Meeting with Georgian artist Saba Khechoshvili

On Wednesday, October 7, we invite you to an event summarizing the stay of Georgian artist Saba Khechoshvili in Bialystok as part of the ARTIST IN RESIDENCE GALERIA ARSENAŁ program

➤ 14:00 — 16:00 — “Open studio” — free tour of room 406, which is the artist's apartment and studio during his residency at the Arsenał Gallery in Białystok (2nd floor, entrance through the gallery office)

➤ 4 p.m. — Room 406 tour with Saba Khechoshvili

➤ 16.30 — conversation with the artist in the educational room Plac Zabaw Arsenał (ground floor of the gallery, entrance through the doorman's office)

free admission
no records

Saba Khechoshvili is a visual artist living and working in Tbilisi, Georgia. He studied visual arts and design at the Free University of Tbilisi. In her artistic practice, she consistently looks at the relationships between experience, behavior, and space. He is interested in how everyday life, ways of moving and adapting to the environment are shaped by the places in which they occur. These experiences often become the starting point for working with existing spaces and looking for ways to mark their own presence in them.

In his earlier works, space was often experienced by limiting it, occupying it or having to adapt to existing conditions. The current project has its origin in a different situation. For some time, the artist inhabits the space on his own, away from the everyday environment. It directs attention to objects, layouts and small changes that occur due to being in a given place. The room becomes not only a place of residence, but also a space in which new relationships with the environment can be formed.

The project grows out of an attempt to organize the space, which at the same time itself influences this process. What is already in it, and what is introduced, moved, changed or removed, begins to interact. The experience of living is shaped by this mutual exchange. Neither the existing environment nor the changes introduced in it remain independent of each other. The attempt to establish order thus becomes part of the way of experiencing and remembering space.

The relationship between the interior and the city is also changing. In the artist's earlier works, moving around the city was a way of marking one's own presence in it. This time the situation is reversed. The living space remains stationary and the movement of the city is observed and recorded from its perspective. What used to be a starting point is now becoming a permanent point of observation. Distance from the city does not mean simply separation from it, but allows us to look at its presence from another place.

When a space is prepared for presentation, the place shaped by habitation opens up to others. What was in it before remains next to what has been changed, and what has accumulated during the stay. All these moments overlap, thus blurring the boundaries between inhabiting, observing, changing and presenting.