Arco Madrid 2024

Presented artists: Tamar Botchorishvili and Tamuna Chabashvili

Gallery Artbeat presents a duo exhibition at ARCO Madrid 2024, featuring Georgian contemporary women artists Tamuna Chabashvili and Tamar Bochorishvili. This curated collection meticulously explores the intricate tapestry of women's experiences, with a keen focus on their dynamic engagement with diverse spatial realms. The exhibition navigates the complex interplay between the public and urban spheres, femininity, nature, and the inexorable march of urbanization. The thematic core of this exhibition revolves around the intricate intersection of the female body and space, contemplating profound questions of visibility and identity within the multifaceted contexts.

Tamuna Chabashvili, through her diverse works spanning various mediums, endeavors to illuminate the often concealed and painful aspects of women's experiences in everyday life. Her artistic exploration, manifested through patterns representing daily routines, seeks to articulate the violence inherent in societal and cultural norms. The "Book of Patterns" project, a meticulously hand-printed textile sample book inspired by the traditional Georgian Blue Tablecloth, delves into the laborious activities of women on the streets. This poignant work bridges the gap between daily existence and tradition, drawing parallels between tablecloth decoration and the sociocultural patterns that impact and sometimes violate women's lives in Georgia. “Supra of Her Own" is another project by Tamuna Chabashvili addressing the pervasive issue of the invisibility of women's painful experiences and domestic violence in Georgia. This initiative has evolved through close collaboration with women survivors over an extended period. The inspiration for this project stems from the Georgian supra, a culturally significant traditional feast deeply woven into everyday Georgian life. In the traditional Georgian supra, women typically undertake the responsibility of preparing the feast, while men are accountable for the most valued and visible activities at the table. Remarkably, these tablecloths, adorned by women, are often preserved within families for decades, despite accumulating stains and mends over time. Drawing parallels to the enduring nature of these family heirlooms, akin to diaries, Chabashvili's artistic endeavor seeks to explore the invisible traces of personal memories. The project aspires to create a work where the boundaries between public and private spaces continuously overlap, fostering a dialogue around the often-unseen narratives of women who have experienced domestic violence.

Tamar Bochorishvili's artistic creation, encapsulated in the series "In the Park," is an immersive exploration of the nuanced spatial experiences of women within the dynamic tapestry of the urban landscape. This collection, meticulously crafted on paper with mixed media, serves as a profound commentary on the symbiotic relationship between femininity, nature, and the relentless march of urbanization. The genesis of Bochorishvili's inquiry lies in an intimate examination of women's roles within the urban milieu, delicately interwoven with the architectural contours of the female body. "In the Park" unfolds organically, a visual narrative devoid of preconceived notions, initially rooted in the verdant embrace of plants and green hues. The series dynamically evolves, mirroring the rapid urbanization that encroaches upon the once-green havens of public spaces within the city. Each work within the series tells a distinctive story, creating a rich tapestry of interconnected yet independent narratives. Bochorishvili skillfully employs visual language to introduce a groundbreaking model of urban space that transcends conventional perspectives. The harmonious integration of greenery with city structures becomes a powerful motif, highlighting the potential for a balanced coexistence between nature and urban life. This challenges prevailing narratives that often portray women's roles as diminished or obscured by the relentless march of urban development. The series confronts the viewer with the visual impact of swift city construction on the natural environment, using the juxtaposition of architectural elements and lush greenery to underscore the intricate relationship between the feminine and the urban. A pivotal moment in the series captures two female figures seated side by side in a park, symbolizing contrasting scenarios. One figure seamlessly integrates with modern architectural patterns, embodying the city's spirit, while the other is enveloped in the organic hues of nature. This duality symbolizes the harmonious convergence of urban environment and natural essence, challenging the dichotomy of opposition often ascribed to these elements. Bochorishvili's visual narrative transcends traditional boundaries, offering a fresh perspective on the connections between architectural constructions and landscaping elements in diverse contexts.

Tamuna Chabashvili (b. in 1978, Tbilisi) is a visual artist based in Amsterdam and Tbilisi. She has obtained her BA in Fine Art at the Gerrit Rietveld Academy in Amsterdam. In 2003, she co-founded artists’ initiative ‘Public Space With A Roof’ (PSWAR) in Amsterdam, which functioned as a project space until 2007. PSWAR has been producing large-scale research projects, blurring the borders between various roles artists are assumed to take today: artists-as-activists, artists-as-producers, or artist-as-curators. Since 2008, PSWAR projects have been shown internationally, in places such as: Frederick Kiesler Foundation in Vienna, Austria; Centre Pompidou-Metz in France.

Her individual practice revolves around the topic of archives and traces. Mapping personal stories, memories, and questions into visual and tactile narratives, are the means for her to interpret and question the inheritance of the past and find ways in which ‘counter-memories’ or ‘counter-stories’ can embody the space of silence.Textile often functions as a grid in her works. Each new project is an opportunity for her to closely work with vulnerable groups that mostly remain underrepresented or overlooked. Such encounters help her to broaden the context in which the retracing of embodied memories can be interpreted and positioned today.

In 2014, she conducted her first research project ‘Supra of Her Own’ together with the anthropologist Agnieszka Dudrak, on gender-based violence against women in Georgia. The selection from this work was shown at the Kiev Biennale and the parallel program of the 14th Istanbul Biennale, at Kuad Gallery. Her project ‘The Book of Patterns’ focusing on the representation of ‘everyday life’ of women at the State Silk Museum in Tbilisi was included in the Biennial of Contemporary Textile Art in Portugal ‘Contextile’ in 2018. Her recent projects on historical archives include ‘The Corridors of Conflict. Abkhazia 1989-1995’ initiated by Swisspeace and Conciliation Resources and ‘Missing Monument’ commissioned by the International Committee of the Red Cross (ICRC) in Georgia.

Tamar Botchorishvili’s (b. in 1980, Kutaisi) artworks represent an attempt of self-reflexion and self-understanding. Graphic drawings and objects created by combination of different materials and techniques tell the story of past experiences, drama and unexpected future.
Artworks include small-sized sculptures and drawings. On the one hand, these artworks represent cheerfulness and a playful (toy like) aesthetics but on the other hand, they express topics like: family and society, body and sexuality, death and subconscious.

The works take form from personal and collective experiences and are changing according to the meaning of different narratives. They speak about fundamental issues that dominate on all levels of society and transform dramatic contexts into cheerful playing forms.