Culture Week Tbilisi. Location: Factory Tbilisi - 114, Tsereteli ave, Tbilisi, Georgia 9-12.05.2024

Lost Signal Tracking

Zurab Arabidze’s Multimedia Installation

Zurab Arabidze's multimedia project Lost Signal Tracking is a conceptual abstraction. The large-scale installation is built on the extension of object and space connections and occurs as existential metaphor. The viewer follows the dramaturgically developed exposition and successively stops in a tense, supportless space where there are only hints of the impermanent and the eternal, faces the wall of totalitarianism, then moves into a field of technological progress which is full of dangers and as if continues to search for a lost signal with accompanying psycho-emotional moods. Lost Signal Tracking continues such an important topic of contemporary art history as the conditionality of systems and their analytical criticism along with the search for artistic correspondences.

Zurab Arabidze's artistic experience is based on the theme of the minimalist form's relationship with space and its connections with different states, primary meanings. His art is concise and clear, sometimes characterized by a heavy severity where the symbols of barrier or wall and unpredictable, almost surreal exposure are important.

Zurab Arabidze is an artist whose oeuvre display precise links between materials, geometric forms, natural energies and video or photo images. Lost Signal Tracking is an interactive project that is carried out only with the participation of the viewer.

Khatuna Khabuliani, PHD, Art Historian

1. Installation “No Signal”

The installation titled “No Signal” represents an object of worship that challenges modern perceptions of information and authoritarianism. The pedestal, made of concrete blocks, is placed on an old carpet, symbolizing a sense of disharmony and mismatch. On top of the pedestal stands a television, which in the context of this work can be seen as a head or brain transmitting messages. However, the key element is the absence of signal.

The television, a central symbol of information and control over consciousness in modern culture, is deprived of its function here. Instead of broadcasting information, it only transmits static noise, symbolizing the loss of signal, the loss of clarity and meaning. This prompts reflection on how, in dictatorial and authoritarian systems, the connection between truth and reality can be lost. People worship this object, bowing before a false idol, a system that has lost its link to genuine information, replacing it with empty noise, disinformation, and manipulation.

The dissonance between materials—the old carpet, rough concrete blocks, and the modern television—reflects the absurdity of this construction, which resembles an artificially erected object of worship. People worship something that holds no true value or meaning, much like in authoritarian regimes where society may submit to empty and meaningless slogans, having lost the ability to think critically. The loss of signal here is not just a technical glitch; it’s a metaphor for a lost consciousness, no longer capable of perceiving reality objectively.

The static noise from the television and the mechanical voice teaching how to restore the signal are reminders of a distorted reality, where propaganda and false ideals replace genuine information. Dictatorship seeks to control the collective consciousness, creating an illusion of control and stability, when in fact it broadcasts only chaos and disconnection.

Existentially, the installation raises questions about what we worship in society. People who have lost their connection to truth are easily swayed by false authorities and systems that, in reality, are devoid of substance. They continue to worship something that carries no meaning, remaining in a state of delusion and submission. Power dictates its rules through this noise, and the individual submits, not realizing they are worshiping emptiness.

Thus, the “No Signal” installation symbolizes the loss of meaning in authoritarian systems, where people, deprived of critical thinking, continue to obey a power that no longer transmits any signal of truth.

size: 350x250x280 cm / material: carpet, solid concrete block, square tube 20x40mm, TV. / year:2023

2. Object “Destructive Cult of Light”

The installation titled “Destructive Cult of Light” represents a profound existential symbol of authoritarianism, where light, initially meant to illuminate the world, becomes a tool of oppression and destruction. Light here symbolizes truth, divine revelation, but in this work, it takes on a menacing tone. It is embedded within a system that not only directs this light onto a person but also subjugates them to its power.

Light, typically associated with enlightenment and liberation, becomes a destructive force in this context. Rather than granting freedom, it takes it away. It blinds, forcing submission to its might, destroying the individuality of the person. The entire system is constructed so that the light, which should be a source of truth, becomes a mechanism of control and suppression.

This installation illustrates the oppressive nature of systems that, under the guise of enlightenment, manipulate the masses. Authoritarianism and dictatorship often use light—a metaphor for truth—to justify their actions, suppressing resistance and individual freedom. People, caught under this light, are compelled to submit, blinded by the power and grandeur of a force that, in reality, only oppresses them.

Existentially, the installation embodies the conflict between individual freedom and the oppressive system of power. The light in this work is a paradoxical phenomenon: it provides the ability to see, but at the same time limits vision, leaving the individual in a state of submission and helplessness. This is a metaphor for how authoritarian systems can make people believe in false ideals, deceiving them with the appearance of truth, while in fact controlling, oppressing, and destroying individuality.

The “Destructive Cult of Light” reminds us that any force, even if presented as a good, can become a tool of oppression when used to suppress freedom of thought. The light, which blinds and subjugates, becomes a symbol of false enlightenment, where there is no room for true liberation or self-awareness.

size: 250x250 cm / material: spotlight. / year:2024

3. Video Work “Chilly Winter Is Expected”

The installation “Chilly Winter Is Expected” is a profound existential metaphor for inevitable isolation and self-limitation, both on a personal and global level. The video symbolizes a process in which a window—a symbol of openness, light, and connection to the outside world—is gradually bricked up, reflecting the gradual closing of opportunities and the erection of both internal and external barriers.

