Putting Tbilisi on the Art Map: Skyscapes & Window Project

INTERVIEW

Rotterdam-based Richard Hutten is one of the most influential and successful Dutch designers. He is well known for his conceptual and playful designs. A true innovator, he has established himself as one of the leading international figures in his field, continuously pushing the boundaries of design. Hutten is also a photographer, with work in the permanent collection of the Gemeentemuseum in The Hague and the Miniature museum, next to works by Damian Hirst, Erwin Olaf and Yayoi Kusama among many others. Besides that, he also makes sculptures, designs buildings and interiors, and writes essays.

His work is held in the permanent collections of over 40 museums around the world, making him one of the most collected living designers. The list includes MoMA New York, Victoria & Albert Museum London, Centraal Museum Utrecht, Vitra Museum Weil am Rhein, San Francisco Museum of Modern Art, Design Museum London, Design Museum Gent, Stedelijk Museum’s Hertogenbosch, Chicago Art Institute and the Stedelijk Museum Amsterdam.

Currently, his “Skyscapes” series is being exhibited in Tbilisi at Window Project. The Window Project, run by Tamuna Gvaberidze, is a gallery in the Pantomime Theater window display, an art vitrine concept based on the idea of making art as public as possible, using window displays as an alternative gallery space. Windows Project is accessible 24/7, showcasing the works of international and local artists. GEORGIA TODAY sat down to pick the brains of both Richard and Tamuna.

How did the “Skyscapes” collaboration with Window Project come about?

Richard: I’ve known Tamuna for years. She’s very familiar with my work and a big fan. In 2010, I did an installation in Tokyo titled ‘Layers Love Hotel.’ Later, this installation got bought by two museums, the MOTI museum in Breda, The Netherlands, and The Vancouver Art Gallery. Gvaberidze really liked this work and we used the same concept for the background of the exhibition in Window Project. Recently, she saw my exhibition with my Skyscape photography in Amsterdam, really liked it and asked to show it.

What was the artistic inspiration behind “Skyscapes” and how does it compare with your other works?

Richard: People mainly know me for my design work, but for me, design is one of the arts. That is why it's being collected by museums. Fewer people are familiar with my work as a photographer, partly because it operates between the walls of galleries and museums and it is not as visible as my design works, which are everywhere.

But for me, the work of a designer is the same as that of a photographer; the process is also the same. It all starts with an idea. And in these times of Instagram, it is very hard to create an original image with a strong visual impact. Here in Holland, we have a long and rich tradition in painting. Rembrandt, Vermeer and Van Gogh are known to everyone. I decided to work in the same genre as they did, landscape, with those famous Dutch clouds. But I decided to look at them from above, not below. The old masters always painted the horizon at 1/3 of the picture, so 2/3 of the painting could be sky. Since my picture are taken above the clouds, I decided to put the horizon exactly in the middle. Nowadays people fly like crazy. This is destroying the planet. I want to capture the beauty before it is destroyed. The irony is that I make this art while flying.

My other work is always as simple, direct and to the point as these Skyscapes. It all starts with a clear concept, and then it develops into the final result. It took me two years and thousands of tries to make these Skyscape series. The format is also extraordinary, since there are no cameras which can take these kinds of format pictures- very long. We had to invent a special way of manipulating the original pictures in the computer, to realize this almost painting-like result.

Have you had a chance to explore the Georgian contemporary art and design scene?

Richard: Through Tamuna, I’ve seen quite a lot of interesting Georgian art. It is slowly but steadily entering the international art scene. I even have a painting in my home by a Georgian artist: Luca Tsetskladze.

Do you have any plans for further involvement with Georgia after the “Skyscapes” exhibit?

Richard: I really love Georgia and Tbilisi. I have no concrete plans scheduled yet, but for sure something will happen. It is an exciting place.

What career/life achievements are you most proud of?

Richard: I’m most proud of my children in the first place. But when it comes to my career, I’m most proud of the fact that some many people have found joy in my work by seeing or owning it. I’m also very proud that my work, varying from furniture, photography, installations and videos, ended up in so many museums worldwide. 50 museums own my work and I’ve exhibited in many more.

Looking back, is there anything you wish you would have done differently?

Richard: For me, creating is playing, and we you play, you experiment. Failure is part of that process. So, looking back, I would have done everything pretty much the same. So far, it’s been an exciting journey, and except maybe some details, I would not want to have done it differently.

What advice would you give aspiring Georgian artists and designers?

Richard: Be yourself; be curious; don't make the mistakes I made: make your own.

Tamuna, What was your inspiration behind starting Window Project?

Tamuna: In 2013, Irena Popiashvili and I decided to open an art gallery to promote and help young Georgian artists become visible on local and international art markets. After analyzing the local art market, we came up with the idea of creating an art space that was very public and visible; the concept of using the window display for presentations is very conducive: it attracts everyone’s attention without forcing them to enter a gallery.

