Sur les photos sont représentées les sculpturees-moulages des “machines infernales”, objets maxima fonctionnels, renfermant une énergie comprimée de destruction et du chaos… Placées sur le fond bleu, vert et gris étincelant, elles perdent le sens habituel du contenu et du style et nous renvoient à la notion de communication et de signe, ce qui ne nous laisse qu’une tentation (séduction) froide, exemt de toute compassion, et une existencee abstraite comme seule possible dans le flux de l’information. Cette action repose à la base de tous les systèmes utilisant des signes (média, politique etc.). Telle est la fonction idéologique du design.
Koka Ramishvili, 2004, Genève,
I got them over the Internet: works made by Koka Ramishvili within this digital and synthetic surface. Computer-generated studio shots of manually manufactured bombs, engines made by recycling, with odds and ends, their unexpected interconnections and reattachments... on the one hand very dystopian items: objects accumulating anxieties and uncertainties, frictions and discharges, and, on the other hand, their ëutopianí presentation, as if from the pages of Vogue: when images are specially arranged and beautifully laid out for their viewers, embellished and enhanced within a “blinding“ and seductive texture, through techniques of lighting, tonal adjustments and exposure. These photos are making visible the things which are invisible: in the media we see the results of these “infernal machines“, whereas the actual objects are not documented, as for the actors in this drama, the terrorists, the governments, it is more effective for them to retain the power which characterises the invisible. These are strongly felt absences: fetishised items within our society, a “society of spectacle“, bound by regulations, contracts, rules and roles; of security and defence systems, but also containing corruption, black markets and wars. “Hidden“, “stolen“, “sold“ or “lost“ items not only exist but are generated within these regulations and networks, within ideologies. They are generated out of the awareness of them and out of fantasy, out of paranoia of weapons, carrying an unconscious ferocity and alarming threats, out of ëdarknessí, clandestine networks and out of fear. They influence our sense of history and our mundane life. Coming “home“ for the majority of us means watching television: broadcasts of explosions and devastations which enhance the illusion of our own comfort... vicarious symptoms of a masochism which fits with a common sense concern for safety and protection. I had uneasy feelings, when the artistís shots, so called “time-frozen“ images, were losing their factuality and the artistís new studio (where I have never been, but wanted to imagine) was turned for me into a complex delirium of connotations; when context (and aesthetic effect) prevailed over its content, when I felt that I was positioned too, within those images and agencies responsible for them, within the matrix of their becoming and existence. Home-made machines ready to explode, they indicate that they are not elsewhere but within us, and once they are in action everybody will be involved.
Keti Japaridze, 28 December 2004, London