What's Happening?
Artist Tolia Astakhishvili's exhibition, 'a wound on my plate' (2025), at The Clerk’s House in London, features a hand-written phrase 'Life = Porridge' scribbled on a drawing and pasted onto a wall. This detail is highlighted as a key element in her sprawling
body of work, inviting viewers into a 'rabbit hole of associations.' Astakhishvili, who works across installation, sculpture, drawing, painting, sound, and moving images, constructs expansive environments that explore the structure of space and its relationship to human experience. Her installations often incorporate architectural interventions and found objects, creating a non-linear and disorienting experience for the viewer. The exhibition at The Clerk's House, one of London's oldest buildings, was transformed by Astakhishvili to accommodate these multi-media elements, blurring the lines between historical context and contemporary artistic expression. Her work is characterized by a painterly sensibility, with a particular color palette and tones that contribute to its recognizable aesthetic.
Why It's Important?
Astakhishvili's approach to art, particularly her use of phrases like 'Life = Porridge' and the evocation of a 'rabbit hole,' is significant for its ability to challenge conventional interpretations of art and reality. By creating immersive environments that blend factual and imagined narratives, she prompts viewers to engage with art on a deeper, more personal level. This method encourages a re-evaluation of how we perceive space, history, and our own experiences within them. The integration of everyday objects and architectural modifications within her installations transforms familiar settings into thought-provoking landscapes, highlighting the potential for art to reveal hidden meanings in the mundane. Her work contributes to a broader artistic discourse on the nature of perception, memory, and the subjective experience of reality, pushing the boundaries of traditional art forms and inviting a more interactive and introspective engagement from the audience.
What's Next?
Tolia Astakhishvili's artistic trajectory suggests a continued exploration of immersive and multi-disciplinary installations. Her recent solo museum exhibition, 'Figure of the Child' (2026) at Vienna's mumok, which takes up two underground levels, indicates a trend towards larger-scale and more ambitious projects. This exhibition incorporates selected works from the museum's collection, integrating them into her architectural interventions, suggesting a future where her art continues to engage with existing cultural and historical contexts. Her practice of inhabiting exhibition spaces for extended periods, as seen at the Nicoletta Fiorucci Foundation in Venice, points to a sustained commitment to site-specific work that deeply interacts with its environment. Future works are likely to further develop her themes of psychic geography, the body, and the interplay between internal and external spaces, continuing to challenge viewers' perceptions and create unique, enveloping artistic experiences.
Beyond the Headlines
The phrase 'Life = Porridge' and the concept of a 'rabbit hole' in Tolia Astakhishvili's work delve into profound philosophical and psychological dimensions. 'Life = Porridge' can be interpreted as a commentary on the often formless, unsexy, and indistinguishable nature of existence, where individual elements blend into a collective, sometimes unnoticed, whole. This challenges the human tendency to seek clear definitions and distinct narratives, instead embracing ambiguity and the subtle weight of everyday life. The 'rabbit hole' metaphor, often associated with a descent into the unknown or a complex, bewildering situation, suggests that Astakhishvili's art is not merely observational but an invitation to a transformative journey. It implies a deeper, less obvious layer of meaning that requires active engagement and a willingness to confront the unsettling aspects of reality and perception. This approach fosters a unique dialogue between the artwork and the viewer, encouraging introspection and a re-evaluation of personal and collective histories embedded within spaces.
