Konstantin Mindadze / ...and it all fades... by Konstantin Mindadze

KONSTANTIN MINDADZE ... AND IT ALL FADES...

Content :

Introduction 5 Dialogue 8 Fragmentations 10 Early Works 43 Creations and Creative Destructions ( Trilogy in Progress) 51 Various Encounters 61 Marcel Proust Questionary 70 Excerpt from Dialogue with Khatuna Khabuliani 79 From "Collected And Assembled By Times, Void, Chaos And Order" 90 Installations And Active Environments 111 Eat Yor Future 116 Excavation of Extinct Secret Artifacts 120 Sun Eclipses, Neon Works 126 Beauty Under Attack 136 Verb Session 154 Intoxication And Inspirational Errors Volume 1 - Black Hole Of Inspiration 160 Intoxication And Inspirational Errors Volume 2 - Eden Lost 186 Neon Sculpture 224 Incunabula 226 Credits & Studio Images 228 Epilogue 233 Short Bio and Representation List 236

Text : Konstantin Mindadze, Davit Andriadze, Khatuna Khabuliani Editor : Book Design : Konstantin Mindadze, Teona Tsintsadze Photo Credits : Guram Tsibakhashvili, Konstantin Mindadze, Zinka Barnovi, Catherine Kurtanidze, Artists Archive & National Museum Of Georgia Published By : ???? Copyright © 2012 Konstantin Mindadze - All Text & Images Of Works Of Art Copyright © 2012 Davit Andriadze Introductory Text Copyright © 2012 Ministry Of Culture Editions. All Rights Reserved 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 The Ministry Of Culture And The Copyright Owner This Project Is Sponsored By Ministry Of Culture And Monument Protection Of Georgia

INTRODUCTION (temporary fake text)

Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet,

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me

lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare

accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse

DIALOGUE (temporary fake text)

quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores legere me lius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consuetudium lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum formas humanitatis per seacula quarta decima et quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant sollemnes in futurum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

FRAGMENTATIONS Infinite process of separation and re-union which is metaphorically associated with lifecycle itself is represented in this endless series in form of fragmentations. Compositions which in my mind stand closer to the minimal architecture , are also the expressions how I imagine my perfect surrounding environments. Here I’m inspired by taking philosophical ideas and give them (geometrical) abstract visual meaning, by bringing the pieces in unity without altering the balance even in the asymmetrical forms. I’m also trying to find the perfect separations with existing geometrical shapes to create new forms as a background and then spread another geometrical form on all sides of the units. Even so here I’m more engaged with painting processes, in result I call them ‘wall sculptures’ which are fractional, form - preserved. The piece comprising of separate elements forms a macro composition and is conceived as one of integral painting. The void between the elements is observed with geometrical accuracy. More precisely, it enables us to think and see the composition together and separately and imagine the world and universe in micro and macro conception. Each component bears deep loading and incites emotional feelings. In fact these are codes, deciphering of which leads us to infinity. Irrespective of the fact that composition is very concrete, it bears a diverse charge. It is like a cosmos, where everything is dissociated into molecules and is united with absolute precision. It mainly expresses the space, emptiness in it, and its might.

“Green Outline” – 2001 Oil on nine canvases / 18x13x3 cm each Total size: 66x51x3 cm 11

“Ellipse on Violet Surface” / 2001 Pigment, Fluorescent Acrylic, ground Relief on five canvases / 50x20x3 cm each Allover: 124x50x3 cm

“Orange Triangle” / 2001 Oil on nine canvases / 20x20x3 cm each Allover: 72x72x3 cm

“Hermetical Hyperbole” (darkness, lightness, redness) / 2002 Dry pigment and acrylic on three canvases / 30x30x3 cm each Total size: 100x30x3 cm

“Violet, Red, Green, and Blue Spheres” / 2002 Dry pigment in layers on tempera on thirty six handmade papers/ 30x30 cm each (framed per nine – 90x90cm) Allover: 200x200cm

Next Page: “Yellow and red-Gray Rhomb with Green Lines” / 2002 Pigment, Fluorescent Acrylic, ground relief on six shaped canvases Allover size: 180x100x3 cm (each) 14

? 00 /2 ) b hom R n I s” ( e r he - Sp V “

On Oil

Six Shaped Can vas es Allo ver size : 18 0x1 00x 5 cm

“V-triangles in perspective positions” (as rhomb) / 2003 Oil on eight shaped canvases / 30x30x5 cm each Allover size: 120x70x5 cm

can

Diameter: 90x5 cm

tio

“Downw

/2 003 Oil on two shap ed ca x5 cm nvases O verall Diameter: 150

ard s pira l” / 200 3O il

fou

ed hap

all s Over e s a v

ion “Hyper posit

” (cir

tio cula

n, r

rs eve

ion

le ,e

“Monologue” / 2006 Pigmented Acrylic impasto on three circular shaped linen

(Diameter of each: 33x6 cm) Allover size: 119x33x6 cm

” 2 0

s 0

o 3

r O

C i

V l o

“ n

“Infinity” / 2003 Oil on acrylic on thirty-three canvases / 150x15x5 cm each Allover size: 750x150x5 cm

“Intersection (spherical tessellation)” / 2005 Oil on two shaped canvases Overall diameter: 130 X 5 cm

“Lotus” / 2006 Pigment, acrylic relief and lacquer on twenty four 12x12x2 inch / 30x30x5 cm linen (each unit) Allover size: 82.7x82.7x2 inch / 210x210x5cm

m e n s i o n :

s h a p e d

( n i

m u m u l a

i r t h

t p

6 5 x 6 5 x 5 c m

(also

variable)

o n

s ”

mounted

y s

82x60x1cm

t h r e e

dimension:

o n

) h

e a

2 0

paper pieces

i D

on cardboard

“ R h x

s p e r e n

i e

Oil

2005

“Red puzzle window”

/ 5 l

Perfect on wall

“Beauty and the Beast” (natural and bloody) / 2005 Mink skin on two canvases and nitro paint on bloody one Size of (Natural): 60x50x7cm Size of (Bloody): 30x30x7cm

“Carmine Zigzag (Raw Spectral Separation)” / 2005 Acrylic on five cardboard paper pieces Total size: 53x33x1cm 30

“Space cakes” / 2007 Dry pigments, synthetic resin on acrylic relief on ten wood boxes Size of each: 3.6x3.6x4.4 inch / 9x9x11 cm Allover size: variable

“Orpiment on g w rey t ist” / 20 07-0 8

trape

Oil on pigmented gesso on pigmented acrylic relief on five

zium shap ed li nen

Allover size: 138x77x7 cm

â&#x20AC;&#x153;Cubicles (black and red)â&#x20AC;? / 2008 Pigment with acrylic relief on five linen units One square: 60x60x5 Four rectangles: 13x80x5cm (each) Overall: 100x100x5cm (each composition)

"the more hopeless the disease, the more splendid is the devotion and unselfish the charity of those who strive to alleviate it." S t B o n a v e n t u re ( 1 2 2 1 - 7 4 )

“Jazz” (Homage to Michel Petrucciani) / 2007-08 Oil on sixteen linen / 33x33x5 cm (each) Allover size: 153x153x5 cm

â&#x20AC;&#x153;Where the Rainbow Endsâ&#x20AC;? - 2009 Oil and Household satin paint on nine Oak wood pieces - 16x16x8 cm (each unit) Allover size : 108x108x8 cm and variable

EARLY WORKS

I always liked to manipulate with the empty spaces or at least represent it that way no matter if they contained bitter conceptual content or not. Sometimes I encrypted them in associative forms and textures with various techniques that I had used. Working mostly in hundreds of studies and sketches and seldom directly to a canvas. This various encounters and early pieces can be premeditated as well expressive and vice versa. It could depend on many things I had involved for the making composition to painting like for example; theme of the particular series, story of stand-alone piece - texture and its hues - type of medium that I have chosen for, visual interpretations of a detail from a book I have read - to music I listened, geographical locations could pretty much reflected on pieces, I traveled for years - its nature and circumstances, very seldom locality - people or societies known to me, which have deserved my interest or on the contrary the protest and so on… subjects were always endless …real or imaginary – they were infinite. These selected compositions are enhanced with very well studied color combinations and their thick layers of structures as the rest of the various media that is attributed immense significance, by the use of which character portraits and landscapes of associative origin are formed. During the process of creation I was dealing mostly with aspects and criteria’s such as: maximum purity, fineness and plainness, reached color, relief, exact shapes and form. If it came to layering dry pigments - then with safety masks and gloves in isolated space where I had manipulated with: various chemical mixtures for countless rare mineral, synthetic or organic pigments, their dosage and timings. I used to love working with dry pigments. They are such a huge containers of visual vibrant color energy. Especially challenging when I used them as top layers on oil or acrylic surfaces – that is what made some paintings alive, moving or spinning.

