Moon Museum

Georgian National Museum saqarTvelos erovnuli muzeumi Dimitri Shevardnadze National Gallery d.SevardnaZis saxelobis erovnuli galerea U.S. Embassy In Tbilisi amerikis SeerTebuli Statebis saelCo TbilisSi Present warmogidgenT

mTvaris muzeumi

MO ON MUSEUM

Andy Warhol Robert Rauschenberg John Chamberlain Claes Oldenburg Forrest Myers David Novros Konstantin Mindadze Manuchar Okrostsvaridze Rocko Iremashvili On Kawara Richard Serra

UDC (uak) 069.9:7(479.22)

M-83

kuratorebi : jeid delingeri (edisonis saxelmwifo kolejis bob rauSenbergis galereis xelmZRvaneli ) ekaterine kurtaniZe (saqarTvelos erovnuli muzeumi) koordinatori : nestan mermaniSvili proeqtis ganxorcieleba: ‘CAI’ samxatvro xelmZRvaneli : (studio) mindaZe ‘CAI’ -is saxeliT wignis dizaini: Teona cincaZe foto: malxaz maWavariani (saqarTvelos erovnuli muzeumi) Curators : Jade Dellinger (Director of the Bob Rauschenberg Gallery at Edison State College) Catherine Kurtanidze (Georgian National Museum) Coordinator : Nestan Mermanishvili Production : ‘CAI’ Art Direction : (Studio) Mindadze under courtesy of ‘CAI’ Book Design : Teona Tsintsadze Photography : Malkhaz Machavariani (Courtesy of Georgian National Museum) madloba : daviT lorTqifaniZes (saqarTvelos erovnuli muzeumis genereluri direqtori), iaroslava (lola) petrovas (sazogadoebriv saqmeTa ganyofilebis ufrosi aSS saelCo), jeims b. diuis (kulturis ataSe aSS saelCo), gigi falavandiSvils (video montaJi), zurab qurdaZes (teq. dep. ‘CAI’) Special Thanks To : David Lortkipanidze (Head of Georgian National Museum), Yaroslava (Lola) Petrova (Public Affairs Officer at U.S. Embassy), James B. Dewey (Cultural Affairs Officer at U.S. Embassy), Gigi Palavandishvili (Video Editing), Zurab Qurdadze (Tech. Dep. ‘CAI’) Organized by:

Supported by:

me rom vizrdebodi, msoflioSi kosmosuri rbola iyo gaCaRebuli. SeerTebuli Statebisa da sabWoTa kavSiris metoqeoba yvela sferoSi iCenda Tavs. yvelas ainteresebda, vin miaRwevda mTvaremde pirveli da rogor aisaxeboda mTvaris misia samyaros momavalze. am konteqstis fonze, amerikeli mxatvrebis patara jgufi sul sxva kiTxvas svamda: „ra mxatvrul memkvidreobas davtovebT mTvareze?“ maTi pasuxi dRes ukve saxelganTqmuli „mTvaris muzeumi“ iyo.

CemTvis pativia, warmogidginoT mTvaris pirveli muzeumi da sxva namuSevrebi. muzeumis originaluri „Ci pis“ garda, am gamofenaze ixilavT amerikeli da qarTveli mxatvrebis axal xelovnebas. madlobas vuxdi Cvens partniorebs saqarTvelos erovnuli muzeumidan, romelTac xelovnebasa da mecnierebas Soris kavSirebze gaamaxviles yuradReba. es gamofena SesaniSnavi magaliTia imisa, Tu rogori bundovania xelovnebasa da mecnierebas Soris gavlebuli gamyofi xazi. samyaroSi axali teqnologiebis Sejibri grZeldeba. madlieri var, rom SeerTebul Statebsa da saqarTvelos siRrmiseuli TanamSromloba aerTianebs. dRevandeli gamofena gvaxsenebs im warsuls, agreTve Cvens erTobliv awmyosa da momavals. gamofena gamoxatavs xelovnebisa da teqnologiis Serwymis mzard tendencias. amave dros, gamofena naTlad warmoaCens Cven or qveyanas Soris kavSiris gaRrmavebis process.

saukeTeso survilebiT, aSS elCi riCard norlandi

Produced by:

When I was growing up, the space race was on. The clash between the United States and the Soviet Union raged in all spheres, and everyone wondered who would make it to the moon first and what that would mean for the future of our world. In that context, a small group of American artists asked a very different question: What artistic legacy will we leave on the moon?

Their now-famous answer was the tiny Moon Museum.

I am pleased to introduce the first Moon Museum and other works to Georgian audiences. In addition to one of the original “museum tiles,” this exhibit features new art by both American and Georgian artists. I commend our partners at the Georgian National Museum for their focus on the connections between Art and Science; this exhibit is a perfect example of how the lines between those two fields continue to blur.

Copyright © 2013 Georgian National Museum and ‘CAI’ All Rights eserved under International Copyright Convention. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission in writing from Georgian National Museum and ‘CAI’ ISBN: 978-9941-0-6089-2

Although the race for new technologies continues around the globe, I am grateful that our nations now enjoy a deep spirit of cooperation. This exhibit recalls those former days while simultaneously invoking our shared present and future. While expressing the growing confluence of art and technology, I believe this exhibit also clearly displays the deepening ties between our two nations.

Best wishes, U.S. Ambassador Richard Norland

axali ar iqneba Tu vityviT, rom saqarTvelo mdidari samecniero tradiciebisa da kulturis qveyanaa. saqarTvelos erovnul muzeumTan araerTi Rvawlmosili mecnieri TanamSromlobs, sadac daculia rogorc Cveni, aseve sxvadasxva qveynis materialuri kulturis amsaxvel ZeglTa umravlesoba da saintereso nimuSebi.

Cveni instituciis mTavari prioritetebi muzeumSi Tavmoyrili masalis saerTaSoriso standartebis Sesabamis pirobebSi dacva da maTi safuZvliani samecniero kvleva, radgan muzeumis erT-erTi umniSvnelovanesi mimarTuleba swored mecnieruli kvlevaa, mecnierebis sazRvrebi ki arnaxuladaa gaxsnili. CvenTvis mniSvnelovania, rom erovnul muzeumSi arsebobdes erTi mxriv xelovnebisa da mecnierebis da, meore mxriv - Semecnebis da drois sasiamovnod gatarebis saSualeba. inglisurSi arsebobs aseTi termini - “edutainment”, rac ganaTlebis saxaliso meTodebiT miRebas niSnavs. swored esaa mizezi imisa, rom saqarTvelos erovnuli muzeumi periodulad axorcielebs sxvadasxva ti pis proeqts, raTa gaacnos sazogadoebas mecnierebisa da xelovnebis sferoSi mimdinare aqtualuri movlenebi. gamofena „mTvaris muzeumic“ erT-erTi mcdelobaa imisa, rom sagamofeno sivrce iqces iseT adgilad sadac xelovnebisa da mecnierebis sinTezia warmodgenili sazogadoebisTvis. amis saSualebas ki gvaZlevs muzemSi arsebuli is Tanamedrove komponentebi, rac axali saukunis adamianebs CvenTan Tavs “Sinaurad” agrZnobinebs da daarwmunebs, rom es “damtverili nivTebis” Sesanaxi adgili ki araa, aramed dawesebuleba, sadac Tanamedrove enaze gelaparakebian. „mTvaris muzeumi“ albaT erT-erTi saukeTeso ilustraciaa imisa Tu rogor SeiZleba warudgino sazogadoebas kacobriobis udidesi mecnieruli Tu teqnologiuri miRwevebi romlebic, xelovanTa garkveuli jgufis mieraa gaazrebuli da maTi individualuri xedviT warmodgenili. “mTvaris muzeumis” idea daibada mas Semdeg rac 1969 wels amerikelma astronavtma nil armstrongma pirveli warmatebuli daSveba ganaxorciela mTvareze. eqvsma didma xelovanma endi uorholma, robert rauSenbergma, devid novrosma, jon Cemberleinma, klaus oldenburgma da forest maiersma Seqmnes gamosaxulebebi romlebic Semdeg daapataraves da patara keramikul firfitaze ganaTavses. „mTvaris muzeumi“ apolo 12-is erT-erTi kosmosuri xomaldis modulSi moaTavses da mTavreze gaamgzavres 1969 wlis Semodgomaze. forest maiersis survili mTvareze muzeumis arsebobis precedentis Seqmnisa ar gamoxatavs mxolod erT konkretul ideas da is mravali kuTxiT SeiZleba ganvixiloT, romelic saSualebas aZlevs nebismier xelovans aRniSnuli idea sakuTari interpretaciiT asaxos namuSevarSi. 2013 wlis gazafxulze, rodesac saqarTvelos ewvia kuratori da amJamad bob rauSenbergis galereis direqtori, jeid delingeri, daibada idea qarTvel xelovanebTan erTad ganxorcielebuliyo proeqti, romlis mTavari mamoZravebeli Zalac swored „mTvaris muzeumi“ iqceoda. konstantine mindaZis, manuCar oqroscvariZis da roko iremaSvilis namuSevrebi adamianis kosmosSi da mTvareze mogzaurobis maTeuli gaazrebaa, xolo Temis gasavrcobad on kavaras telegrama da riCard seras eskizia konteqsturad gamoyenebuli. madloba minda gadauxado Cvens mravalwlian da saimedo partniors, saqarTveloSi amerikis SeerTebuli Statebis saelCos mxardaWerisTvis da proeqtis yvela monawiles romelTa gareSec aRniSnuli proeqtis ganxorcieleba SeuZlebeli iqneboda. imeds vitovebT, gamofena daainteresebs saqarTvelos erovnuli muzeumis dimitri SevardnaZis saxelobis

erovnul galereaSi mosul stumrebs, CvenTvis ki kidev erTi win gadadgmuli nabiji iqneba xelovnebisa da mecnierebis sinTezis Ziebis gzaze.

saqarTvelos erovnuli muzeumis generaluri direqtori akad. wevr-kor. daviT lorTqifaniZe

Georgia is very rich in its own scientific and cultural traditions. Many notable artists and scientists have collaborated with the Georgian National Museum. This institution represents our material cultural and has collected interesting art from many other countries.

One of the priorities and a primary concern of our institutions is to maintain international standards for the preservation of artifacts while pursuing scientific research. It is the museum’s goal for visitors to spend time enjoying exhibitions while also learning about art and science. The term “edutainment” describes the intended process of entertaining while educating visitors. A primary focus for the Georgian National Museum is to organize and support a variety

of projects that introduce people to recent activities and advancements in both science and art.

The “Moon Museum” exhibition presented at the National Gallery is an attempt to create just such a synthesis between science and art. No longer is the museum simply a storage facility for dusty things. As this exhibition proves, these days, the institution is well equipped to house projects that both engage and inspire visitors.

The “Moon Museum” exhibition is one more attempt to represent the greatest scientific and technological achievements of all mankind as interpreted and created by a group of artists. When Neil Armstrong landed on the moon, the desire to take art there was an immediate response. Six of our greatest artists - Andy Warhol, Robert Rauschenberg, David Novros, John Chamberlain, Claes Oldenburg and Forrest “Frosty” Myers - made drawings, decreased their size and had them printed onto a tiny ceramic chip. In the late fall of 1969, the Apollo 12 mission took this chip attached to the lunar module to the moon.

Forrest Myers’ desire to create this kind of precedent is still a great source of inspiration for artists. In May of 2013, while

organizing another project, Jade Dellinger, an independent curator and now Director of the Bob Rauschenberg Gallery at Edison State College, came to Georgia proposing that several artists make their own contributions to the Moon Museum project. Konstantin Mindadze, Manuchar Okrostsvaridze and Rocko Iremashvili responded with interpretations for the “Moon Museum” show while the telegram from On Kawara and sketch by Richard Serra are included to expand on their themes.

