Nika Kutateladze
Watermill on Former Pavlov Street
Site-specific installation
53, A. Kazbegi Ave, Tbilisi, Georgia
Opening Reception: May 16, 6:00 - 8:00 pm
Exhibition dates: May 16 – July 14, 2018
Wed – Sat / 2:00 – 6:00 pm
ANGELICA MESITI
Relay League
3-channel video installation
1, Vasil Petriashvili St. Tbilisi, Georgia
Opening Reception: May 18, 7:00 - 9:00 pm
Exhibition dates: May 18 – July 14, 2018
Wed – Sat / 2:00 – 6:00 pm

Kunsthalle Tbilisi is excited to present two shows for its inaugural exhibition: Nika Kutateladze’s on-site installation Watermill On Former Pavlov Street, and Angelica Mesiti’s video installation Relay League for Protocinema at the Winery on Petriashvili Street.

Imagine moving an entire village water mill to a small, downtown apartment. That is what Nika Kutateladze did for the final part of the trilogy he started in 2016. Taken piece by piece from his family village in the Georgian region of Guria, the machinery has been installed in a Soviet-era apartment, on what is now Kazbegi Avenue, but was then called Pavlov Street - hence the work’s title. Kutateladze has embarked on an ambitious exercise with his trilogy to slice up and display elements of Georgia’s recent Soviet past where they intersect with his own. They are monuments that are both public and personal, infused with the artist’s emotion.

Nika Kutateladze (b. 1989) has a BA in architecture from the Tbilisi State Academy of Arts, and he completed his studies at the Tbilisi Center of Contemporary Art (CCA). He has done residencies at La Station in Nice, France in 2015 and the Yarat Contemporary Art Center in Baku, Azerbaijan in 2017. Kutateladze’s solo exhibitions include: Wall, Coarse calico, Parquet, organized by Iare Pekhit in 2016 and Minibus and Playground in My Old Apartment at 20 Mickevich Street in 2017. His work has also been shown in group exhibitions, including Festinova Garikula 2014-2015.

Protocinema at Kunsthalle Tbilisi presents Angelica Mesiti’s 3-channel video installation Relay League, 2017. Mesiti’s installation engages with the language of Morse code as an extinct form of communication. In this case a musician-composer, a dancer and two dancers who have developed their own movement-sign-language, each interpret the final Morse code message sent by the French Navy on 31st January 1997: ‘Calling all. This is our last cry before our eternal silence’. For over a decade, Mesiti’s oeuvre has investigated non-verbal forms of communication. Inspired by this poetic Morse code signal, Mesiti translates the dots and dashes through music and performance to enable the language to ‘speak’ once more. Installed in three halls of a disused Wine Factory at the center of Tbilisi, built in 1896, in a resurgence of art and culture in post-Soviet Georgia, communication takes on an additional layer of significance of voice and agency.

Angelica Mesiti’s Relay League was commissioned by Artspace, Sydney with support of the Commissioning Partner the Keir Foundation and the Australia Council for the Arts.

Angelica Mesiti was born in 1976 in Sydney and lives in Paris. Mesiti will represent Australia at the 58th Venice Biennale in 2019. Selected exhibitions include: Relay League, Artspace, Sydney [touring nationally and internationally] (2017); Citizens Band, Palais de Tokyo, Paris (2016); The Colour of Saying, Lilith Performance Studio, Malmo, Sweden (2015); Angelica Mesiti: The Calling, Walter Phillips Gallery, The Banff Centre, Canada (2015); Station to Station, Barbican Gallery, London (2015); The Immigration Songs: Angelica Mesiti and Malik Nejmi, MAXXI, Rome (2014); You Imagine What You Desire, 19th Biennale of Sydney (2014); Mom, am I Barbarian?, Istanbul Biennial, Turkey (2013). Mesiti’s work is in major collections in Australia and internationally, including: National Gallery of Australia, Canberra; The Museum of Contemporary Art Australia, Sydney; Kadist Art Foundation, Paris, San Francisco; Deutsche Bank, Frankfurt; Tokyo Metropolitan Art Space, Tokyo; The Art Institute of Chicago, USA; and Corcoran Gallery of Art, Washington D.C.

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