“Spiders #33 & #34” / 2000 Oil on two canvas / 70x60x4 cm each Total Size: 125x70x3 cm

“Recycled Polystyrene, Sun Eclipse triptych and Pilgrimage” (Part of “INTERPOSITIONS” exhibition) / 1999 -2000 Oil and neon on eight canvases / 60x50x4 cm each Total Size: 224x128x3 cm

“If broken & the box” / 2000 Oil on two canvases / 70x60x4 cm each

“Violet and Gold” / 2002 Dry pigment on linen Size: 88x88x5 cm

“V-curve” / 2003 Oil on linen Size: 95x70x8 cm

llow

d Ye

t an

iole

“Ul trav

”/

aos

n Ch

olde

in G

nt &

2D ry p igm e

200 24 c n li nen

er o

owd

t go ld p

ara

x10

x45

: 45

Size cm

“Ghost” / 2002 Dry Pigment in layers with resin mounted on hardwood Size: 103x49cm

CREATIONS AND CREATIVE DESTRUCTIONS (TRILOGY IN PROGRESS)

Project “Bloody White” is the first part from the series of projects in progress “Creations and Creative Destructions”. It includes painted wooden object and single channel video installation. Trough this composition I give a metaphor of creation and it’s processed destruction, which I link with an idea of what mankind in general does in their lifecycle. Human nature is pretty much self destructive. We actually destroy each other’s and our own creations. There were always horrors going on our planet; like wars, violence’s, interruptions etc… and still are actually – still more and more. Those issues off coarse reflect on contemporary art, especially for me it became another subject matter. I question myself; “- Is there a time to paint beautiful flowers?” I guess not for me. Maybe because we all have experienced some of those tense conditions many times. So this piece can be reviewed as art awareness with main message that people should take care of each other’s existence and their creations, because it’s fragile like any masterpiece created by human hands. So there is how I’ve expressed it: I’ve painted on wooden piece in many layers; with acrylic, then with pigments and with three extra layers of household industrial gloss paint, finally varnishing it with lacquer. One side white and the other side vivid red. When I’ve finished the monochrome object , I’ve managed to arrange a special appointment at the shooting club in Langedijk the Netherlands to film it’s controlled destruction using several different weapons. The bullet holes actually made the depth of several layers visible. The four minute video shows us the process itself – the transformation from one solid work to another. The final result object with bullets spread around stands for idea of – “what would you get when you altering attacking the purity” or in another words “after effects of violence”. This piece is project in progress.

“Bloody White” (Object + Single Channel Video Projection) - 2008 & in progress Acrylic, Pigment, Houshold gloss, Bullets; 20mm Shotgun, 357 magnum on plywood Dimension of Object: 90x40x7cm / Duration of Video: 3min 16sec 52

Project “Fragile” is the second part from the series of projects in progress “Creations and Creative Destructions”. It includes a large scale painted aluminum sheet as a sculpture and single channel video installation. In “Fragile” the subject matter is exactly the same as in “Bloody White”, only here technique of execution lays in another mediums. Here instead of bullets I’m using an actual war machine – a Tank in context as a brush, to imprint the traces on (layered painted with nitro enamels) red monochrome alluminum sheet. In another word; ‘to leave the traces of fragile exactness’ on the object as a sculpture. The video shows us the process of that particular transformation and is filmed at small military base of village Ujarma district near Tbilisi, Georgia. This second piece is as well a project in progress.

“Fragile ” (Sculpture + Single channel Video Projection) – 2009/ 2010 & in progress Enamel paint and tank tracess on alluminum Dimension of sculpture: 220x150x0,5cm / Duration of video: 13min 33 sec

Day One (Preparation)

Day Two & Three (Creation)

Day Four (Destruction/ Transformation)

Project “Explosive Studies” is the third part from the series of projects in progress “Creations and Creative Destructions”. It includes the sub-series of works on cellulose paper (which I see as studies) and a single channel video installation. Also here the idea and subject matter stays exactly the same like on it’s predecessors “Bloody White” and “Fragile” – only here again I’ve changed the materials and technique of execution. This time I’m painting with range of enamel paints, old Dutch bister, adding some fool’s gold particles, viridis nitentis liquid substance and 10% iodine solution – as a metaphor of healing the wounds – on the cellulose cardboard paper pieces. And right after finishing the work I place and explode one or two different firecracker explosives on each unit. The video shows us again the process of creation and its splashy small explosive transformation. This is an indoor project and is filmed at my studio in Tbilisi, Georgia. I called this sixteen piece composition studies because it can be repeated monumentally on larger materials (like selected metals) with heavier controlled explosions outdoor at military base polygons for example. This third experimental work is also project in progress.

“Explosive Studies / ES-1 to ES-16” (Works on Cellulose + Single channel Video Projection) – 2010 Enamel paint, bister, viridis nitentis substance, 10% iodine solution, Pyrite, Genuine Cochineal Particles, Mixed Media and firecracker explosives on 16 cellulose cardboard papers Size: 22,5x20cm each, unframed / 32,5x30x5cm, framed / Duration of video; 10min22sec

“Explosive Studies with Earth / Mud –N1, N2, N3, N4” (Works on Cellulose ) – 2011 Roof earth, mud, cotton, lacquer and firecracker explosives Size: 40x40x2cm each, unframed / 52x52x4cm each framed

“Explosive Studies ES-19, 20, 21, 22” (Works on Cellulose + Single channel Video Projection) – 2011 Enamel paint, bister, viridis nitentis substance, 10% iodine solution, Pyrite, Genuine Cochineal Particles, Lapis Lasuli, Malachite, Syringes, Nails, Razorblades, Aluminum Oxide, Mixed Media and firecracker explosives on cellulose cardboard papers Size: 40x40x2cm each, unframed / 52x52x4cm each framed / Duration of video; 7min26sec 58

VARIOUS ENCOUNTERS

/ 2005 “Echoes”

en aped lin Oil on sh

cm x85x65x5 Size: 105

“Ov

ing” ercom

on interference surface)” / 2005 Oil, pig (Red curve men

t on s hape d ca nvas Size : 1 10x 65x 5c m

can be variable for ils nc pe e th of r de . Color and or , wood or on some soft metal y forms and shapes an ng ki of or es w ac e rf ar su u yo al as well, if per and mur grounds on any pa on various surfaces s ck he ba 07 tc d 20 ra an – sc ns e e dz tio ak m da ea mercial cr objects to “artdrill” – Min n also place sharp lorful, childish, com ca co , u id yo t up st bu , ul s) tif rm au fo To create be to figurative fects (from minimal ef nt re ffe di ss g. tle coun d can be useful thin an e pl m si ry ve s plastic. So it’ “Traces du Sacre Nom” / 2009 Dry pigment on oil paint on two oil papers and stencil lettering on wall Size of each: 14,6x11,5 inch / 37x29cm (excl. frame) Approximate dimension overall: 177x55cm (incl. frame and gaps)

“You can also Draw Fucking Zebra’s if you like” – 2011 / Third Edition of Five (3/5) Mars Lumograph and east Indian Ink on Arches Paper Size: 25x22cm (excl. frame)

“Three origins about to explode” / 2006 Acrylic relief on linen Size: 70x60x4cm linen

"nopainwithoutartnoartwithoutpain" (homage to Francis Bacon) - 2010 Acrylic, Pyrite, 10% Iodine Solution, Genuine Cochineal Particles, Bister, Pigment and Enamel on Unprimed Linen / Syringe, Catheter, Glucose Monohydrate, Blood, Blood Transfusion Equipment and Stand linked to the Painting Dimension of Painting: 127 X 89 X 4 cm Dimension of Installation: Variable "Over the wide rolling earth we’ve ranged in flock, Hurdling the waves and wingless flight and now we come all hot pursuit, Outracing ship’s turn, and now is here somewhere carrying like a hare…, The reek of human blood it’s laughter to my heart." Aeschylus, “Oresteia”, ‘Eumenides’ [enter the Furies] - 458 BC (Translation from Greek)

Marcel Proust Questionary What is your idea of perfect Happiness? Regularly making works that will irritate some people. Which living person do you most admire? Many people and for different reasons, for example, David Bowie, David Lynch, and Richard Serra. What is the trait you most deplore in yourself? Mood swings and impatience. What is the trait you most deplore in others? An 'I know better' character, rational approaches, sentimentalism. What is your greatest extravagance? I don't know. What comes to my mind right now is drinking tea and coffee at the same time. Which is your favorite destination? From China to Tibet 5,000 m above sea level, in a train What do you consider the biggest virtue of a person? Optimism, even if for no reason. Who are your favorite writers? Balzac, Proust, Thomas Mann, William Blake, Merab Mamardashvili. Who are your heroes in real life? All those who had, or have, a strong ego like, for example, Francis Bacon. On what occasion do you lie? When I am certain that I am talking to a complete idiot. What do you dislike most about your appearance? Generally, I am not very keen on my appearance at all. Which words or phrases do you most overuse? Not interested, absolutely, right, don't know. What do you regret most? That earlier I shouldn’t have took everything so seriously - now I look at that as funny nonsense. What or who is the greatest love of your life? I should admit: my wife Eka, first of all. When and where were you happiest? The feeling of happiness comes every time when instinct overrules intellect. What is your current state of mind? Concerned. If you could change one thing about your life, what would it be? Nothing. As changing only one thing would not change things much for me. What is your favorite occupation? Making surprises, and everything that I turn into even if indirectly, in transformed artifacts, especially if I have actually felt and been through them. What is the quality you most like in a person? Sincerity and naturality, which is reflected in everything. What do you most value in your friends? Not hiding their own weaknesses. If you could choose what to come back as, what would it be? I would not be able to live someone else's life. How would you like to die? In some accident. The bad word that you use most often? I usually use more than one word. Which are your favorite book, film and musical piece? There are many but I would choose: Bulgakov's Master and Margarita, Kubrick's A Space Odyssey, Mozart's Requiem. What does homeland mean to you? The feeling of being at home. Your motto? Constant progress. 70

