Book Section
Claudia Peppel
Enduring Rain
On Vajiko Chachkhiani’s Living Dog Among Dead Lions
Over the six months in which Vajiko Chachkhiani’s Living Dog Among Dead Lions was exhibited at the Georgian Pavilion at the 57th Venice Biennale in 2017, heavy rain was pouring inside the installation. This artificially generated process provokes thoughts on the nature of the here and now as well as of the afterlife and of the future appearance of the hut’s water-sensitive insides. Eventually, the spaces and furniture exposed to rain and water stagnation will begin to rot and disintegrate, and mould and moss might grow over them. Its viewers feel caught between what they see and what they hope to see; between their perceptions and expectations, in an exceptional time zone where ‘natural’ weathering is being performed as a subject of meditative observation.
Keywords: Vajiko Chachkhiani; Artificial Weathering; Meteorological Art; Rain; Trauma; Weather Art
| Title |
Enduring Rain
|
| Subtitle |
On Vajiko Chachkhiani’s Living Dog Among Dead Lions
|
| Author(s) |
Claudia Peppel
|
| Identifier | |
| Description |
Over the six months in which Vajiko Chachkhiani’s Living Dog Among Dead Lions was exhibited at the Georgian Pavilion at the 57th Venice Biennale in 2017, heavy rain was pouring inside the installation. This artificially generated process provokes thoughts on the nature of the here and now as well as of the afterlife and of the future appearance of the hut’s water-sensitive insides. Eventually, the spaces and furniture exposed to rain and water stagnation will begin to rot and disintegrate, and mould and moss might grow over them. Its viewers feel caught between what they see and what they hope to see; between their perceptions and expectations, in an exceptional time zone where ‘natural’ weathering is being performed as a subject of meditative observation.
|
| Is Part Of | |
| Place |
Berlin
|
| Publisher |
ICI Berlin Press
|
| Date |
2020
|
| Subject |
Vajiko Chachkhiani
Artificial Weathering
Meteorological Art
Rain
Trauma
Weather Art
|
| Rights |
© by the author
Except for images or otherwise noted, this work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
|
| Language |
en-GB
|
| page start |
277
|
| page end |
287
|
| Source |
Weathering: Ecologies of Exposure, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 17 (Berlin: ICI Berlin Press, 2020), pp. 277–87
|
References
- Baldacci, Cristina, and Claudia Peppel, ‘Zwischen den Wasserlilien. Ein Interview mit Omer Fast’, in Die Kunst des Wartens, ed. by Brigitte Kölle and Claudia Peppel (Berlin: Wagenbach, 2019), pp. 98–107
- Battista, Anna, Irenebrination: Notes on Architecture, Art, Fashion, Fashion Law & Technology, 17 May 2017 <https://irenebrination.typepad.com/irenebrination_notes_on_a/2017/05/vajiko-chachkhiani-venice-biennale.html> [accessed 10 May 2020]
- Bower, Matthew, ‘A Storm in a Jar: 10 Very Cool Art Installations That Imitate Weather’, The Atlantic, 9 November 2012 <https://www.theatlantic.com/entertainment/archive/2012/11/a-storm-in-a-jar-10-very-cool-art-installations-that-imitate-weather/265017/> [accessed 20 December 2019].