Initially, during our openings, people were very confused, searching for a door to enter the building; but before long, people understood the concept of Window Project as an alternative gallery space, and nowadays it’s become quite popular. Our international audience finds our concept especially creative and clever. Until 2017, Window Project was a collaboration between Irena and I — now it’s just me.

How have you been able to help the local art scene?

Tamuna: I think we’re witnessing a great period in the market development of the Georgian contemporary art scene. I would say this is the time for making the right moves. The development of the art market depends upon a number of collectors interested in art, the relationship with dealers –galleries, critics and museums. It’s very important for local institutions like banks, telecommunication companies and other big players to start investing in art. Countries that oversaw the successful development of their art market now reap great economic benefit from it. Georgia must acknowledge that art is among the main assets of this country, it is not limited to wine, food and nature. This year, Tbilisi will host the Tbilisi Art Fair, a very important venue for the continued growth of the local art scene.

I’m very happy more commercial galleries are appearing on the Georgian market. However, art fairs and commercial galleries by themselves aren’t enough. We still need good critics, publications, education, and institutional support. Currently, we don’t have a contemporary art museum, we don't have many collectors; I understand that this is affected by the general development level of the country and its economic situation — it’s all interconnected. However, after some time it will grow and I believe that we have already started that process by collaborating and sharing common values with each other and talking about all players of Georgian art. Georgia is small but very rich in culture; its diversified nature finds its way into the Georgian character and creativity.

Helping artists isn’t restricted to finances. Helping them means creating the necessity facilities for them that allow them to thrive. I’m against the idea that an artist must think commercially: such a mindset makes them lose the most important vibes and divert their focus from pure creativity. That’s why we are here to help them be heard.

Do you have any special criteria that the artists you exhibit have to meet?

Tamuna: No. It’s very democratic. Mostly, Window Project is oriented around showcasing young local artists, but I also invite established international artists. One day you can see the works of Olaf Nicola, the German representative at Venice Bienale, 2015, or Barnaba Fornasetti, or Richard Hutten whose work is being exhibited now. Together with them, our space hosts the works of young students or not less well known names who are extremely talented and unique. They have their own touch and that’s a very important criteria.

What is the general public attitude towards contemporary art in Georgia?

Tamuna: Today, we have many galleries participating in international art fairs, local exhibitions and curated shows. This year we have Tbilisi Art Fair. I’m glad the Chair of Supervisory Board of “ Expo-Georgia” Kakha Gvelesiani had this idea, which is very important not only for the Georgian art market development but for the country and its economy too.

To what extent do you consider the local art scene to be politicized, a social movement of sorts?

Tamuna: Artists have a big role in political protests: art was and always will be a vehicle of expression. All forms of artistic expression have an unquestionable place in contemporary social activism. I mean street art for example Drawing emotions on walls has been a tradition going back thousands of years and even the word "graffiti" was first used for markings found in the ruins of Pompeii. Ancient wall writting, what we would today call street art, has been around for millennia, used to express dissatisfaction; catch public attention, declarations of love, poetry, etc. Artists were always involved in political processes and movements which is very much needed.

Who have you collaborated with?

Tamuna: In 2016 we hosted: German artist Olaf Nicolai, did Neon Light sculpture “Fire Walk With Me”; Japanese industrial designer Nao Tamura; New York based artist Alina Bliumis made a project “Cultural tips for new Americans”. In 2017, Window Project hosted Barnaba Fornasetti, son of the iconic Piero Fornasetti. He did an installation of the earliest seascape themes that originate from Piero Fornasetti’s need to create and experiment at the end of the 1940s. And today, Window Project is showing Richard Hutten’s photo exhibition.

How well-known is Georgia’s art scene beyond its borders? Tell us about Window Project’s future plans.

Tamuna: The Georgian art scene is quite well known internationally. Their success is a country’s success and it’s very important to invite them to participate in local exhibitions, as a kind of support for young artists. I wish to see more public art projects in our cities and on our streets as they provide perfect educational and awareness campaigns for problematic themes like the environment.

There were several cases of foreign collectors passing in front of our window, who were immediately inspired to make these works part of their private collections.

After Hutten, I plan to exhibit a Georgian artist who works outside the country, than again with local artists and so on. The idea is to mix international and local artists work as much as possible because I want to create some kind of community through Window Project and hopefully be internationally recognized. One day, it can host a super star and other day a student. I also plan to invite curators to do curatorial shows — basically, Window Project is open to everybody who wants to talk about art or design and place their ideas translated into different objects.

What advice would you give aspiring Georgian artists?

Tamuna: The key is for an artist to know the way to their own heart and find balance between themselves and their work. Of course,there are many additional components like education, knowledge, experience, exhibitions, participation in residential programs, and that’s where our duty starts: a duty that involves all of those who consider themselves a part of this small but very promising Georgian art scene.

I would rather give advice to the government than to the artists: please create spaces or museums, or give professionals the chance to create proper institutions. There are so many abandoned buildings standing empty – I hope one day that a government-based institution will officially start collecting Georgian contemporary artists works and that we can have a contemporary art museum.

By Máté Földi