I want to express gratitude to the U.S. Embassy in Georgia for being one of the most supportive partners over many years and to every participant in this project.

I hope guests to the Georgian National Museum and the Dimitri Shevardnadze National Gallery will be fascinated by this distinctive exhibition which encourages us to be more focused on such precedents in the synthesis between science and art.

David Lordkipanidze Director of the Georgian National Museum Member of the Academy of Science - Correspondent

View of astronaut on the moon with advanced lunar experiment package Official NASA photographs

mTvaris muzeumi

MOON MUSEUM

nestan mermaniSvili xelovnebaTmcodne / proeqtis koordinatori

Nestan Mermanishvili Art Historian / Project Coordinator

1969 wlis 20 ivliss, pirvelad, amerikis SeerTebulma Statebma kacobriobis istoriaSi „giganturi nabiji“ gadadga. amerikelma astronavtma, nil armstrongma pirvelma gaiara fexiT mTvareze... amerikis SeerTebuli Statebis aeronavtikisa da kosmosuri sivrcis kvlevis erovnuli sammarTvelos „nasas“ mier 1969 wlis, 14 dan 24 noembris CaTvliT mTvareze rigiT meeqvse pilotirebuli misia ganxorcielda. aRniSnuli misiis mizani ufro meti seismologiuri, samecniero da teqnikuri monacemis Segroveba da farTo seleonologiuri dakvirveba iyo. es samkaciani Semadgenloba dakompleqtebuli iyo profesionali astronavtebiT.eseni iyvnen: alan bini, Carlz “pit” konradi da riCard gordoni. “mTvaris muzeumis“ ideis dabadebas da mis ganxorcielebas saintereso istoria aqvs. 1960 ian wlebSi nasam iniciativiT mimarTa mxatvrebs, rom apolos mier warmatebiT ganxorcielebuli misiidan gamomdinare SeeqmnaT namuSevrebi. „eqvsi didi mxatvris Sekreba da erTad mTvareze patara muzeumis Seqmna Cemi idea iyo“ - ambobs forest „frosti“ maiersi. endi uorholi, robert rauSenbergi, devid novrosi, jon Cemberleini, klaus oldenburgi da TviTon forest maiersi arian is mxatvrebi, romelTac Seqmnes gamosaxulebebi mTvaris muzeumis ideis garSemo. „es Zalian didi

ram iyo xelovanisaTvis... Cven gavcdiT planetas“ - ambobs forest maiersi. teqnologiuri Carevis Sedegad namuSevrebis masStabebi daapataraves da erTi mcire zomis keramikul Ci pze ganaTavses. „grumanis“ inJinrebis daxmarebiT erT-erTi Ci pi apolo 12-is „lem-6“- is kosmosuri xomaldis modulSi moaTavses da mTvareze gaamgzavres. xomaldi mTvareze 1969 wlis 19 noembers dafrinda... saqarTvelos erovnul galereaSi pirvelad iqneba warmodgenili apolo 12-is artefaqtebi: modulis folga, sadac Ci pi iyo moTavsebuli, misi metalisgan damzadebuli monetebi da sxva mravali dokumenturi masala. es gamofena sainteresoa imiT, rom „mTvaris muzeumis“ Tema gaSlilia ramdenime gamoCenili Tanamedrove mxatvris mier, romlebmac specialurad am movlenisaTvis Seqmnes namuSevrebi. konstantine mindaZis namuSevari „drois, sivrcisa da TariRis gareSe” da on kavaras namuSevari „jer isev cocxali var” xazs usvamen awmyos relevanturobas da atareben egzistencialur xasiaTs. roko iremaSvilis astronavtebis monumenturi portretebi emociurad gamoxataven maT realur gancdebs da arsebul dokumentur masalasTan erTad acocxleben istorias. manuCar oqroscvariZisa da konstantine mindaZis mier warmodgenili skulpturebi da riCard seras Canaxatebi wonisa da uwonadobis princi pebs exmaurebian.

On the 20th of July, 1969, the United States of America made a giant leap for mankind. American astronaut Neil Armstrong became the first man to walk on the moon. From the 14th until the 24th of November that same year, NASA accomplished another manned flight to the moon. The Apollo 12 mission was organized to collect more seismologic, scientific and technical data and deepen seleonologic observation. This second moon mission was completed by three highly trained astronauts: Alan Bean, Charles “Pete” Conrad and Richard Gordon. In the 1960s, NASA began commissioning artists to create art inspired by the Apollo missions. “My idea was to get six great artists together and make a tiny little museum that would be on the moon,“ said Forrest “Frosty” Myers. Andy Warhol, Robert Rauschenberg, David Novros, John Chamberlain, Claes Oldenburg and Forrest Myers created images specifically for the Moon Museum project. “Going to the moon was the biggest thing for our generation…We had stepped off the planet,” said Myers. Using thin film photo reduction as with micro-processing, the Moon Museum drawings were printed on ceramic wafers roughly the size of a thumbnail.

With the assistance of an unnamed Grumman employee, one of these chips was surreptitiously attached to the Apollo 12’s LEM-6 landing legs and sent it to the moon… The lunar module descended to the lunar surface on November 19, 1969.

Presented for the first time at the National Gallery in Tbilisi with Apollo artifacts and including kapton foil and commemorative coins made of metal flown to the Moon, this exhibition features the Moon Museum while expanding the theme with

newly commissioned work by several additional prominent contemporary artists.

Konstantin Mindadze’s work “Out of date, time and space” and On Kawara’s “I am Still Alive” underline the relevancy of currency and consists of existentialism. Large scale portraits of astronauts created by Rocko Iremashvili precisely reflect real emotions of astronauts and revive the real history. Represented sculptures by Manuchar Okrostsvaridze and Konstantin Mindadze together with Richard Serra’s sketches reflect the principles of weight and imponderability.

pirvelad moxvedra salamandris sufidan amococebas hgavda. darvinis evolucia Zveli drois nayofia, is faqti, rom adamianma datova dedamiwa da mTvareze dadga fexi, awmyoSi xdeboda. es CemTvis yvelaze amaRelvebeli iyo da ar meguleboda artisti, vinc Sesabamisad ar aRiqvamda. jd: aSkaraa, rom mTvaris muzeumis erT-erTi Ci pi, romelic xeluxlebelad, 40 wlis manZilze mTvaris zedapirze mdebareobs, sainteresoa, dedamiwaze misi ramdeni asli arsebobs? fm: samwuxarod, es sakiTxi isev spekulaciisa da regularuli ganxilvis sagani xdeba. ZiriTadad, robert merkli iyo is inJineri, romelmac dabeWda „mTvaris muzeumis“ Ci pebi, magram masTan kavSiri aRar maqvs. igi fred uoldauerTan erTad muSaobda niu - jersiSi, „belis“ laboratoriaSi. freds hqonda ramdenime Ci pi, Tumca gvian gavige, rom maTgan erT-erTi „momas“ gadasca. arcerTi Ci pis gayidva ar iyo gadawyvetili, proeqtis komerciuloba ar gvindoda. jd: „niu - iork TaimsSi“ erT - erTi artkritikosi greis gluki werda, rom Ci pis sul 18 asli daamzades. fm: yovelTvis vfiqrobdi, rom ufro naklebi dabeWdes, magram sul axlaxans fredis qvrivma, ruT uoldauerma miTxra, rom fredi maT Turme saidumlo adgilas inaxavda. amitom vfiqrob, rom yuTi fredis gardacvalebis Semdeg aRmoaCina. rogorc gavige, yuTSi sakmaod bevri asli inaxeboda, maT Soris karg mdgomareobaSi, Tumca ramdenime dazianebuli iyo, dausrulebelic da arasrulyofilic. jd: albaT ici, rom klaus oldenburgis katalogSi naTqvami iyo, rom Tqven 25 cali gamoeciT.

forest maiersi muzeumis Sesaxeb saubari jeid delingerTan (28 marti 2009)

fm: ruTma, mogvianebiT fredis werilis asli gamomigzavna, romelic zustad „mTvaris muzeumis“ aslebTan erTad yuTSi iyo moTavsebuli. fredis baraTSi naTqvamia: „dedamiwaze - 40“, „mTvareze - 1“, Tumca iyo aseve saidumlo detalebi, romelic garkveulwilad araswori an sakamaToa. freds sia hqonda Sedgenili, „rnm - 10“ da „fou - 10“ axsna - ganmartebis gareSe. erTi SexedviT gasagebia rom „r“ aris rauSenbergi, „n“ - novrosi, „m“ maiersi, „o“ - oldenburgi“, „u“ - uorholi“. Tumca amaT Soris ar aris „C“ - jon Cemberleini“. aseve vvaraudob, rom „f“ – TviTon fredia.

jeid delingeri: gamarjoba forest... gikavSirdebiT tampadan, SeiZleba ramdenime kiTxva dagisvaT „mTvaris muzeumis“ Sesaxeb?

fm: arc ise xSirad, Tumca floridaSi zamTris gatarebas vgegmav, - ise, rogorc frinvelebi zamTarSi Tbili qveynebisken mifrinaven.

jd: meT uorbiqanis mosazrebis Tanaxmad, romelic endi uorholis muzeumis arqivariusia (sadac mTvaris muzeumis gamofena moewyo), endim mxolod erTi asli miiRo, masTan erTad telegramis fotoasli - „yvela sistema mwyobrSia“ da diagrama.

forest maiersi: siamovnebiT. iciT, Cemi ojaxis erT erTi wevri swavlobda tampas universitetSi. wlebis win, tampas stadionze „roling stounzis“ koncerts daveswari! rodesac patara biWi viyavi floridaSi vcxovrobdi.

jd: kosmosur sanapiros da kanaveralis koncxs saintereso istoria aqvs kenedis kosmosur centrTan da “nasas” mier ganxorcielebul apolos misiebTan dakavSirebiT (maT Soris aRsaniSnavia „mTvaris muzeumi“). rodis gagiCndaT idea, rom mTvareze xelovnebis nimuSebi gagegzavnaT?

fm: namdvilad sarwmunoa, rom mTvaris muzeumis bevri asli ar ganawilda robert rauSenbergis, devid novrosisa da Cems Soris... vimedovneb, rom „f“ SeiZleba me var da „m“ robert merkli, Tumca fredis baraTze arsebuli ricxvebi ar iZleva zust informacias.

jd: marTla? sad cxovrobdiT? fm: qi uestis skolaSi davdiodi. mamaCemi iq msaxurobda. garkveuli periodi igi boka Cikas sazRvao - sahaero bazaze muSaobda. Cven Zalian mogvwonda florida.

