low, broad structure spans the entire 20 metre length of the gallery, inspired by traditional village dwellings in West Georgia, in which raised wooden platforms indicate a place of domestic activity. The whiteness of the space is injected with subtle shots of colour in the form of ink-stained wooden beams, a subtle inquiry into painterly composition which simultaneously meddles with our expectations of materials, function and form.
Djordjadze's work shifts our perspective on the space, gently prompting us to question how, if at all, it should be used. By testing the scope of her specifically-selected materials, Djordjadze generates new formal structures laden with unexpected potential, genuinely extending the language of sculpture.
Thea Djordjadze, born in 1971 in Tbilisi, Georgia and currently based in Berlin, is the recipient of the second Outset Residency at the SLG. She has exhibited extensively internationally, including at Documenta 13 in 2012 and the Venice Biennale 2015.
Funded by Outset Contemporary Art Fund, The Henry Moore Foundation, Institut fur Auslandbeziehungen and Sprüth Magers, with additional support from kaufmann repetto
Djordjadze is part of Frieze Projects 2015, Wed 14 - Sat 17 Oct 2015.
Thea Djordjadze born in 1971 in Tbilisi, Georgia is currently based in Berlin. She studied at the art academies in Tbilisi, Gerrit Rietveld in Amsterdam, and Kunstakademie Düsseldorf recently with Rosemarie Trockel. Her works have been presented in numerous solo exhibitions both in Germany and abroad, including shows at the MIT Cambridge (2014), the Aspen Art Museum (2013), Malmö Konsthall (2012), The Common Guild Glasgow (2011), the Kunsthalle Basel (2009) and the Kunstverein Nürnberg (2008). In addition, there have been important group exhibitions such as the BB5 – 5th Berlin Biennial for Contemporary Art (2008) as well as the dOCUMENTA 13 (2012) and the Venice Biennale (2015). Upcoming solo shows include Moma PS1 (2016) as well as Secession Vienna (2016).
Heather and Ivan Morison
Heather and Ivan Morison’s exhibition documents their 2013-15 project Shadow Curriculum, initiated as part of SLG Local. Over the two year period the artists worked in close partnership with teachers and students at Highshore School, a mixed needs special secondary school in south London, to transform a Douglas fir tree into a permanent work for the school’s new premises, which opened in June 2014.
The central preoccupations of Heather and Ivan Morison’s practice are how we navigate catastrophe and the essential struggle with change, from a wider social view to how individuals transcend moments of personal calamity. The period of transition for Highshore School presented the opportunity for the artists to investigate ideas around rootedness and transformation further, as well as to engage explicitly in a dialogue about redefining the limitations of where, and how, it is possible for artists to work.
The exhibition in the first floor galleries features a filmed documentary of the work and process of Shadow Curriculum, shot and edited by Pete Telfer. Also on display are specific objects which document the two-year-long project and the range of materials and outcomes created with the pupils at Highshore School.
Read more about the Shadow Curriculum project here.
Sponsored by Bloomberg as part of SLG Local. With thanks to Highshore School and Frances Williams.
Heather and Ivan Morison (born UK, 1973 and Turkey, 1974 respectively) have established an ambitious collaborative practice over the past decade that transcends the divisions between art, architecture and theatre.
They have exhibited widely across UK, Europe, Australia, Canada and the USA. Key projects include Sleepers Awake, Museum of Contemporary Art, Sydney, 2014; All’s Well That Ends, Schauspielhaus Bochum, Germany; Smile All the While, Whitechapel Art Gallery, London, 2014; Shadow Curriculum, South London Gallery, London, 2013-15; Skirt of the Black Mouth, Tate Modern, London, 2012-15; Nuclear Family, National Theatre of Wales, 2013; Black Pleasure, Eastside Projects, Birmingham 2013; Anna, The Hepworth, Wakefield, 2012; Cave, MK Gallery, Milton Keynes, 2012; Black Pig Lodge, Southbank Centre, London, 2011; Mr. Clevver, Contemporary Art Spaces Tasmania, Australia, 2011; Plaza, Vancouver Art Gallery, Canada, 2010; The Black Line Void, Derry, Northern Ireland, 2009; Black Cloud, Situations, Bristol, 2009; Journée des Barricades, One Day Sculpture, Wellington, New Zealand, 2008; And So it Goes, representing Wales at the 52nd Venice Biennial, 2007. Their book, Falling into Place, a fictionalised account of their large architectural shelter works, was published by Bookworks in 2009, and is currently being made into an audio book by Palaver Press, New York.
Heather and Ivan Morison are represented by Works|Projects, Bristol, UK and Clint Roenisch, Toronto, Canada.
Alice Evans, Marketing and Communications Manager 020 77036120 firstname.lastname@example.org
South London Gallery
65-67 Peckham Road London SE5 8UH