to love and devour
Group Exhibition
Nicoletta Fiorucci Foundation, Venice
Through November 23, 2025

Nicoletta Fiorucci Foundation is transforming an historic Venetian edifice previously the property of the painter Ettore Tito during the 1920s, to create new exhibition spaces in the heart of the Venice’s Dorsoduro district. The opening installation, taking over the entire building, is created by Georgian artist Tolia Astakhishvili.

At her invitation, the work of eight other artists will be featured in the installation, blurring the boundaries between individual and collective artworks. The other artists are Ketuta Alexi-Meskhishvili, Zurab Astakhishvili, Thea Djordjadze, Heike Gallmeier, Rafik Greiss, Dylan Peirce, James Richards, and Maka Sanadze.

Thea Djordjadze
framing yours making mine
February 23–March 28, 2024
London

Thea Djordjadze’s temporary sculptural environments draw on the language of architecture, allude to modernist design and echo the culture of her native Georgia. She combines a variety of artistic, industrial and unconventional materials to produce idiosyncratic works full of contrasts. By reconfiguring her works for the duration of an exhibition to respond to the particularities of the spaces in which they are installed, Djordjadze investigates institutional modes of presentation and display and how context affects the understanding and experience of art. Sprüth Magers is pleased to present Djordjadze’s fresh, site-specific iterations of earlier sculptures combined with entirely new works across two floors of the London gallery.

Mondi Possibili
Henni Alftan, John Baldessari, Cao Fei, Thomas Demand, Thea Djordjadze, Lucy Dodd, Robert Elfgen, Peter Fischli David Weiss, Sylvie Fleury, Jenny Holzer, Donald Judd, Karen Kilimnik, Barbara Kruger, Louise Lawler, David Ostrowski, Michail Pirgelis, Sterling Ruby, Thomas Scheibitz, Andreas Schulze, Hyun-Sook Song, Robert Therrien, Rosemarie Trockel, Kaari Upson, Andrea Zittel
August 31–September 14, 2023
Seoul

Mondi Possibili highlights the interplay between art and design and explores the many ways in which experimentation with material, technique and scale can reveal the hidden narratives, quiet drama and humor in the everyday items that furnish our lives as well as our imaginations. Connected through a paradigm of the possible, all artworks on show examine familiar objects – citing, celebrating, adapting or appropriating them – offering surprising, playful or unsettling approaches that open up a range of “possible worlds.” This will be the fourth edition of Sprüth Magers’ Mondi Possibili – first titled by Pasquale Leccese – showcasing significant themes in the selected artists’ works as well as the gallery’s longstanding heritage. Its three previous iterations were presented in 1989, 2006 and 2007 in Cologne, where the gallery’s history is firmly rooted, and art and design have intersected for many decades.

Sprüth Magers x Artadia

A Benefit Exhibition to Support the Next Generation of Artists
Thea Djordjadze, Lucy Dodd, Karen Kilimnik, Barbara Kruger, Louise Lawler, Pamela Rosenkranz, Analia Saban, Rosemarie Trockel
April 4–April 22, 2023
New York

Bringing together a group of outstanding female artists in an innovative and collaborative effort to support the next generation, Sprüth Magers is pleased to announce a benefit exhibition to raise funds for the non-profit organization Artadia. Through grantmaking, community-building and advocacy, Artadia strengthens the invaluable role visual artists play in our society.

The exhibition comprises influential contemporary voices across multiple generations, reflecting both the discourse on art, gender and power that is firmly embedded in Sprüth Magers’ history and its enduring support of pioneering female figures. Featured will be works by artists who are all part of the gallery’s dynamic roster, including Thea Djordjadze, Lucy Dodd, Karen Kilimnik, Barbara Kruger, Louise Lawler, Pamela Rosenkranz, Analia Saban and Rosemarie Trockel. All funds raised will go towards the impactful Artadia Awards program.

Mies in Mind
John Bock, Thomas Demand, Thea Djordjadze, Jenny Holzer, Kraftwerk, Reinhard Mucha, Otto Piene, Thomas Ruff, Thomas Scheibitz
August 20–September 4, 2021
Berlin

As part of the exhibition parcours Mies In Mind, initiated by INDEX Berlin and taking place on the occasion of the reopening of the Neue Nationalgalerie, Sprüth Magers is showcasing works by John Bock, Thomas Demand, Thea Djordjadze, Jenny Holzer, Reinhard Mucha, Otto Piene, Thomas Ruff and Thomas Scheibitz in a group exhibition that pays tribute to the architect Ludwig Mies van der Rohe and his famous building.

local talent
Ketuta Alexi-Meskhishvili, Miriam Böhm, Marieta Chirulescu, Tacita Dean, Thomas Demand, Thea Djordjadze, Jason Dodge, Sam Durant, Olafur Eliasson, Haris Epaminonda, Omer Fast, Ceal Floyer, Mathew Hale, Mathew Hale / Eddie Ruscha, Oliver Laric, Henrik Olesen, Manfred Pernice, Gerwald Rockenschaub, Anri Sala, Thomas Scheibitz, Andreas Slominski, Thomas Struth, Akinori Tao, Rosemarie Trockel, Corinne Wasmuht
July 4–August 22, 2020
Berlin

Thea Djordjadze
if I were an early person
April 9–June 1, 2019
Los Angeles

The work of Thea Djordjadze concerns itself, first and foremost, with the poetics and particularities of space. She combines a variety of artistic, industrial, and unconventional materials to produce works full of contrasts and complexity, which she puts into conversation with the architecture and atmosphere of her exhibition spaces through intimate, considered arrangements. Each of her projects is thus ephemeral in nature, open to future reconfiguration.