The existential depth of the work lies in its paradox: instead of opening up to the world and overcoming challenges, a person (or an entire society) chooses to strengthen their walls, depriving themselves of chances for change and escape from a difficult situation. This is not only a metaphor for preparing for harsh life challenges but also for internal freezing, where fear of the future blocks paths to growth and progress.

At the same time, the installation contains a prophetic element. Just as the window slowly disappears behind the brick wall, so too might the world in the future face a global trend of isolation. Open spaces—symbols of international cooperation, free movement, and mutual understanding—may gradually turn into closed, restricted systems. Countries will increasingly close themselves off, reinforcing their borders and erecting both physical and symbolic walls. This will lead to a worsening global situation, where isolation becomes the norm and open societies freeze in a state of stagnation.

“Chilly Winter Is Expected” serves as a warning that instead of moving forward and embracing change, we may find ourselves in a world where fear of external threats ultimately locks us behind brick walls, leaving humanity frozen in a state with no possibility for development.


Group exhibition "New Faith" Arcane Space 17, Nikifore Irbach st. Tbilisi, Georgia 29.03.2024 - 15.05.2024

“New Faith” – Press Release / 29_03_2024

Human Newsroom!

Don't try to understand to believe; believe to understand...

Such is the postulate of Blessed Augustine.

For a long time, people got used to the idea that faith is a human phenomenon rather than a divine one.

And like everything human, it undergoes formation - it grows. is develops. It dies.

Then it goes to a new cycle again - it grows. It develops. It dies.

But man, also likes rebellion.

All the more, a rebellion against faith - to overthrow the old and to give birth to a new one.

But what is transcendental about this "newness"?

Perhaps, the faith itself, which, perhaps, has nothing to do with faith, but combines in its head a complex mixture of man and God - a formless form that has become a part of the desired perfection.

In the current Babylonian discourse, people also contemplate Christian traces; More precisely, these are "traces of traces" and traces without traces. In searching for these clues, the world enters a new phase of questioning.

This century loves novelty...

news...

New digital...

New idolatry and new iconoclasm;

new technologies...

And in the meantime, a person has transformed from a new person to a newsroom.

The new faith in this newsroom is dubious, but full of news...

with news about people and humanity.

On post-humans and post-humanity.

On God and Godlessness.

About the lost paradise and the found hell, where faith is no longer lost, because it no longer exists...

David Andriadze

“New Faith” is a first exhibition uniting group of eight international emerging multimedia audio visual artists under ‘Arcane Space’ - which is international contemporary art space with main focus on minimal and conceptual multimedia audio visual emerging art, photography and its discussions uniting carefully selected group of Dutch, American and Georgian established Artists.

Title ‘New Faith’ is conceived by participant artist and co-curator Konstantin Mindadze who draws here parallel between new ‘alien’ form and imaginary crucifixion titled ‘Artificial Intelligence’ along with ‘black sphere’ made of meteorites, hidden messages in ‘black envelope’ and raw emotional image with formula of love.

American artist Sean Miller’s scroll text describing in details step by step exact damages caused by falling meteorite into homo sapiens built environment.

“Freedom” comes with its price in Zurab Arabidze’s self-titled piece represented visually almost like barbwire. In second installation first commandment is written in black acrylic relief letters on ceiling.

As continuation to the theme Manuchar Okrostvaridze displayed a diptych consisting of digital error text with red LED’s accompanied with smashed stainless steel hanging sculpture as metaphors of fragility and resilience.

In Tatia Darchiashvili’s triptych of drawings human lifeforms arise from string like lines flows, ranging from black and white to colorful fragments gently visible only if you approach them closely.

We also selected one large drawing by Lado Pochkhua’s serie ‘book of new Georgian Aristocracy’ – spooky detailed humanoid all dressed up but with absence of face. Maybe because to underline that personalities will be less important in age of AI.

Levan Vaznareli represents sixtych as well but in analog photography. Estranged locations with exact coordinates as titles in almost underwater tones has otherworldly touch to it.

And finally there is a specially edited atmospheric soundscapes by Italian ambient musician Paolo Tarsi, adding emotional mood to a complete show.

Konstantin Mindadze

Solo Exhibition “Wall of confrontation in human consciousness” Literature museum Gia Chanturia st. 8 Tbilisi, Georgia 10.12.2019 - 21.12.2019

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“Wall of confrontation in human consciousness”

The Wall of Confrontation represents the boundaries set by nationalities, religions, territorial divisions, society circles, families in the human minds. Society´s mission has always been to subdue the consciousness of as many as possible. Those thinking or feeling differently from the society are trapped. They suffocate, they revolt, beat themselves against the wall, try to jump it over, distance themselves from others, but are brought back and back again to the social influence of the group they think they belong.

It is known that we need to strive in a tribe in order to survive. Tribes usually have their rulers and rules that shouldn´t be violated.

