Paradoxical Enchantment of a Copy
The Dilemma of contemporary art is most intensified when painting is the topic. It seems as if the “Limited dimension” never gives a communicator a guaranty of audience’s perception within the huge post-modernistic collage of today. Not mentioning the difficulty of content delivery in our media dominated everyday lives, the biggest complexity of a modern artist could be the language itself. We can confidently say that the rapid experiments on language, be it “capturing a moment” of 19th century or mathematical equations of technocratic civilization, has entirely rejected the spectator. At some point during a play, the trust in viewer was tossed away and instead of a meditative enjoinment with Canvas, audience is only demanded a confirmation. Message Delivered. The masterpieces have become communiqué, authors as manufacturers and expressiveness, as a bourgeois art. But what if an artist does not try to reject the new norm? What if he will just intend to capture it?
“Falsification” project by Tezi Gabunia consists of three canvases of 1.5 m size. the screenshots of 8-bit games and different online applications and graphical templates from different social networks manage to represent the most familiar images in our minds. The author does not manifest himself- he just duplicates and underlines. “Falsification” means to capture, steal, modify and exhibit. The content on the canvas is exactly what we could download, share, entertain ourselves with while traveling, use in a conversation with a friend for just two seconds and won’t acknowledge in the process. Everything that has a shelf life but is spread endlessly and leaves us with a typical characteristic of a ghost of post-modern times: obscurity and multiplity. However, the main goal of the project is not only the relevance with time. At the same time, all of the content mentioned above, finally falling on the canvas and dying, can impress us as any other moving painting could do. Thus, “Falsification,” makes a kind of reverse – where the flat mirror of reality reflects complex forms, unintentionally swallows them for the mere moment and hence brings back the significance to the painting. This is where the paradox lies. All of a sudden we recall glamorous talk-shows, advertisement collages on TV channels, an ocean of information shared in online media and have a clear feeilling that all of this is bigger than us. But only because no one intended to show this to us. We are enchanted specifically by the copy, this readymade, which before duplication has already been saturated by the visuals of western fetishes and new media by itself. Here no new myths are created, no critique is announced, even the painter isn’t there – Falsification speaks of the lack of novelty and once again stresses that everything is a “Copy of a Copy”. Could this be a responding form for current days or does this make an authentic art product itself? This is all up to the future visitors of an experimental exhibition which is planned by the author. Where the existence is falsified, many questions can be left. Actualy, Tezi Gabunia is not an artist by profession, he is an architect and as he claims, the idea was created due to the fact that he did not know how to draw or paint. Thus we can confidently say: Tezi Gabunia does not make art, he is occupied with its “falsification.”
Author: Elene Pasuri