Georgian pavilion at Venice Biennale named among Blok Magazine’s best from central Europe
The Georgian pavilion at this year’s Venice Biennale has been named among the best from central and eastern European states by Blok Magazine, with the installation by artist Anna K.E. finding its spot in the selection.
The contemporary work, titled REARMIRRORVIEW Simulation is Simulation, is Simulation, is Simulation and placed on view for visitors of the major annual event, was found by the magazine’s editors interesting enough to warrant a place in their shortlist, published on Wednesday.
In the profile for the installation, the Blok piece describes the architectural work with steel framework and coloured tiles, creating an impression of “digital pixels at low resolution” (preview by Creative Georgia).
Equal parts public stage, ascending and descending tribunal platform, communal fountain, and sculptural object of observation, her structure recalls a matrix of digital pixels, transporting viewers into an environment that recalls a sleek synthetic model.
Interspersed throughout are a compendium of K.E.’s videos and steel faucet-like sculptures, which circulate water, and are based on the original Georgian alphabet. — Blok Magazine.
The installation was picked for the list alongside works for national pavilions of Serbia, Lithuania, Latvia, Poland, Ukraine and Romania, each with distinct framework and context.
Devised by the artist, the work was curated by Margot Norton of the New Museum in New York and was presented in Venice in collaboration with New York’s Simone Subal Gallery and Tbilisi-based Project ArtBeat.
Georgian-born, New York-based Anna K.E.’s work centres around the relationship between objects and their environment.
She has exhibited in solo displays at venues including the Simone Subal Gallery (2018, 2015, 2013) and the Queens Museum (2017-2018) in New York, the United States, Primary in Nottingham, the United Kingdom (2017) and the Sommer Gallery in Tel Aviv, Israel (2016).
Her display at the Simone Subal Gallery in 2017 was called a “monumental centrepiece” of the show by an Art in America magazine review.
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Georgian pavilion at Venice Biennale named among Blok Magazine’s best from central Europe
The Georgian pavilion at this year’s Venice Biennale has been named among the best from central and eastern European states by Blok Magazine, with the installation by artist Anna K.E. finding its spot in the selection.
The contemporary work, titled REARMIRRORVIEW Simulation is Simulation, is Simulation, is Simulation and placed on view for visitors of the major annual event, was found by the magazine’s editors interesting enough to warrant a place in their shortlist, published on Wednesday.
In the profile for the installation, the Blok piece describes the architectural work with steel framework and coloured tiles, creating an impression of “digital pixels at low resolution” (preview by Creative Georgia).
Equal parts public stage, ascending and descending tribunal platform, communal fountain, and sculptural object of observation, her structure recalls a matrix of digital pixels, transporting viewers into an environment that recalls a sleek synthetic model.
Interspersed throughout are a compendium of K.E.’s videos and steel faucet-like sculptures, which circulate water, and are based on the original Georgian alphabet. — Blok Magazine.
The installation was picked for the list alongside works for national pavilions of Serbia, Lithuania, Latvia, Poland, Ukraine and Romania, each with distinct framework and context.
Devised by the artist, the work was curated by Margot Norton of the New Museum in New York and was presented in Venice in collaboration with New York’s Simone Subal Gallery and Tbilisi-based Project ArtBeat.
Georgian-born, New York-based Anna K.E.’s work centres around the relationship between objects and their environment.
She has exhibited in solo displays at venues including the Simone Subal Gallery (2018, 2015, 2013) and the Queens Museum (2017-2018) in New York, the United States, Primary in Nottingham, the United Kingdom (2017) and the Sommer Gallery in Tel Aviv, Israel (2016).
Her display at the Simone Subal Gallery in 2017 was called a “monumental centrepiece” of the show by an Art in America magazine review.
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