FIG 2. Study for Erased de Kooning Drawing (R.R.), 2019
From the series, Plates for DeColonized Art History
Hand-painted liquid mirror and enamel paint on glass mounted on steel frame
14 x 12 in / 35.56 x 30.48 cm
Plates for DeColonized Art History (2019-) is an ongoing project that revisits canonical "western" art history and raises questions of representation, education, and history. I select seminal artworks from the western Modern Art History that had a profound impact on my formation as an artist and recreate them in a liquid mirror.
The first piece from the series "FIG.1 Study for The Large Glass" is a faithful recreation of the shredded surface of Marcel Duchamp's iconic work that became the foundation of contemporary art. The second piece from this project exhibited here, "FIG 2. Study for Erased de Kooning Drawing" is referencing Robert Rauschenberg's work of the same title. It explores the gesture of erasure between it's opposing poles - as a tool of colonization and the openness to radical change. I distill these works from their materiality into recognizable visual signs, which, to my understanding, outlines their historical importance. And by being translated into a reflective surface, they leave their iconic western status and become an all-inclusive experience.
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Levan Mindiashvili is a Georgian born Brooklyn Based visual artist. He creates immersive, modular installations that deal with fluidity as a current state of being and question canonical truths about identity, history, and power structures. He holds a B.F.A. from Tbilisi State Academy of Arts (2003) and an M.F.A. from Buenos Aires National University of Arts (2010). He recently completed the NYFA Immigrant Artist Mentoring Program (2020), and the AIM Fellowship of the Bronx Museum of the Arts (2019). He is a recipient of the Peter S Reed Foundation Grant (2020), Creative Time grant for X Summit Creative Dinners (2019), and of the National Endowments for Arts for Public Art Projects (2014).
He completed a Studio Residency program at NARS Foundation (2018). He served as a panelist and moderator at Berlin and Tbilisi Art Fair Talk Series (both 2019), and periodically serves as a guest professor at the School of Visual Arts and Design VA[A]Ds Tbilisi, Georgia. His work has been the subject of an essay by Christian Rattemeyer for the OSMOS Magazine (Fall 2019) and has been mentioned in publications such as Artnet News, The Art Newspaper, ArtAsia Pacific, HYPERALLERGIC, Observer, Huffington Post, and Art Margins, among others.