Elene Abashidze Project Space ე.ა. საგამოფენო სივრცე

Please join us for a screening and presentation of ‘ერთი სკამი/One Chair’ by Rooms Studio and Cross Cultural Chairs on Monday, December 15th at 19:00. Rooms Studio, together with Matteo Guarnaccia from Cross Cultural Chairs, collaborated over the course of four weeks to explore how Georgian culture might be distilled into a single chair. Rather than focusing solely on design parameters, the project adopted an anthropological lens during the research and production phases. One week was dedicated to research, one to design, one to making, and one to communication. Through this rhythm, a long series of conversations and observations were ultimately translated into a chair. The presentation can be viewed during the week, between December 15 - 22, 2025 by appointment. #roomsstudio #Crossculturalchairs #MatteoGuarnaccia  შემოგვიერთდით პროექტი ‘ერთი სკამი-ს’ პრეზენტაციაზე ამ ორშაბათს, 15 დეკემბერს, 19:00 საათზე.  Rooms Studio მატეო გუარნაჩასთან ერთად (Cross Cultural Chairs) ოთხი კვირის მანძილზე მუშაობდა კითხვაზე, თუროგორ შეიძლება ქართული კულტურა ერთი სკამის სახითიყოს გააზრებული. პროექტი დიზაინის პარამეტრებზე არშეჩერებულა – კვლევისა და წარმოების პროცესშიანთროპოლოგიური მეთოდოლოგია იქნა შემუშავებული. ერთი კვირა მიეძღვნა კვლევას, ერთი დიზაინს, ერთიწარმოებას და ერთი კომუნიკაციას. ამ რიტმის მეშვეობით, მრავალი საუბრისა და დაკვირვების სერია საბოლოოდერთი სკამის კონცეფციაში იქნა გადატანილი. ნამუშევრის ნახვა შესაძლებელია ერთი კვირის განმავლობაში 22 დეკემბრის ჩათვლით წინასწარი შეთანხმებით. #რუმსსტუდიო #Crossculturalchairs #მატეოგუარნაჩა

Thank you everyone who joined us for the second performance program of Ora et Lege III ‘Saïat Nova - New Hour’ curated by Elene Abashidze in the frames of Prague Art Week. Reading and listening session by rivermoans entailed activating Marie Tučková’s sound installation ‘Would you still drink me when I’m rotten’ following a short presentation into her research on the subject of the on-going water apartheid in Palestine. The listening session comprised of reading a poem ‘Would you still drink me when I’m rotten’ alongside the running sound installation, as well as devoting 5 minutes of time to listening to ‘Lover’s Hymn’ by El-Funoun, Palestinian Popular Dance Troupe. Photo: René Volfík @rivermoans @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @prague_art_week @e_l_e_n_e_a_b_a_s_h_i_d_z_e @monika_cejkova @zaneta_vavrova

Thank you everyone who joined us for the performance program of Ora et Lege III ‘Saïat Nova - New Hour’, curated by Elene Abashidze in the frames of Prague Art Week. Characteristic to Sophie Jung’s practice (b. 1982, Luxembourg, based between Basel and London), the artist reads her new scripts written in response to the setting and the sculptures she produced with objects found at and around the site. Works entitled as: ‘Der Krieg ernährt den Krieg - The Feeding of the 5k’, ‘Wrap your Arms Around me’, ‘The Last Supper’, ‘Oh Kneal Before me Wash my Feet’ create polyphony in the text, switching between multiple languages and voices at once. 
“A single button failed to screen they failed to scream. The door won’t close you hang between the hin ges hin Gesicht entspannt hin ge bun ge Bunker voll. Die Zähne frisch geputzt und doch verloren minutes and your stake is cooked your stake hold her tight grip nothing shared di Vision ist stumpf die Weide ist leer, das Vieh ist tot.” - excerpt from the ‘Wrap your Arms around me’. Side view pro file for moral bankrupsydaisy she cometh she cometh open p alms alm for the pour the fl aches and bruises into the contain’t her boy the saviour save your hunger for the sup her budget was cut head off in a direction die räk schon die farbigen Blätter einst weilen ver weinen wir noch einen Mo ment to say heavily pregnant and nothing edi bell toll, nochmal von der anderen Seite, ganz toll now turn the other cheek is the best p art of your body b oh die oh die f locken mag ich nicht. - excerpt from ‘Der Krieg ernährt den Krieg - The Feeding of the 5k’ Photo: Peter Burleigh, René Volfík and Michal Ureš Supported by @prohelvetia @swissembassycz @___sophie___jung___ @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @prague_art_week @e_l_e_n_e_a_b_a_s_h_i_d_z_e @monika_cejkova @zanet_vavrova

