Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Simon Lässig, There’s something like pain in the room, and, it‘s partly overcome: but the weight of objects wins, 2023, Silver gelatine print, 30 × 24 cm
Simon Lässig, There’s something like pain in the room, and, it‘s partly overcome: but the weight of objects wins, 2023, Silver gelatine print, 30 × 24 cm
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Simon Lässig, 2:23 minutes from: Anyaság, 1974 As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt and alter their thoughts, views and feelings. And if the rest of the film speaks about how we mimic and repeat–about how we are con- ditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A re- ality comes into being that is closed off and something I’ve seen before repeats itself, 2022, Digital video, sound, 4:46 Min
Simon Lässig, 2:23 minutes from: Anyaság, 1974 As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt and alter their thoughts, views and feelings. And if the rest of the film speaks about how we mimic and repeat–about how we are con- ditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A re- ality comes into being that is closed off and something I’ve seen before repeats itself, 2022, Digital video, sound, 4:46 Min
Simon Lässig, 2:23 minutes from: Anyaság, 1974 As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt and alter their thoughts, views and feelings. And if the rest of the film speaks about how we mimic and repeat–about how we are con- ditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A re- ality comes into being that is closed off and something I’ve seen before repeats itself, 2022, Digital video, sound, 4:46 Min
Simon Lässig, 2:23 minutes from: Anyaság, 1974 As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt and alter their thoughts, views and feelings. And if the rest of the film speaks about how we mimic and repeat–about how we are con- ditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A re- ality comes into being that is closed off and something I’ve seen before repeats itself, 2022, Digital video, sound, 4:46 Min
Simon Lässig, 2:23 minutes from: Anyaság, 1974 As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt and alter their thoughts, views and feelings. And if the rest of the film speaks about how we mimic and repeat–about how we are con- ditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A re- ality comes into being that is closed off and something I’ve seen before repeats itself, 2022, Digital video, sound, 4:46 Min
Simon Lässig, 2:23 minutes from: Anyaság, 1974 As I watch Anyaság (Motherhood) from 1974, I come to know again how one learns to look through other people, how we take in, adapt and alter their thoughts, views and feelings. And if the rest of the film speaks about how we mimic and repeat–about how we are con- ditioned–then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A re- ality comes into being that is closed off and something I’ve seen before repeats itself, 2022, Digital video, sound, 4:46 Min
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Elene Chantladze, Untitled, 2018, Mixed media on cardboard, 20.5 × 14.5 cm
Elene Chantladze, Untitled, 2018, Mixed media on cardboard, 20.5 × 14.5 cm
Elene Chantladze, Untitled, Mixed media on cardboard, 12.3 × 10.3 cm
Elene Chantladze, Untitled, Mixed media on cardboard, 12.3 × 10.3 cm
Elene Chantladze, Untitled, 2022, Mixed media on cardboard, 10 × 12 cm
Elene Chantladze, Untitled, 2022, Mixed media on cardboard, 10 × 12 cm
Elene Chantladze, მე ბუნების (Me Nature's), Mixed Media on wood, 14 × 30 cm
Elene Chantladze, მე ბუნების (Me Nature's), Mixed Media on wood, 14 × 30 cm
Elene Chantladze, Untitled, 2017, Mixed media on paper, 28 × 21 cm
Elene Chantladze, Untitled, 2017, Mixed media on paper, 28 × 21 cm
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Elene Chantladze, მერი (The Mayor), Mixed media on cardboard, 24.5 × 16 cm
Elene Chantladze, მერი (The Mayor), Mixed media on cardboard, 24.5 × 16 cm
Elene Chantladze, Untitled, Mixed media on paper, 19.2 × 24.5 cm
Elene Chantladze, Untitled, Mixed media on paper, 19.2 × 24.5 cm
Elene Chantladze, Untitled, Mixed media on cardboard, 10.5 × 9.5 cm
Elene Chantladze, Untitled, Mixed media on cardboard, 10.5 × 9.5 cm
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Installation view, Elene Chantladze, Simon Lässig, 2023
Simon Lässig, There’s something like a destination in the room, and it has already taken place: but the weight of its direction lasts, 2023, Silver gelatine print, 30 × 24 cm
Simon Lässig, There’s something like a destination in the room, and it has already taken place: but the weight of its direction lasts, 2023, Silver gelatine print, 30 × 24 cm