“… and From Heaven to Hell and vice-versa” (homage to anyone who had guts to fuck in hell for artsake) Oil on linen Size: 50x50x5 cm

“Artificial northern brightness – Specimen 2” / 2008 Dry pigment, enamel and weed on household gloss on Styrofoam Size: 30x14x7 cm

“Nexium” / 2010 Porcelain paint on eight custom shaped mirror pieces Each mirror: 50x29cm / Allover: 217x106x3cm 72

“Dissonance with Gemini” / 2011

Acrylic, Oil paint, cinnabar and lapis lazuli pigment on two

shaped cellulose – custom framed separately Allover Dimension: 160x150x5cm

“V- Frequency ” - (Work on Paper and Audio Installation) / 2004 Oil paint on paper and hidden message as audio recording 133x17cm (without frame) Duration of Audio: 22min 17sec (loop)

“Try to stick with it” / 2012 Toothpaste on MDF in antique frame Size: 66x66x9cm

Excerpt from interview with Khatuna Khabuliani (art critic, full professor at State Academy of Art and Ilia State University of Georgia) Konstantin Mindadze is one of the most significant figures of Georgian contemporary art scene. He has been a subject of many articles written in magazines and a topic in broadcasting media. Last year’s He is best known for its multimedia large scale environmental installations which contain and combine elements of painting, drawing, sculpture, 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. Most of these projects involve the viewer with a lasting communication; they develop in time as well - showing the transformation of sometimes organic materials or chemical compounds. As for example in his recent show “Eden Lost” presented at National Museum of Georgia; which contained the elements of organic decay, speaking about transience of commercial concepts and inevitable demand on them, Strong brands and their power beyond its distribution, psychological dominance and social side of the picture. KK: As I know recent Project “Intoxications and Inspirational Errors” (in two volumes) was pretty complex and took lot of time and energy. Why was it so important for you that you spend more than one year working mainly on that? KM: They appeared under one name (only in two volumes) and they may have one main thing in common and that is globalization, but they are still very different works. Importance of first volume ‘Black Hole of Inspiration’ to me is first of all because I see it partly as autobiographical piece. That I’ve been exactly through that distress and overcame that somehow. I really hated all my old creations and even my existence - thinking that everything is already done - I was pretty sick of inspirations and all the information - and it lead me to non-productive period and real depression. But it thought me a lot. Only after that hard time I started adding all multimedia fields and later separating my works in different oeuvres. That is all metaphorically expressed in that piece. Second volume is more social and has ironic view of consumerism too through time and history of known general global events. So it’s much easier for the viewer to recognize the clues. First volume, which I consider my best work ever so far, was just very critically acclaimed. KK: So through distress you’ve approached a new format? KM: yea, in my case you can say so. KK: Was that new format that important for you? KM: I think unconsciously I think it was even a need as well. And I realized that I was a sculptor and not a painter. Know I look to my paintings and I consider them as wall sculptures. But I always miss somehow painting process, especially last years when I go from drawing directly to production processes. So painting will always partly stay. KK: Is there as specific form that you use to communicate with public? KM: Honestly, you can’t foresee in my case of what general reactions will be of an audience, because I enjoy making surprises. So I enjoy different opinions as well. KK: Has your work ever been censored? KM: Yes, couple of times even outside of Georgia. For example in 2006 I could not exhibit the work “19 headaches” because of the censored texts like ‘Injection at ministry of Internal Affairs’, ‘Pill for police state mentality’, ‘Injections for Priests’ and many related - banned as politically incorrect – which I don’t even consider as political works - I speak more about victims of any occupation. And also in 2008 I was advised not to exhibit - my first part of Trilogy in Progress Creations and Creative Destructions “Bloody White” - which included the shooting at my own work with several weapons. Later in 2010 I’ve exhibited them in renowned Art Society “Arti et Amicitiae” in Amsterdam (which I happened to a member of since the end of 2008) and show was pretty much successful. So barriers always exist each time, when you doing something new. KK: Recently valuable contemporary art became branded like it characterizes pop-art. Speaking of Hirst or Murakami etc... What you think about it? KM: I don’t see any problem in its not too exaggerated like Keith Haring illustrations are on mug’s, souvenirs on every stupid domestic object - draws pretty cheap picture at first glance - which I can’t say about Hirst for instance. So, mass production of creative limited edition art pieces is great - why not. KK: When you noticed that you’re becoming successful as an artist?

“I’m in love with oblivion” / 2012 Carved live size headache pill (citramon) 15x15x5cm (with frme)

KM: Since I noticed that I start to disturb some people around. Complete interview was published by “Khedi” magazine and also it will be posted online on artist’s blog

(Detail of “The Birth” )

“In memory of my aunt Ketevan” / 2009 Black painted table lamps on white concrete base Dimension: 150x150x50cm

“The Birth” / 2005 Oil and dry pigment on linen Size: 85x65x3cm

Tw e l v e

B l o o d

D r a w i n g s

a f t e r

V i r g i n i a

W o o l f

b o o k s ( I l l u s t r a t i n g

Horizontal drawings from Left to Right: “In The Deep End of my Skin” Enamel paint, 10% iodine solution and syringe top on cellulose Size without frame: 22,5x20cm “Bite me till we know it’s Unsafe” Enamel paint and 10% iodine solution on tiered and glued cellulose Size without frame: 22,5x20cm “Bleeding from Judas-O” Enamel paint on cellulose Size without frame: 22,5x20cm “On pins and needles” Enamel paint and 10% iodine solution on pinned cellulose Size without frame: 22,5x20cm “Mersilene Suture (Whatever doesn’t kills you, it going to leave a scar)” Enamel paint, 10% iodine solution, polyester fiber and forceps on cut and sewn cellulose Size without frame: 22,5x20cm “Today is my birthday” – 2010 Enamel paint and 10% iodine solution on cellulose Size without frame: 22,5x20cm

M a n s o n ’s

‘ E a t

M e ,

D r i n k

m e ’

A l b u m )

2 0 1 0

Vertical drawings from Left to Right: “Red Queen of Wasteland” Enamel paint on cellulose Size without frame: 22,5x20cm “Centrefugal, Melted under the Skin Bacteria” Enamel paint and 10% iodine solution on cellulose Size without frame: 22,5x20cm “Bloody Trees in the Garden” (after Virginia Woolf – excerpt from “To the Lighthouse” - : “The nights now are full of destruction; the trees plunge and bend and their leaves fly helter-skelter until the lawn is plastered with them and they lay packed in gutters and choke rain pipes and scatter damp paths.” Enamel paint and 10% iodine solution on cellulose Size without frame: 22,5x20cm “My wounds exploded at front of your wall” Enamel paint, 10% iodine solution and Bengal flares on cellulose Size without frame: 22,5x20cm “Blood stains in the shape of your Heart” Enamel paint and 10% iodine solution on cellulose Size without frame: 22,5x20cm “Hanging Headless upside down to drain” Enamel paint on cellulose Size without frame: 22,5x20cm

“POG - Phantom of Grotesque (…and where is the darkness coming from)” / 2007 Pigment with acrylic and lacquer on canvas Size: 36x36x2 inch / 37x29x5 cm

“POG’s - Phantoms of Grotesque” (Works on Paper + Video Animation Projection) / 2007 Acrylic on twelve latex coated cardboard papers Size of each: 14x11inch / 36x28 cm (exclusive frame) Allover size: 52.2x48 inch / 133x122 cm (exclusive frames) Duration of Animation: 30sec Loop 84

“Untitled – (Places)” / 2007 Rare Dry pigments on acrylic texture on twelve handmade cardboard papers Size of each: 12x9 inch / Allover size: 43x39 inch (exclusive frames)

“Surface in Pieces” – 2002 Pigments on tempera relief’s on nine handmade papers Size of each: 55x35 cm Total size of the Composition: 175x115cm (excl. frames)

“19 Headaches“ - 2006 / Pigment, resin, injections, pills and words mounted on cardboard papers in square 30x30x7cm and rectangular 40x30x7cm frames / Overall dimension is variable

“Trick or Treat” aka (sweet shit) - 2013 / Nuttella on MDF 85x35x5cm

“The

lay, si

r gree

n pigm

cil on

d pen

ent an

cellul

ose /

0x37c

me: 4

lusive ze exc i se / S

ive fra xclus

Size e

o cellul

7cm

7cm : 40x3

: 40x3

frame

lusive

7cm : 40x3 frame

ze exc i se / S

lusive ze exc i se / S

ellulo l on c penci

cil on d pen

nt and

ellulo l on c penci

pigme

ent an e pigm ganes , man crylic one, a , silic / Clay

lt lilac

nt and pigme

, coba crylic one, a

urite lic, az , acry

, silic / Clay

icone l lay, si 13 / C

- 2013

nnaba lic, ci , acry

gers”

licone

dle fin

ears”

” - 20 away

in my

miles

g ringin

h mid

13 / C

” - 20

enoug

st like ce, ju

h rn wit o sn’t b

ission Subm

“I wa

ur voi

usand en tho ou, ev y smell

ing yo “Echo

“I can

91 90

VISCERA

Hand curved with scalpel blade, cellulose paper / 35x35cm each

Unfortunately I never knew Irakly in person, maybe because from early age I mainly lived and studied in Amsterdam. I know that our parents were good friends. I remember once arriving from New York our mutual friend took me to Irakly’s new album “down with a king” presentation to accompany a year anniversary since his death and that’s where I first met Ketato, since then we are close friends. Irakly’s creative genius was always more in my taste – I still consider him as one of the most tasteful key figure alternative rock musicians on Georgian music scene and certainly will stay as unique one in history. I also think that his lirics and music is timeless and perhaps that is the reason that it still becomes a source of inspiration for many artists and not only musicians including me. I remember once by extensively listening to his albums in Amsterdam resulted in creating a work called “Organ-on” that I’ve dedicated to his memory. That composition makes me think about a monumental instrument as a main musical organ – it’s sound wave is expanding together with universe in time and despite of life’s transience it is in infinity progress and full of countless possibilities (intellectual or instinctive) it is limitless – limitless as valuable artist. I’m always interested in such – and such was Irakly Charkviani.

