Thea Djordjadze
Gropius Bau, Berlin
April–August 2021

Influenced in equal measure by historical artefacts and concepts of modern art and architecture, Thea Djordjadze’s sculptural works are characterised by formal ruptures and an idiosyncratic material aesthetic. By combining materials such as plaster, metal, rubber, textiles, wood or papier-mâché, Djordjadze creates fragmentary spatial settings in which she reformulates the classic display – vitrine, plinth, framing and pedestal – as a recurrent theme in her work.

My Body Holds Its Shape
Tai Kwun Contemporary, Hong Kong
May 25–September 1, 2020

Set in the historic F Hall—a former printing facility and women’s prison—this exhibition of five artists circles around the expansion of limits and constraints, working through how they could serve as an artistic framework rather than as objects of antagonism. In the metaphorical shape of a body, the exhibition is alive from the first hour to the last. Experimenting with concepts of “sculpture”, the artworks are ways of exploring our multifaceted facts and ecologies, spanning lived-through stories and realised imaginations.

… Hallo Köln!
Galerie Anke Schmidt, Köln
March 21–July 31, 2020

…Hallo Köln! curated by Rolf Ricke: Rey Akdogan, Michael Bause, Thea Djordjadze, Lydia Dona, Guy Goodwin, Tishan Hsu, Mahomi Kunikata, Fabian Marcaccio, Carl Ostendarp, Andreas Karl Schulze, Sarah Sze, Marianne Thoermer, Christoph Weber

local talent
Ketuta Alexi-Meskhishvili, Miriam Böhm, Marieta Chirulescu, Tacita Dean, Thomas Demand, Thea Djordjadze, Jason Dodge, Sam Durant, Olafur Eliasson, Haris Epaminonda, Omer Fast, Ceal Floyer, Mathew Hale, Mathew Hale / Eddie Ruscha, Oliver Laric, Henrik Olesen, Manfred Pernice, Gerwald Rockenschaub, Anri Sala, Thomas Scheibitz, Andreas Slominski, Thomas Struth, Akinori Tao, Rosemarie Trockel, Corinne Wasmuht, Andro Wekua
July 4–August 22, 2020
Berlin

Thea Djordjadze
if I were an early person
April 9–June 1, 2019
Los Angeles

The work of Thea Djordjadze concerns itself, first and foremost, with the poetics and particularities of space. She combines a variety of artistic, industrial, and unconventional materials to produce works full of contrasts and complexity, which she puts into conversation with the architecture and atmosphere of her exhibition spaces through intimate, considered arrangements. Each of her projects is thus ephemeral in nature, open to future reconfiguration.

Rosemarie Trockel / Thea Djordjadze
Un soir, j’ai assis la beauté sur mes genoux. And I found her bitter. And I hurt her.
July 7–August 26, 2017
Berlin

Un soir, j'ai assis la beauté sur mes genoux. And I found her bitter and I hurt her is a joint exhibition by the long-time collaborators Rosemarie Trockel and Thea Djordjadze. It is the first time that the two installations from 2007 and 2008 are on view in Berlin. The works have an allegorical nature that explores a number of themes pertinent to contemporary art. Issues around the boundaries of media, and the artwork as a fixed concept are called into question, as well as the exhibition space as a representational frame.

Thea Djordjadze
listening the pressure that surrounds you
April 30–June 25, 2016
Berlin

Interiors are sites of existential symbolism. They are the place where a child first clashes with the world – a location of real and symbolic protection for the ego. They collect the sediments of cultural history and of our own lives, marking an interspace between us and the world. Few contemporary artists have so cannily, idiosyncratically explored the existential experience of the interior as Thea Djordjadze, whose expansive sculptural installations combine constructed and found elements into intuitive arrangements.

Thea Djordjadze
Spoons are different
September 1–September 29, 2012
London

For her multipartite sculptural ensembles, Djordjadze uses everyday materials such as foam, steel, fabric, glass and plaster along with found objects which refer to the classical materials of sculpture but also the traditions of arts and crafts. The artist’s sculptures themselves are situated between form and anti-form, a combination of stable structures and fragile, gestural renderings typically exhibited together in a carefully choreographed setting. The installations, incomplete and fragmentary in character, oscillate between open spatial designs and dense performative gestures, emphasizing the contrasts between mental and actual interior spaces, between intimacy and public presence.

Thea Djordjadze
Explain away, ე.ი.
September 22–November 7, 2009
Berlin

Standing at the center of ‘Explain away, ე.ი.' is a wooden construction, a space which may be viewed and entered, a house or the fragment of a house. A site where the ordered delineations between living and working, between private and public have been canceled. Arrangements of things both objective and non-objective, which receive every person with a relaxed easiness and equanimity, regardless of whether he attempts to decipher them or not. Delicate, amorphous forms made of clay, plaster or papier-mâché enter into contact with sketchy paintings and dysfunctional constructions which bear witness to a profound investigation of modernism.

Thea Djordjadze
August 30–November 28, 2008
Cologne

The installations, objects and drawings of Thea Djordjadze echo the atmosphere of various art-historical and cultural-historical contexts. After completing her art studies in Tbilisi and Amsterdam, and during her time at the Kunstakademie Düsseldorf (studying under Dieter Krieg, then Rosemarie Trockel), the artist started work on a series of performances, which define a new framework for communicative exchange and experiences.