Is it possible to survive staying in harmony with your thoughts, feelings & opinions, be truthful to yourself and honest to others? We face the alternative to become part of a bigger group or to flee. Social conflicting systems, beliefs and principles given an alternative become a wall, when one has to choose, when neither of the two versions may be acceptable to him, but he is still compelled to choose.

Every condition creates an artificial feeling that there is no other alternative, but at the same time it’s the alternative which raises the wall.

All contradictions stem in the human mind. Accepting a new different kind of solution, which may be a way out, at first, creates a feeling of fear and that feeling of novelty takes one back to the barrier.

The basic principle of freedom is that a person should make a choice independently, not on the basis of environmental conditions. Circumstances may include not only external factors but our inner emotions as well.

“Great Unification”

The installation “Great Unification” reflects the deeply existential need of humanity to seek a higher idea, power, or truth around which different people or structures unite. The light in the center is a metaphor for the higher force that everyone present strives towards. This light is not just a physical object; it symbolizes what makes interaction, communication, and unification possible.

The various chairs arranged around the light symbolize unique structures or individual human entities, each with its own form, history, and meaning. Despite their diversity, all these elements are united around the common source—the light, which gives them new meaning and purpose. In this act of unification, different and seemingly mismatched objects come together to create something greater than just the sum of its parts. It becomes a collective striving for unity in the face of something grand, something that transcends individual differences.

The shadows cast on the walls appear significantly larger and more imposing than the chairs themselves, symbolizing the significance and greatness that comes with uniting around a higher idea. They show that by uniting around a common source of truth or power, we become something much greater than merely separate parts.

The existential concept of this work lies in the idea that the light is like the higher meaning of life, an idea that we all strive for. However, in order to experience this meaning, we must unite and direct our efforts toward the common light. Without this light, we remain mere shadows, condemned to disconnection and fragmentation.

“The Great Unification” emphasizes the importance of a higher force in human life, which gives us a common goal and compels us to overcome internal and external barriers.

Group exhibition "FROM PERESTROIKA UNTIL TODAY" The G. Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation Atoneli St. 9 Tbilisi, Georgia 6.11.2019

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“From Perestroika Until Today”

In 1985 Perestroika started officially and it has turned into significant event of the world; media started talking on the end of “Evil Empire”, disappearance of “Iron Curtain”, demolition of Berlin Wall.

New meh, characters, rock-movement with its famous slogan “We are waiting for Changes!” was born. Everyone was looking for changes, especially young generation. However, process of dissolution of the empire was more difficult and painful than expected andforecasted. Series of frustration kicked in, symbolic act of wall demolishment did not mean entering field of freedom, new obstacles were breaking out there.  

"Georgia will be the second Switzerland"

From the second half of the 80's, speeches and demonstrations started more and more boldly, where the possible brilliance of Georgia and the Georgian people under the conditions of independence was heard more and more often. "Georgia will be the second Switzerland". This phrase was deeply imprinted in the hearts and minds of the Georgian people.

Obsessed with this idea, they restore the Soviet regime, and in April 1989, the struggle for Georgian state independence began with a bloody conflict. Very soon this was followed by the fundamental destruction of the Soviet Union itself, whose architects were Gorbachev and Shevardnadze.

Georgia took advantage of this event and was one of the first to break away from the Soviet Union and declare independence. It was not an easy task for Georgian society. There were many problems to be solved. The nation had to live in difficult conditions. Civil and neighborhood wars broke out. Georgian people fought for their survival in the cold and darkness. But the great hope that Georgia would become a second Switzerland, would become a desired member of NATO, an integral part of Europe, gave the greatest strength to overcome all the difficulties created by the enemy, at one time Russia's father and breadwinner. The fall of the Berlin Wall became a symbol of the unification of Eastern and Western Europe for the whole world. The danger of the Cold War has disappeared and a new era in human history has begun.

This project is based on the facts and events that Georgian politics and worldview experienced after perestroika. How actively Georgia entered the international arena and equalized to European standards. How accepted and understood are all the problems in which all the leading countries of the world are involved. Both in environmental and humanitarian issues. Democracy and human rights. in the development of education and culture.

“Art Panic”

Can art show tyranny, its nature and consequences? Can art show the panic that follows universal disillusionment and the impossibility of change? The main mood of perestroika was expectation, the expectation was about the destruction of the wall, the opening of borders, travel to other countries, the independence of one's country and the inevitable success. The rock movement celebrated its message with a hit of that period: Our bodies are waiting for changes, our hearts are waiting for changes, we are waiting for changes! The change began in words, sentences, their configuration.

Thoughts that slept under the rhythm of communist mantras appeared. At the time, it was said that the Soviet system was based on magic, it was atheistic, but it aimed to create heaven on earth. "Communists have no other goal than to achieve the happiness of all people living on earth. (Nikita Khrushchev. Program of the Communist Party. 1961.) Of the Perestroika publicist programs, the "Fifth Wheel" (Пятое колесо) was particularly popular - a project of Leningrad Television, which first It was aired on April 11, 1988. This program suddenly gained popularity and a large part of the perestroika society became its audience And in imitation of logical reasoning, a new myth was presented, according to which Lenin took hallucinogenic mushrooms and eventually turned into mushrooms. During the discussion, Kuriokhin spoke about the Mexican expedition, from where he had just arrived, and the texts of Carlos Castaneda were confusing to the audience He listened to the scientific hypothesis in full compliance with the rules of argumentation.