“Organ-on” (In memory of Irakly Charkviani) – 2008 © Konstantin Mindadze Polyester resin and pigmented fiberglass on seven MDF units / dimension overall: 315x254x5cm

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.

100

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

“Black Hole” – 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

FROM “COLLECTED AND ESSEMBLED BY TIMES, VOID, CHAOS AND ORDER”

“Quadrophenia” / 2006 Oil on linen Size: 76x76x5 cm

“Lysergic Acid Diethylamide” (Hirst and Murakami Discuss Vasareli) / 2010 Synthetic Enamel and Nitro Cellulose Emulsion on Linnen over wooden board Size : 75x75x5 cm 108

“V=I>0” (Homage to Ives Klein ) /2009 Sand, Sponge, Ultramarine Blue pigment, fool’s gold (pyrite), bottle with iodium solution, genuine Lapis Lazuli with Malachite, syringes and enamel paint on linnen Size: 75x75x9cm

“Deeply Ordered Chaos” / 2009 Wooden pulp, glue, porcelain paint, iron cross, honeycomb, alluminum, enamel paint and lighted candle on linnen Size: 75x60x7cm

110

“Untitled (Void)” / 2009 Nails and spray-paint on wood Size: 35x25x5cm

“Magnetism II” / 2009 Houshold gloss on oil under painted relief on linnen Size: 88x57x4cm 112

“Trinity” – 2009 Wood pulp, oil relief on acrylic on linen on wood Size: 190x190x5cm

“Stimmung” / 2009 Oilpaint relief, syringe tops, nails, mobile phone chips, razorblades, pyrite (fool’s gold), genuine cochineal particles, old dutch bister, industrial paint and enamel on linnen Size: 105x80x4cm 115

116 117

â&#x20AC;&#x153;OVO 14 /

â&#x20AC;? - 20 Oilpa i nt re lief, a cryli ringe

c, sy tops, mobi icro

er m

mput

nd co

one a

le ph chips , plosi ves,

te, ex

lades , pyri

razor b sea s alt a nd

x4cm

9x59

enam el on linne n/S ize: 6

“Doc-X” 2008 / Styrofoam and Liquitex Acrylic relief on rolled linen 64 x 7.7 cm

“Hidden Masterpiece” (After Honoré de Balzac) – 2008 Early work in oil “Centrifuge III” 1999 – 100x100cm – destroyed, rolled, glued and painted over Acrylic on rolled canvas, two antique frames Dimension: Variable

119

“In search of lost time” – (After Marcel Proust / (Book sculpture and painting ) - 2002 – 2007 – 2008 Old images of nistagmograms from Alexi Mindadze’s medical archive stitched on unprimed linen and mounted on household gloss on oil paint texture on linen on wood and Gesso primer, glue emulsion, aluminum and enamel paint on twelve books placed clockwise Dimension of Painting: 220X150x4cm Dimension of book sculpure clockwise diameter: 76x22cm

Description: This is the one of the most unconscious work that came out. It actually made up for itself by the time. Canvas is painted over for many times. And here is how it happened; Somewhere back in 2002 in Amsterdam I wanted to paint an abstract clock without pointers, so I did that. So it came out to this and I didn’t liked it – I didn’t liked colors, form, proportions – It didn’t look alive – so I was absolutely not satisfied at all and took this canvas in the basement. There were earlier pieces with similar stories that I was destroying. But only reason the painting survived me is that somehow I liked the texture of the rings I guess. So I forgot about this piece very quickly and easy. Years went by… Returning from New York to Tbilisi in spring of 2007, thinking and continues playing in my head the excerpts from a Marcel Proust’s – Swans Way, somehow made me search and dig through my grandfathers huge medical archive. I found these amazing old Images of nistagmograms of a human eye and immediately thought about excerption: “Protected by a covering of images under which I would find it alive”. Well I did not wanted to make a collage – so I wanted to nail them somewhere. Since I didn’t want to damage old images – I’ve stitched them to unprimed linen pieces with pink yarn. On my way back to Amsterdam, I took these stitched images per accident with me and hanged them in my studio, just for myself and not even thinking about including them in exhibition or something. One day I end up in my old basement searching through many early works and this painting came out just as ugly and dead as I remembered – the oil surface was actually damaged and I painted with green pigment and some enamel paints thinking about our family friend who is crazy about green stuff. But I did not like it neither in green. This damn canvas is cursed! - thought I. And went in store - bought a cheep but pretty strong polar white household gloss. When I returned, I took a big raw brush and spread the content of the can allover the surface. By doing that I thought about stitched images – so I ran upstairs, brought the small piece and mount it on stinky but sleek wet paint. Starring by how my cheep household white paint was eating the surface of unprimed linen – I realized that I’ve symbolically froze the time. My old time which is alive only in my memories – which I’ll never ever will experience again. And this all happened by the way, while I was working on many other projects. (First homage installation on Marcel Proust theme I dedicate to my grandfathers Alexi Mindadze’s Memory.) 120

“Eyes” /2010 Poetry, Ink and enamel paint on cellulose Size : 90x81cm (exclusive frame)

“Riddle” / 2010 Poetry, Ink and enamel paint on cellulose Size : 90x81cm (exclusive frame)

122

123

“What can a bundle of interruptions hope to say? What can a paradox with hidden parts possibly reveal?” (After Hans Dieter Bahr) – 2009 Oilpaint, aureolin, wasp, wasps nest and laquer on linnen Size: 105x75x3cm

“Does not the effect of a gap, which itself questions the desire, precede the exciting and hauntingly beautiful ‘actio in distance’ of which Nietzsche spoke? Does not the encounter introduce a distance to every object through which the event receives a particular coloring of alternative possibilities? Estrangingly the encounter runs through the opposites of waking and sleeping, life and death, presence and absence. And already in the first, that is Homer’s decisive question ‘are you mortal or immortal?,’ will the encounter, in which the stranger is still without a name, without desire, without history – where he has not yet been the other – have taken its leave” >>>> Hans Dieter Bahr 124

“In the heart of it all” – 2009 Wooden pulp, glue, plastic paint can, ink, papyrus paper, oil and enamel paint on linen Size : 60x50x11cm

125

“Untitled Skull” / 2009 Dual Channel Animation Projection, Digital Print on Vinyl Duration of Video: 5min 22sec (Synchronized) Size of Print: 150x150cm

“Golden” / 2009 Story, Animation Projection, Digital Print on Vinyl: 5min 22sec Size of Print: 150x150cm 126

127

INSTALLATIONS AND ACTIVE ENVIRONMENTS

128

129

“Piece of Civilization – (A. Discovered and B. Selected) Acrylic, pigment, flashe, tar and spraypaint on hardboard and asphalt with tar on ground Size of painting: 65x65x5cm Approximate Dimension of Asphalt on front: 75x75cm2

“ I f

e v e r

e a r t h

w i l l

t a k e

h i m … ? ! ”

–

2 0 1 0

R a n d o m s e l e c t i o n o f 3 0 v o l u m e s o f L e n i n b o o k s, M D F, L a m i n a t e d W o o d F i b e r, g l a s s, a l u m i n u m , m e l a m i n e p o l y c a r b o n a t e p l a s t e r c a s t s, g y p s u m , m o d e l i n g c l a y, a l u m i n u m o x i d e , ra i d a n t i ro a ch s p ra y, e a r t h , a c ry l i c , o i l p a i n t , n i t ro s p ra y p a i n t a n d l a c q u e r. Dimension of showcase: 101, 6 x 24, 2 x 25, 5 cm Dimension of Installation: Variable

132

“Eat Your Future” (Polygonal Installation) – 2011 Permanent Ink, Rice Grains Inside 50 Silkscreened Printed Linen Money Bags Placed on 50 White Porcelain Dinner Plates, Barbwire and 30 A4 Prints Dimension of Installation: Variable

EAT YOUR FUTURE

134

136

137

“Excavation of Extinct Secret Artifacts” / 2011 Old dutch Bister on Nepal handmade lokta paper with brass and colored Aluminum paper sheet framed 70x50x4cm, Five Color Spectrum Discs made of Leather coated paper Cuts floating in the space on rope – Diameter of Each: 10cm , Projection of Four Video Documentaries about 3rd Reich UFO’s – Total Duration: 109min (with five disc shadows) Dimension of total Installation: Variable