Thank you gallerytalk.net for including Ora et Lege III - Saïat Nova - New Hour in the review about Prague Art Week 2025. Link in bio. #oraetlegeIII #JulieBéna #AnaGzirishvili #SophieJung #LinaLapelyte #MaiaNaveriani #AdélaSoučková #DevaSchubert #ChihiroAraki #MarieTučková #LadoLomitashvili #eleneaabashidze #gallerytalk.net მადლობა ონლაინ ჟურნალს ‘gallerytalk.net’-ს ჩვენი გამოფენის ხსნებისთვის პრაღის ხელოვნების კვირეულის მიმოხილვისას. #ჟულიბენა #ანაგზირიშვილი #სოფიიუნგი #ლინალაპელიტე #მაიანავერინი #ადელასუჩკოვა #დევაშუბერტი #კიჰიროარაკი #მარიტუჩკოვა #ლადოლომიტაშვილი #ელენეაბაშიძე ბმული ბიოში.

Thank you everyone who joined us for the performance program of Ora et Lege III ’Saïat Nova - New Hour’ curated by Elene Abashidze in the frames of Prague Art Week. In their artistic collaboration ‘Glitch Choir’, Deva Schubert and Chihiro Araki transfer the digital concept of the glitch into the analogue realm of the human voice and body. The performers aim to generate a space of intimate multi-resonance that blurs the line between the individual and the collective. Focusing on the deconstruction and recomposition of an Italian lamento—musical genre of mourning, ‘Glitch Choir’, as a feminist practice, seeks a polyphonic expression that finds strength in failure and connection in cacophony. For the Prague iteration, the duo collaborated with local choir of professional and amateur performers. Concept: Deva Schubert, co-creation: Chihiro Araki, choir: Amelie Siba, Huyen Vi Tranová, Dorota Tučková, Marie Tučková Photo: René Volfík and Michal Ureš @devaschubert @chichi_araki @amm.sib @princezna_vicko @naslasedory @rivermoans @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @prague_art_week @e_l_e_n_e_a_b_a_s_h_i_d_z_e @monika_cejkova @zanet_vavrova

Thank you everyone for joining us for the curatorial guided tour of Ora et Lege III ‘Saïat Nova - New Hour’ with Elene Abashidze. The exhibition is officially closed. #JulieBéna #AnaGzirishvili #SophieJung #LinaLapelytė #MaiaNaveriani #AdélaSoučková #DevaSchubert #ChihiroAraki #MarieTučková #rivermoans Photo: René Volfík and Michal Ureš @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @e_l_e_n_e_a_b_a_s_h_i_d_z_e

Thank you Elene Pasuri for the thorough research around art practice during the times of Socio-political crisis in Georgia and a specific focus on our recent exhibition, ‘Sky Vine’ by Mariana Chkonia. Link in bio. #elenepasuri #marianachkonia #easharedspace #tbilisi #georgia დიდი მადლობა ელენე ფასურს საინტერესო დაკვირვებისთვის საქართველოში ხელოვნების სცენასა და ხელოვნების დარგში მუშაობაზე პოლიტიკური კრიზისის ფონზე. განსაკუთრებული მადლობა იმ ფოკუსისთვის რაც ჩვენს ბოლო გამოფენას, მარიანა ჭყონიას ‘ცის ვაზს’ ხვდა წილად. ბმული ბიოში. #ელენეფასური #მარიანაჭყონია #ეასაგამოფენოსივრცე #თბილისი #საქართველო

The Ora et lege III ‘Sayat Nova – New Hour’: Maia Naveriani   Maia Naveriani (b. 1966, Tbilisi, Georgia) creates text-based drawing and neon installations that borrow from pop culture and everyday language. For New Hour, she presents a new site-specific neon installation in another corridor. By isolating sentences from street signs and advertisements, her work questions their original meaning and creates new, often absurd, associations. As one of the first Georgian artists to emigrate to the UK after the collapse of the Soviet Union, Naveriani’s work reflects on emigration, language, and motherhood, often through the lens of “Broken English” – the international language of the emigrant – in sharp, feminist statements.   Maia Naveriani Word of Mouth, 2025 coloured neons 99 × 230 cm courtesy of the artist   Images: Ora et lege, Educational and Cultural Center Broumov and Tomáš Souček. @maia.naveriani @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @e_l_e_n_e_a_b_a_s_h_i_d_z_e @monika_cejkova @zaneta_vavrova

