Caucasian History Lesson
Caucasian History Lesson is a solo exhibition by Lado Darakhvelidze. P–OST invited Darakhvelidze to extend his project Caucasian History Lesson and add a new body of work and new dimensions to it. His previous projects The Caucasian History Lessons and Discourse Traveler study the ways in which history is taught in schools. They focus on how the “official stories” are undone when they are juxtaposed to each other, at which point all their ideological functions begin to break down and become undone.
In his new work, the artist develops a new technique of investigating history by using different material and a different approach. In addition to chalkboard drawings of previous parts of Causasian History Lesson, Darakhvelidze is now using cardboard cutouts to merge portraits of different historical figures, such as Ivan the Terrible and Dimitri Medvedev. The cardboard cut-outs are presented alongside quilted curtains displaying different topological figures; shapes that are preserved under continuous deformation. With this new approach Darakhvelidze aims to describe and expose different paradigms that are acting out in history.
Platform P–OST is closed in August due to the summerholiday. On the first of September we are open again.
Lado Darakhvelidze (GE, 1977)
Lado Darakhvelidze is a Georgian artist born in Kutaisi, Georgia, and currently based in Arnhem, the Netherlands. Darakhvelidze’s artistic practice focuses primarily on the phenomena of information media and its sociopolitical impacts. In his work he deals with social and political changes and represents these in personal narratives.
As an artist-broadcaster, Darakhvelidze makes platforms that intervene into specific localities and open up a space for the collective gathering and sharing of narratives on issues that are site-specific particular, but also universally relevant. The issues of investigation are entangled, dealing with the past and present of Soviet multiculturalism, migrant workers, individual and collective memory, and the ever-shifting contours of borders. Experimenting with journalistic procedures, he develops ways of visualising narratives, incorporating art installation, painting and scenography to fit the project and issues at hand.