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Rigvava Gia

( Artist)

Comments for Rigvava Gia
Biography Rigvava Gia
Rigvava Gia (George S.) 1956 was born in Tbilisi, Georgia
1978 graduated from Moscow State Institute of International Relations (Faculty of International Relations)
1986 graduated from Moscow State Art Institute. Surikov (studio of easel painting department of painting)
. 1986-91 taught the theory of art at the Art Academy of Tbilisi
. 1990-91 was busy in the independent film productions studios in Tbilisi (k / f "House," The Munich Film Festival in 1992;
. "On the Verge", winner Film Festival in Locarno, Switzerland, 1993.)
.
. Collections where works
.
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. State Russian Museum, St. Petersburg
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1990 "White Gallery, Tbilisi
. 1993 "Gia Rigvava"
. Gallery in Tryokhprudny Lane., Moscow
1993 "You are powerless, or in general, all is not so bad" (performance). CSR. TV-Gallery, Moscow
1994 "I hate to state -1". 1.0 Gallery, Moscow
1995 "Bad humor (specification unknown)" (with M. Traibom).
Gallery M. Gelman, Moscow

GROUP EXHIBITIONS

1987 Republican exhibition dedicated to 70-th anniversary of the Great October Revolution. House of Artists, Tbilisi
1987 All-Union Exhibition of Young Artists. Manege, Moscow
1987 Exhibition of Young Artists of the socialist countries. Manege, Moscow
1988 "Labyrinth". Youth Palace, Moscow
1988 Festival of Contemporary Art. Narva
1989 "Rauschenberg - to us, we - Rauschenberg". First Gallery, Moscow
1989 'Les temps de re-evaluation'. Contemporary Art from the Soviet Union. UNESCO. Paris, France
1989 "Cost-effective of Arts". First Gallery, Moscow
1990 Sommer Atelier-Inspiration. Hannover-90. Hannover, Germany

Criticism

For the first time the artist's face appeared on the monitor in the exhibition "VII Congress of People's Deputies is dedicated, organized by Marat Gelman in April 1993. The politicized nature of the exhibition, . perhaps, . influenced the, . that Gia Rigvava quite dramatically changed his artistic strategy: up to this point his work had little to do with whatever was social or political issues,
. But this change had its own internal logic. Rigvava, who graduated Surikov Institute, the "ill with" expressionism "new wild, postmodern games with the phenomenon of pictures and faced the problem of communication with the product of the viewer.
. Message from the artist to the video coincided with the beginning of the boom in the Moscow art medium on the possibility of "new technologies", . but Ghia Rigvava was almost the only supporters of new media companies, . for whom an appeal to him stemmed from the logic of the art project, . and was not only a shift of the new material, . old ideas, . can be quite successfully implemented in more traditional techniques,
. Portfolio Gia Rigvava can be attributed to the genre of video performance, . and ideally - teleperformansa, . because they are intended as a statement of a TV commentator (whose role is usually played by himself), . uttering all kinds of life sentences common property,
. An example is the work of "Official Statement", created by the artist in collaboration with TV-gallery for the exhibition 'VII Congress of the ...'. The statement consisted of just one phrase: "Do not believe them, they all lie". Later, at the exhibition "Conversion", representing the second phase of a major project Gelman, Gia changed the role of total skeptic on the role of content with the prophet, soothing his flock with the words "You can count on me". At the same time around the head of the hero shining halo, made him feel the irony of the author about the sincerity of such statements. In these works the artist appealed to the two dominant media image of the social leaders: criticism and comforter
. The idea to make a video object creation brings install the current leaders of "political" or "social" direction in the Moscow art, . which include Rigvava, . with the Russian avant-garde and classical, . primarily, . with the idea of total art project, . total power of art,
. However, the current era posed different shapes, different type of artist, not so much the aggressor and the aggressor, as a researcher, not so much an agitator and gorlana as a commentator and arguer. Ironically, but tautological demonstration that, and because "everybody knows" turns out to be more effective and captivating, more "shrill" than what an invention and "additional items". Latest reasonably be attributed to the implementation of Rigvava May 7, 1993 a grand performance titled "You're powerless, or all not so bad". Find the issue it was, . to demonstrate gathered in the center of contemporary art public art, . very sophisticated in the theory of operation of the media, . practical side of the mechanism of manipulation of consciousness, . developed media,
. Rigvava with TV-Gallery, invited a television group, which conducted live from the scene, broadcast on monitors installed in the hall. Happening on the screen completely mimicked the structure of traditional television program - with commercial breaks, news bulletins (devoted exclusively to the art of living and relating to the many attendees in the hall) and direct interventions. Initial skepticism snobbish audience and concurrently unwitting participants in this action for some time who was replaced by a sense of euphoria from the consciousness of its own significance, . and he that hath and confusion about the, . that they "cheated",
. The latter contribute much to the clever trick, which consisted in the fact that in one of the premises where the performance, stood as if neotnosivshayasya to spread out to a huge bed. At some point, "live" view on the monitors showed a naked girl, stretches on the bed. Spectators, . watching the monitors in the room with a bed, . remained undisturbed - a bed was still empty (record with the girl was made in advance), . Still others have rushed to see the girl alive, . succumbed to the magic "documentary" direct reportage.,
. Direct appeal to the current political context was the project of "Morse code" for the exhibition devoted to the fifth anniversary of the fall of the Berlin Wall
. Installed on a street in Berlin's big screen broadcast a warning, written Morse code (the screen flickered in accordance with the duration of signals): "Russia is still dangerous". Later came the second part of this project: the exhibition in Holland pink screen blinked to inform that "Russia is still loved". Shown in Moscow, both part of this project were capacious formula of today's mindsets.
. Attempts Gia Rigvava "call a spade a spade" is not always met with understanding: one can only guess, . why the authorities banned Gie implement his plan in the autumn of 1993 Russo-Dutch project "Exchange / Exchange", . consisting in, . to place on the roof of a house in the center of Moscow like a giant's largest advertising firms, the word "Kakistokratiya with subsequent deciphering of the dictionary (kakistokratiya - the power of the worst): because it, . that the inscription appeared to them seditious, or because, . that this word sounds too ignoble for Russian uhaN,
. The problem of noise and distortion as indispensable components of the communication process (whether it is a ripple on the TV screen, . proverbial language barrier or just a Georgian emphasis added) is part of the very painful for the Moscow art in recent years the question of the possibility of his "conversion" on the international scene, . in turn, represents a special case of a more global problem, . formulated in the language of philosophy as the problem of identity,
. Despite the optimistic approach Rigvava to this problem is not devoid of duality. Personal nature of his artistic expression contrasts with the anonymity of the language to which he uses, and under which he is trying mimikrirovat. This tendency appreciated Marat Gelman, who has decided to place "potpourri" of video works Rigvava on a huge advertising board in a department store "Moscow". Message artist merges with the flow of advertising messages, which could "smuggle" to penetrate the consciousness of the viewer as something of their own, recognizable, "native".
. In general, a series of shares, . Rigvava conducted over the past few years, . certainly, . falls within a fairly broad international movement of artists, . demonstrates and analyzes the laws and paradoxes of the functioning of mass communications,
. However, because of the relative novelty of this perspective for Russia's art, Gie Rigvava may rightly belong to the honor of being one of the first singers of information and the television revolution that is taking place before our eyes.

M. Orlov


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