Kuryokhin said that Lenin was a mushroom and a radio wave at that, reasoning that the cut of the armor on which Lenin's famous speech took place matched the structure of the mycelium of the mushroom Amanita, and the word "ninelli" - read backwards "Lenin" - was the French name for a dish made from mushrooms. Excerpt from Sergey Kuryokhin's discussion: - ,, as for radio waves, - a person becomes a mushroom and a radio wave at the same time. do you understand Now I will tell you the main thing, where the case is leading me. I have absolutely convincing proof that the whole October Revolution was brought about by people who had been taking certain types of mushrooms for years. And these mushrooms, in the process of these people using them, completely expelled their personalities, turning people into mushrooms. That is, to put it simply, Lenin was a mushroom. And there was a radio wave mushroom with it, you know? "A few months after this tele-action, the Soviet Union was officially dissolved.

During the period of perestroika, a lot of people thought and talked about the model of tyranny by which the system that was already in a stable mode was managed. In 2017, at the Dutch festival in Amsterdam, the Stanislavsky Electro Theater performance was presented - Dmitri Kurliandsky's opera Octavia. Trepanation" directed by Boris Yukhananov. The libretto was based on Lev Trotsky's writings about Lenin (1924) and the play about the Roman emperor Nero, attributed to Seneca. On the stage is a huge head of Lenin surrounded by the skeletons of centaurs, this giant head with a laurel wreath like the Roman emperors moves on both sides of the Chinese terracotta army soldier Abby too With the presence of goliath and headless figures, - the image of tyranny, cruel and bloody. Where there is power, there is resistance, one is building a wall and the other is planning to destroy it. The governed society had to implement, probably in the same way, - replacing the communist mantra with the perestroika mantra. The Soviet man is happy, - repeated the Soviet mantra, - the perestroika man expects changes, opens the doors, opens the border, destroys the wall, or builds a new wall.

Khatuna Khabuliani, PHD Art Historian

1. Video Work “Chilly Winter Is Expected”

The installation “Chilly Winter Is Expected” is a profound existential metaphor for inevitable isolation and self-limitation, both on a personal and global level. The video symbolizes a process in which a window—a symbol of openness, light, and connection to the outside world—is gradually bricked up, reflecting the gradual closing of opportunities and the erection of both internal and external barriers.

The existential depth of the work lies in its paradox: instead of opening up to the world and overcoming challenges, a person (or an entire society) chooses to strengthen their walls, depriving themselves of chances for change and escape from a difficult situation. This is not only a metaphor for preparing for harsh life challenges but also for internal freezing, where fear of the future blocks paths to growth and progress.

At the same time, the installation contains a prophetic element. Just as the window slowly disappears behind the brick wall, so too might the world in the future face a global trend of isolation. Open spaces—symbols of international cooperation, free movement, and mutual understanding—may gradually turn into closed, restricted systems. Countries will increasingly close themselves off, reinforcing their borders and erecting both physical and symbolic walls. This will lead to a worsening global situation, where isolation becomes the norm and open societies freeze in a state of stagnation.

“Chilly Winter Is Expected” serves as a warning that instead of moving forward and embracing change, we may find ourselves in a world where fear of external threats ultimately locks us behind brick walls, leaving humanity frozen in a state with no possibility for development.

2. Installation “From Perestroika Until Today”

The installation “From Perestroika Until Today” serves as a metaphor for a frozen reality where both society and the state are stuck on the path to progress. The existential depth of this work lies in the feeling of helplessness and the inability to overcome one’s own limitations, both personal and societal.

The door itself, as a symbol of possibility, is connected to the idea that every person strives for progress and a better future. An open door is usually associated with an exit from difficulties, but here it becomes an illusion—behind it is a brick wall, reminding us that the promises and hopes for development after the collapse of the Soviet Union have remained unfulfilled.

The brick wall is not just a physical barrier; it symbolizes invisible boundaries within us: social, political, and existential limitations that prevent us from moving forward. A person who confronts this obstacle finds themselves in a state of constant waiting, where the desire for exit and progress is blocked by an impenetrable wall, condemning them to repeat the same questions about the meaning of existence.

The existential fear in this installation lies in the realization that progress is not only a material process but a spiritual one as well, and its absence is a frozen moment in time, an eternal “today” in which we are stuck.

"Foto Tallinn" international art fair. Tallinn, Estonia 26.09.2019 - 29.09.20192

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“ARCHmetamorphizm”

The works of the ARCHmetamorphizm project embody the refraction of the author’s perception of architectural elements through the lens of photography. Architectural structures are transformed into whimsical forms, as if small fragments of glass, turned by a kaleidoscope, create a new geometric reality. In this process of metamorphosis, the original meaning of the structures is lost; what were once apartment buildings, office complexes, or historical monuments are now abstract elements, absorbed into the aesthetic vision of the artist.

As these architectural components lose their individuality, they enter the author’s playful interaction with space, generating mosaics in which the seeming randomness of chaos becomes organized into geometric patterns. Objective reality ceases to be perceived as such, instead taking on the appearance of artistic renderings: outlines of human chromosomes, fragmented media player patterns, or visualizations of a virtual matrix—where countless numbers rush across the screen, giving rise to a new aesthetic dimension.

