We adopt the cube as the fundamental visual symbol and spatial language of this exhibition. More than a geometric form, it functions as a composite structure capable of constructing a spatial environment, carrying ideas, facilitating dialogue, and generating narratives. Its simultaneous qualities of enclosure and transparency reflect our central inquiry into the intersection of fashion and theatre.
Responding to the theme of the Tbilisi Triennial, we seek to reveal the increasingly fluid boundary between these two disciplines. This convergence is not a simple combination of theatrical and fashion presentations, but rather a reciprocal exchange of visual languages. Within theatrical contexts, costume is no longer a passive extension of the character but an active narrative language in its own right. Likewise, on the runway, the body evolves beyond a vehicle for displaying garments into a narrative presence with its own agency. Through this cross-disciplinary dialogue, theatre and fashion generate new possibilities of expression, dissolving conventional boundaries while expanding the dimensions of visual storytelling.
To explore this relationship, we invited works by 22 scenographers, alongside selected student works, encompassing stage design, costume design, lighting design, and multimedia interaction. Bringing together works from both the National Exhibition and the Student Exhibition, the project creates an integrated exhibition space that reflects diverse perspectives across generations and practices. Each piece is presented within a semi-transparent cube, finished with a frosted-glass texture, forming a self-contained exhibition ecosystem. At the center of the space, a single light source projects onto the surrounding works in a continuously shifting sequence. The moving beam simultaneously recalls the spotlight of the theatre and translates the flash of the fashion runway, becoming the visual metaphor that connects the entire exhibition.
We propose two distinct modes of viewing in order to establish a more layered relationship between the audience and the exhibition.
Entering the cube, visitors become co-inhabitants of the exhibition environment. They engage in close dialogue with the works while simultaneously accepting the possibility of becoming the object of the spotlight themselves, transforming into performative presences within the space.
Remaining outside the cube, visitors observe the interior through its translucent skin from a panoramic perspective, much like spectators facing a proscenium stage. From this position, they witness the continuous formation of new visual narratives between people and the exhibited works, directly experiencing how the audience itself becomes an integral part of the exhibition, collectively shaping its dynamic presentation.
