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[We are now on the board of the plane, flying from Tbilisi to Kosovo. Please fasten your seat-belts and prepare for the flight.] - Says the voice from the loudspeakers. The stewardess appears carrying soft drinks and distributing what appear to be [air tickets] to the people who are gathered to watch the show.



The large white space is divided into three parts-three hemispheres that comprise a whole concept that represents Tbilisi State Art Gallery's performance and fashion show - [air lines.]
One of the three hemispheres deals with figures [people], that wander around in subtle black dresses. These figures systematically place pictures on the walls, while continuously moving dynamically around the space. The photographs are detail shots of the fabric of the dresses and body parts. This compilation of photos, which makes up the second hemisphere, sets up a critique between the macro and the micro-the overall vision verses the many components that make up the whole concept.



The final hemisphere is that of a plane, perpetually taking off and landing-the image is projected on the widest wall of the gallery.
This performance, [airlines], took place on 03.04.1999, the date coinciding with the war in Yugoslavia. The initial concept of this performance wasn't meant to correspond to the events that were currently taking place, but in as much the show was compiled of the collective works of several artists, there manifested from the group a mutual idea to emphasise the essential intersection between their artistic composition and real-life issues of war. Therefore, the performance appeared to be a [military performance] which simultaneously took place with the real war in Yugoslavia. It thus appeared to be consistent with artistic and purely art input, which was combined and penetrated with somewhat depriving sight of the parallel, desolated military world. the world, that was clearly reflected through the physical framework of the installation.

It was the synthesis that took place in the crowded room, with the tang of glamour and of the fetish of observing the glamorous black dresses, and hearing good music, and of the external profundity of the violent military uniform. All of a sudden, the gallery appeared to be plugged to the online web of an extended consciousness, which encloses not only local space, but also parallel space.
The performance emphasized the space that exists in an active manner through television and other formal means of information, and is linked into society through sources other then those mentioned, in order to deliver public awareness in its ruts. Once the information was spread through the audience in terms of artistic approach, it immediately penetrated and turned into a new form of compassionate feedback


Copyright Nino Chubinishvili and Gio Sumbadze. All rights reserved.

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