Excavation of Extinct Secret Artifacts

138

139

140

141

â&#x20AC;&#x153;I-faithâ&#x20AC;? (from "Modern Religion") / 2011 six programmed I-pads allover: 150x100x5cm

142

143

sun eclipses, neon works

“Black Hole” / 2008 Oil, sand relief and white neon on hardboard Diameter: 70 cm

144

145

0 cm

“Eclipse II

I - Uran

us - B lue P lane t”

/ 20 05

Acr yl

il ic , o

o eon n d an

eter: 8 m a i D d dboar r a h n

ipse “Ecl II - M

ars

- Re

d Pl ane t” /

146

200 5 Ac rylic ,

o il a n

d neo n on h ardboar d Diamete

r: 80cm

147

planetarium installation sketch (negative) and horizontal and vertical setups

148

149

“V-Obelisk (for temporary resistance and transient fragility)” – 2003 Neon on perforated, polished and chromed stainless steel / Size: 90x16 cm2

“Planetarium - These Beautiful, simple, idiotic, difficult, big deal, easy looking, meaningless, symmetric, minimal, sensational, childish, nothing new, pure, infinite, silent, desire” / 2010 Neon’s, Custom Fabricated PVC (Polyvinyl Chloride / Thermoplastic Polymer) and electric equipment Diameter of each Circle Glow: Blue: 100x7cm, Red: 65x7cm, Yellow: 45x7cm, Green: 25x7cm Approximate Dimension of Installation Overall: 400x250x7cm (but it’s also variable) 150

151

“Eclipse IV - Triton - Green Moon” / 2005 Acrylic, oil and neon on hardboard Diameter: 80 cm >> 152

153

BEAUTY UNDER ATTACK

Environmental Accumulation “Quests, Encrypted Experiences, Methods and Remnants for Beauty under Attack” / 2010 Pigment, Industrial Paint, Three Fire Department Axes on Three Railway Hardwood Sleepers, Polaroids, Chromogenic Color Prints, Clock, MP3 Player, TV set, Armchair, Painted Quotes on Wall and Mixed Media Dimension of Each Hardwood Sleeper: 131x17x17cm Exclusive the Axe Attached Dimension of Complete Triptych: Variable Dimension of Complete Accumulated Installation: Variable To create the sensation of development of creative production, the process itself - especially for The Project “On the Way” I decided to create accumulated environment of “Quests, Encrypted Experiences, Methods and Remnants for Beauty under Attack” (Sculpture / Triptych) which makes a one big riddle itself based on real recent personal experiences. Accumulated Environmental Installation beside the result sculpture itself Consists and is full of; combinations of mixed media objects and specimens which stand for private reminders for several certain experienced situations and many printed or painted on wall quotations that can lead to decipher the puzzles. In that way I’m about to show the viewers as an exception my visual Stages and links to my Inner experiences, to read the environment and give them a chance for free guesses even if there will be impossible to come to exact conclusions.

The development of an artistic production, the process itself offers to the author surprises, accidents and unexpected moves, but those unique stages are only visible for the artist only. The spectator mostly gets to see final products of the creative work. Sometimes project studies are even more interesting than final result itself. Because at this stage artist creates his very first raw marks which are often spontanious, emotional and vital. ON THE WAY project is an attempt to create visual, audio, video, textual and environmental platform, which can allow to the viewer to experience the exceptional production practice. Exhibition will include stages of visual environments that was needed for final results consisting of; selected conceptual studies, sketches mixed media objects and projects in progress. Concept by: Konstantin Mindadze and Wato Tsereteli

154

“But there are beauty parts hidden inside, even in the complete empty and grey in real life human nature. And some have the ability to capture them and boost them up with their imagination, to translate them indirectly, creating their ideals which are as unreal as ideal artifact will be” - K.M.

155

“Beauty Under Attack” – triptych + sketch and vintage polaroid

157

"Specimen 1" (sunspots) Chromogenic Color Print

"Specimen 3" (meltableness) Light Micrograph / Chromogenic Color Print

"Specimen 4" (first reply) / Chromogenic Color Print

"Specimen 2" (augmentation) Chromogenic Color Print

158

159

"Specimen 7" (downupright) Chromogenic Color Print

"Specimen 5" (re-juxtapositions unpredictability) Chromogenic Color Print

"Specimen 8" (self-contradictions and idea filtration's) Chromogenic Color Print

"Specimen 6" (insomnia candy) Two Soporific Pill Boxes

"Specimen 9" (inversion caused by inspiration) Chromogenic Color Print

160

161

"Specimen 12" (desire) Chromogenic Color Print

"Specimen 10" (love and loss) Two Dried Dark Red [black] Roses

"Specimen 11" (transience, death, existence, religion and globalisation - CAABTVCAO show related themes in progress) Two Chromogenic Color Prints

163

"Specimen 13" (importance of present and value of an idea and not the material piece) Smashed Painting "Amaryllis Narcissus" Acrylic on Canvas

"Specimen 14 / Spot 1" (overcoming countdown and controlling transience) Periodicals, Invitation Cards, Books, Vintage Photographs, Working Clock, CD, Quotes and Mixed Media

164

165

<< "Specimen 16 / Spot 3" (lost elements and frozen moments) Invitation Card, Quotes and Broken Clock

"Specimen 17 / Spot 4" (archeology of lost times) TV set switched on error, Diverse Lamp Bulbs, 35mm film of Surgical Operations taken during WWII from my Grandfathers [Alexi Mindadze's] Archive, Psalms in Dutch, Impulsive Sketches and Mixed Media

166

<< "Specimen 15 / Spot 2" (amanita muscaria) Polaroids, Headache Pill, Glass, Spoon, Sugar Cube, Absinthe, 35mg Thuyone Infusion, Melted Styrofoam Pieces, Postcards and Raw Sketches / Mixed Media

167

"Specimen 18 / Spot 5" (disturbance) Armchair, Linen, Crime Scene Polyethylene Ribbon, Permanent Marker on Transparent Can

Next Page: Sculpture / Tryptich (Instalation Views)

"Specimen 19 / Spot 6 and 7" (denial, realization) >> Switched Speakers, Past Invitation Cards, Soljenitsin’s A ‘ rqipelag Gulag’, Facture's, Diverse Target Prints, Playing Cards, Nexium, Used Paint Tubes and Brushes, Disposable Latex Gloves, CD ‘Pretty Things are going to Hell’ and Mixed Media

169

170

171

Verb Session

"Verb Session" â&#x20AC;&#x201C; 2012 - (Inspired from Richard Serra,"Verb List Compilation: Actions to Relate to Oneself" 1966-1967)

Side project is inspired from verb list compilation: actions to relate to oneself created in 1966-67 by Richard Serra in which he describes stages and it's complications of carbon steel production. In my session of approximately 300 verbs (which will be recorded as narrative, looped and represented as an Audio Installation / Sculpture) I describe my emotional experiences, barriers and technical stages as well of what I'm going or have been through during the production of my many other projects (installations or sculpture). Agreeing that art is about life and it's experiences, where lots of mistakes are involved as well - and daring to speak about your weaknesses publicly is the best and obvious way to make art in general, made me try to be honest in words as possible. 172

173

174

175

‘Daily enlightenments and its nightmares’ [Binary Molecular Skulls on White and Black] - 2012 Dual Channel Video Animation (AVCHD / H.264 Sequence) Projections, Synchronized, Without Sound Duration of each: 1min 29sec (loop) / Size of silkscreen on linen: 190x150x5cm [Blu-Ray Discs, Blu-Ray Players and Full HD (1920x1080p) Projector, Timer. Structure of a new (stand alone) dual channel animation without sound and its silkscreen on linen reminds us one of the elements used in my 2011 piece (25 meter active multimedia environmental installation “Intoxication and Inspirational Errors – Volume 1 – Black Hole of Inspiration”).But here instead

Channel B (For a Dark Room 1min 29 sec)

of color letters I use grayscale molecular particles with binary code. Also skull looks more anatomical here rather than monogram vector.Image of skull besides that it at first glance, constantly reminds us life’s transience, is a powerful timeless symbol which was, is and will be used by many artists in their variety of media with countless new combinations playing with contexts to approach different actual themes for a still new expressions.

Detail (Mollecular / Binary)

Channel B (For a Light Room 1min 29 sec)

177

Intoxication and inspirational errors volume 1 Black Hole of Inspiration

Description of Projects

Press Release

Symbolism and Illuminations typical of early mannerism in today’s world of Globalization appear in different perspective in which time plays prominent role. Symbols and Ecstatic light experiences adding new values, - new realities reveal through different visualizations, new mediums, variety of combinations in new contexts of transformed conceptions. In my project presented environmental installations are about such global problems concerning timeless themes like; Time, thoughts of eternal life, inevitable death, religion and knowledge; Also about what is the reality of human in today’s world of overloaded information which in one hand is a source of infinite inspirations and also can lead to possible dangerous distress in which visual expressions of inner sensations might stop. (Though it’s impossible to express every feeling). But this is for temporary and might be illusionary too, because at these circumstances something is transforming. Transformed opinions, ideas etc. are expressed through new artifacts, methods, contents and interpretations. Presented 25 meter long installation consist of such timeless symbols (crucifixion, models of human skulls, sphere, circles, globe etc.) brought in new context. Beside it’s conceptual content important is used material and technique of execution; (Illuminated transparencies in Plexiglas light boxes, chromed anatomical plaster cast models, metal constructions, Rotating Sculpture, Video Animation Projections, Neon Glows, Flashing lights, split sound loops etc…) The core idea of project is to show influence of today’s developed science and digital technology on creative visual mind and its thoughts with the background of transience and virtualization. Also to underline the perils and barriers which contemporary artist is about to overcome no matter of where person might live.

