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08 Dec

Some reflect upon a period of national life, Soviet socialism, never known by others, who search for its memories; others testify to current experiences, of refugees and the disempowered.

They all achieve this with little means, with concern for creative synthesis, and well-centered allusions that are not always immediately legible to Western audiences.

It is domestic elements (a door, a table, a glass of water) that are used for the mise-en-scène of Exit (2012), a nine-minute video by Musay Gaivoronskiy (1987), originally from Dagestan, the last work on display.

And then, moving her finger a little more to the side, she adds: “Here, however, he is already a man, standing, surrounded by his children.” She then tells the story of an Armenian woman, fleeing from Azerbaijan, who had gathered all her possessions, some savings, and a few photographs in a similar blanket, which she wrapped around her children one night so that they would not die of cold.Of the nine postcards on display, only one shows the reverse side: it is addressed to Berlin, while the words below inform us that the photo on the back, which remains hidden from our eyes, is “The residence of the President of Georgia Z.Gamsakhurdia, being exiled”—the war is all here, in this kind of forced tourism—given free circulation, inverting the associations in Ramishvili’s photos of a Tbilisi made of fire and iron.This work opens, and in some way inspires, the group show entitled Life from My Window, curated by Andrey Misiano, on view through January 26 at Laura Bulian Gallery in Milan.Through the course of the exhibition in which clear affinities are expressed (the initial image is a window, the final is a door), the show brings together the work of six artists from different generations (the youngest is twenty-six, the oldest sixty-one), all from the Caucasus.