- Boym, Svetlana, The Future of Nostalgia (New York: Basic Books, 2001)
- Chachkhiani, Vajiko, ‘Georgia — Vajiko Chachkhiani — Living Dog Among Dead Lions — Venice Biennale 2017’, YouTube <https://www.youtube.com/watch?v=eryvtbZv5y0> [accessed 30 March 2020]
- Chachkhiani, Vajiko, and Claudia Peppel, ‘Life Never Stops Being Violent: A Conversation’, in Weathering: Ecologies of Exposure, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 17 (Berlin: ICI Berlin Press, 2020), pp. 289–94 <<https://doi.org/10.37050/ci-17_14>>
- Cheng, Chung-ying, ‘Chinese Philosophy and Symbolic Reference’, Philosophy East and West, 27.3 (July 1977), pp. 307–22 <https://doi.org/10.2307/1398001>
- Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, ed., Vajiko Chachkhiani: Heavy Metal Honey (Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2018)
- Endfield, Georgina, and Simon Naylor, ‘Climate and Cultural Heritage: An Experiment with the ‘Weather Memory Bank’, in The Future of Heritage as Climates Change: Loss, Adaptation and Creativity, ed. by David C. Harvey and Jim Perry (London: Routledge, 2015), pp. 62–77
- Finke, Marcel, and Friedrich Weltzien, eds, State of Flux: Aesthetics of Fluid Materials (Berlin: Reimer, 2017)
- Finke, Markus, ‘Im Nebel. Fluide Materialien und die Kunst der Zerstreuung’, in Wessen Wissen? Materialität und Situiertheit in den Künsten, ed. by Kathrin Busch, Kathrin Peters, Christina Dörfling, and Ildikó Szántó (Paderborn: Fink, 2018), pp. 97–114
- Haacke, Hans, Condensation Cube, 1963–65, perspex, steel, and water, 305 x 305 x 305 mm, Tate Modern, London
- Haacke, Hans, Untitled Statement, in Linda Weintraub, To Life! Eco Art in Pursuit of a Sustainable Planet (Berkeley: University of California Press, 2012)
- Heynen, Julian, ‘Georgia — Vajiko Chachkhiani: Living Dog Among Dead Lions’, in Viva Arte Viva: Biennale arte 2017: Catalogue, Participants, Countries, Collateral Events, ed. by Flavia Fossa Margutti (Venice: SIAE, 2017), pp. 62–63
- Kleine, Susanne, ‘Interview with Vajiko Chachkhiani at the opening of Heavy Metal Honey at Bundeskunsthalle’, YouTube, 28 June 2018 <https://www.youtube.com/watch?v=-naE2m5l89w> [accessed 20 December 2019]
- Matzig, Gerhard, ‘Geist aus der Asche. “Yakisugi” ist die Kunst des Verkohlens: Warum Architektur brennen muss, um zu leben’, Süddeutsche Zeitung, 124, 30 May – 1 June 2020, p. 56
- Mostafavi, Mohsen, and David Leatherbarrow, On Weathering: The Life of Buildings in Time (Cambridge, MA: MIT Press, 1993)
- Parr, Martin, Bad Weather (New York: Valerie Sonnenthal, 2014) [1982]
- Pfisterer, Ulrich, and Christine Tauber, eds, Einfluss, Strömung, Quelle: Aquatische Metaphern der Kunstgeschichte (Bielefeld: transcript, 2018) <https://doi.org/10.14361/9783839443880>
- Puvogel, Renate, ‘Bonn, Vajiko Chachkhiani, Heavy Metal Honey, 29 June – 7 October 2018 Bundeskunsthalle’, Kunstforum, 256 (2018), pp. 260–62
- Randerson, Janine, Weather as Medium: Toward a Meteorological Art (Cambridge, MA: MIT Press, 2018) <https://doi.org/10.7551/mitpress/11081.001.0001>
- Rühle, Alex, ‘Flüssige Freude’, Süddeutsche Zeitung, 140, 20–21 June 2020, p. 17
- Sharpe, Christina, In the Wake: On Blackness and Being (Durham, NC: Duke University Press, 2016) <https://doi.org/10.1215/9780822373452>
- Weintraub, Linda, Eco Art in Pursuit of a Sustainable Planet (Berkeley: University of California Press, 2012)
- Wolfs, Rein, ‘Preface’, in Vajiko Chachkhiani: Heavy Metal Honey, ed. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2018), pp. 11–12
- Zanon, Emanuela, ‘Vajiko Chachkhiani: The Poet of Absence at the de’ Foscherari Gallery’, Juliet, 30 January 2019 <https://www.juliet-artmagazine.com/en/vajiko-chachkhiani-de-foscherari-gallery/> [accessed 3 January 2020]
- La pluie (Projet pour un texte), dir. by Marcel Broodthaers (Collection Centre Pompidou, inventory number: AM 1996-F1310, 1969, 2 min)
- The Hole (Dòng), dir. by Tsai Ming-Liang (Fox Lorber, 1998, 95 min)
Cite as:
Claudia Peppel, ‘Enduring Rain: On Vajiko Chachkhiani’s Living Dog Among Dead Lions’, in Weathering: Ecologies of Exposure, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 17 (Berlin: ICI Berlin Press, 2020), pp. 277-87 <https://doi.org/10.37050/ci-17_13>