Nowadays it is already clear for everybody that Postmodernism, as a multidisciplinary phenomenon, is bringing together completely controversial actions, theories and ideas. “Postmodernism is a theoretical cannibalism, it is legitimacy of the supermarket of ideas, in which different theoretical idioms are blended together” (Karlo Kacharava). At the time like this, on one hand it is easy to create an object of art. Even nothing can obtain the name of creation and especially in a time of such “chaos” it is quite difficult to determine a difference between a valuable artwork and a fake, low quality imitation. This issue is of highest importance, because in a time of current globalization, when the borders (informative, etc.) are only conditional, it is easy to imitate certain forms, ideas and thoughts. Single barrier which stands in a way of the creator is his or her self – a responsibility that constantly controls author’s scale of sincerity. Konstantin Mindadze’s project, presented on Artisterium, has this feature of responsibility towards idea, where exposure of the idea and his version of the theme are offered by contemporary artistic forms. Author travels in time and space, searches for the shapes of the theme and their combinations, and then forms them into metamorphosis with maximal power. “Tintorentto and Illuminations”, Kote’s project created for 54th Venice Biennale became the inspiration for the completed project “Intoxication and Inspirational Errors” (Volume I). Artworks, based on biblical themes of XVI century Renaissance and Mannerism are naturally underlined with Canonical Symbolism. While using modern technologies author gives a new context to symbolic elements, and he himself goes through a “life cycle”. Many things are recognizable: the symbolic image of the scull reminds the spectators of the world’s briefness, the black hole is somehow absorbing and then, reincarnated, spins into the world’s web with a new inspiration – death, life, vanity, faith, knowledge, eternity and again transformation with comprehension of infinity. And finally, the crucifixion – as a sign of the end and the beginning. Sign as a metaphor that accumulates achievements of modern technologies. Alexander Chavchavadze Museum’s historical wine factory was chosen as a venue in Tsinandali for the project where the objects will be put in consecutive order. The spectator will step by step apprehend each of them. In unity the objects turn into three-dimensional image. The spectator completely sinks into the darkness of the hall where the only sources of the light are illuminated installations. The actual space of the hall remains as a “breathing”, “thinking” area for the spectators, where the “magic” of the artwork transforms into impression and emotion. Tatia Gvineria - (Curator – Art Critic)

178

final setup study

180

181

182

183

184

185

“Death Mirrors” Chromed Reinforced Plastic Life size Anatomic Models on Pigmented Aluminum custom cast pedestals and “CR-1” sound Dimension of chromed Skulls: life size replicas Dimension of Neon Circles with “I” hanged on top of the skull: 40X30cm

186

187

“Black Hole” Barbed wire, Black Synthetic Mink Pattern on glued Styrofoam core, TL Lamps, Flash light devises (led and analog stroboscopes), Broken mirror particles, Pills (Prozac, Xanax, valium) electric equipment and “Eraser Scream” sound loop Approximate Diameter of Black Hole: 90 cm exclusive cast Aluminum pedestal

188

189

“Fuck Distress” Tinted Plexiglass Light box , Painted Steel Cage cast, Japanese Wood Puzzle, Skeleton Key, Lock and “Pulse” sound loop Dimension of Red Light box cross Inside the Cage: 75X75X25cm Dimension of Steel Cage: 102X102X102cm

190

191

“I Want To Know What I Don’t Know About Art Starting From Big Bang To Contemporary” Permanent Marker on Plaster Cast Human Skull Replica Spinning On Globe Base With Electric Equipment Dimension: Life size on Black Custom MDF Pedestal

192

193

194

195

“2nd channel Skull animation” (Full HD 3D Animation without sound - negative) 16:9 (widescreen) AVCHD H.262 Sequence 1920x1080 square pixels / 8025 frames Uncompressed / 25 fps Sequence Duration: 5min 21sec (loop) Equipment: Full HD beamer, Blu-Ray Player and Double Layer BD Disc

196

Next Page: “Binary Crucifixion” Transparency on Plexiglas lightbox Dimension: 220x155x37cm

197

198

199

“1st channel Golden Story animation” Projection with sound Equipment: beamer, DVD disc and player

200

201

202

203

fqdipkvisbwnmryletho

Intoxication and inspirational errors volume 2Eden lost

Since November when I first presented “Intoxications and Inspirational Errors” – Volume 1 – ‘Black Hole of Inspiration’ – which was mainly about information and its stress on background of globalization, which also had autobiographical content, I already had in mind banishing from Eden of our times and I was making the first raw sketches of few elements of its Volume 2. I rediscovered epical pieces like Dante’s ‘Devine Comedy’ and John Milton’s ‘Paradise Lost’ – not to visualize it directly, but to transform some elements from it in new mediums – putting them in an actual contemporary new contexts. I found that William Blake’s timeless poem ‘Proverbs of Hell’ written in 1797 answered it all and was more than enough, ready and call it a main inspiration for some notable elements build especially for Volume 2. Production processes started from beginning of the year according to definitive visual studies and this is a result of how I metaphorically see ‘Lost Eden’ today and not only today. This is how I’m imagining it through the infinite time lapses of living kind from far past (very beginning or big-bang, whatever) to far future to infinity and vice-versa. With all its pluses and minuses. Development of science is very important and consumerism no matter how ironically foolish it may seem, gives us a comfort, which we all still more demand. Commercializing religions made me even transform Adam and Eve to be associated with brands. ‘Lost Eden’ contains irony of all our daily expanding needs and not protests against them. I think that on a background of such necessary progress the individuality (or even soul’s purity) might fade, however it is inevitable and impossible without future developments just like without sins. Konstantin Mindadze © 2012 Exebited at National Museum Of Georgia / www.museum.ge

205

206

Proverbs of Hell by William Blake Exerpt From "The Marriage of Heaven and Hell" In seed time learn, in harvest teach, in winter enjoy. Drive your cart and your plow over the bones of the dead. The road of excess leads to the palace of wisdom. Prudence is a rich ugly old maid courted by Incapacity. He who desires but acts not, breeds pestilence. The cut worm forgives the plow. Dip him in the river who loves water. A fool sees not the same tree that a wise man sees. He whose face gives no light, shall never become a star. Eternity is in love with the productions of time. The busy bee has no time for sorrow. The hours of folly are measur'd by the clock, but of wisdom: no clock can measure. All wholsom food is caught without a net or a trap. Bring out number weight & measure in a year of dearth. No bird soars too high, if he soars with his own wings. A dead body, revenges not injuries. The most sublime act is to set another before you. If the fool would persist in his folly he would become wise. Folly is the cloke of knavery. Shame is Prides cloke. ~ Prisons are built with stones of Law, Brothels with bricks of Religion. The pride of the peacock is the glory of God. The lust of the goat is the bounty of God. The wrath of the lion is the wisdom of God. The nakedness of woman is the work of God. Excess of sorrow laughs. Excess of joy weeps. The roaring of lions, the howling of wolves, the raging of the stormy sea, and the destructive sword, are portions of eternity too great for the eye of man. The fox condemns the trap, not himself. Joys impregnate. Sorrows bring forth. Let man wear the fell of the lion, woman the fleece of the sheep. The bird a nest, the spider a web, man friendship. The selfish smiling fool, & the sullen frowning fool, shall be both thought wise, that they may be a rod. What is now proved was once, only imagin'd. The rat, the mouse, the fox, the rabbit: watch the roots; the lion, the tyger, the horse, the elephant, watch the fruits. The cistern contains; the fountain overflows. One thought, fills immensity. Always be ready to speak your mind, and a base man will avoid you. Every thing possible to be believ'd is an image of truth. The eagle never lost so much time, as when he submitted to learn of the crow. ~ The fox provides for himself, but God provides for the lion. Think in the morning. Act in the noon. Eat in the evening. Sleep in the night. He who has suffer'd you to impose on him knows you. As the plow follows words, so God rewards prayers. The tygers of wrath are wiser than the horses of instruction. Expect poison from the standing water. You never know what is enough unless you know what is more than enough. Listen to the fools reproach! it is a kingly title! The eyes of fire, the nostrils of air, the mouth of water, the beard of earth. The weak in courage is strong in cunning. The apple tree never asks the beech how he shall grow, nor the lion, the horse, how he shall take his prey. The thankful reciever bears a plentiful harvest. If others had not been foolish, we should be so. The soul of sweet delight, can never be defil'd. When thou seest an Eagle, thou seest a portion of Genius, lift up thy head! As the catterpiller chooses the fairest leaves to lay her eggs on, so the priest lays his curse on the fairest joys. To create a little flower is the labour of ages. Damn, braces: Bless relaxes. The best wine is the oldest, the best water the newest. Prayers plow not! Praises reap not! Joys laugh not! Sorrows weep not! ~ The head Sublime, the heart Pathos, the genitals Beauty, the hands & feet Proportion. As the air to a bird of the sea to a fish, so is contempt to the contemptible. The crow wish'd every thing was black, the owl, that every thing was white. Exuberance is Beauty. If the lion was advised by the fox, he would be cunning. Improvement makes strait roads, but the crooked roads without Improvement, are roads of Genius. Sooner murder an infant in its cradle than nurse unacted desires. Where man is not nature is barren. Truth can never be told so as to be understood, and not be believ'd. Enough! or Too much!