1950 - ian wlebSi ki amerikelebi estumrnen kubas. maiami sul sxvanari iyo maSin, magram qi uesti yovelTvis gamorCeuli adgili gaxldaT. jd: aq xSirad CamodixarT?

fm: am ideaze didxans vfiqrobdi. rogorc axalgazrda skulptori aleqsandre kalderis namuSevrebis zegavlenis qveS viyavi. misi „mobilebi“ Tavisuflad, Zalisxmevis gareSe moZraoben ise, rogorc ciuri sxeulebi. kalderis xelovnebiT gatacebuli ufro metad davinteresdi im unikaluri garemos SesaZleblobebiT, sadac gravitacia nulis tolia. rusuli „sputnikis“ gafrenis Semdeg sul amaze vocnebobdi. Cveni TaobisaTvis (rac adre aRvniSne, rodesac faqsiT mogwere), apolos mTvaris misiebs evoluciuri masStabi hqonda. mTvareze

jd: ase rom, samwuxarod, zusti raodenobis garkveva SesaZloa samudamod gaugebari darCes. fm: Tuki robert merkli cocxalia, SesaZloa man gviTxras. CemTvis dRemde rTulia imis warmodgena, rom SesaZloa 4 -ze meti asli daibeWda da es ar gviTxres, - miTumetes Cven, vinc ase viyaviT proeqtSi CarTulni, mxolod erTi asli movi poveT. kidev erTxel minda aRvniSno is, rom rodesac fredis gardacvalebis Semdeg ruTma Ci pebiT savse yuTi aRmoaCina, Zalian gamikvirda. ase rom, Cven SeiZleba verasodes gavigoT zusti

raodenoba. jd: mesmis, rom devid novrosma „mTvaris muzeumis“ sakuTari Ci pi mamamiss gadasca da misi gardacvalebis Semdeg veRarc i poves. fm: ruT uoldauerma bolos ori Ci pi, romelic missave sakuTrebaSi iyo, ramdenime cnobil muzeums gadasca. magram rogorc devidis SemTxvevaSi, wlebis ganmavlobaSi aseve qreboda danarCenebic. jd: da bolos, SegviZlia vTqvaT, rom „mTvaris muzeumis“ yvela Ci pi erT dros, „belis“ laboratoriaSi damzadda. Tqven aseve gecodinebaT, rom qalbatoni uoldaueri flobs minis im fragmentebs, razec Ci pis negativia gamosaxuli, rac aris imis naTeli dadastureba, rom „gamocema“ limitirebuli iyo da meti Ci pi aRar dabeWdila da gamocemula. „mTvaris muzeumi“ iyo „Experiments in Art & Technology”- is („eqsperimentebi xelovnebasa da teqnologiaSi“) oficialuri proeqti? fm: zustad ver getyviT, Tumca bil kluveri iyo is, vinc fred uoldauerTan erTad „mTvaris muzeumis“ Seqmnasa da realizaciis process zedamxedveloba gauwia. jd: ras ityviT, iyo mTvaris muzeumi E.A.T. - is Sexvedrebze ganxilvis Tema? fm: SeiZleba iTqvas, rom iyo. zustad im adgilis pirdapir vcxovrobdi, sadac E.A.T. mdebareobda. yvela artisti „maqsis kanzas sitis“ barSi ikribeboda da maT Soris bilic. jd: rogorc Cans, wlebis Semdeg is xelovanebi, romlebic „maqsis barSi“ wlebis ganmavlobaSi misi maspinZlobiT iyvnen ganebivrebulebi, imisaTvis, rom baris mflobeli, miki raskini gakotrebisgan exsnaT, auqcionze TavianTi namuSevrebis gayidva daiwyes. fm: endi ourholi, robert rauSenbergi, jon Cemberleini da me viyaviT am jgufSi gawevrianebulebi, romelsac “Chickpea Conspiracy” erqva. 1971 wels Cven efeqturad movagvareT saqme da gadavarCineT „maqsis kanzas siti“. miki yovelTvis gviwyobda xels da im periodSi, rodesac iq vcxovrobdi, iqaurobas Cems sacxovreblad vTvlidi. jd: ase rom , bili kluveri aqtiurad iyo CarTuli mTvaris muzeumis proeqtSi, aseve... fm: bili kluveris gareSe „mTvaris muzeumis“ proeqti arc gamovidoda, magram 1970 wels vmuSaobdi E.A.T.–sTan erTad pepsi kolas pavilionze, osakaSi. jd: albaT mniSnvelovani saqme iyo... fm: pepsis pavilionis proeqts TiTqmis ori weli dasWirda, razec daaxloebiT 200 inJineri muSaobda. ase rom, “mTvaris muzeumis” proeqti ganviTarda Tanadroulad - drois sakmaod mcire monakveTSi, sul ramdenime TveSi. rodesac bilis es idea gavuziare, maSinve mi pasuxa.mTvareze „apolo 11“ - is misiis ganxorcielebidan „apolo 12“ - is gafrenamde sul ramdenime TveRa rCeboda, bili kluveri mxars miWerda, rom proeqti momdevno misiisTvis momeswro. jd: rogorc viciT, bevri imuSave imisaTvis, rom am proeqtSi sxva xelovanebsac mieRoT monawileoba. rogor fiqrob, es gamosaxulebebi dros gauZlebs? fm: dRemde did energias atarebs. magondeba, Tu rogori seriozulobiT mivudeqiT maSin am saqmes. rac Seexeba

klaus oldenburgs, garkveuli absurduloba ukavSirdeba „miki - mausis“ multfilmTan dakavSirebiT. oldenburgis „miki-mausi“ iyo misive Sesrulebul, didi zomis skulpturis interpretacia, romelic „moma“-Si inaxeboda. koziri oldenburgis xelSi aRmoCnda, rodesac mTvareze pirveli misi „miki-mausi“ wavida da ara – disneis. axla ufro mgonia, rom Ci pze arsebuli naxatebi yovelgvari zrunvis gareSe Seiqmna. bob rauSenbergis mier gavlebuli xazi an uorholis samarcxvino „AW” anatomiuri nawilis gamosaxuleba damabnevelia, Tu ar icnob axlos maT sxva namuSevrebs. rasakvirvelia, rauSenbergis xazi mTavaria, - es aris misi xelwera. es SeiZleba iyos armstrongis nakvalevi mTvaris zedapirze. xazi rauSenbergis xelweraa. jd: ra pirdapiri kavSiria devid novrosisa da jon Cemberleinis gamosaxulebebsa da im namuSevrebTan, rasac im periodSi qmnidnen? fm: Tuki devidis gamosaxulebas gaadidebT, naxavT, ramdenad gavs wina periodis namuSevrebs. TeTr xazebs xSirad iyenebs Tavis namuSevrebSi. isini arqiteqturulia. yvelasTvis cnobilia jon Cemberleinis dapresili metalis skulpturebi, magram SeuZlebeli iyo mTliani zomis dangreuli manqanis gamosaxulebis kontribucia „mTvaris muzeumSi“. Ci pze ganTavsda mxolod melniT daxatuli nimuSebi, romelSic man trafareti gamoiyena.

Cans, rom man bevri naxati amgvarad Seqmna. jd: garda kuratoruli da konceptualuri rolisa, proeqtSi sakuTar namuSevarze SegiZlia mokled gvesaubro? fm: ufro sainteresoa Tavisi istoriiT. me CarTuli viyavi mark disuverosa da sxva artistebTan erTad „Park Place Gallery“ gaxsnis saqmeSi. 1960- ian wlebSi xSirad ewyoboda Cveni gamofenebi, maT Soris iyo jgufuri gamofena „MIT” (masaCusetsis teqnologiis instituti). gamofenaze warmovadgine didi zomis (albaT Svid futze meti), martivi metalis skulptura. mas erTi SexedviT geometriuli formebi aqvs, romlis ufro axlodan daTvalierebiT mixvdebi, rom formebi erTmaneTSi arian Caketilebi da mTlianobaSi erTi xazia. rodesac namuSevari gamoifina ramdenime masaCusetsis teqnologiis institutis studenti da profesori momiaxlovda da Cemi namuSevriT gancvifrebulebma miTxres, rom es iyo kompiuteruli naxatis Seqmnis manifestacia, ris SeqmnaSi mTeli semestri gaatares. sainteresoa is, rom Cemi skulptura aRmoCnda maTTvis im maTematikuri problemis pasuxi, romelzec muSaobdnen. jd: es namuSevari Tqven SeqmeniT kompiuteriT Tu instituTan erTad? aSkarad, Tqven ufro adre SeqmeniT es gamosaxuleba, vidre ase aqtualuri gaxdeboda kompiuteris gamoyeneba... fm: diax, zustad asea. masaCusetsis teqnologiis instituts kompiuteris mausic ar hqonda. isini virtualur sivrceSi, raRac „joi - stikis“ msgavsi pultiT Cem mier Seqmnil gamosaxulebas Tavisuflad gadaaadgilebdnen - ise, rogorc es ugravitacio sivrceSi xdeba. maT Seqmnes uwonadi forma .„kompiuteruli naxati“, romelic me „mTvaris muzeumSi“ gamoviyene, faqtobrivad iyo polaroidis fotokameriT gadaRebuli erT - erTi kadri... jd: es aris 2 ganzomilebiani, skulpturuli formis gamosaxuleba, romelic kompiuteriT Seiqmna virtualur sivrceSi. fm: namdvilad.maT es forma gamoTvlebiT miiRes da Zalian dainteresdnen, Tu rogor miviRe es gamosaxuleba.

isini gamudmebiT mekiTxebodnen, rogorc artisti rogor mivedi am Sedegamde. samwuxarod, rodesac avuxseni, rom STagonebis wyaro alkoholi, narkotikebi, depresia da suiciduri fiqrebi iyo, maSinve gauqraT interesi (icinis). mixvdnen, rom saqme geniosTan namdvilad ar hqondaT! jd: garda mowveuli artistebisa, iyvnen Tu ara sxva artistebic, romlebic ver moxvdnen mTvaris muzeumSi? fm: ki, namdvilad. alen ginsbergma am proeqtisTvis leqsi gamomigzavna. misi saTauri iyo „nilis ferfli“. mgoni am dros nili cocxali iyo, Tumca es Zalian lamazi leqsi iyo, romelic alenma muyaos ukana mxareze dawera da misi sayvarlis gardauval sikvdils exeboda (Canda rom araferi hqonda didad saerTo astronavt nil armstrongTan.). jd: fiqrobdiT, rom igi sakmaod grZeli iqneboda zomaSi aseTi mcire zomis Ci pze gansaTavseblad? fm: ara, Tumca SesaZloa problema yofiliyo amasTan dakavSirebiT. magram mTavari is aris, rom ginsbergma leqsi erTi wlis Semdeg gamomigzavna! (icinis) daagviana pasuxis mowera. jd: ra formatis iyo naxatebis originalebi? ramdenad Seefereboda sasurvel zomas da ra mediaSi iyo Sesrulebuli? dRemde inaxavT am naxatebs? avtoriseuli xelmowera yvelas aqvs? fm: yvela originali CemTan aris. Tumca didi xania sacavidan ar gamomitania. yvela maTganis zoma daaxloebiT 8 – 10 diums ar aRemateba. maxsovs, rodesac yvelas personalurad gavugzavne mowveva, sapasuxod fostiT miviRe namuSevrebi. foto aslebic maqvs da naxatis zomebic damakmayofilebeli iyo. maxsovs bob rauSenbergis naxati misive xelmoweriT. misi gamorCeuli avtografi TiTqmis gaicrica, Tumca qseroqsis vintaJur aparatze garCeva mainc SesaZlebelia. TiToeulma artistma sakuTari xelmowera gamomigzavna sakuTar namuSevrebze saavtoro uflebebis gavrcelebis mizniT. jd: ramdeni namuSevari unda yofiliyo da rogor SearCie mxatvrebi? fm: fotografiis teqnologiis gamoyenebiT naxatebi sasurvel zomamde davapataraveT. astronavtebma safosto markebi,monetebi Tan waiRes, rom rogorc suvenirebi ukan CamoetanaT. ase rom, Cven zustad vicodiT Tu ramdeni artisti unda mogvewvia. zustad vici, visac mivwere (garda ginsbergisa) yvelam droulad gamomigzavna naxatebi. ubralod, saukeTeso artistebs Soris SevarCie saukeTeso. jd: im droisTvis TiTqmis yvela cnobili artisti iyo, am faqts ra mniSnveloba hqonda? fm: ra Tqma unda, vicodi rasac niSnavda cnobili artistebis CarTva, Tumca es ar iyo mTavari. rodesac “nasaSi” vuambe proeqtis Sesaxeb, yvelam mxardaWera gamoxata, Tumca zusti pasuxi ar iyo cnobili. „grumanis“ kontraqtors ki ar SeeZlo amis Tavisi nebiT ganxorcieleba. icoda Tu ara bili kluverma, an fred uoldauerma Tu vin muSaobda xomaldis modulze, amas verasodes gavigebT. me ar var darwmunebuli, rom Cems telegramaze arsebuli inicialebi„jon f“ namdvilia Tu ara. „uestern iunionma“ karebis qveS maSin Semoacura telegrama, rodesac saxlSi ar viyavi, samwuxarod, arasodes Semxvedria „grumanis“ inJineri, romelmac es yvelaferi ganaxorciela.

