Nino Chubinishvili, known in the art world as Chubika, has always navigated the delicate line between the poetic and the political. Her latest exhibition, What Would It Mean to Leave Tip-Toe Dancing? Maybe I Should Remain a Butterfly in the War?, hosted by TBC Concept in collaboration with the David Kakabadze Foundation, presents a visual and emotional journey that invites viewers to contemplate the tension between beauty and conflict, fragility and strength. This exhibition, spanning two contrasting yet complementary floors, is not just an exploration of the artist’s mind but a mirror to our own existential struggles.
From Haute Couture to Sculptural Narratives: Chubika’s Evolution
Chubika’s journey from costume design to contemporary art is essential to understanding the multi-layered nature of her work. Trained at the Tbilisi State Academy of Arts and later at the prestigious Institut Français de la Mode in Paris, Chubika’s early career was marked by collaborations with fashion icons like Kenzo and Pierre Cardin. However, her artistic instincts always pushed her beyond the confines of fashion. In her hands, costumes became more than just garments; they were narratives—stories woven into fabric and texture, extending into the very soul of the characters they adorned.
This background in fashion is unmistakable in the sculptural installations on the first floor of the exhibition. The precision, the attention to detail, and the tactile nature of these pieces evoke the world of haute couture, yet they transcend it. Here, Chubika’s sculptures are not static objects; they are imbued with a life of their own, capturing moments of intense emotion and history. Each sculpture is a question posed to the viewer, an invitation to delve deeper into the layers of meaning that Chubika has so meticulously crafted.
A Fragmented Tale: The Handmade Book To Elene
Ascending to the second floor, the tone of the exhibition shifts dramatically. Here, we are introduced to To Elene, a handmade book created by Chubika in 1998 and dedicated to her daughter. This book is not just a personal memento; it is a fundamental piece in Chubika’s artistic legacy. Comprising a series of graphic sketches, the book tells a fragmented tale where the protagonists—Elene and her doll Ingrid—move through a world unbound by linear narrative. The sketches, drawn in an imaginary visual language, speak of things that words could never fully express, preserving truths that are pure, unfiltered, and free from interpretation.
In presenting this book, Chubika offers a window into the intimacy of motherhood, where the boundaries between artist and mother blur. The act of creating this book was an act of preservation—an attempt to capture and convey the inexpressible to her child. Yet, in its presentation to the public, it becomes a universal experience, a tale of love, memory, and the complexities of parenthood.
Navigating the Spaces of War and Peace
The exhibition’s title poses two poignant questions: What Would It Mean to Leave Tip-Toe Dancing? and Maybe I Should Remain a Butterfly in the War? These questions are more than mere thematic elements; they are existential inquiries that resonate deeply in today’s world. The first question can be seen as a reflection on the artist’s role in society—whether to remain in a state of delicate creation, removed from the harsh realities of the world, or to engage with these realities head-on. For Chubika, who has lived and worked in the liminal spaces between fashion and art, this question is particularly pertinent. Her work is a dance, not just of grace and beauty, but of negotiation—balancing the need for expression with the demands of a world in conflict.
The second question, Maybe I Should Remain a Butterfly in the War?, introduces a stark contrast. The butterfly, a symbol of ephemeral beauty and transformation, is juxtaposed with the violence and chaos of war. This image is both haunting and defiant, suggesting that beauty and fragility can be powerful forms of resistance. In a world where destruction seems inevitable, Chubika’s butterfly does not flee, but remains, wings outstretched, embodying the paradox of survival in the face of annihilation.
The Ghosts of Goslab: Memory, Identity, and Art
To fully appreciate Chubika’s work, one must consider her involvement with Goslab, the informal multimedia art collective that emerged in Tbilisi during the turbulent 1990s. Goslab was more than just an artistic group; it was a response to the socio-political upheavals of post-Soviet Georgia. For Chubika, the collective was a crucible where ideas of memory, identity, and transformation were explored through radical experimentation.
The influence of Goslab is evident throughout the exhibition, particularly in the way Chubika engages with themes of memory and identity. To Elene can be seen as a continuation of Goslab’s legacy—a deeply personal work that captures the universal experience of navigating a world in transition. The sculptures and installations on the first floor evoke the sense of dislocation and uncertainty that defined the post-Soviet experience, yet they also offer a space for reflection, for reconciling with the past and imagining the future.
The Endless Dance of Interpretation
What Would It Mean to Leave Tip-Toe Dancing? Maybe I Should Remain a Butterfly in the War? is an exhibition that defies easy categorization. It is a work that demands engagement, that asks the viewer to grapple with the complex questions it poses. Chubika’s art is not about providing answers but about opening up spaces for reflection and dialogue. In this sense, the exhibition is not just a collection of works but a living conversation between the artist, the viewer, and the world they both inhabit.
As we move through the spaces of the exhibition, from the sculptural narratives of the first floor to the intimate pages of To Elene, we are invited to consider our own positions in the dance of life. Do we remain on tiptoe, balancing delicately in a world of uncertainty? Or do we spread our wings and confront the chaos head-on, embracing the fragility and beauty of our existence in the midst of war? This is the power of Chubika’s art—it is a dance that never ends, a dance that continues to evolve as we move through it, leaving us with more questions than answers, and a deep sense of the complexity of being.
By Ivan Nechaev
