IMG 1. Helen Grogan, Observation proposition for interior of indicated edges as well as other unindicated parameters already in ocurrence - Rustavi (in publication form), Georgia. 2016
Asked to contribute a new work for a city should never visited, Grogan in turn invited three individuals she sees as authors, experts or benefactors of the exhibition to enact a score for observation at three different sites in Rustavi. The author-participants were Tamar Chaduneli, an artist who grew up in Rustavi; Ash Kilmartin, an artist participating in the exhibition; and Tara MacDowell curator of 124.908. Grogan asked participants to visit each site; locate the precise aspect she selected from photographs - the mural, half of the theatre seats, and one face of the pyramid - and simply describe what they see. The written observations were displayed, anonymously, at each site.
Grogan’s proposition is predicated on intimacy and trust, and involves a redistribution (or even decentralization) of authorship that throws into sharp release the tension between centre and periphery, insider and outsider.
PHOTO CREDIT. IMG 1. Daro Sulakauri photograph in publication 124,908, photographed by Helen Grogan
124,908 was curated by Tara McDowell in conjunction with the 2nd Tbilisi Triennial, 2015. The exhibition unfolded over one day throughout the postindustrial city of Rustavi in the Republic of Georgia, and featured artists: Xin Cheng / Leone Contini / Eliza Dyball / Clementine Edwards / George Egerton-Warburton / Cevdet Erek / Debris Facility / Emma Fitts / Amy Franceschini / Helen Grogan / Susan Jacobs / Ash Kilmartin / Ieva Misevičiūtė / Virginia Overell /Kateřina Šedá. Echoing the model of Lucy R. Lippard’s numbers exhibitions from the early 1970s, Tara McDowell and assistant curator Nicholas Tammens invited artists to propose temporary artworks, which were installed in the city center, factory square, museum, theaters, pyramid and zoo, working with local artists, students, and Rustavi residents.