is the reality, which Georgia and other post-Soviet countries are confronted with and which owes its existence to the country’s geopolitical position.Georgia’s pavilion aims to highlight this reality to a maximum extent and to make a certain intervention in one ofthe most important platforms for contemporary art. It serves as a political and social message bringing a kind of dissonance into the current political landscape of Europe.The main concept is a narrative of events structured as a DNA chain analogy, which exists in its usual environmentand often remains unnoticed before it is impacted by provoking external factors.Crawling Border is primarily associated with the drawing of borders in a stealthy manner, and the personaltragedy of many people behind it often escapes our attention

Panoramic view
Following the military conflict between Georgia and Russia in August 2008 (also known as the “Five Day War”), Russian military forces established a border and installed a fence between Georgia and the separatist region of South Ossetia. The fence has since been moved deeper into Georgia, in some cases splitting Georgian villages in two. In creating the installation “Crawling Border” , we used panoramic photos of the border, footage of the road leading to the border, and letters written by internally displaced children, combined with photos taken by those same children, to depict the reality of this border region
Zone # 1
Photo collage of Georgia’s crawling borders reflecting in mirror
Zone # 2
chamber with mirror screens and a mirror floor, in which a person sees his reflection 
Zone #3
A black corridor in which interactive videos and audio effects raise people’s awareness of the events that have imposed borders upon human consciousness

The video, created by NYC based director Joe Sabia, depicts the informational chaos common for military conflict news coverage. Collection of short videos from various war episodes coupled with news broadcasting results in a cacophony, which is often experienced by those directly or indirectly affected by relevant conflicts

Zone #4
The Kunstkamera – an observatory of memories is a place, which, like the subconscious, contains layers of fragments from the past:personal histories and memories, and faces of children living in the territories adjacent to the occupation line –faces, which have already become a blur and continue to be disregarded
Zone # 5
THE HOLE  a transitional corridor with crashing sounds
Zone # 6
A chamber with video art, in which people can watch and hear milestones from their own lives through  a toilet seat
Credits: Story

SPECIAL THANK TO: Project “Waiting in the Margins” by LAVA DANCE PRODUCTION in cooperation with Tserovani refugee camp

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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