“Time to Upgrade” at the Art Villa Garikula

On August 30, the Art Villa Garikula held its annual International Festival of Contemporary Art “Fest i Nova” in honor of the Brothers Zdanevich. The festival is an international platform for joint projects with local and international artists-in-residence. The  11th edition, named “Time to Upgrade”, welcomed artists from the United States and from the Russian Federation. Through diverse mediums, the artists explore the relationships between technology, time and human consciousness. This year, the French Pavillon presents the Franco-Georgian artist Alexandre Bavard-Tsouladze for his first exhibition in Georgia,  

Curated by Guela Tsouladze, “Futur Inévitable” reflects the artist’s approach to his Georgian roots and to his dystopic vision of the future. Two silhouettes, fixed in raw concrete, blind and covered with veils are standing on traditional Georgian carpets, looking like vestiges from the present time. The contrast of colors and styles is striking, symbolizing the hazardous combination of past and future. 

“Time again and again follows its own rhythm reminding us that we are only passages.” said the artist. Born and bred in France, Alexandre Bavard-Tsouladze explores and develops his dystopic vision of the future in many ways, from street art to performance and from costumes design to exhibitions. The common thread of his various projects revolves around the question of identity, often disguised under textiles and round glasses. This recognizable pattern is partly inspired by Alexandre’s travels to the Middle East, but also by his work as a graffiti artist. Preferring vandal artworks to commissioned street art, Alexandre goes by his pseudonym “Mosa” in the street, hiding his true identity. 

 His work has been shown around the world but hosting an exhibition in Georgia is for him an honor, and the opportunity to rediscover his origins through art. The French Pavillon is hosting French artists each year for the Festival, thanks to the continuous support of the French Institute.

By Lorraine Vaney