Tamuna Sirbiladze

Selected works by Tamuna Sirbiladze

Tamuna Sirbiladze
The Husband Is No Wall

2007

Wood, metal, plaster, cloth and paint

243.8 x 365.7 cm

Tamuna Sirbiladze’s paintings, fast, expressionistic canvases depicting abstract shapes and naked female figures in the midst of bodily functions, convey an intimate, unavoidable physicality.

Tamuna Sirbiladze
Map 1 (Four parts)

2005/8

Acrylic and oil on canvas

Dimensions variable

Born in Georgia and based in Vienna, Sirbiladze could be said to be channelling some of the Viennese Actionists’ subversive spirit. She paints unromanticised images of faceless women naked, bleeding, defecating and vomiting, a kind of scrapbook of acts that are not particularly taboo now but aren’t the most obvious subjects for artists to explore in their works. There’s a raw frankness to her characters that goes beyond their crude, puerile figuration; they at once conflate the imagery of pornography and primeval ritual within scenes that hint at the diaristic and at a wide range of emotional states.

Tamuna Sirbiladze
Map 1- Toga Could Not Remember

2007/8

Acrylic and oil on canvas

200 x 185 cm
Tamuna Sirbiladze
Map 1 - Femme Infidele

2006/8

Acrylic and oil on canvas

200 x 180 cm
Tamuna Sirbiladze
Map 1 - Druges

2005/8

Acrylic and oil on canvas

150 x 190 cm
Tamuna Sirbiladze
Map 1 - Horse Shits On Their Roses

2006/8

Acrylic and oil on canvas

240 x 180 cm
Tamuna Sirbiladze
Map 2 (Four parts)

2006/8

Acrylic and oil on canvas

Dimensions variable

There is always something ordinary, something humorous, something melancholy and something sinister in her paintings. Map 4 – Got Too Much LA Sun shows the body of a naked woman on a beach, completely sunburnt and crimson (even her head and pubic hair), bending over an abstract shape with arched arms and legs, but still wistfully looking over to the blue waves and the sky on the horizon.

Tamuna Sirbiladze
Map 2 - Untitled

2007/8

Acrylic and oil on canvas

190 x 200 cm
Tamuna Sirbiladze
Map 2 - When His Boldness Reflected Twilight On Her Hair

2006/8

Acrylic and oil on canvas

200 x 200 cm
Tamuna Sirbiladze
Map 2 - Drug Picnic

2006/8

Acrylic and oil on canvas

180 x 160 cm
Tamuna Sirbiladze
Map 2 - Andro

2006/8

Acrylic and oil on canvas

200 x 185 cm
Tamuna Sirbiladze
Map 3 (Three parts)

2006/8

Acrylic and oil on canvas

Dimensions variable

Map 3 – Being Left There is a more modest depiction of a figure kissing the air to the right, but more sinisterly holding a cartoonish, hot pink bone behind her back, like a club. Map 2 and Map 3 include unflinching paintings of a woman’s buttocks during the act of defecation and penetration, across which text has been painted in bright neon colours, like graffiti.

Tamuna Sirbiladze
Map 3 - Van Gogh

2006/8

Acrylic and oil on canvas

200 x 140 cm
Tamuna Sirbiladze
Map 3 - Pickled Ass

2006/8

Acrylic and oil on canvas

200 x 200 cm
Tamuna Sirbiladze
Map 3 - Being Left Their

2007/8

Acrylic and oil on canvas

200 x 200 cm
Tamuna Sirbiladze
Map 4 (Five parts)

2005/8

Acrylic and oil on canvas

Dimensions variable
Tamuna Sirbiladze
Map 4 - Suicide Painting

2007/8

Acrylic and oil on canvas

200 x 200 cm
Tamuna Sirbiladze
Map 4 - In Sahara

2005/8

Acrylic and oil on canvas

200 x 185 cm
Tamuna Sirbiladze
Map 4 - Kotzen

2005/8

Acrylic and oil on canvas

220 x 185 cm
Tamuna Sirbiladze
Map 4 - Got Too Much LA Sun

2007/8

Acrylic and oil on canvas

200 x 185 cm
Tamuna Sirbiladze
Map 4 - Adidas Still Life In The Tennis Court

2007/8

Acrylic and oil on canvas

200 x 180 cm

The exact meaning of these arresting works is left open, blurred and made even more ambiguous by their often poetic titles. Sirbiladze is also the widow of artist Franz West, and the two often collaborated on projects.

Text by Lupe Nùñez-Fernández


Articles

FRANZ WEST - GALERIE GISELA CAPITAIN EXHIBITION FEATURING TAMUNA SIRBILADZE
By Astrid Wege

Franz West's exhibition "Plakatentwurfe"(Poster designs) began with instructions from the artist: "As in my earlier PaBstucke," West states in a wall work directly next to the entrance, "the designs are not merely for reception but rather for interaction." At once both invitation and interpretation, his introduction marks a shift in emphasis.

The PaBstucke--amorphously suggestive hybrids between sculpture, prosthetics, and cult objects--shed light, by virtue of their various use-possibilities, on the relationship between art object and recipient; the "Poster Designs," 2000--works on paper, wood, and foam that refer to the current show as well as to past exhibitions by West and his friends--make reference more to the gallery space. They are intended to provoke a different relationship between artwork, exhibition space, and recipient--an agenda West shares with the various artistic endeavors to undermine or reconfigure the conventional white cube and the conditions of reception that it implies, but which he pursues with his own sense of irony.

The entry room showed, in West's words, two "examples of hanging methods": Organized in groups of three or four, in one case the works were hung from the top edge of the wall; in the adjoining room some were placed on the floor, leaning against a wall "specifically prepared for that purpose" by Georgian artist Tamuna Sirbiladze. The installation was completed with a circular seat-sculpture in the middle of the room. With its reference to the seating provided in nineteenth-century museums, and despite its ambivalent status between art-object and use-object, Puf functioned as a reminder of a contemplative approach to art and thus stood in counterpoint to the possibility of rearranging the works--an invitation the gallerist underscored by pointing out the gloves laid out for that purpose.

Read the entire article here
Source: findarticles.com