Union Art companie presénte «SAKARTVELO — mythologies géorgiennes».

Vernissage le 27 mai 2010 de 18h à 22h. Exposition du 27 mai au 9 juin 2010


Union Art company est l'organisateur de l'exposition des peintres géorgiens "SAKARTVELO - Mythologies Géorgiennes".

Les participants de l'exposition :
Anri Basilaia, Belka Meskhichvili (Lassaire), Dima Antadze, Mamuka Mikeladze, Maya Chijavadze, Thea Gvetadze.

Lieu :
Galerie Orel Art | 40 rue Quincampoix, 75004, Paris | Tel.+33(0)1 47 20 22 54 orelart@hotmail.com | www.orelart.com)

Dates : du 27 mai au 9 juin 2010. 


Téléchargez le catalogue de l'exposition SAKARTVELOTéléchargez l'in


For the centuries, Georgian art has been a theatre for a mosaic of various influences. Georgia, whose name *SAKARTVÉLO (* Georgia in the native language) contains the word ART, was often conquered by foreigners, who strongly marked its culture: Romans (the rivalry between Mithridate and Pompey), Arabs, Mongols and Genghis Khan in the XIII century, Ukrainians in the XV century, Ottomans and Persians in the XVII century… In the year 337, Georgia was one of the first countries to proclaim Christianity as a national religion.

In the XX century, the independent republic of Georgia founded in 1918 was annexed to the Soviet Union in 1921, it will gain its independence and its full sovereignty only in 1990.

In the Antiquity, this country which existed already for four thousand years was a country of legends. This is the country of the Golden Fleece, of the myth of Argonauts, of Jason and Medea. This is also the country of Prometheus, who was chained to a mountain in Caucasus.

During all its history Georgia played an important role of a crossroads between Europe and Asia. However, even exposed to cultural influences from Eat and West, Georgia maintained its own culture and traditions.

In the light of this heritage and even though they are working in distinct styles, the six Georgian artists presented here by seem to have a common denominator in referring to a kaleidoscope expression, to a heterogeneousity unconsciously created by the fragmented configuration of the Central Europe, before and after the thaw.

Founded on the desire of monolithic art destruction, the aesthetics of these artists also reminds the art of “patchwork”, the tradition of the Georgian liturgical frontal, ancestral art of fabric assembling that was practiced in XIV and XVII centuries.

Liberated by the fall of the Berlin Wall, the decompensation of the non authorised imagination has lead to critiques of the pompous nationalistic art. Pulled down, the Berlin Wall characterised by the laws of fragmentation and colour.

Having integrated these cultural reminiscences, we finally note the heritage of the major artistic tendencies which marked the XX century: from Cubism to Naïve art, from Surrealism to the Outsider art. In the recent history of Georgian painting, we find the everyday life scenes of Niko Pirosmani (1862 – 1918), the portraits of Lado Goudiachvili (1896 — 1980) and the urban landscapes of Elene Akhlediani (1901 — 1976). Here we witness the prolongation of these tracks coming from the deconstruction of shape : the furtive passer-bys of Anri Basilaia, the geographical jumbles of Mamuka Mikeladze, the subversive miscellaneous of Belka Meskhichvili, the post-naïves mythology of Dima Antadze, or the abstract translucencies of Maia Chijavadze mark altogether a identity questioning in search for one’s bearings, social and poetic.

A generation after the perestroïka this narrative proposals in every direction take a figurative option for the major part of them, the eclecticism inherent to this collision reveals an emancipated aesthetics vis-à-vis established styles and schools. No distinct guidelines exist among these artists, but more of a trial and error coming from strange interior worlds.

Illustrative or strictly pictorial, these various compositions call to a fairyland sometimes tainted by absurd or grotesque. Marked by an allegory or a fairy tale, sometimes with a come back to the Middle Ages, this desire of a myth shows up from the side of an idealised world for which the maturing remains at a stage of an Utopia. This witnesses of a universal anxiety, indicates the underlying intention of resacralisation of the sense. Like a site of symbols liberated from their respective inner meanings in a marching order based on the absence of an “official” discourse. Another characteristic that connects the atypical proposals of these six artists is certainly, in their globality, the use of a vivid, invigorating palette. A “resilience” by the colour in response to this characteristic and statutory dullness that during half a century marked the environmental aesthetics of the Soviet world.

These contemporary mythologies in progress do not escape from the intention to redistribute ingredients concealed in the depth of an individual, to test unreasonable tracks in the epoch, when day after day the rise of the normalising crasher moves away popular imaginary from their fantastical dimension. 

Stéphan Lévy-Kuenz


Galerie OREL ART
40 rue Quincampoix
75004 Paris
Ouverture au public: mar — sam 11h-19h

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