FORREST MYERS ON THE MUSEUM A Conversation with Jade Dellinger (28 March 2009)

Jade DELLINGER: Hi, Forrest… I’m calling from Tampa, Florida with some questions to ask you about the Moon Museum...

Forrest MYERS: I would be happy to answer your questions. You know, I have some family that went to the university in Tampa.

Years ago, I saw the Rolling Stones perform at Tampa Stadium! I lived in Florida as a kid.

JD: Really? Where did you live?

FM: I went to school in Key West. As I was growing up, my father was in the service. He was stationed for a time at the Boca Chica Naval Air Base. We loved living in the Florida Keys. You know, in the 1950’s, Americans could visit Cuba. Miami was very different then too, but Key West has always been a remarkable place.

JD: Do you get down here often?

FM: Not often enough. I still plan to winter in Florida – like all the rest of the snow-birds who drive south seasonally to escape the frigid weather.

JD: Florida’s so-called Space Coast and Cape Canaveral specifically have a rich history with the Kennedy Space Center and NASA’s launch site for the Apollo missions (including the one that got your Moon Museum to its intended, final destination). When did the idea first come to you to send art to the Moon?

FM: Well, I had been thinking about it for quite a while. As a young sculptor, I was influenced by the work of Alexander Calder. His mobiles, in particular, floated effortlessly. They moved with the ease and grace of celestial bodies. He thought of them as such.

So, as an artist considering Calder, I was thinking about the unique possibilities of a zero-gravity environment. The idea of throwing or pushing colors around in Space or sending them into orbit had immediate appeal. Since the Russian launch of the first Sputnik, I had been dreaming about Space. For my generation (as I think I explained in the fax you received), the Apollo missions to the Moon were evolutionary in scope. The first Moon landing was like the salamander crawling out of the soup. Darwinian evolution seemed to happen in fossil time, but seeing Man leave the Earth and step foot on the Moon was both instant and epic. At the time, this was the most exciting and inspiring thing we had ever witnessed, and I

didn’t know an artist that wasn’t moved by it in some profound way.

too were undoubtedly lost over the years.

JD: Obviously, one Moon Museum still resides, presumably untouched over the last forty years, on the lunar surface with the Saturn V landing gear, but just how many copies remained on Earth?

JD: At least we can confirm that the Moon Museums were only produced during that brief time span and all processed at Bell Laboratories in one batch. As you know, Ms. Waldhauer has the fragments of a glass negative which I presume (in printmaking terms) is the equivalent of a cancellation plate – proof that the “edition” was limited and no more Moon Museums could be produced after the initial run of printing and processing. Was the Moon Museum an official Experiments in Art & Technology (E.A.T.) project?

FM: Unfortunately, that is still a matter of speculation and debate.

Robert Merkle was the engineer that actually printed the Moon Museums, but I’ve lost contact with him. He worked with Fred Waldhauer at Bell Labs in New Jersey. Fred had several of the Moon Museums, but I didn’t find that out until years later when one was donated to the Museum of Modern Art. None of these were supposed to be sold. You know, we didn’t want to commercialize the project.

JD: Art critic Grace Glueck reported in the New York Times at the time that eighteen copies were made.

FM: I always thought there were less, but then learned more recently from Fred’s widow Ruth Waldhauer that he kept a small stash of them. I think she discovered the box only after Fred’s death. As I understand it, the box contained about a dozen good Moon Museum ceramic tiles – plus, one or two rejects - broken, incomplete or imperfect copies.

JD: As you may know, the Claes Oldenburg print catalogue raisonne estimates that you produced twenty-five or so Moon Museums.

FM: I’m not sure I really know what would constitute an “official” Experiments in Art & Technology project as some were more complex or formal than others, but it was Billy Kluver that oversaw the Moon Museum production and realization in collaboration with Fred Waldhauer.

JD: Was the Moon Museum project discussed openly at E.A.T. meetings?

FM: I would say so. I lived across the street from the spot where E.A.T. would meet. All the artists gathered at Max’s Kansas City, and Billy would often hold meetings at the bar.

JD: As I understand it, after years of starving artists relying on Max’s for food and drink on credit, a group of well-known artistpatrons became part owners by auctioning their work to save Mickey Ruskin from bankruptcy!

FM: I received a letter from Ruth with a copy of a note that Fred put in the box with his Moon Museums - presumably providing details about the edition size and location of existing copies.

Fred’s handwritten note stated, “On the Earth – 40” and “On the Moon – 1”, but it also had some cryptic details that seemed either incorrect or somewhat contradictory. Fred additionally lists, “RNM – 10” and “FOW – 10” without any further explanation. It seems plausible that the “RNM” and “FOW” were the initials of most of the six participating artists – as in, “R” for Rauschenberg; “N” for Novros; “M” for Myers; “O” for Oldenburg; and “W” for Warhol. But, if that were the case, suspiciously omitted would be a “C” for John Chamberlain. And, I suppose, we would assume that the “F” stood simply for “Fred” himself.

FM: Andy Warhol, Bob Rauschenberg, John Chamberlain and I were all part of that group - called the Chickpea Conspiracy. In 1971, we effectively pacified the IRS and saved Max’s Kansas City.

It was such an important meeting place and Mickey had always supported us. Given the proximity to my apartment and the time I spent there, I considered Max’s my living room.

JD: According to Matt Wrbican, the Archivist at the Warhol Museum in Pittsburgh (where the Moon Museum and related documents have since been exhibited), Andy was thought only to have received one Moon Museum with a photocopy of your Cape Canaveral “All Systems Are GO” telegram and the diagram showing the placement of his drawing on the finished collective work.

JD: The Osaka project must have been quite an undertaking.

FM: That’s right. And, there certainly were not ten copies of the Moon Museum distributed between Bob Rauschenberg, David Novros and me… I suppose the “F” could have stood for “Forrest” or “Frosty” and the “M” might have been Robert Merkle, but none of the numbers on Fred’s note seem to add up.

JD: So, unfortunately, even the quantity produced will probably forever remain a mystery.

FM: If Robert Merkle is alive, perhaps he can tell us. It’s still difficult for me to imagine that as many as forty were manufactured without my knowledge – since only those closely involved with the project were supposed to receive one for their efforts. But, again, I was surprised to learn that Ruth found the dozen or so after Fred’s death. So, we may never know the total number with certainty.

JD: I understand that David Novros gave his Moon Museum to his father, and that it never resurfaced after he passed away.

FM: Ruth Waldhauer donated at least two of the Moon Museums in her possession to prominent museums. But, like David’s, others

JD: So, Billy Kluver was actively involved in the Moon Museum project too…

FM: Without Billy Kluver, the Moon Museum would not have happened, but I also worked with E.A.T. on the Pepsi Cola Pavilion in Osaka, Japan in 1970.

FM: The Pepsi Pavilion took almost two years and involved a team of nearly two hundred engineers, so the Moon Museum project was developed concurrently – within a very short time period. The Moon Museum was conceived and participating artists enlisted – it was then fabricated and fully-realized – all within a few months.

When I ran the idea by Billy, he responded immediately. Neil Armstrong had just left his mark on the Moon with the Apollo 11 mission, and Billy Kluver encouraged me to have the project ready to go with Apollo 12.

JD: As you reflect on the contributions of others, do you think all of the individual drawings hold up over time?

FM: It certainly still works for me as a collective piece, and there is a lot of energy on that small chip. As I look back, it seems that we were all so serious about our contributions. Claes Oldenburg was too, but there was something a little absurd about sending a cartoon to the Moon. Oldenburg’s Mouse Kite drawing was directly related to the large-scale sculpture he had at the Museum of Modern Art. From Mickey Mouse, he created his own iconic, artistic interpretation, and, in the end, he does trump Disney in that his version was the first to make it to the Moon. I suppose, in retrospect, some of the drawings included on the Moon Museum now seem, I don’t know, somewhat nonchalant. Bob Rauschenberg’s line drawing or Warhol’s now infamous “AW” penis sketch could be easily dismissed if you don’t know their work. Of course, Rauschenberg’s line is about basic mark-making – proof

of his presence or, like Armstrong’s boot impressions on the lunar surface, the line for Rauschenberg was the conceptual footprint of an artist.

JD: The David Novros and John Chamberlain drawings seem directly related to the paintings they were making at the time.

FM: If you dramatically enlarged David’s drawing, you would have a good idea about how his paintings looked back then. The white lines in the drawing were the spaces that separated the panels in his large-scale works. David’s paintings were architectural.

Whereas, John Chamberlain was candy-apple spraying (with an automobile finish) grids on small – maybe twelve-by-twelve inch - squares. Everyone knew Chamberlain’s compressed metal sculptures, but he couldn’t really contribute a full-sized crashed car for the Moon Museum. The grid drawing is quite like the metal template that John was using at the time to make his panel paintings. He would paint the background color, then spray the grid of boxes with a metal-flake paint using the cut-out. It is possible that the ink drawing he made for the Moon Museum was simply traced from his stencil. It looks a lot like the outline of a stencil, and he did a number of paintings with the same basic structure.

JD: Beyond your role in conceptualizing and curating the project, can you tell me more about your own drawing for the Moon Museum?

FM: It’s a drawing for (or related to) a sculpture, but there is more to the story. I was involved with a collective of artists, including Mark DiSuvero, who started the Park Place Gallery. We exhibited together often in the mid-1960s, and were invited to participate in a group show at MIT during this period. I presented a large (perhaps seven feet high) metal sculpture in the exhibition. It was deceptively simple. At first glance, it appears to be aligned geometric forms, but, upon closer inspection, you realize that the forms are interlocking and that they are derived from a continuous line. When the work was being installed, I was approached by several students and then by their professors at MIT. Astonished by my sculpture, they confessed that my work was a precise physical manifestation of a computer rendering they had spent the entire semester plotting. They had been contemplating some complicated mathematical problem by assigning coordinates to create a virtual object that was identical to the sculpture I had created for the exhibition.

JD: Did you actually render the drawing with a computer, or work with MIT to do so? Obviously, this is many years before personal computing (with paint-box and illustration programs) became ubiquitous…

FM: Yes, exactly. The MIT computer didn’t even have a mouse.

They were using something that looked like a joy-stick, but, much to my surprise, they were able to take my sculptural form and manipulate it in virtual space. With their primitive joy-stick, you could rotate and spin my sculpture effortlessly – as if it was floating in a zero-gravity environment. They made the form weightless, and could stop motion with equal ease. The “computer drawing” I included on the Moon Museum was, in fact, one of several screencaptures taken with a Polaroid camera.

JD: So, your drawing was indeed rendered on a computer, but it is a 2-dimensional representation of a sculptural form that was plotted in virtual space.

FM: Right. They had created this form through tedious computation, and were very curious to know how I had visualized mine. They kept asking me to reveal exactly how as a sculptor I had come to the same basic solution. Unfortunately, when I explained that my inspiration came from some combination of alcohol, drugs and depression - verging on serious thoughts of suicide – they lost interest immediately. [laughing] My MIT collaborators quickly realized I wasn’t the mathematical genius they assumed I must be!

