Reminiscence Work: Levan Mindiashvili at Marisa Newman Projects

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A sheer curtain hands between two

Take into record of the exhibition «what coloration is the Dim Sea?,» 2021, exhibiting what coloration is the Dim Sea?, 2021, and Patterns of My Consciousness (where I inclined to nest), No.4,
2021, at Marisa Newman Projects. Courtesy the artist and Marisa Newman Projects, NY.

Photograph Marcie Revens.

Within the restricted role of a modest venue, Levan Mindiashvili manages to follow it this exhibition a flowery story of his early childhood in Tbilisi, Georgia. The demonstrate’s title, “what coloration is the Dim Sea?,” a childish jest, alludes to a family seaside holiday when Mindiashvili used to be three years inclined, an occasion that the artist has is known as his first memory. For him, the match marks the starting of consciousness—and self-consciousness—along side the nascent 2d of his strange identification.

The exhibition aspects the titular set up with quite a bit of parts—along side are living vegetation identical to those native to Georgia and a stone from the shore of the Dim Sea—as successfully as several diminutive oil-on-latex artwork (all 2021); a majority of these replicate floral patterns Mindiashvili recalls from a blanket he inclined as a child, and others newest Georgian script in a layout inclined to educate younger participants the letters of the alphabet.

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Hanging from the ceiling in the center of the gallery is a scrim-cherish translucent latex curtain with a beige hue that approximates the artist’s pores and skin tone. Most reasonably about a parts are hung low, positioned on the bottom, or a piece of elevated on top of a slender, face-up train, to signify the angle of a kid. Thematically, the exhibition companies and products on a snapshot of the three-year-inclined Mindiashvili sitting bare and by myself on the coastline. It used to be a image his folks kept in a prominent deliver in a family photo album and frequently showed to company, mortifying him as a child. The image reappears several cases in the demonstrate, most prominently on the fleshly curtain—a definite image is silkscreened on one facet of the curtain, and a unfavorable mark on the reverse. Including to the charged, gender-fluid tenor of the set up, ceiling-hung develop lights bathe the total gallery in a feminizing, gentle red-crimson gentle that also advantages a diminutive tangerine tree in the center of the room.

A beige latex sheet draped over a dark empty steel frame is painted with letters from the Georgian alphabet.

Levan Mindiashvili, ჩემი ცნობიერის ჩუქურთმა (Patterns of My Consciousness), 2021, oil on latex mounted on artist’s steel frame, brass screws, 30 by 16 1/4 by 4 inches. Courtesy the artist and Marisa Newman Projects.
Photograph Marcie Revens.

Mindiashvili’s artwork, objects, and installations frequently explore identification in summary, spatial terms, as in his 2014–17 project “Unintended Archeology of (un)Build.” A newest example is his set up “Levani’s Room: HOME,” presented by the gallery lastly year’s SPRING/BREAK Art Train in Recent York, for which Mindiashvili re-created intimate areas of his condo with photos printed on sheer material scrims. “What coloration is the Dim Sea?” is more valorous in its scope and conceptual depth, in particular in the manner it evokes formative childhood experiences via a usually summary visual language. The demonstrate’s mood is more meditative and bad than that of earlier efforts, but the artist also incorporates a chain of droll surprises. A video loop on an iPad, embedded within a child’s yellow-orange faux-fur pillow on the bottom, shows a hedgehog transferring real via a backyard at night, referencing a identical scene that unfolded in Mindiashvili’s grandparents’ yard after the seaside vacation. Equally nostalgic and reasonably campy passages occur in other locations in the demonstrate, as in the invent of a diminutive potted palm tree partly wrapped in a false fur coat decorated with jewel-cherish crystals. In its have eccentric metaphorical terms, the work represents the artist’s mother.

Positioned at a child’s top on one wall, the demonstrate’s title seems in cursive white neon lettering that has been painted shadowy on the front, so that the letters seem backlit by a halo of gentle. This poetic fragment corresponds to Glenn Ligon’s 2009 wall-hung neon work Untitled (The United States), by which block letters spelling the discover “The United States” are painted shadowy on the front facet, allowing most tremendous restricted illumination of the wall in the attend of. Ligon’s work is a wry comment on segregation and The United States’s double accepted of equality. Mindiashvili’s share is a similarly potent statement about negation and rejection. It conveys a sense of displacement and ostracization that for him began at age three on the shores of the Dim Sea.

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