The Ora et lege III ‘Sayat Nova – New Hour’: Adéla Součková   Adéla Součková (b. 1985, Prague, Czech Republic) lives between Prague and Paris. A series of mono color digital prints of artist’s drawings on cotton rhythmically follow one-another in one of the hallways of the Bílá Hora Monastery. The textile pieces have been created by the artist especially for this occasion in dialogue with their immediate surroundings, architecturally, historically and context-wise. As if racing thoughts, these drawings incorporate various imagery of popular signs and symbols interlaced with short poetic texts. Adéla Součková The Polyphony of Times in a Single Moment, 2025 reproduced pencil drawing, digital print on fabric installation, individual works 275 × 150 cm courtesy of the artist   Images: Ora et lege, Educational and Cultural Center Broumov and Tomáš Souček. @adela_soucka @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @e_l_e_n_e_a_b_a_s_h_i_d_z_e @monika_cejkova @zaneta_vavrova

The Ora et lege III ‘Sayat Nova – New Hour’: Lina Lapelytė   In the central chapel, a video installation titled Ghost by Lina Lapelytė(b. 1984, Kaunas, Lithuania) is on view. Lapelytė’s performance-based practice is rooted in music and flirts with pop culture, gender stereotypes, and nostalgia. She engages both trained and untrained performers in acts of singing that draw from genres ranging from opera to mainstream music. Through her work, individual narratives are transformed into collective, emotionally charged events. These events question vulnerability and silencing while simultaneously celebrating polyphony, attentive listening, and individual expression.   Lina Lapelytė The Ghost, 2023 sound/video installation, 3’45” from the performance What Happens with a Dead Fish? lyrics: Dariia Chechushkova (Daria, UKR) performed by Cesis Beverīna choir courtesy of the artist   Images: Ora et lege, Educational and Cultural Center Broumov and Tomáš Souček. @lina_lapelyte @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @e_l_e_n_e_a_b_a_s_h_i_d_z_e @monika_cejkova @zaneta_vavrova

The Ora et lege III ‘Sayat Nova – New Hour’: Marie Tučková   The site-specific sound installation by Marie Tučková (b. 1994, Prague, Czech Republic) has been written and produced for the occasion of the exhibition. The poly-vocal composition installed inside of a well existing at the Monastery territory creates a delicate intervention into the space, as if giving voice to the subterranean waters underneath the architecture. Would you drink me when I am rotten? addresses questions power, dominance and violence looking at water not merely as a natural resource, but a weapon of control.   Wells are intimately linked with water, a source of life that is at once vital, hidden, and unpredictable and resemble a symbol of life and an interface between worlds - heaven, earth and the underworld in various mythologies and religious traditions across cultures.   In dialogue with the historical well of Bílá Hora, the new work echoes Tučková’s interest in water and its various bodies, subject that has long shaped a leitmotif in her practice. Departing from feminist ideas and questions around ecology, the concerns raised the Would you drink me when I am rotten? sound urgent and relevant for today especially at the backdrop of the violence committed by the Israeli forces against the Palestinian citizens, especially in Gaza Strip within the recent years. Based on the research by various human rights organisations, such as B’Tselem and Amnesty International, and reports by the United Nations, Tučková puts forward the discourse around access to water as a fundamental human right.   Marie Tučková Would you drink me when I am rotten?, 2025 sound, 2’23” composition for 4 voices courtesy of the artist Images: Ora et lege, Educational and Cultural Center Broumov and Tomáš Souček. @rivermoans @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @e_l_e_n_e_a_b_a_s_h_i_d_z_e @monika_cejkova @zaneta_vavrova

The Ora et lege III 'Sayat Nova – New Hour': Ana Gzirishvili The first corridor at the entrance of the Bílá Hora Monastery hosts a site-specific work by Ana Gzirishvili. Gzirishvili (b. 1992, Tbilisi) is an artist working across various media, including: sculpture, drawing, video, installation, performance and text. As a delicate intervention into the public space, Gzirishvili has recreated one of her pre-existing works tailored for the architectural heritage. The sculpture made of second-hand handbags interprets polyphony in a form of objects usually carried by women, made for carrying other objects. As if, prone to constant movement and change, ‘Untitled’, 2025 gives voice to multiple anonymous women. As characteristic to Gzirishvili’s practice, the work points at questions of class, gender, displacement and state of exception. Ana Gzirishvili Untitled, 2025 second hand handbags, decorative nails, wooden structure 17 × 33 × 250 cm, 17 × 33 × 250 cm, 17 × 33 × 150 cm courtesy of the artist Images: Ora et lege, Educational and Cultural Center Broumov and Tomáš Souček. @peasantschild @ora_et_lege @ecc_broumov @klaster.bila.hora @e_a_shared_space @e_l_e_n_e_a_b_a_s_h_i_d_z_e @monika_cejkova @zaneta_vavrova