JD: Were there other artists that you invited to contribute to the Moon Museum who were never included?

FM: Well, yes. I did get a poem from Allen Ginsberg too. It was titled “Neil’s Ashes.” I think Neil was alive at the time, but it was a beautiful poem that Allen had written on the backside of a piece of cardboard about the inevitable death of his lover. (It didn’t seem to have anything to do with the astronaut Neil Armstrong.)

JD: Was it too lengthy to reproduce legibly on that minute scale?

FM: No, although that probably would have been an issue as well.

As it turned out, Ginsberg sent the poem to me just a year or so too late! [laughing] Apparently, it took him that long to get around to answering his mail.

JD: You sent him a letter to invite him to contribute?

FM: Yes, I sent a letter to Allen Ginsberg. It was a letter that had yet to be opened when all the other artists’ contributions had long since made their way to the Moon!

JD: In what format did you receive the original drawings?

Were they consistent in size, and done in pencil or ink or some standardized medium? Did you retain the original works, and do you still have them in your possession? Were they signed by each artist?

FM: I still have the original drawings. I haven’t looked at them in quite some time, but I should pull them out of storage. None were larger than about eight-by-ten inches, and, as I recall, everyone I wrote to responded. I knew everyone I invited personally, so they were all very responsive to my letter and all replied via post with an original drawing for the project. I have a set of photocopies on file for reference, and they are consistent in size. As I recall, Bob Rauschenberg’s contribution was hand-signed on the verso. His distinctive signature is faint, but visible (in reverse) in the vintage Xerox. Each artist also signed a letter I sent to them transferring copyright for their contributions.

JD: Did you know in advance how many drawings you would need, and how did you decide on who you wanted to participate?

FM: The thin-film technology used to reduce the drawings provided our parameters. Astronauts had carried along postage stamps and a roll of dimes to bring back as souvenirs “flown” on a particular space or moon mission. So, we knew our limitations and this determined how many artists could be invited to participate. If my memory serves me correctly, I knew how many drawings we needed and everyone I asked (aside from Allen Ginsberg) sent me something in time. I don’t recall inviting anyone that didn’t contribute – as I simply picked the best artists I knew.

JD: You certainly managed to enlist some of the most famous artists of the time. Were you concerned about name-recognition?

FM: Of course, I was aware of the potential importance of including famous artists, but none of that mattered in the end. Everyone that I spoke with at NASA was friendly and seemed supportive, but no one was willing to take responsibility or sign-off on it. Despite substantial efforts, they all seemed to pass the buck and we never managed to obtain approval from officials at NASA. The Grumman contractor who got us onboard realized that he would surely lose his security clearance, if not his job, for attaching the Moon Museum to the lander without permission. Had Billy Kluver and Fred Waldhauer not known all the people who were working on the module directly, we never would have gotten this done in the clandestine way we did. I’m not sure that the “John F.” signature on my “All Systems Are Go” telegram was a real name. Western Union slipped the telegram under my door with confirmation that we were going to the Moon, but, unfortunately, I never got to meet the Grumman engineer who made it all happen.

Apollo 12 - 40th Anniversary Commemorative Medallions Containing Metal Flown To The Moon

“Light box display for ‘Moon Museum’ ceramic micro chip” / 2013 © (Studio) Konstantin Mindadze Tinted and transparent Plexiglas, TL lamps, LED lights and electric cable Dimension: 120x22x22cm

“Nov 19, 1969” (landing) 2013 © Konstantin Mindadze Blue Neon, Plexiglas and electric equipment Dimension: 50x20x5cm

“Moon Museum” 1969 - © (Clockwise) Andy Warhol, Robert Rauschenberg, David Novros, John Chamberlain, Claes Oldenburg, Forrest Myers Plating on Ceramic wafer, Alumina A1203, Tantalum Nitride. (Engineered by Fred D. Waldehauer and Robert N. Merkle)

"rac amJamad dadasturebulia, odesRac mxolod warmosaxviTi iyo"

“WHAT IS NOW PROVED, WAS ONCE ONLY IMAGINED”

uiliam bleiki "jojoxeTis andazebi" (1797w.)

William Blake “Proverbs of Hell” (1797)

Electrical phenomenon which may have caused the shutdown of the spacecraft fuel cells some 36 seconds into the flight. Official NASA photograph

ekaterine kurtaniZe xelovnebaTmcodne / kuratori Znelia imis Tqma zustad, rodidan iwyebs adamiani samyaros Secnobas, magram is ki dazustebiT viciT, rom man Tavisi STabeWdilebis gamoxatva mxatvruli formebiT gadawyvita. civilizaciis ganviTarebasTan erTad teqnologiebic viTardeba da mecniereba da xelovneba sul ufro mWidrod ukavSirdeba erTmaneTs. saqarTvelos erovnuli muzeumis erTerTi sayuradRebo Tema swored mecnierebis da xelovnebis kavSiris ganxilvaa, da mas araerTi konferencia, moxseneba da naSromi eZRvneba. aqedan momdinareobs is didi interesi proeqtisa, romelic bob rauSenbergis galereis direqtorma da kuratorma jeid delingerma SesTavaza muzeums. 2013 wlis gazafxulze jeid delingeri pirvelad Camovida saqarTveloSi jon keijis iubilesadmi miZRvnili proeqtis prezentaciisTvis, qarTveli da ucxoeli mxatvrebis monawileobiT. mas ar qonda didi informacia am qveynis da miT umetes qarTveli mxatvrebis Sesaxeb, magram, albaT swored amaSi gamoixateba maRali profesionalizmi, rom ramdenime dRis urTierToba qarTvel mxatvrebTan sakmarisi gaxda misTvis axali proeqtis gaazrebisa. „mTvaris muzeumis“ rogorc erTgvari manifestis mniSvneloba iqca mTavar mamoZravebel obieqtad am proeqtis unikaluri gavrcobisTvis. mudmivi Ziebis, amoucnobis amocnobis, sazRvrebis darRvevis survilis da drois pirobiTobis Tematika aris is, rasac yoveli xelovani Tavisi interpretaciiT asaxavs mis namuSevarSi da swored es aerTianebs maT „mTvaris muzeumis“ garSemo.

es proeqti im azris gadmocemis saSualebaa, rom erTidaigive informaciis „wakiTxva“ SesaZlebelia rogorc cifrebis, ise sityvebis, bgerebis da ferebis saSualebiT da swored aq kveTs erTmaneTs mecniereba da xelovneba. konstantine mindaZis „drois, sivrcisa da TariRis gareSe“ swored drois pirobiTobis gamoTqmis formaa da erTgvari daTanxmebaa on kavaras drois mimarT damokidebulebasTan, xolo misi meteoritebisgan Semdgari sfero, droSi gayinuli moZraobis efeqts qmnis. manuCar oqroscvariZis TiTqos uwonadobaSi gaSlili obieqti „gravitacia“ erTdroulad exmaureba da ewinaaRmdegeba riCard seras ganwyobas metalis „simZimis“ efeqtis Seqmnisa, romelsac Tavisi wonis garda, TiTqos dedamiwis mizidulobis Zala kidev ufro amZimebs. roko iremaSvilis namuSevrebi umeteswilad Sinagani samyaros Ziebis amsaxvelia. es masStaburi realisturi portretebi gadmogvcems mis damokidebulebas pirovnebis mimarT, vinc mzad aris mTeli cxovreba Tavisi miznis ganxorcielebas dauTmos, miuxedavad garemoebebisa.

TiToeuli artisti Tavisi unikalurobiT mkveTrad gansxvavdeba erTmaneTisgan, magram, miuxedavad amisa, maTi namuSevrebi erTian, urTierTSemavsebel obieqtebad gvevlinebian am proeqtSi. yoveli maTganis myarad Camoyalibebuli koncefciis Sesaxeb SegviZlia SevityoT maTTan interviuebis amonarididan;

Catherine Kurtanidze Art Historian / Curator It’s hard to say exactly when man begins to realize the cognition of the universe, but we know exactly when he decided to impress the expression in artistic form. With the development of civilization and technology is evolving science and art inextricably linked to each other.

For the Georgian National Museum connections between art and science are relevant topics as numerous conference reports and studies have been dedicated to the subject.

From that comes a great deal of interest in a project that Bob Rauschenberg Gallery director and curator Jade Dellinger has offered to the Museum. In the spring of 2012 Mr. Dellinger arrived in Georgia for the first time. Presenting the project dedicated to John Cage Anniversary, with the participation of Georgian and foreign artists. Back then he had less information about this country and especially the artists, but perhaps that is what is reflected in the high professionalism that few day relationships with artists was enough for him to consider new understanding of upcoming project.

The significance of the “Moon Museum” as a kind of manifesto has become a main subject matter to develop this unique expansion as the new project. Infinite research, identification of unidentifiable, desire of crossing the lines and issues of time conditionality, reflect on each artist’s

The Spacecraft parachutes safely into the Pacific Ocean Official NASA photograph

interpretations of their work and unite them around the “Moon Museum” project.

This project is about an idea, to show that, the same information can be “read” in figures, ciphers, words, sounds and colors and this is where science and art intersect each other.

Konstantin Mindadze’s “Out of date, time and space painting” is precise form of expression on conditionality of existence and some kind of consent toward On Kawara’s approach on matters of time, while his black sphere floating sculpture made with meteorites, creates the effect of stop motion in time. Manuchar Okrostsvaridze’s weightlessly presented sculptural assemblage “Gravity” responds and at the same time contradicts to the spirit of Richard Serra’s perception on weight effects, as though aggravated even more by earthly gravitation.

Rocko Iremashvili reflects more the research of inner nature.

His large-scale realistic Portraits of astronauts represent his regard to a person who can devote all his life to achieve his goal, regardless of any circumstances.

Each artist in his unique way is very different; however their works supplement each other in this particular show. Each one has a pretty solid statement on this project which is noticeable in the excerpts of our conversations;

KONSTANTIN MINDADZE

ekaterine kurtaniZe : Seni ZiriTadi inspiracia „mTvaris muzeumis“ Temaze drois pirobiTobaa, garda amisa rogor fiqrob, ramdenad aris on kavaras namuSevrebi SenTvis konteqstualurad daaxlovebuli? konstantine mindaZe : vfiqrob drois momenti am proeqtisTvis Cems namuSevrebSi sruliad gamqralia, rac Seexeba on kavaras, da nawilobriv fiqrs imaze, Tu rogor gvaxsenebs igi Tavis arsebobas yoveldRiurad, STamagona Semeqmna “drois, sivrcisa da TariRis gareSe“, romelic ara mxolod aerTianebs erT namuSevarSi on kavaras drois mimarT damokidebulebas, aramed migvaniSnebs drois pirobiTobasa da usasrulobaze, Tu mudmivobaze. gansxvaveba is aris, rom miuxedavad TariRebis simravlisa, romlebic ufro metad an warsulia, an momavali da egzistencialur xasiaTs atarebs, am SemTxvevaSi mniSvnelovania momenti, romelic faqtiurad arc ki arsebobs - awmyo, is rac gardaqmnis mocemul yovel „dRes“ da masSi arsebobas mudmiv mdgomareobad.