The objects captured by the artist are transformed from functional buildings into elements of a conceptual urban planning scheme. The photographs, now liberated from their architectural identity, become components of a construction set, capable of being rearranged into endless configurations for new landscapes. Each fragment becomes a piece of a broader design, a versatile module that can be recontextualized into future urban concepts.

Through ARCHmetamorphizm, the project explores architecture beyond its utilitarian and historical functions. It shifts these elements into an abstract space where meaning is fluid, allowing buildings to dissolve into patterns and forms. The result is a visual playground of ordered chaos—an intersection between architecture, art, and the virtual, where structure loses its rigidity and becomes a malleable part of the artist’s spatial experiment. This approach offers a new way of thinking about architectural space, one that embraces transformation, fluidity, and the perpetual construction of new aesthetic realities.

Group Photo Exhibition "IDEAL BLACK" OKAPI Gallery Niguliste 2 Tallinn, Estonia 28.03.2019 - 28.04.2019

“ARCHmetamorphizm”

The works of the ARCHmetamorphizm project embody the refraction of the author’s perception of architectural elements through the lens of photography. Architectural structures are transformed into whimsical forms, as if small fragments of glass, turned by a kaleidoscope, create a new geometric reality. In this process of metamorphosis, the original meaning of the structures is lost; what were once apartment buildings, office complexes, or historical monuments are now abstract elements, absorbed into the aesthetic vision of the artist.

As these architectural components lose their individuality, they enter the author’s playful interaction with space, generating mosaics in which the seeming randomness of chaos becomes organized into geometric patterns. Objective reality ceases to be perceived as such, instead taking on the appearance of artistic renderings: outlines of human chromosomes, fragmented media player patterns, or visualizations of a virtual matrix—where countless numbers rush across the screen, giving rise to a new aesthetic dimension.

The objects captured by the artist are transformed from functional buildings into elements of a conceptual urban planning scheme. The photographs, now liberated from their architectural identity, become components of a construction set, capable of being rearranged into endless configurations for new landscapes. Each fragment becomes a piece of a broader design, a versatile module that can be recontextualized into future urban concepts.

Through ARCHmetamorphizm, the project explores architecture beyond its utilitarian and historical functions. It shifts these elements into an abstract space where meaning is fluid, allowing buildings to dissolve into patterns and forms. The result is a visual playground of ordered chaos—an intersection between architecture, art, and the virtual, where structure loses its rigidity and becomes a malleable part of the artist’s spatial experiment. This approach offers a new way of thinking about architectural space, one that embraces transformation, fluidity, and the perpetual construction of new aesthetic realities.

Solo exhibition "VERSUS" Zurab Tsereteli museum of modern art. 27 Rustaveli avenue. Tbilisi, Georgia 9.11.2018 - 10.12.2018

Disorientation of collective visions

Zura Arabidze’s project offers visitors a field of existential philosophy, where he deals with the conditions of human existence: individual perception of the world, freedom and possibility of choice. Individual perception of the world is a complex and controversial process with its conflicts and subjectivity, and the contradiction is always accompanied by new energy, which can turn into an artistic form.

Changes in personal space, individual experience, and psychological balance are inevitable when confronted with the societal vision, “common sense”, or established rules. The individual worldview is formed as a result of complex processes and is never unshakable fixture in life - it always undergoes stress with different manifestations of the chaos existing outside, instability.

Zura Arabidze’s multimedia installation is a visualization of the complex relationship of personal and public aspects. By contrasting colors, the author conveys the theme of contrast, which can grow to conflict. It rests on the foundation of monochrome art, where each color is independent and lively, dynamic fixture in life, while the contrasting of colors does not mean just enmity — an individual color can be identified with the life of a person who is in perpetual interaction with the world, with other consciousness, and this process never ends.

The dramaturgical scheme of the installation elaborates several main themes: meeting of the barbed wire and the mirror surface represents symbolically the desire of consciousness for freedom and obstacles created by dogmas along this path. The space represents the reality overloaded with video images, information, the introduction of new values ​​and the accompanying pressure, while the trees in the metal structure indicate an environmental disaster, the absence of future.

The exposition is interactive in the sense that it offers the visitor a special space for reflection on the personal and public aspects, for rethinking and expressing one’s own experience.

Khatuna Khabuliani, PHD Art Historian

1. Object “The Space of Impossible Liberation”

“The Space of Impossible Liberation” explores the fundamental paradox of human existence: the yearning for freedom, which inevitably collides with both internal and external limitations. At the heart of this paradox lies the existential conflict — the struggle between the desire to break free from imposed boundaries and the impossibility of escaping the very structures that define existence itself.

This concept embodies a state where an essence — whether a person, an idea, or a natural element — strives for transcendence, yet every step forward only reinforces the awareness of its entrapment. The branches of trees, frozen within a metal grid, symbolize the attempt to grow and expand, but their movement is confined within a closed space. Just as human consciousness yearns for the infinite, it is confronted by rigid boundaries imposed by both its own nature and the external world.

