that is the last item on this list: a glass of anger

Thea Djordjadze
Born in Tbilisi, Georgia, in 1971.
She lives and works in Berlin, Germany.

At the crossroads of design and sculpture, urban and household, and drawing from various cultural influences, Thea Djordjadze builds her installations around a series of dialogues and tensions between material, form and antiform, color and space. Like a painter, she works both deliberately and spontaneously to compose the formal and chromatic masses on the surface of a space. Fragility and poetry, reflected in the titles of her work (such as Tickle the Sketch or Blue Dirt, both 2012) challenge her use of raw and common materials, such as metal, plaster, glass, synthetic foam, linoleum, and fabric. In so doing, she questions the very essence of sculpture, architecture, and object. Working in situ, she manages to append the mark of her presence by her intuitive and performative approach to the arrangement of elements in spaces where she creates her installations.
After studying art in Georgia, Djordjadze pursued her training at the Gerrit Rietveld Academie in Amsterdam and Kunstakademie Dusseldorf (primarily under Rosemarie Trockel). Combining her knowledge of post-Soviet architecture with her studies of modernism and minimalism and her minimalist, organic practice, she plays on questions of balance and precarious assembly, allowing them to remain unresolved. For the Biennale di Venezia’s All the World’s Futures, Djordjadze presents an installation comprised of glass and metal surfaces positioned as if they only draw their stability from a temporary state of suspension, showing once again the impermanence of all things.