video by Sandro Kakabadze
2010 წლის აპრილში ლონდონში პირველად მოეწყო თანამედროვე ქართველი მხატვრების კინო და ვიდეო ნამუშევრების ჩვენება. წარმოდგენილი იყო ექვსი სხვადასხვა ავტორის მაია სუმბაძის, მამუკა ჯაფარიძის, კოკა რამიშვილის, თოლია ასტალის & დილან პიერსის, სოფიო მედოიძისა და ალექსანდრე ქვირიას მოკლემეტრაჟიანი ფილმები. ჩვენება მოეწყო ბრიტანეთის სხვადასხვა გალერეებში, მათ შორის Arnolfini Bristol, Matt Robers Arts, Pushkin House, Riverside Studios London. პროექტი განხორციელდა ლაურა პრუვო და tank.tv-სთან ერთად, თორნიკე გაბრავას და flyvision-ის მხარდაჭერით. დამატებითი ინფორმაციისათვის იხილეთ http://www.tank.tv http://www.flyvision.co.uk
After Paradjanov
Artists’ film & video from Georgia
1st - 16th April 2010 on www.tank.tv
This April tank.tv will be showcasing recent work in film & video from Georgia. Curated specially for the tank.tv platform by Sophio Medoidze this exhibition is a response to the BFI’s recent Sergei Paradjanov season.
In March the great artist and filmmaker Sergei Paradjanov was the subject of a major retrospective at the BFI and has also been the focus of numerous other events taking place around London. His artworks were exhibited, his films were screened, his Georgian/Armenian identity examined. He is regarded as one of the best-kept secrets of cinema, a visionary, cinema’s most singular dissident.
My tutor, film critic Natia Amiredjibi told me that her daughter, when small, had beautiful dresses created by Paradjanov. I can imagine how carefully he would have embroidered the ornaments on those dresses and how much he would have cared about the texture of the different fabrics he put together. Just as carefully as he selects images and sounds in his films, in order to communicate certain ideas and challenge the viewer’s perception. I think Paradjanov would have embraced video if he were still making films today; he would have liked the lightness and immediacy of the medium. It was this speculation that led me to consider an exhibition of video work by contemporary Georgian artists.
I have my doubts about such initiatives in which artists are grouped together by their nationality. I did not want the show to be overly concerned with the specificities of the socio-political situation in Georgia - I will leave that to the journalists. What I was interested in was how (and if) the images and sounds could communicate these ideas even though the subjects range from Modern architecture to a children’s television programme in Soviet Georgia.
In keeping with the great tradition of the Soviet cinema at its best, Paradjanov believed that the artwork should be easily accessible to a large audience. This is why it is especially apt to show these works online from a group of artists who hardly have anything in common, except that they are shown together in a certain place, at a certain time. Paradjanov would have definitely approved of this and of tank.tv’s credo of making moving image accessible to all.
Sophio Medoidze