The idea suggests that freedom, as an ultimate goal, remains forever elusive, and every effort to achieve liberation only results in new forms of confinement. Even in the most open spaces, a person remains imprisoned by beliefs, fears, and expectations. Like a tree whose roots reach deep into the earth but can never break through its surface, our consciousness is trapped within the limits of time, memory, and the uncertainty of the future.

“The Space of Impossible Liberation” invites contemplation of the notion that true freedom may not lie in the destruction of boundaries but in accepting their existence. Perhaps the only liberation is in the realization that all limitations are inherent to being, and attempts to transcend them merely create new forms of dependency. In this sense, the installation becomes a metaphor for life as an endless cycle of struggling against invisible walls that we ourselves construct.

Each line of the metal grid, each curve of the branches within this work, points to the tension between the artificial and the organic, the static and the dynamic, the eternal and the fleeting. The tree reaches upward, but the grid dictates its geometry; consciousness dreams of the infinite, but it confronts the finiteness of the body and time. This space becomes a symbol of the inner conflict that will never find resolution, as liberation is both impossible and necessary at once.

Thus, “The Space of Impossible Liberation” invites reflection on the nature of freedom itself. It suggests that perhaps our true freedom lies not in escaping limitations but in the ability to live and grow within them, finding meaning in each moment and every twist along the path.

Installation; human factor VS nature /mixed media 400x250x4500 cm/

Group exhibition "Silence & Plénitude" AD Gallery Grand-Rue 23. Geneva, Switzerland 08.11.2018 - 08.02.2018

Space during the arrival of the observer

This concept explores the paradoxical relationship between the observer and reality, questioning the existence of an objective world independent of perception. Space and time here cease to be static dimensions — they become flexible, malleable, and dependent on the act of presence. The moment the observer arrives, reality begins to unfold, as if space itself was waiting for a gaze to take form and meaning.

The observer effect in quantum theory challenges the notion of reality: does the world exist without someone to observe it? This question disrupts the fundamental principle of realism, which claims that reality exists independently of consciousness. In this concept, the observer becomes the creator, and perception is the tool that establishes the boundaries of what is real and what is possible. Every action, thought, and glance imbues the material world with new meanings and shapes.

The interaction between consciousness and matter is the central theme: thought, presence, and attention shape the surrounding space. This transformation does not unfold within linear timeframes but occurs in the moment of “arrival” — the convergence of perception and reality, giving rise to new experience. Space becomes a field of probabilities, where each choice or observation constructs a new version of reality.

The concept also examines the responsibility of individuals for the realities they observe and create. If observation impacts the world, then humans are not mere witnesses but active participants in the creation of new realities. The materialization of intentions becomes not just an esoteric act but a way of transforming the world, where each thought and observation serves as a building block of existence.

Paradoxically, this process involves not only conscious thoughts but also unconscious ones — fleeting, random thoughts also influence the space around us. As such, humans are engaged in a constant creative struggle with themselves: between intention and randomness, awareness and the unconscious. The world becomes a reflection of the observer, embodying both desires and fears, producing a reality rich with complexity and duality.

In conclusion, “The Space at the Observer’s Arrival” invites us to explore our thoughts as architects of reality. It emphasizes that perception is the key to both understanding and shaping the world. This concept reveals the idea that reality is not a fixed external entity but a continuous process of creation, in which each of us plays the role of both observer and creator.

"Photo Basel" international art fair. Basel, Switzerland 12.06.2017 - 18.06.2017

Invisible fear of lonelines

In the project “Invisible Fear of Loneliness,” the author explores the human desire for completeness and the fear of being alone. This fear is presented as quantum entanglement, where light particles symbolize people searching for their other half. On the surface of the sea, a white particle of light, devoid of mass or size, strives for perfection and infinity, where it believes it will find its pair.

With the speed of light, the particle bursts from the darkness and pierces through space across the sea’s surface. The Phiton—an isolated particle—moves even faster, attempting to conquer loneliness. The author compares this movement to the human urge to find one’s self in another person. Just as light particles engage in quantum entanglement, human relationships can also be built on invisible interdependence. In quantum entanglement, no matter how far apart the particles are, they remain in constant connection—like the ideal union between a man and a woman, whose emotions endure regardless of distance.

Autophobia is the fear of being alone, the anxiety that no one will ever come. This fear becomes an inherent part of life. Loneliness in the present moment might not seem tragic, but the invisible fear emerges when one starts thinking about how long the solitude will last. This fear not only pertains to the present but also to the future, to the possibility that loneliness could become permanent.

In this project, the sea symbolizes the universe—an infinite space where light particles (humans) strive not to be alone. Like people, these particles seek connections, intersect, interact, but never cease moving. The boundless space evokes tension, where the desire to connect with another becomes an existential necessity.

In this project, the ocean and light particles reflect human life, search, and interaction. The ocean serves as a metaphor for infinity, where loneliness becomes unbearable, and the hope for connection offers salvation. The project delves into the nature of the invisible fear of loneliness and illustrates how this fear shapes our actions, choices, and relationships.