Rosemarie Trockel / Thea Djordjadze
Un soir, j’ai assis la beauté sur mes genoux. And I found her bitter. And I hurt her.
July 7–August 26, 2017
Berlin

Un soir, j'ai assis la beauté sur mes genoux. And I found her bitter and I hurt her is a joint exhibition by the long-time collaborators Rosemarie Trockel and Thea Djordjadze. It is the first time that the two installations from 2007 and 2008 are on view in Berlin. The works have an allegorical nature that explores a number of themes pertinent to contemporary art. Issues around the boundaries of media, and the artwork as a fixed concept are called into question, as well as the exhibition space as a representational frame.

Thea Djordjadze
listening the pressure that surrounds you
April 30–June 25, 2016
Berlin

Interiors are sites of existential symbolism. They are the place where a child first clashes with the world – a location of real and symbolic protection for the ego. They collect the sediments of cultural history and of our own lives, marking an interspace between us and the world. Few contemporary artists have so cannily, idiosyncratically explored the existential experience of the interior as Thea Djordjadze, whose expansive sculptural installations combine constructed and found elements into intuitive arrangements.

Thea Djordjadze
Spoons are different
September 1–September 29, 2012
London

For her multipartite sculptural ensembles, Djordjadze uses everyday materials such as foam, steel, fabric, glass and plaster along with found objects which refer to the classical materials of sculpture but also the traditions of arts and crafts. The artist’s sculptures themselves are situated between form and anti-form, a combination of stable structures and fragile, gestural renderings typically exhibited together in a carefully choreographed setting. The installations, incomplete and fragmentary in character, oscillate between open spatial designs and dense performative gestures, emphasizing the contrasts between mental and actual interior spaces, between intimacy and public presence.

The Art of Narration Changes with Time
Thea Djordjadze, Moyra Davey, Margaret Salmon, Rosalind Nashashibi, Joao Maria Gusmao y Pedro Paiva, Alex Hubbard, Peter Coffin, Klaus Weber, Oskar Tuazon
curated by Gigiotto Del Vecchio
June 8–September 10, 2011
Berlin

The Art of Narration Changes with Time is a group exhibition curated by Gigiotto Del Vecchio. The exhibition juxtaposes a selection of works by Peter Coffin, Moyra Davey, Thea Djordjadze, Alex Hubbard, Rosalind Nashashibi, João Maria Gusmão and Pedro Paiva, Margaret Salmon, Oscar Tuazon and Klaus Weber.

Thea Djordjadze
Explain away, ე.ი.
September 22–November 7, 2009
Berlin

Standing at the center of ‘Explain away, ე.ი.' is a wooden construction, a space which may be viewed and entered, a house or the fragment of a house. A site where the ordered delineations between living and working, between private and public have been canceled. Arrangements of things both objective and non-objective, which receive every person with a relaxed easiness and equanimity, regardless of whether he attempts to decipher them or not. Delicate, amorphous forms made of clay, plaster or papier-mâché enter into contact with sketchy paintings and dysfunctional constructions which bear witness to a profound investigation of modernism.

Thea Djordjadze
August 30–November 28, 2008
Cologne

The installations, objects and drawings of Thea Djordjadze echo the atmosphere of various art-historical and cultural-historical contexts. After completing her art studies in Tbilisi and Amsterdam, and during her time at the Kunstakademie Düsseldorf (studying under Dieter Krieg, then Rosemarie Trockel), the artist started work on a series of performances, which define a new framework for communicative exchange and experiences.

Ausstellung im Viewing Room
Robert Elfgen, Gerda Scheepers, Thea Djordjadze
April 19–May 26, 2007
Cologne

Mondi Possibili
Richard Artschwager, Benjamin Bergmann, Thomas Demand, Thea Djordjadze, Peter Fischli David Weiss, Claus Föttinger, Thomas Grünfeld, Stefan Kern, Frances Scholz, Andreas Schulze, Franz West, Martin Wöhrl
January 15–March 17, 2007
Cologne

Mondi Possibili
Thea Djordjadze, Peter Fischli David Weiss, Claus Föttinger, Thomas Grünfeld, Jenny Holzer, Stefan Kern, Joseph Kosuth, Louise Lawler, Michail Pirgelis, Michelangelo Pistoletto, Thomas Scheibitz, Andreas Schulze, Cindy Sherman, Rosemarie Trockel, Franz West
January 17–April 7, 2006
Cologne

As part of the PASSAGEN, the supporting programme of the International Furniture Fair in Cologne, at the beginning of the year Monika Sprüth and Philomene Magers present a new edition of the exhibition “Mondi Possibili”. The works on display deal with the subject of furniture from a variety of angles: as citation, as homage, as adaptation, or as copy. Others are usable objects that hardly differ from their reference objects in the domain of design or furniture.

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Thea Djordjadze, Robert Elfgen, Daniel Man, Gerda Scheepers, Gert & Uwe Tobias, Martin Wöhrl
August 3–September 20, 2005
London