Tu „drois, sivrcisa da TariRis gareSe“ ufro metad konceptualuria, mZime reliefiTa da meteoritis nawilebiT Semdgari „Savi sfero“ vizualurad droSi gayinul vardnis moments asaxavs. SesaZloa mnaxvelisTvis am namuSevarma axlo manZilidan dakvirvebisas, gamoiwvios usicocxlo planetis, xolo Sori manZilidan idumali kosmosuri sxeulis asociacia. SesaZlebeli rom iyos misi warmodgena srul uwonadobaSi, vfiqrob, CemTvis erTerTi yvelaze mniSvnelovani namuSevari gaxdeboda rac ki dRemde Semiqmnia. e.k. : „sivrculi eqspansia“ mowesrigebuli qaosis asociacias iwvevs. SeiZleba vifiqroT, rom am namuSevarSi samyaros usasrulobaze kiTxvis niSans svam da garkveul CarCoSi aqcev? k.m. : SeiZleba iTqvas „sivrculi eqspansia“ aris erTgvari gagrZeleba Cemi fragmentaciis Janridan. faqtiurad es aris kodebi, romelTa gaSifvras usasrulobamde mivyavarT, rogorc kosmosuri samyaro, sadac yvelaferi iSleba mikroelementebad da absoluturi sizustiT erTdeba. es namuSevari aris, pirvel rigSi sivrcis, samyaroSi arsebuli mudmivi qaosisa da wesrigis gaazrebis gamoxatva. uxilavi kavSirebi gvaZlevs saSualebas, vifiqroT da davinaxoT kompozicia erTad da calcalke, rogorc yvelaferi sicocxleSi. masSi arsebuli manZili gvaZlevs warmosaxvis, Sinagani datvirTvis, haeris SegrZnebis, Tavisufali fiqrisa da amosunTqvis saSualebas.

Catherine Kurtanidze : Your main inspiration in this exhibition is conditionality of time as you stated. Besides that, how do you think On Kawara’s work is contextually related to you in this case?

Konstantin Mindadze : I think the meaning of “time” completely disappears in installed pieces that I’ve created for this project. Speaking of On Kawara and maybe by partly thinking of how he daily reminds us of his existence, led me to create “Out of date, time and space painting”, which I think is not only uniting Kawara’s approaches on matters of time, but it also designates and indicates us to conditionality or continuality and infinity of time. In difference of multiple countless dates, pointing us either in past or in to the future, which bears existentialistic significance, here only thing that matters, is the moment, which almost does not even exist, called “Now” – the present, which transforms the existence in “Today” last forever.

If “Out of date, time and space painting” visually stands as conceptual piece, “Black Sphere” sculpture with its heavy coarse relief and meteorite particles create effect of fall, frozen in time. When viewing the sphere closely one might think of lifeless planetary surface and from distance it can be also associated with unknown mystic celestial body from outer space. If only I could represent it imponderably floating in the void, it would probably be one of the most relevant works I did so far.

C.K. : Your “Spatial Expansion” makes you think of a deeply ordered chaos. Is it possible that here you are assembling the questions concerning infinity of the universe and also however distinctively trying to frame it?

K.M. : You might consider “Spatial Expansion” as a continuation of my “Fragmentation” oeuvre. In fact these are codes, deciphering of which leads us to the infinity as in cosmic universe, where everything is dissociated into micro elements and at the same time united with absolute accuracy. With this piece I comprehend endless chaos and order of inner and outer universes. Invisible connections enable us to think and see the composition together and separately like everything in life.

Namely the distance gives us an opportunity to imagine, internal loading, feeling of air, crossing the lines and expiration.

“Spatial Expansion” (3rd place) 2013 Acrylic and pigment on archival board pieces mounted on wall Perfect dimension: 135 x 95cm

“Black Sphere” 2013 Acrylic relief, aluminum dust, pigment, steel cable and genuine meteorite (Seymchan Pallasite) particles on plaster cast sphere Dimension of sphere only: 40x40x40cm

“Out of date, space and time painting� (2nd version) 2013 Oil paint, pigment, sea salt, acrylic and encaustic on linen Size: 400x200x5cm

MANUCHAR OKROSTSVARIDZE ekaterine kurtaniZe : Cveni erTerTi saubrisas ambob, rom SenTvis sainteresoa zogadad xelovnebis Seqmnis procesis gaazreba gravitaciis ararsebobis pirobebSi. rogor warmogidgenia, rogori SeiZleba iyos xelovneba kosmosSi? manuCar oqroscvariZe : ramdenime wlis win, rodesac Tvals vadevnebdi saerTaSoriso proeqts, sadac qarTveli mecnierebi monawileobden, maT mier Seqmnili xelovnuri Tanamgzavris gaSvebis procesis yurebisas gamiCnda azri, rom es iyo skulptura, romelsac adamianebi kosmosSi uSvebdnen. es azri SesaZloa gamoiwvia am obieqtis msgavsebam duSanis borbalTan. me-20 saukunis pirvel naxevarSi duSanma revoluciuri art aqcia ganaxorciela, da sagnebi, romlebsac TiTqos araferi qondaT saerTo xelovnebasTan, mxolod da mxolod artistuli azris meSveobiT, xelovnebis nawarmoebebad aqcia. realurad man ubralod fokusireba moaxdina im aqtze, rasac xelovanebi saukuneebis manZilze gaucnobiereblad akeTebdnen, erTgvari fsiqoanalizi Cautara xelovnebas da konteqstebiT mani pulaciis tendencias misca biZgi. es iyo ganacxadi, rom xelovneba aris is, rac sagnebSi, movlenebSi maTi racionaluri mniSvnelobis da logikuri arsebobis miRmaa. adamianis kosmosSi gasvlam axali esTetika Semoitana xelovnebaSi da axali inspiraciebis wyaro gaxda. me-20 saukuneSi, samyaros arsebobis manZilze pirvelad gaxda SesaZlebeli, adamianis mier Seqmnili xelovnuri obieqti gascdenoda gravitaciis vels da gasuliyo kosmosSi. uamravma obieqtma, romlis Seqmnasac kacobriobis uzarmazari Zalisxmeva dasWirda, dakarga Tavisi praqtikuli daniSnuleba da Sewyvita racionaluri arseboba, is Tavisuflad gadaadgildeba Ria kosmosSi, da kosmosur <nagvad> iqceva, am momentis dramatizmi da esTetika Cemi namuSevris Temad iqca.

Tu Cven ar gvaqvs saSualeba SevqmnaT xelovneba Ria kosmosSi, Cven SegviZlia konteqstebis TamaSiT da artistuli azris saSualebiT, funqciadakarguli kosmosuri obieqti gardavqmnaT saintereso skulpturad. e.k. : eqspoziciis nawilia Seni kidev erTi skulptura, biWis figura, romlis sarkiseburi Tavi ireklavs garSemo arsebul sivrces da movlenebs. es namuSevari mnaxvelma SesaZloa sxvadasxva interpretaciiT aRiqvas, rogorc bavSvvuri cnobierebis mier garemos refleqsia, an Tundac zogadad adamianis mier gare samyaros Semecnebis simbolo. m. o. : es skulptura interpretaciis TvalsazrisiT Tavisufal vels gvitovebs, am konkretul situaciaSi garkveul konteqstSi moeqca da is adamianis cnobierebas, rogorc samyaros mikro models da mis anarekls warmoadgens, Tumca sxva garemoSi konteqsti icvleba. garda Sens mier gaJRerebuli interpretaciebisa, es skulptura interaqtiul xasiaTsac atarebs, is aireklavs damTvalierebels, romelic mocemul sivrceSi ganlagebul obieqtebTan erTad Tavad xdeba namuSevris nawili sakuTari anareklis saxiT. es xazs usvams samyaroSi obieqturi centris ararsebobas, da aRqmis centris fardobiTobas.

Catherine Kurtanidze :You mentioned earlier in our conversation that you are fascinated by imagining the process of creating art directly into the weightless space. Can you elaborate on that and in general how do you see the art without gravity in outer space?

Manuchar Okrostsvaridze: Several years ago International project with Georgian participant scientists drew my attention when they created and launched artificial satellite. By watching that process I saw that object as piece of sculpture, maybe because I draw a parallel with that satellite and the wheel of Marcel Duchamp. As we all know, by the first half of 20th century Duchamp carried out a revolutionary art happening by transforming the everyday objects in pieces of art. Practically in my opinion, he focused on an act, what the most of the artists unconsciously already did during the centuries and by manipulating with contexts gave the new tendency to rise. That was a statement that art can go way beyond the material objects and their logical meanings.

Stepping off the planet into space brought new visions in art and it all became a source of inspiration. It was also the first time that manmade object crossed the earthly gravitation, but meantime despite all tremendous efforts, plenty of them lost their practical function and became free motioned “cosmic waste” and exactly that dramatic moment inspired me to create my sculpture.

C.K. : There is also another sculptural piece, figure of a boy, whose mirror like head or helmet reflects all the space around him. The viewer may perceive this work in various perspectives; reflections of a childish consciousness on environment and also for instance as a symbol of all mankind in general, cognizing the universe.

M.O. : In this case that sculpture stands more for free interpretation and in this given moment it appears in specific context representing human consciousness as a micro model of universe with its reflection. But also that context can change depending on surrounding. Beside the interpretations you mentioned above, it has an interactive meaning as well – it reflects all the viewers around, by seeing their own reflections on, becoming parts of the sculpture. This underlines relativity of a perception center and the absence of an objective center of universe.

Untitled 2013 Plaster, Stainless steel Lifesize

Instalation n.1 2013 Stainless Steel

ROCKO IREMASHVILI ekaterine kurtaniZe : Sens mier Seqmnili astronavtebis portretebi ori xasiaTis matarebelia, erTi mxriv axalgazrda da bednieri da meore mxriv ukve xanSi Sesuli da SeiZleba iTqvas tragikuli. garda miznisTvis Tavdadebuli pirovnebis mimarT damokidebulebisa, ra gaxda SenTvis mamoZravebeli, gamogesaxa isini am formiT? roko iremaSvili : swored Sens mier naxsenebi miznisken swrafva iyo pirveladi Cemi survilis mizezi, damexata maTi portretebi, magram Cemda gasakvirad yoveli maTi foto internet sivrceSi ganTavsebuli iyo, „holivudis RimiliT“ „damSvenebuli“ da absoluturad ugulvebelyofili iyo maTi pirovnuli, Tu fiziologiuri simtkice. maTi warmodgena mxolod fasaduri iyo da farTo publikisTvis Jurnalis ydebidan zedapiruli saxiT xdeboda. amis erTgvari gaSarJebis mcdelobasTan erTad cxovrebis bolo etapze maT daRlil personebs xelSi davaWerine sakuTari im periodis saxe, romlisTvisac manamde mTeli cxovreba emzadebodnen da romelmac maTi Semdgomi cxovreba ganapiroba da romelic maTi cxovrebis albaT yvelaze mniSvnelovani momenti unda yofiliyo. e.k. : ra iyo inspiraciis ZiriTadi gamomwvevi emocia Seni namuSevrebis Sesaqmnelad? r.i. : sityvebi azrs kargaven, icvlian, an iZenen garemosa da sivrcis cvlilebis Sedegad. sityva „sicariele“ atmosferos SigniT absolutur ararss ar niSnavs, aramed savsea azotiT, JangbadiT, naxSirbadiT, wylis orTqliTa da aseve uamravi mikroorganizmiT, rogor naxatze arsebuli sicariele (risi identuricaa aRmosavluri damokidebuleba - rodesac isini amboben rom es sivrce aris ara carieli, aramed savse haeriT). sul sxvaa am sityvis funqcia, Tu mniSvneloba atmosferos datovebis SemTxvevaSi, sadac is sakuTar TavSi absolutur sicarieles-ararss moiazrebs. aq A da B wertilebs Soris aris ara sivrce savse atomebiT, aramed mxolod manZili, rac amavdroulad konkretuli sxeulebis Tavisufali gadaadgilebis arealia - sruli ararsi (romelsac sxvadasxva daumtkicebeli TeoriiT antimaterias, an muq materias uwodeben). aq mTavrdeba CvenTvis Tvisobrivad nacnobi kanonebi gravitaciasa da winaRobis Sesaxeb da masSi moxvedril pirovnebas misgan mxolod skafandri aSorebs. mTavari ki aris is, rom es ukanaskneli verasodes gaxdeba am ararsis nawili - amis martivi mizezi sakuTari arsebobaa. adamianis atmosferos gareT gasvla mainc iwvevs SekiTxvebs, romlebic SeiZleba garda mecnieruli midgomisa, artistisTvis inspiraciis wyaro gaxdes. kerZod eWvqveS ayenebs fsevdo dioniso areopagelis mier naTqvam martiv WeSmaritebas „arsi ars, xolo ararsi ara ars“. rodesac adamiani xvdeba am „ararsSi“, romelic ganyenebuli subieqtis arsebobis uaryofaa, misi arsobrioba igive A da B wertils Soris manZili, romelic sinaTlis weliwadebiT izomeba ukve acxadebs pretenzias sakuTar arsebobaze, Tundac rogorc A da B wertils Soris distancia, Tavisufali areali. badebs aseve inspiracias da ver wvdeba goneba am sivrcisa Tu manZilis sazRvris anu dasalieris arsebobis Teoriis utopiuriobas, aseve misi, rogorc materialuri samyaros usasrulobis albaTobas. mikro da makro sistemebis identuroba da sakuTari Tavis rogorc erT-erTi atomis birTvis irgvliv mbrunav eleqtrodze mcxovreb, umcires nawilakad aRqma mainc aris am kosmiuri usasrulobis Semadgeneli mikrokosmosi.

