diego mikava
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Archive
After Bathing
Bathing (after Duncan Grant)
“the impression left by a foot or shoe on the ground or a surface.” Drawing series
Nature reclaims all over
Untitled
Switching my mind
Exhibitions
Euroremonti
Bitte kein Werbematerial
After the Extraction
Landscape Tells a story
Valley of the Loss
Statement
Contact
diego mikava
Home
Archive
After Bathing
Bathing (after Duncan Grant)
“the impression left by a foot or shoe on the ground or a surface.” Drawing series
Nature reclaims all over
Untitled
Switching my mind
Exhibitions
Euroremonti
Bitte kein Werbematerial
After the Extraction
Landscape Tells a story
Valley of the Loss
Statement
Contact
Home
Archive
After Bathing
Bathing (after Duncan Grant)
“the impression left by a foot or shoe on the ground or a surface.” Drawing series
Nature reclaims all over
Untitled
Switching my mind
Exhibitions
Euroremonti
Bitte kein Werbematerial
After the Extraction
Landscape Tells a story
Valley of the Loss
Statement
Contact

diego mikava

Visual Artist | Based in Vienna and Tbilisi


Euroremonti

by Hariharalle collective

Euroremonti

In the post-Soviet landscape, few phenomena encapsulate the clash between capitalist aspiration and material reality as vividly as Euroremonti (ევრორემონტი). Emerging in the wake of the Soviet Union's collapse, "Euro-renovation" became a cultural obsession—a feverish attempt to purge the heavy, standardized ghosts of Soviet architecture and replace them with the glossy, individualized promise of Western Europe.

Yet, this dream of European elegance was rarely imported directly from Paris or Vienna. Instead, it was bought piecemeal from local discount markets: mountains of cheap laminate flooring, synthetic archways, hollow drywall, and imitation marble.

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After bathing

After bathing

"In my collages, there is a visual reference to lightboxes. At night, when we went clubbing, we had to pass through the Deserter's Bazaar, where lightboxes glowed with advertisements for printing services, coffee, and cigarettes. Mass-produced objects—such as gay porn imagery, magazines, and tape—come together to form something like a self-portrait of me, set within the capitalist world that constantly surrounds us."

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© 2026 Diego Mikava | Vienna & Tbilisi

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