210

211

212

213

Representation of Past / “Adam and Eve” Custom Produced ‘Sonar’ Sound & Stencil Lettering on Two custom made White MDF Passive speakers Size of each: 170x15x15 cm plus two Medical waste containers (HIV positive labeled)

215

Garrulus glandarius taxidermy (dead position), Cards: Ace of Spades, King of Hearts and Joker

Psalms in Dutch and Condom

Nine Anatomical Archival Prints Framed: Hand wrist proportions, Heart, Genitals (Vagina), Eye Anatomy, Brain tomography, Nose (sinus), tongue, Ear membrane, Feet Proportions

Leonardo da Vinci’s ‘Vitruvius Men’ X-Ray print and yellow floppy disc with printed Woolf illustration and data 216

Poison Bottles: Laudanum and Potassium Cyanide

Small circular metal container with nuclear logo

Laptop with “beeline” Wi-Fi flash modem and card labeled as ‘Face fucked’, syringe and engraved real decaying apples: Rotel and Xanax

219

Black floppy disc with printed red Woolf illustration and data

Movement prints (skeletons), Cyclone-B poison container, and German vintage knife from 2nd World War

Engraved real decaying apples: Maybach and Momblanc logo

221

Blood bag with real blood, catheter and blood transfusion equipment, medical waste container, surgical forceps, poison flask, chemical container and engraved real decaying apples: Tiffany & Co. and Channel

222

223

Representation of Infinite / â&#x20AC;&#x153;Void - Ray of Hope perhapsâ&#x20AC;? Polar white approximately 750watt metal halogen lamp projector with crow and owl illustration, that redirects the bright snow white beam passing through the dripping circle, projecting circular white Infinite void on the wall

Scientific Scales and measure instruments

Syringe and Pica bird Taxidermy (dead position) Small flask of strong absinthe and engraved real decaying apple: Macintosh

224

225

White floppy disc with printed eclectic Woolf illustration and data

Horse shoe, vintage leather whip and cardiogram

Vintage Nurse Hat with bag and chemical drug containers 227

Upupa epops bird taxidermy (dead position) and G-5 Glucose Monohydrate

Brick, handcuffs and silver cross with chain

228

Stones, Artificial and Real Plants

Insulin syringe, Gasmask with nuclear sign and engraved real decaying apple: Diners Club logo Falco tinnunculusTaxidermy (dead position), scalpels and engraved real decaying apple: Rolls Royce logo

230

231

Mousetrap and rubber snake

Merop apieaster taxidermy (dead position) and scalpels

Pica bird taxidermy (dead position), syringe and curved LV logo on the decaying apple

233

Representation of Present / â&#x20AC;&#x153;Time Transienceâ&#x20AC;? (random spinning day date clock between far future and far past) Animation loop sequence Projection on standing custom Trans Screen (Clear view Holographic film on Plexiglas), Full HD Projector, Blu-ray player and BD disc / Duration of loop: 5min 29sec / Dimension of projection area: 152,5 x 85,5 cm / Woodpecker taxidermy (dead position)

234

235

Representation of Future / â&#x20AC;&#x153;Judas-Oâ&#x20AC;? (constant bleeding) (Red Blood like Antifreeze liquid circulation inside custom overflowing fountain construction) Artificial Flies on Perforated Clear PVC tube on Stainless steel construction including container and electric water pump and hidden speakers with sounds of drops Diameter of Circle: 120cm / Hight of Sculpture: 170cm

60 cubic meters of Artificial Grass (22mm high) All over the complete Installation Area

238

240

241

Neon sculpture â&#x20AC;&#x153;The instinct to create order from chaos is a commonality throughout time and historyâ&#x20AC;? in latin: instinctus et creo ordo ex chaus est a communalis per vicis quod historia Red Neon signature Letters on matte Black wall surface 426x347x20cm as permanent installation at National Museum of Georgia

242

243

244

245

246

247

248

249

250

251

CREDITS & STUDIO IMAGES

image of cyber fuck

Rapenburg Studio

252

253

Barnov Str Studio

254

255

EPILOGUE

256

257

“When all black is really white, if you believe it” (ink drawing)

“Aqua Pericolose” (pencil drawing)

“Inf

lata

Studie drawing for ‘Love Rings’ – colored stainless steel sculpture 3x3x3m

ble G

rin”

(ma

rker

draw

ing)

Konstantine Mindadze Born in 1977 Konstantin Mindadze – multidisciplinary visual artist, founder of CAI (Contemporary Art Industry), 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 in Georgia, Europe and United States. His work is included in many international art catalogues and has also been a subject of many articles written 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, photography, video and sounds. Synthetic structure of the world, mental and biological reactions, lifecycle and death, existence and transience, love and loss, globalisation 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 major shows at Alexander Chavchavadze Museum, Simon Janashia Museum of Georgia, National Gallery and Museum of Art. Lives and works in Amsterdam, The Netherlands and Tbilisi, Georgia UPCOMING >> PLANNED AND EXPECTED REPRESENTATIONS: >>> Curatorial Project “Destroy Your Art”, “Intoxications and Inspirational Errors - Volume 3” / “Heaven Can’t Wait” SELECTED SOLO EXHIBITIONS: 2013 2012 2011 2010 2008 2007 2005 2004 2003 2002 2001

“Hyper-position” (Installation to Sculpture with sound) featuring Manuchar Oqroscvaridze at National Museum of Art, Tbilisi, Georgia HYPERLINK “http://www.museum.ge” www.museum.ge “Intoxications and Inspirational Errors - Volume 2” / “Eden Lost” (Installation / Active Environment) at National Museum, Tbilisi: Simon Janashia Museum of Georgia “Intoxications and Inspirational Errors - Volume 1” / “Black Hole of Inspiration” (Active Environment) at Alexander Chavchavadze Museum, Tsinandali, Georgia “No Pain Without Art, No Art Without Pain” / Works on Paper and Installation at Oat Gallery in a Frames of Artisterium 2010, Tbilisi, Georgia HYPERLINK “http://www.artisterium.org” www.artisterium.org “Collected and Assembled by Times, Void, Chaos and Order” at Gallery 9, Tbilisi, Georgia HYPERLINK “http://www.gallery9.ge” www.gallery9.ge “From Heaven to Hell” at gallery “Bremer” in Tilburg, the Netherlands “Space cakes, Places and POG’s” at the Gallery “Peter Marcelle Contemporary” in Southampton, New York, United States “Infrared Show” at New Art Union “Tapi” – Gallery in Tbilisi, Georgia HYPERLINK “http://www.newart.org.ge” www.newart.org.ge ‘Untitled works collected’ at “Airzena head office” in Tbilisi, Georgia “The Birth of “Viodrome” at open studio Konstantin Mindadze & ‘Arts Place Contemporary’ in Amsterdam, the Netherlands / “VIODROME” at ‘TMS’ - Modern Art Gallery in Tbilisi, Georgia / “Clockworks” at Gallery ‘Medea’- in Rotterdam, the Netherlands ‘Rest of Interpositions’ at ‘Arts Place’ in Amsterdam the Netherlands “INTERPOSITIONS” at ‘TMS’ Modern Art Gallery in Tbilisi, Georgia / “Surface in Pieces” at open studio ‘K&NM’, in Amsterdam, the Netherlands