Solo exhibition "Come to me" TBC gallery. Kote Marjanishvili Street 7. Tbilisi, Georgia 25.03.2017 - 10.04.2017

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Every person wants to love and to be loved with strong, true and sincere love. Find your part of  love  at the exhibition where you can collect feelings.
Contemporary artist Zurab Arabidze fills his works with the most simple phrases. With the words, which we say to express our desire, love and warmth.
Works are untitled. On canvas one and the same phrase is being repeated with mantras principle. Visitor must read each word of every work from the beginning till the end. Energy charge, which mantra creates,  penetrates into different layers of persons unconsciousness and fills each cell with information. “I love you”, “come to me”, “I miss you”, “ I want to be with you” – repeated 100 or more, is some kind of meditation for visitors. Exhibition is interactive. Energies which  will  be collect  via reading the phrases, emotions which will be gathered in your sub-consciousness, can be expressed and fascinated on special wall. With this every visitor can participate in the exposition. Exhibition is for everyone, who loves to hug, who considers that love is and always will be, for whom love breathes, for those who believe that love will come, if not today than tomorrow.
At the exhibition F63.9 modern artist Zurab Arabidze will represent his book “I love you”.
Books about love are located in the book-case. The initial idea about the illustration came from the author's observations about attitudes towards love. In majority of cases we hide love, and as time passes we don’t open up ,we don’t talk about love anymore. In order to deepen the feeling of love , in order to highlight the memories ,Zurab arabidze presents the book "I love you".
On the 404 page, on 202 paper ,love is explained 63 468 times. Book for everyone who can love. Give this to beloved person and ask them to read this book. Give it to your parents , children, friends and of course to your beloved.
The first page of this book is empty for you to express how much you love that person.

Personal exhibition "Mass Hallucination of Still Modernity" RUARTS GALLERY. 1 Zachatievskiy st. 10, Moscow, Russia 10.11.2016 - 3.12.2016

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MASS HALLUCINATION OF STILL MODERNITY

In the age of nanotechnology and wireless networks when Internet speed boggles the imagination and Internet access is possible from nearly any place in the world users are still facing the loading indicator. This pop-up sign of the looped motion is becoming a certain ouroboros of modern time and being some kind of irritant, endlessly intruding in our daily life. It is the sign which creates the situation of expectation with no limited continuum and makes users even more angry.
This already strong integrated in modern cultural memory symbolism is the subject of research in the new series of works by Zurab Arabidze. In Mass Hallucination of Still Modernity series artist’s strict geometric minimalism transforms in medial minimalism criticizing modern society, which is now standing at the stage of “pending better existence” according to Arabidze.
Taken as a basis user's graphic interface of a computer program – throbber, as a digital sign, becomes a symbol of a new digital vision. Continual data downloading in Arabidze's video art arises anxious feeling of infinite expectation and at the same time
reveals tension between observer and observation process.
A gradual mutation of computer interface appears in glass blocks series, where faceless particle with clear information code, multiplied in 24 parts, continues the theme of endless expectation of complex or changing image appearance on the the one hand, and on the other - this sketch of initially digital sign and its static fixation on the glass block, creates a new substantiality of throbber as one of the most important symbols of our age.
Only during the transferring process of information code to the plain surface it ceases to be a non-substantial symbol of accomplishing a definite program. Throbber becomes a target for observation and its stadial alteration, i.e. mutation, may be explored, therefore the process is becoming a happening and being narrative in nature.
Mutagenic conjunction of digital with material and disbanding in a diversity of these diametrical modernity constructions – that is the main Arabidze’s research subject. The artist shifts focus from loading to its step-by-step operation, creating “hallucination” of activity as a result.
Impossible desire of the viewer to see something certain and apparent behind the iconic image reveals a problem of a digital era man's perception, which means that visual function is no longer an important cognitive tool, but the tool of perception, that is in its turn leads the observer to the world of hallucination.
Visual disorientation reached its height in a 3D-variation. Sculptural objects from the
series Mutation #404 embody hallucination of the viewer, appearing from the sense of texture and physical form. Innhomogeneous surface of represented works seems like natural organic growth, resulted from mutation, not by artificial means. The feeling of some flexibility causes quite certain associations -  capacity of materia for mutation, but is it actually true?

Ekaterina Novokshonova.

Group exhibition "The theory of waves. Production of spectators" Tretyakovskaya Gallery. Krimsky Val 10. Moscow, Russia 4.11.2016-10.12.2016

