36/24: Alexander Djikia - Upper Point
Aleksandr Dzhikia was born in Tbilisi in 1963, and is an artist. In 1985 he graduated from Moscow Institute of Architecture. He has participated in exhibitions since 1986. His first personal exhibition, Photogrammes, was held in 1988 in the editorial offices of the magazine Student Meridian. Since 1988 he has been a member of the KvartArt art group (Dmitri Vrubel Gallery). In 1996 he moved to New York, and since 2000 he has been a lecturer in basic design at Bilkent University, Ankara.
Dzhikia’s personal exhibitions have been held at various galleries in Moscow: Ridzhina, Ulitsa OGI, Marat Gelman, Union, Pinakoteka; in Germany: Thomas Zander, Cologne, Ute Parduhn, Dusseldorf, Inge Herbert, Berlin, Koch, Kiel, Kicken-Pauseback, Cologne, Rheinisches Landesmuseum, Bonn; the USA: Maya Polsky, Chicago, and Turkey: Bilkent University. He has exhibited at more than 60 group exhibitions.
Since 1987 his illustrations have been published from time to time in the magazines Student Meridian, New Times, Playboy, and New York Times Book Review among others.
Collections: - Pushkin Fine Arts Museum - Groninger Museum, Groningen, Holland - Wolfgang Wittrock, Kunsthandel, Berlin-Dusseldorf, Germany - Tretyakov Gallery, Moscow - Municipal Art Gallery, Kaliningrad
Books: - Paw, Daniel Kharms, 2003 - A Fountain Spraying Water into a Deep Well, 1996 - Death of a Cowboy, 1996 - Antonio, Pino, 1997 - Occasions, Daniel Kharms, 1997 - Christmas Book, 1997 - Phenomena and Essences - War and Peace, 1998 - Glassy, Tin, Wooden, 1998
"Sasha Dzhikia is a chamber, ‘domestic’ artist. He has never (at least so far) been interested by large-scale artistic forms, such as objects and installations. In his photographs, and he has been taking photographs since 1981, the second year of his course, one cannot find monumental architectural structures – in the main they are of his friends, his wife, his dog ... and urban views opening up from the windows of his institute, his studio, and rented flats, the so-called photograph from an upper point. As distinct from the masters of Soviet photo reportage of the 20’s and 30’s, which made virtuoso use of the effects of an upper point for shooting pictures "to communicate via photographs the true scale of the transformations being wrought throughout the country,” Dzikhia was not bothered by the triumphal pathos of socialist construction. Beneath his windows people went walking, pedestrians hurried by, cars crashed into one another and their owners ‘sorted things out’, a steamroller rolled out the asphalt, workmen dug a ditch, a neglected old shed was burning – in general, the endless human bustle went on. One can suppose that while 20 years ago the balcony of that architecture student opened up a view similar to the building of the Dniepr hydroelectric plant, today he would be building Luzhkov’s resplendent new Moscow. However, history does not know the subjunctive mood – others are building Moscow, while Dzhikia illustrates Kharms and a teach-yourself Greek book. Remaining at the same height of his vantage point”. (Yu. Avvakumov)