SASHA ZALIVAKO
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2024
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2023
2022
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This is a 22 hours non stop field recording of places and people in Tbilisi in Georgia. The recording has been made by 9 sound or visual artists based in Tbilisi. The first recording started at 7.00 in the morning in a local Samgori market. The last one finished at 5 in the morning the other day near the railway station. You will be able to listen to the outdoor environments of Tbilisi as well as very particular and intimate spaces of peoples houses.

All participants had about two hours to capture the mood and characteristics of the environment that they have chosen. The recorder has never been stopped, so all the transitions, when participants are passing the recorder to each other, their everyday talks and interactions with surroundings are hearable as well.

On the top of the whole recording, following the idea of patching we have placed several stereo sound recordings to create new dynamics and perception of the whole sound piece.

This field recording chain was created to make listeners feel more connected to the actual Tbilisi life and to let them experience the city from the perspective of a real insider.

participants: Anushka Chkheidze, Elene Gabrichidze, Tete Noise, Lado Oniani, Irakli Shonia, Sasha Zalivako, MXDR, Tornike Katsarava, Bara Gallo
produced by: Community Radio Tbilisi
concept : Bara Gallo
technician: Tornike Katsarava

The project is co-financed by the European Union programme Creative Europe.

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City stop. Sculpture.
Tbilisi, Georgia.

Social constructions and the projective assumptions that surround me. Mainly telling my life in different forms and shapes. This was a bus stop.


This 'bus stop' is a metaphor.

This last stop is a place where people pause. Taking a challenge to change their life and sit on a different bus. A turning point of someones life, or just another small stop for another.

Turning a dilapidated house into a bus stop in a small village in Georgia. This intervention — a simple but significant gesture — revealed the inadequacies of state infrastructure in rural areas. It was an act of immediate and direct action that connected me to the community in an direct and intuitive way.


This stop has a chess and backgammon boards, that one can take from under the bench. It’s an architectural sculpture that is integrated in and being used by people.

Build with help of my childhood friends.


located in Mtispiri, Gruria.

Materials:


pine Wood/ recycled wood from an old gurian destroyed house

Glass

stained glass windows
ceramic details

W5J5+Q7, Mtispiri


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build up

with visitors. Brodsky Alexander,Masha Brodsky, Brodsky junior, Marisha Falkovich, Kura, Grisha, Bejan, Hood, Boba.

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When I was a child of 6 years old, it was safe. I would take pancils and go to the Gogol's boulevard and draw over the sculptures from old russian tales. Every time, when I was coming back, they were painted white again. Again and again, I was in the process of vandalising this poor sculptures.

20 years later I was visiting my home. Walking the streets of the city that does not exist anymore. It has been damaged unrecognisingly, together with its people . The history has been erased and replaced with horrible reality. But this sculpture..This sculpture stayed. And 6 year old me, she is also still alive.

So this is what have happened.

Right after I drew it, police showed up and I have been put to jail for 24 hours.

Fear enough I guess.. The way police treated me, was far beyond human. But this is todays reality in some places. It's absurd and cruel.

Unfortunately I will never return to that city again.

2018

Residency project at the Foundation François Schneider.

This project was based on a poem by Joseph Brodksy ‘холмы' - ‘hills”. Taking a metaphor of the process between life and death, I have decided to cycle along the Rhine river from its headspring in the mountains of Switzerland all the way to the flatlands of Rotterdam, The Netherlands. 1240 km in 12 days. I was collecting different data/documentation and sending it by post to the residency in France, where I have stayed for one and a half months.

It was a very physical and mental experience that had a strong impact on my perception overcoming the distance, where the altitude and complexity of the rout in the beginning represented the coming of age, formation of a human being in the social/mental context. And after the extreme descent of the path, towards the flatlands and the north sea, was the hardest part, the time and the distance started to stretch, the wind was slowing down, the nature was getting poorer, captured by people, aggressive looking factories, cars and constructions. Flatlands representing the end of life.

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2017
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DOLLHOUSE OF A POEM

Kerstin von Gabain
Nino Sakandelidze
2017

Various materials
27.56 inch x 27.56 inch x 64.17 inch
Schenkung Kerstin von Gabain/donation by Kerstin von Gabain 2017
MUMOK museum
Inventory number: MP 108/0


Collaborative project
Participating artists: Ismini Adami // Daphne Ahlers // Minda Andren // Nouria Behloul // Adrian Buschmann // Rani Bageria // Alessio Delli Castelli // Simone Carneiro // Schirin Charlot // Clegg & Guttmann // Dark Disko (Rade Petrasevic/Philipp Ruthner) // Marco Dessi // Daniel Ecker // Philipp Friedrich // Bernhard Frue // Kerstin von Gabain // Marcus Geiger // Franz Graf // Martin Grandits // Begi Guggenheim // Hannah Hansel // Anne Hardy // Max Henry // Richard Hoeck // Natia Kalandadze // Benedikt Ledebur // Michael Lukas // Constantin Luser // Albert Mayr // Emma McMillan // Thea Moeller // Johann Neumeister // Daniel Peterson // Roshi Porkar // Noushin Redjaian // George Rei // Rosa Rendl // Daniel Richter // Alex Ruthner // Hanno Schnegg // Björn Segschneider // Nino Sakandelidze // Ania Shestakova // Tamuna Sirbiladze // Nino Stelzl // Lilli Thießen // Sophie Thun // Cathrin Ulikowski // Franz West // Anita Witek // Sasha Zalivako // Edin Zenun // Heimo Zobernig // Christina Zurfluh
Co-curator: Ninuka Sakandelidze

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