Catherine Kurtanidze : In the portraits of the Apollo 12 astronauts you’ve painted, it is possible to distinguish two main features of character: there are young and happy faces and old and almost tragic expressions. In spite of your motivation expressing persons with great purposes, what inspired you to portray them in this way?

Rocko Iremashvili : To portray them in this way was my original intention but each photograph by astronauts were “embellished” by “Hollywood Smile” personal and physical features were neglected. They were presented superficially and were famous from various magazines only. And this was the main source of inspiration to portray them in their old ages and let them hold their smiley faces which describes how they prepared for the most important achievement for all mankind and probably these events changed their lives totally after the mission as well as this was significant moment for everyone.

C.K. : What were the defiant emotional reasons that led you to paint this triptych?

R.I. : Words lose their meanings, either change or acquire considering permanent alternation of environment or space. A “Void” in atmosphere doesn’t mean an absolute inessentiality; it contains nitrogen, oxygen, carbon, steam of water and different micro – organisms as emptiness inside the painting (related to Oriental consciousness – they say that space is never empty, but full of air).

By leaving the atmosphere, meaning of that word is changing, obtaining the absolute emptiness – inessentiality. From point A to point B the space isn’t full of atoms anymore but a distance, which is the area of moving real things fluently (unconfirmed theories like “Antimatter” or “Dark matter” could be applied). Our understanding is limited. Our knowledge about scientific laws of gravity and Newton’s law of resistance and the person in there is disconnected by a spacesuit. And the main point is, that man will never be a part of the inessentiality – which is determined by his essence.

If leaving the atmosphere is the subject of hard research for scientists, it is a source of inspiration for artists. This idea queries “Essence is essential and inessentiality is inessential” by Pseudo-Dionysius the Areopagite. And when man reaches to inessentiality, which is at the same time rejection of abstract subject, is the free distance from point A to point B, which claims also to be essential. Human being is not capable to perceive the borders of the distance and space and Utopian theory of an essence of the world.

Identities of Micro and Macro systems apprehend, that you live on the atom’s moving electrode, like a tiny particle is still a part of micro system of cosmic infinity.

Moonlight Smile 2013 (Tryptich) Oil on Linen 240 X 140 cm each

Charles “Pete“ Conrad

Alan Bean

Richard Gordon

Installation view

On Kawara

“I Am Still Alive” 1988 Western Union Telegram

Richard Serra

Untitled 1981 Pencil on Postcard

Born in 1977 Konstantin Mindadze – multidisciplinary visual artist, founder of ‘CAI’, member of renowned Dutch art society “Arti et Amicitiae” in Amsterdam is one of the most significant figures of Georgian contemporary art scene. Associated with Minimalism and Conceptual Art. Mindadze’s works are widely held on numerous group shows worldwide and he is author of multiple exhibitions and projects mostly in Georgia and Europe. Mindadze has been a subject of many written articles in various magazines and a topic in broadcasting media. Last year’s He is best known for its controversial multimedia large scale environmental installations which contain and combine elements of painting, drawing, sculpture, objects, photography, video and sounds. Synthetic structure of the world, mental and biological reactions, lifecycle and death, existence and transience, love and loss, globalization and technologies, fears and religions, consumerism and commercialism, historical facts and processes of decay are key themes in Mindadze’s Work. Recent solo exhibitions include shows at Alexander Chavchavadze Museum, Simon Janashia Museum of Georgia and National Museum of Art. Lives and works in Amsterdam, The Netherlands and Tbilisi, Georgia Born in 1974 Manuchar Okrostsvaridze Since the end of 1990 he has emerged in the art scene as an interesting figure. Spheres of his activities include: graphical drawing, painting, installation, objects and design. Since 1994 he has been taking an active role in the international as well as in the local group projects. During the recent years the main direction of his art has been a minimal drawing together with an object, where he expresses «short visual messages» or «Esthetical Ideographs». From 2008 till 2009 he was a founder of (critical) art magazine «Impression». His recent and notable projects are: exhibition of conceptual drawings «macula» in 2011 and solo project «EXISTERE» in 2012. These projects were inspired by current social themes related to one of the most significant questions of existentialism: self-identification; as well as by social status, condition of unstable abilities, inner and apparent conflicts and time. The artist lives and works in Tbilisi, Georgia.

Born in 1979 Rocko Iremashvili, after receiving BA in art he has continued studying in Stuttgart. From 2008 he has actively emerged in art space. He has been involved in different personal and group exhibitions in Germany as well as in Georgia. Since that period he has organized thirteen personal project – exhibitions. Usually his solo projects wear the same individual features. His thematic content is related to local as well as global social problems, political criticism and protest. The main direction is painting, but during recent years he’s been actively working in different medias: sculpture, video and object. Lives and works in Tbilisi, Georgia.

Born in 1933 On Kawara, Japanese conceptual artist, active in the USA. After graduating from Kariya High School in 1951, he moved to Tokyo, exhibiting at the Yomiuri Independent Exhibitions. He settled in New York in 1965. His renowned series of Date Paintings (from 1965), made in various cities on his travels, juxtapose a detail from a local newspaper with a simple record of the date in typographical letters and numbers on monochrome canvases using acrylic. The paintings’ principal meaning was that the artist and viewer shared the numbers that signified a date they both had lived. In the series of telegrams in the 1970s, which sent the message ‘I am still alive’ to his friends, he used the verification of his own existence as a statement in a medium whose abstraction, regardless of the artist’s hand, paradoxically gave his work a tense reality. His other work in book form, One Million Years consists of one million years typewritten year by year. Such works exploring concepts of time and space led Kawara to be regarded as a leading conceptual artist. He never appears in public nether gives an interview. On Kawara is represented by David Zwirner Gallery. Lives and works in New York.

Born in San Francisco in 1938, Richard Serra is one of the most celebrated artists of his generation. an American minimalist sculptor and also a video artist known for working with large-scale assemblies of carbon steel. “Man of Steel”, a creator of enormous, immediately identifiable steel sculptures that both terrify and mesmerise. Serra sculptures oxidize in period of one decade and finally get their rusty brown tint. His work in sculpture and drawing has been celebrated with two retrospectives at the Museum of Modern Art twenty years apart: “Richard Serra/Sculpture” (1986) and “Richard Serra Sculpture: Forty Years” (2007). Major recent exhibitions include “Richard Serra: The Matter of Time,” Guggenheim Museum Bilbao (permanent exhibition, opened 2005); “Richard Serra: Promenade,” Monumenta, Grand Palais, Paris (2008); “Richard Serra Drawings: Work Comes Out of Work,” Kunsthaus Bregenz (2008); “Richard Serra Drawing: A Retrospective,” Metropolitan Museum of Art, New York (2011, traveled to San Francisco Museum of Modern Art and Menil Collection, Houston, through 2012); “Brancusi-Serra,” Fondation Beyeler, Riehen/Basel, Switzerland (2011, traveled to Guggenheim Museum Bilbao, through 2012); and “Richard Serra: Drawings for the Courtauld,” Courtauld Gallery, London (through January 12, 2014). Richard Serra is represented by Larry Gagosian Gallery. He lives and works in Tribeca, New York, and on Cape Breton Island in Nova Scotia.

konstantine mindaZe - multidisci plinaluri artisti, daibada 1977 wels. swavlobda gerit riTfeldis akademiasa da amsterdamis grafikul liceumSi, niderlandebSi. aris ‘CAI’-s damfuZnebeli da cnobili holandiuri art sazogadoebis „arti et amiCitaes“ warmomadgeneli wevri da erTerTi mniSvnelovani figura saqarTvelos Tanamedrove art scenaze. asocirdeba: minimalizmTan da konceptualur artTan. sferoebi moicaven: aqtiur-sivrcul da xmovan instalaciebs, skulpturas, ferweras, grafikas, fotografias, audio da video arts. monawileoba aqvs miRebuli mraval internacionalur jgufur gamofenebSi da avtoria mravali personaluri proeqtebis - saqarTveloSi, evropasa da aSS-Si. misi namuSevrebi Setanilia mraval internacionalur art-katalogebSi da dawerilia mravali statia, agreTve daculia sxvadasxva korporatiul da kerZo koleqciebSi. bolo wlebSi mas metad icnoben sxvadasxva mediumebSi Sesrulebuli masStaburi instalaciebiT. sinTeturi samyaros struqtura, mentaluri da biologiuri reaqciebi, cxovrebis cikli da warmavloba, egzistencia da droebiToba, siyvaruli da danakargebi, globalizacia da teqnologiebi, SiSi da religiebi, konsumerizmi da komercia, istoriuli faqtebi da xrwnis procesi, – is ZiriTadi Temebia, romelTa kvlevac misi proeqtebis ganmsazRvrelia. am proeqtebis umetesoba damTvalierebelTan xangZliv komunikacias gulisxmobs, isini droSic viTardebian, zogjer organuli masalebisa Tu qimiuri naerTebis transformacias aCveneben. uaxlesi ganxorcielebuli solo proeqtebi warmodgenili iyo aleqsandre WavWavaZis muzeumSi, s. janaSias saxelobis erovnul muzeumSi da S. amiranaSvilis saxelobis xelovnebis muzeumSi. cxovrobs da muSaobs amsterdamsa da TbilisSi. manuCar oqroscvariZe daibada 1974 wels. 90-iani wlebis bolos, art scenaze gamosul mxatvarTa Soris erTerTi saintereso warmomadgenelia. igi aqtiurad muSaobs Semdeg disci plinebSi: ferwera, grafika, skulptura, gamoyenebiTi xelovneba da dizaini.