SELECTED GROUP EXHIBITIONS: 2013 2012 2011 2010 2009 2008 2007 2005 2003 2002 2000 1996-1997 1994-1995

“Moon Museum” with its catalog presentation curated by Jade Dellinger (director of Bob Rauschenberg gallery) & produced by CAI, premiered at Georgian National Gallery HYPERLINK “http://www.museum.ge” www.museum.ge “Ideographic Objects” (four men show – site-specific objects and video projections with sounds) at Writers House of Georgia, Tbilisi “Things Not Seen Before” audio / visual art tribute to John Cage – curated by Jade Dellinger (Tampa, Florida) presented by US Embassy at National Gallery, Tbilisi, Georgia “Art Meds LLC” (group show of seven conceptual artists) – participant with two new works + poster concept at Gallery “Frontline”, Tbilisi, Georgia Verb Session (Audio Sculpture) for Salon II at Society Arti Et Amicitae, Amsterdam, the Netherlands HYPERLINK “http://www.arti.nl” www.arti.nl Light Installation and Concept Design for a show “ISULINE” - exhibition at National Museum, Tbilisi: Simon Janashia Museum of Georgia HYPERLINK “http://www.museum.ge” www.museum.ge Participation at “Gang Bang” show (two images / C-prints) at Gallery “Box 43” in Zürich, Switzerland Participation at Video Art Travel Exhibition with new double channel animation projections in National Museum of Art Tbilisi (Amiranashvili), and Museum of Atlanta, US Audio Installation “Verb Session 2012” (commissioned) for GeoAir Archidrome project ‘Undergo Parallels’ – public urban spaces in Tbilisi, Georgia “De Salon 2011”/ “Going Up” at Gallery Arti Et Amicitae – Amsterdam, the Netherlands HYPERLINK “http://www.arti.nl” www.arti.nl Space Installation (Drawing, Sculpture, Video) “Excavation of Extinct Secret Artifacts” on theme of Fascism at Gallery 9, Tbilisi, Georgia HYPERLINK “http://www.gallery9.ge” www.gallery9.ge Polygonal Installation “Eat Your Future” included in “Eco Exhibition” at Europe House, Tbilisi, Georgia / HYPERLINK “http://www.europehousegeorgia.org” www.europehousegeorgia.org Participation on Group show “Writing with Color” curated by Wato Tsereteli HYPERLINK “http://www.cca.ge” www.cca.ge Co-Conceived with Wato Tsereteli Project “On the Way”, with “Beauty Under Attack” – (installation / Environment) at Contemporary Art Center Tbilisi, Georgia HYPERLINK “http://www.cca.ge” www.cca.ge “CCD” Trilogy + Skull Animation at “The Other Narration” 3 Day festival/streaming of experimental film and video art at CCAT, HYPERLINK “http://www.cca.ge” www.cca.ge “Creations and Creative Destructions” Trilogy in Progress / Video Installations at “Salon 10/11” at Arti Et Amicitiae, Amsterdam, The Netherlands HYPERLINK “http://www.arti.nl” www.arti.nl “Showroom with Artificial Flowers, Pandora’s Box, Planetarium Etcetera” (“Planetarium” Installation) at State Academy of Art, Tbilisi Georgia HYPERLINK “http://www.art.edu.ge/” http://www.art.edu.ge/ Participation at 3rd International Contemporary Art show “Artisterium” at State Academy of Art (If ever earth can take him /Installation) Tbilisi, Georgia HYPERLINK “http://www.artisterium.org”www.artisterium.org Video Installation at Festinova (International Festival of Contemporary Art) at Art Villa Garikula, Georgia HYPERLINK “http://www.festinova.com” www.festinova.com Six men show “Empty Spaces” organised by British Council at State Academy of Art, Tbilisi, Georgia Adam Mickiewicz Institute, Warsaw, Poland HYPERLINK “http://www.iam.pl” www.iam.pl / “De Salon 09/10” at Gallery Arti Et Amicitae – Amsterdam, the Netherlands HYPERLINK “http://www.arti.nl” www.arti.nl “Text Art” by Young Georgian Artists at Open Society Georgia Foundation organised by TRAM, Tbilisi, Georgia HYPERLINK “http://www.osgf.ge” www.osgf.ge Participation at 2nd International Contemporary Art show “Artisterium 09” at State Museum of Tbilisi’s History -Tbilisi, Georgia HYPERLINK “http://www.artisterium.org”www.artisterium.org Group travel exhibition “One can’t change heartbeat of my country” at state theater of Gori, Georgia, at university of Akhaltsihe, Georgia, at state Museum of Art in Rustavi, Georgia, and at state gallery in Signagi, Georgia HYPERLINK “http://www.actualart.ge”www.actualart.ge “Transcaucasus- All & Now” at Ujazdowski Castle, and at Kordegard Gallery in Warsaw, Poland HYPERLINK “http://www.transkaukazja.pl” www.transkaukazja.pl “Werk van Nieuwe Leden” at Gallery Arti Et Amicitae – Amsterdam, the Netherlands HYPERLINK “http://www.arti.nl” www.arti.nl “De Salon 08/09” / “Art as a Painkiller” at Gallery Arti Et Amicitae – Amsterdam, the Netherlands HYPERLINK “http://www.arti.nl” www.arti.nl Presentation of art catalogue “New Generation in Contemporary Georgian Art” at gallery ‘Kopala’ in Tbilisi, Georgia “Square Foot Show” at the Gallery “Art Gotham” (Chelsea), New York, NY Five men show “10th Stop” from “Tram” artists at the gallery “ARCI” in Tbilisi, Georgia Participation at the Second International Art Convention – ‘Art Caucasus’ at ‘GTC’ (Georgian Trade Center) in Tbilisi Georgia International art fair ‘HAF’ at Congress Centrum in Den Haag, the Netherlands ( HYPERLINK “http://www.hollandartfair.nl” www.hollandartfair.nl) “De Kader” show and performance at ‘Arts Place’ Contemporary Art Gallery in Amsterdam, the Netherlands / Works in stock at ‘Ferry Grunning Gallery’ in Amsterdam, the Netherlands / ‘Undimensional Panorama of the Clones’ at ‘Universe’ Modern Art Gallery in Tbilisi, Georgia Cells series at ‘Ferry Grunning Gallery’ in Amsterdam, the Netherlands ‘Schoorlse Kunsten’ at ‘Oorsprong’ in Schoorldam, the Netherlands Various works at ‘Oorsprong’ in Schoorldam, the Netherlands

SELECTED ACTIVITIES, PROJECTS AND INSTITUTIONS: 2013 2012 2011 2010 2009 2008 2005 to 2007 2004 2001 2000 1999 1997 1996-1997

“VISCERA” Recent works on paper / (Hand carved cellulose with scalpel blade) at El Paso – New Mexican and Clinique MEDI Privé , Tbilisi, Georgia “Unlimited Abilities” – charity group exhibition organized by GeoAir Archidrome HYPERLINK “http://unlimitedabilities.wordpress.com/” http://unlimitedabilities.wordpress.com/ “Remember 1000 small things” charity Auction of Georgian Contemporary Art at Tbilisi History Museum “Selected B-sides” (Selection of various unseen offsite works from different years) at Grey Garden Club, Tbilisi, Georgia Artist Talk – In Conversation with art critic David Andriadze and preview of upcoming monograph “…And it all Fades” at Grey Garden Club, Tbilisi, Georgia “Everyone will love you, when you’re dead” (Recent drawings on Cellulose auctioned) at Dining Room Restaurant, Tbilisi, Georgia ‘Blow Up’s and Explosive Studies’ (mixed media series on cellulose) at ‘Pierrot Le Fou’ concept shop, Tbilisi, Georgia “Intoxications and Inspirational Errors” - volume 1 (Technical studies – Prints and Concept) – Included in GeoAir in the Framework of Atlantis 11 at the 54th Venice Biennale at Collegio Armeno Moorat-Raphael, Pallazzo Zenobio Dorsoduro 2596 Fondamenta Del Soccorso (Jun 01 > 05) HYPERLINK “http://www.atlantisprojects.eu/web/index-439.html /” http://www.atlantisprojects.eu/web/index-439.html / HYPERLINK “http://geoair.blogspot.com/” http://geoair.blogspot.com/ “Public Dialogue” (Artist Talk - Session One) orginized by GeoAir Archidrome at State Museum Literature http://geoair.blogspot.com / HYPERLINK “http://www.literaturemuseum.ge” www.literaturemuseum.ge “Playstation” Solo Exhibition of ten drawings and editions on paper with Performance of Shining at Belle de Jour Restaurant, Tbilisi, Georgia “Creations and Creative Destructions” Trilogy in Progress / Video Installations presented by Denizhan Ozer (Koridoor Contemporary Art Programs) at Karsi Sanat Gallery, Istanbul, Turkey and Space (Studio 15) London, United Kingdom HYPERLINK “http://www.koridoor.com” www.koridoor.com / HYPERLINK “http://www.karsi.com” www.karsi.com Installation “Planetarium” (Commissioned) for “Tradition meets Innovation” Alexander Chavchavadze Museum, Tsinandali, Geo HYPERLINK “http://www.tabula.ge” www.tabula.ge Visuals and Video Installation for the Music Event at Radisson Hotel, Tbilisi, Georgia (With Cover Design of Compilation CD / Shining) Member of renowned Dutch art society “Arti Et Amicitae” ( HYPERLINK “http://www.arti.nl” www.arti.nl) in Amsterdam, the Netherlands Various Visuals at the Co-Organized “Bunker’ New Year’s Party – Amsterdam Sloterdijk, the Netherlands Works in Brooklyn, NY //// (Lounge of HYPERLINK “http://www.kotemindadze.com” www.kotemindadze.com) Member of “Transform Art Module” ( HYPERLINK “http://www.tram.ge” www.tram.ge) Member of Dutch Artists Union “Arts Place Contemporary” ( HYPERLINK “http://www.arts-place.nl” www.arts-place.nl), Amsterdam, the Netherlands Curated Nato Mindadze solo show ‘Historic Museum Tbilisi’ in Tbilisi, Georgia /// State Conservatory & Music Theater - designed ‘N. Gabunia’ Award in Tbilisi, Georgia. Works as an Art Director / Copywriter & Designer by the Advertising agency ‘MAGI Style – Ogilvy’ on the project ‘GT Mobile’ in Tbilisi, Georgia Collaborative work with film- director/ actor I. Apakidze on the project/ theater performance ‘The Emigrants’ (digital prints, decorations, photography & design) at ‘Stadschouwburg’ in Amsterdam, the Netherlands “landscapes of Dutch coast” solo exhibition of paintings at cafe- bar ‘Bachus’ in Schoorl, the Netherlands Digital prints, Decorations & Design for art manifestation days ‘Schoorlse Kunsten’ curated by Jaap Borgers in Schoorl, Bergen, Groet and Camperduin, the NL