„Celebrating the anniversary of the historic atomic test on the Bikini Island Atolls in 1946, this project aims to play the boundary between catastrophe and play, bikini’s and bombs, cake and death.

Using themes from the 1940’s the artists will host a party with a copy of the fabled Atomic Cake, which on November 7, 1946 was published as the centerpiece of the Washington Post’s society column under the headline “Salute to Bikini.” Cocktails, vintage music, and homemade ice cream bombes (as in bombe glacée) will be served in celebration of life’s paradoxical nature.

There is something divinely perverse about this, delighting in parties, cake and fashion, in contrast to the theatre of war that is constantly played out all around us. The party seeks to open a dialogue around how we all play a role in this tragedy. Whether we participate actively or passively, we all “eat” lies and violence daily to the point of their normalization, assimilation, and invisibility. A situation where real events become mere statistical notes is over written by cultural white noise and party themes.“ –Qeta Gvinepadze/ Gabriel Adams

“More war, More cake” is a collaboration of Georgian and American artists, Keta Gvinepadze and Gabriel Adams. Installation was exhibited under “Artisterium” in Karvasla. The work represents a kind of allegory of the fact that any war and violence / aggression leaves a very large footprint, and it is not limited to the actual process. The idea of the project belongs to Gabriel, who has been working on similar types of installations. 1 year ago he accidentally stumbled upon the “atomic cake” photograph and decided to create a similar installation. The piece consists of a cake on a table, which has a form of an atomic bomb, you need dishes, forks and black helium balls to taste it, but at the same time they represent black clouds after an explosion, while the parts scatered on the table show the collapse. This is a kind of sarcasm, because war is a tragedy for “the common people”, while for them it is a reason to cut a cake as we see on the photo taken in 1946. They make a cake, and then some people eat these things, adapt, instead of protesting and it is the same thing as to be involved in all of this.



Work is not aimed at a specific audience, because war is a topic that pertains to each person. This is the first collaboration of artists, which in their opinion, was successful. The work process was carried out in Tbilisi and was held with the support of the Marta Boshen Porter fund and Berkshire Taktonic Fund.

I talked with one of the authors of the project, Keta Gvinepadze in her own Cafe “Linville”:


1. When and where did the idea come from?

The idea of the project came primarily from this year’s Artisterium’s topic: “Houston, we have a problem.” Gabriel had been using desserts in his projects previously as well (for example, “ice cream” project, which Tbilisi had).

2. The name “More war, more cake” is a bit provocational, cake is understandable, but war? ..

Here, in principle, we meant a dash. More war – more cake. We “set the table” for a couple of people, I mean, those who govern the world politics and decide that “one man’s death is a tragedy, but thousands of people’s death is statistics”.

3. How was the work assessed?

So far everything it is under work, but we can say that the main feedback was still positive. They also liked small “dark” moments in this composition.

4. What kind of art environment is there in the country and is Georgian society ready for such installations?

Gabriel likes Georgia very much, as setting for art. However, I think that a lot of things are lacking, even commercial galleries, which will be focused on the sale of project. An interesting fact is that usage of food in our work increased interest of Georgian audience. Everything is a process, of course, and everything might change over time. The problem is how much they understood everything beyond the this work, except eating the dessert.



It’s worth pointing out a few interesting facts which occured during the installation. One might be the fact that out of all black helium balloons one simply “disappeared”, then the authors needed to explain to one of the visitors that these bubbles were part of an installation and would not be able to give them despite the fact that their children craved it so much. Still, the most “Georgian” part occured while cutting the cake. The people had such a strong desire to taste it that they were grabbing the parts from the table on their own. This is how between art and stomach, the latter wins usually.



Author: Nanuka Zaalishvili

English Edit: Nutsa Namoradze





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