1994 wlidan monawileobs rogorc saerTaSoriso ise lokalur jgufur da solo proeqtebSi. uxloes wlebSi misi Semoqmedebis ZiriTadi mimarTulebaa minimalisturi naxati da obieqti, romelsac Tavad “mokle vizualur gzavnilebad” da “esTetikur ideografiebad” afasebs. 2008 – 2009 wlebSi arsebuli kritikuli art Jurnalis - “STabeWdileba”, koncefciis avtori da TanadamfuZnebeli gaxldaT. bolodroindeli proeqtebidan aRsaniSnavia konceptualuri grafikis gamofena “makulatura” (2011) romelSic monawileobda rogorc kuratori da artisti da 2012 wlis solo proeqti “EXISTERE”. es proeqtebi inspirirebuli iyo egzistencialuri da socialuri TematikiT romelic exeboda iseT sakiTxebs, rogoricaa individis TviTidentifikacia, damokidebuleba socialur statusTan, drosTan, stabilurobis SeuZleblobis faqtTan, Sinagan da garegan konfliqtebTan... cxovrobs da muSaobs TbilisSi. roko iremaSili daibada 1979 wels. Tbilisis sabakalavro ganaTlebis mere swavleba qalaq StutgartSi gaagrZela da amis paralelurad aqtiurad ifineboda saqarTvelosa da germaniaSi. aqtiur saxelovnebo sivrceSi 2008 wlidan gamoCnda. am perodidan mas Seqmnili aqvs cameti personaluri gamofena (proeqti). rogorc wesi muSaobs seriulad da TiToeul solo proeqts gasdevs erTi xazi. Tematurad exeba rogorc lokalur, aseve globalur socialur problematikas da politikur kritikas, Tu protests .

ZiriTadi mimarTuleba aris ferwera, Tumca bolo periodSi xSirad gvxvdeba mis mier Sesrulebuli skulpturuli,Tu video namuSevrebi. cxovrobs da muSaobs TbilisSi. on kavara - iaponeli konceptualisti mxatvari, daibada 1933 wels qalaq kariaSi (iaponia). skolis damTavrebis Semdeg, 1951 wlidan cxovrobda tokioSi, sadac aqtiurad iRebda monawileobas „iomuris damoukidebeli gamofenebi“-s proeqtebSi. 1965 wlidan mogzaurobs evropis da amerikis qveynebSi da sacxovreblad gadadis niu iorkSi. (on kavara moixseneba rogorc amerikeli mxatvari). swored am periodSi qmnis cnobili namuSevrebis serias „TariRebi“, es aris monoqromul tiloze akriliT Sesrulebuli ti pografiuli ricxvebi. TiToeul namuSevars Tan axlavs imave dRis adgilobrivi gazeTi, qalaqidan sadac avtori im momentSi imyofeba. namuSevris ZiriTadi azri mdgomareobs Semqmnelisa da damTvaliereblis igive periodis gaziarebaSi, romelSic orive cxovrobs an cxovrobda. 1970-ian wlebSi on kavara megobrebs ugzavnis telegramas teqstiT „me isev cocxali var“, am gziT gamoxata man Tavisi arseboba da abstraqtulobis miuxedavad misma qmedebam paradoqsulad realisturi forma miiRo. aseve mniSvnelovani namuSevaria wignis saxiT dabeWdili erTi milioni wlis TariRebi, saxelwodebiT „milioni weli“. swored am proeqtebma, romelic gvamogzaurebs drosa da sivrceSi, daumkvidra on kavaras erTerTi wamyvani konceptualisti artistis saxeli. mxatvari arasodes Cndeba xalxmraval RonisZiebebze, mas verasodes CamoarTmevT intervius. on kavaras namuSevrebs warmoadgens „devid zvirner“-is galerea. cxovrobs da muSaobs niu iorkSi. daibada san franciskoSi - 1938 wels. riCard sera misi Taobis erT-erTi gamorCeuli da warmatebuli amerikeli xelovania. minimalisti skulptori da video artisti. misi foladis firfitebisgan Semdgari uzarmazari skulpturebi, romlebic maSinve migaxvedrebT avtoris vinaobas, erTdroulad SemaZrwunebeli da gamaognebelia. seras karbonizirebuli foladis skulpturebi ganicdian oqsidacias aTi wlis ganmavlobaSi da sabolood isini damaxasiaTebel yavisfer tonalobas iZenen. niu iorkis „Tanamedrove xelovnebis muzeumSi“ moewyo riCard seras retrospeqtiuli ori gamofena ocwliani intervaliT: „riCard sera/skulptura“ (1986w.) da „riCard sera/skulptura: ormoci weli“ (2007w.), aseve mniSvnelovania bolo wlebis gamofenebi: „riCard sera: drois sakiTxi“ gugenheimis muzeumi - bilbao (2005w.- mudmivi gamofena), „promenada“ - monumenta, grand palasi, parizi (2008w.), „riCard sera/ grafika“ – „kunsthaus bregensi“, avstria (2008w.), „riCard sera/grafika: retrospeqtiva“ - metropoliten muzeumi, niu iorki (2011w. metropoliten muzeumis Semdeg gamoifina san franciskoSi „Tanamedrove xelovnebis muzeumSi“ da hiustonSi „menilis koleqciaSi“ 2012 w.), „brankusi/sera“ - beileris fondi, reini/bazeli, Sveicaria(2011w. Semdgom gamoifina bilbaos gugenheimis muzeumSi 2012w.), galerea „kourto“-Si (londoni) mimdinareobs gamofena „ riCard sera: grafika kourtosTvis“ – (2014 wlis 12 ianvramde), aseve mis namuSevrebs warmoadgens „leri gagosianis galerea“. riCard sera cxovrobs da muSaobs niu iorkSi da qei p bretonis kunZulze nova skotiaSi.

jeid delingeri aris floridis, edisonis saxelmwifo kolejTan arsebuli bob rauSenbergis galereis direqtori. gasuli 20 weli tampas xelovnebis muzeumTan da samxreT floridis universitetis Tanamedrove xelovnebis muzeumTan aqtiurad TanamSromlobs rogorc damoukidebeli kuratori. 1997 wlidan, universitetis warmatebiT damTvarebis Semdeg, delingeris kuratoruli saqmianoba daiwyo. man floridaSi, paskos xelovnebis centrSi, dag aitkenis pirveli sait spesifik (anu specifikuri adgilis ) video - instalacia „me SenTvis movkvdebi“ (1994) warmoadgina. erTi wlis Semdeg delingeris kuratorobiT mauricio katelanis amerikuli samuzeumo debiuti „Choose Your Destination: How To Get Museum – Paid Vacation„ Sedga, xolo 1997 wels, samxreT floridis Tanamedrove xelovnebis muzeumSi skulptor kit edmaieris proeqti „EK/KE” ganaxorciela (kolaboraciuli gamofena legendarul motociklist ivel knivelTan erTad). rogorc juli silvesteris erT - erTi gamocemis yofili direqtori, delingeri aqtiurad muSaobda sxvadasxva artistebTan: feliqs gonsales - toresTan, franc vestTan, martin ki penbergerTan, riCard prinsTan da ed ruSasTan; 1990 - ian wlebSi henk hainTan erTad imuSava ramdenime proeqtze. saxelovnebo gamocemebis mimarT gaZlierebuli interesidan gamomdinare margaret milerTan erTad, Tanakuratori iyo proeqtisa „[re]mediation: The Digital Contemporary American Printmaking”, romelic grafikuli xelovnebis 22 - e saerTaSoriso bienaleze iyo warmodgenili lublianaSi, sadac amave gamofenis monawilem, devid hoqnim prestiJuli jildo, gran pri daimsaxura (oqros medali nominaciaSi „saukeTeso artisti“). delingers mniSnvelovani samuzeumo gamofenebi aqvs gakeTebuli aseve cnobil artistebTan, iseTebTan rogorebic arian: alen makolumi, en hamiltoni da endriu doiCi, kompania „Atelier van Liesout”, karlos amoralesi, janaina tSape, kiT hearingi, „Art guys” da sxvebi. jeid delingerma 2012 wels, tampas xelovnebis muzeumSi, tampas Tanamedrove xelovnebis sivrcesa (Tempus Projects) da bob rauSenbergis saxelobis galereaSi, amerikeli kompozitorisa da xelovanis jon keijis dabadebidan 100 wlisTavisadmi miZRvnili proeqti „Things Not Seen Before: A Tribute to John Cage” da „John Cage’s 33-1/3 – Performed by Audience” ganaxorciela. Semdeg ki es gamofena d.SevardnaZis saxelobis saqarTvelos erovnul galereaSi gaimarTa, „For John Cage At 100: Cagean Experiments in Georgia” proeqtis farglebSi. delingers didi wvlili miuZRvis araerTi sagamofeno katalogis gamocemaSi (maT Sorisaa interviuebi samxreT floridis universitetis grafikuli studiisaTvis da gamocema “Ink, Paper, Metal, Wood: Painters and Sculptors at Crown Point Press”keTan braunTan erTad). igi mauricio katelanis Jurnal „Permanent Food” - Si mowveul redaqtorad muSaobda; dawerili aqvs publikaciebi gamocemebisaTvis „Sculpture”, “Flesh Art”, “Art Papers”, “Printmaking Today”, Guitar Aficionado” da aseve Tanaavtoria wignisa „Are we not men? We are DEVO! (SAF gamomcemloba, didi britaneTi, 2003 / 2008), sadac 1980 iani wlebis „axali talRis“ musikosebis istoriaa aRwerili.

Jade Dellinger is the Director of the Bob Rauschenberg Gallery at Edison State College in Ft. Myers, Florida. For the last twenty years, he has served as an Independent Curator collaborating regularly with the Tampa Museum of Art and the Contemporary Art Museum at the University of South Florida. Honored as a Distinguished Alumnus for “Outstanding Achievement in the Arts” in 1997, Dellinger began his curatorial career by inviting artist Doug Aitken to present his first site-specific video installation “I’d Die for You” (1994) at the Pasco Art Center in Holiday, Florida. He curated Maurizio Cattelan’s U.S. museum debut “Choose Your Destination: How to Get a MuseumPaid Vacation” a year later, and organized sculptor Keith Edmier’s “EK/KE” project (a collaborative exhibition with legendary motorcycle daredevil Evel Knievel) at the USF CAM in 1997.

As former Director of Edition Julie Sylvester in NYC, Dellinger collaborated on prints and multiples with artists including Felix GonzalezTorres, Franz West, Martin Kippenberger, Richard Prince and Ed Ruscha, and co-published projects with Hank Hine Editions/Limestone Press in the early 1990’s. His continued interest in art editions led him to co-curate (with Margaret Miller) “[re]mediation: The Digital in Contemporary American Printmaking”, the official U.S. participation in the 22nd International Biennal of Graphic Art in Ljubljana, Slovenia which resulted in the prestigious Grand Prix of Honor (Gold Medal for “Best Artist”) being awarded to David Hockney for his participation in their exhibition. In the interim, Dellinger has organized major solo museum shows for Allan McCollum, Ann Hamilton & Andrew Deutsch, Atelier Van Lieshout, Carlos Amorales, Janaina Tschäpe, Keith Haring, The Art Guys and others.

In celebration of the 2012 birth centenary of the influential composer and visual artist, Dellinger’s most recent curatorial projects “Things Not Seen Before: A Tribute to John Cage” and “John Cage’s 33-1/3 – Performed by Audience” were presented at the Tampa Museum of Art, Tempus Projects and at the Bob Rauschenberg Gallery at Edison State College in Ft. Myers, Florida before traveling in expanded form as “For John Cage at 100: Cagean Experiments in Georgia” to the National Gallery of Art-Tbilisi, Georgia. He has contributed to numerous exhibition catalogues (including providing interviews for the National Gallery of Art’s GRAPHICSTUDIO: Contemporary Art from the Collaborative Workshop at the University of South Florida and ink, paper, metal, wood: Painters and Sculptors at Crown Point Press by Kathan Brown). Additionally, Dellinger has guest edited Maurizio Cattelan’s Permanent Food; written for publications including Sculpture, Flash Art, Art Papers, Printmaking Today, Guitar Aficionado; and co-authored the book, Are We Not Men? We Are DEVO! (SAF Publishing Ltd./UK, 2003/2008), which traces the history of the seminal 1980’s New Wave band.