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THE THEORY OF WAVES. PRODUCTION OF SPECTATORS

The Tretyakov Gallery on Krymsky Val presents a group exhibition of young curators and Russian artists "The theory of waves. Production of spectators". The exhibition starts on the day of the city action "Night of the Arts", which will be held on November 4.
The exposition will feature video and photo art, installations and paintings by young artists.
Poetics of the sea and sea waves comes from the culture of romanticism, but in the twentieth century it becomes almost the main resource for describing economic processes, in particular, so-called "wave theories" of Ralph Elliot and Nikolai Kondratiev. The subjectivization of the elements in romanticism, connected with the idea of iberation and autonomy of the subject, in the culture of the twentieth century degenerated into the idea of ubjectivization of market mechanisms. Therefore, to describe, as well as illustrate crises in the economy, romantic motifs of storms and sea accidents are often exploited.
The project unites the work of contemporary Russian artists, and also includes an analytical part: reproductions of Aivazovsky's paintings are compared with infographic patterns illustrating the economic processes and photos of viewers who visited the Aivazovsky exhibition.
Participants: Evgeny Alekseev, Nikolay Alekseev, Zurab Arabidze, Daria Barybina, Balabanova Natasha, Alexandra Vitushkina, Vladimir Dubosarsky, Kirill Kipyatkov, Yulia Kurdibanskaya, Viktoria Malkova, Polina Moskvina, Denis Patrakeev, Viktor Polyakov, Sergei Rozhin, Alyona Tereshko, Margot Trushina, Savva Kornyshev.
Curatorial group: Kirill Svetlyakov, Maria Marenkova, Olga Spiridonova, Marina Shakurova, Julianna Titova, Daria Timchenko, Anastasia Kolubelova, Galina Tikhonova.

COSMOSCOW International contemporary Art Fair. Moscow, Russia 8.09.2016 - 11.09.2016

Invisible fear of lonelines

The Invisible fear of loneliness ( Quantum involvement) Statement On the surface of a sea, a white particle of a light, having no mass or size, strives for the perfection. Aspiring to infinity, where it should find it’s second half.

With the speed of 300 km in an hour, it runs from the black surface and breaks through the space on a surface of a sea. The lonely Phiton moves even faster then a light, for the defeating of loneliness. In the project “The invisible fear of loneliness”, an author compares human aspiration for finding their second half to the Phitons chaotic movements. Mutual dependence of the light particles, during the quantum involvement can be perceived as an analogue to the ideal relation between a man and a woman. No matter how far the Phitons are from each other, despite the distance, they don’t loose the contact with each other. Phitons in quantum involvement are under a constant interaction.

Auto-Phobism – the fear of loneliness. Perhaps, it would be strange if there do not exist any such a phoby. The fear of loneliness is a part of life. The fear of what will be in the future. The Loneliness in the present may not be so dramatic at all. The invisible fear appears, when you start to think about how long the loneliness will last. The particles of the light in the boundless sea. The space, were no ends are seen. In this case the sea is the universe, in which we live and in which’s infinity we strive not to be alone.

Photon

A photon is a fundamental particle, a quantum of the electromagnetic field. In the form of photons, electromagnetic radiation is emitted and absorbed. A photon has the properties of both particles and waves. He has no electric charge, no mass. A photon has a certain energy E = hν (h is the Planck constant equal to 4.14 · 10-15 eV · sec, ν is the frequency of electromagnetic oscillations) and a pulse whose value is in the void).

Along with real photons, virtual photons also exist. Real photons emitting electromagnetic radiation energy and depending on this energy emit radiation from ordinary, x-ray and gamma rays. Virtual photons are carriers of electromagnetic interaction. For virtual photons, the relation between energy and momentum p = E / s is not satisfied. Virtual photons can have mass and even be at rest. The uncertainties of quantum mechanics allow the short-term appearance of virtual particles.

The electromagnetic interaction between two charged parts occurs by the exchange of one or virtual photons. In the role of a carrier of electromagnetic interaction, a photon belongs to the class of so-called gauge bosons - carriers of the fundamental forces of nature.

Personal exhibition "F 63.9" Dimitri Shevardnadze National Gallery. Tbilisi, Georgia 21.04.2016 - 10.05.2016

F63.9 Psycho-emotional disorder”                                                                 

“F63.9” explores the psychological obsession with love — a state where love ceases to be a mere feeling and transforms into an all-consuming need. The title, referencing a diagnostic code, positions love as a form of mental dependence, where the mind becomes trapped in cycles of desire and longing, creating a continuous loop of unmet needs.

Each artwork functions as a mantra, where the repetition of simple and sincere phrases generates a hypnotic rhythm. Words are multiplied, endlessly repeated across the surface — a constant refrain embodying the concept of obsessive thoughts and emotional programming.

This repetition acts as a mantra not only on the conscious mind but penetrates every cell of the body. The essence of this practice lies in embedding the meaning of love so deeply that it permeates all levels of the psyche, influencing the perception of the self as a whole. The concept suggests that, just as we program machines, we can also program ourselves. Every repeated phrase shapes within us a core of desire, longing, and connection.

At the heart of this concept lies the idea of transformation. We are not static but fluid, continuously shaping and reshaping ourselves through the thoughts and emotions we cultivate. Love, in this context, becomes both a tool and a goal — a force capable of directing our personal evolution. The art invites viewers to participate in this process, to absorb the repeated messages, and through them, initiate change within themselves.

The repetitive phrases, like endless prayers, embody the paradox of longing: a need fulfilled in the act of expression yet remaining insatiable, always awaiting the next repetition. This tension reflects the duality of human existence — between what we have and what we seek; between presence and absence; between connection and solitude.

Ultimately, “F63.9” portrays love as a universal constant, a fundamental force transcending time and space. It hints that love is not merely an external experience but a state that can be cultivated from within, programmed into the core of our being. Just as we change ourselves, we transform the world around us, crafting a reality shaped by the love we choose to manifest.

This exhibition invites viewers not only to observe but to engage — to read, repeat, and interact with the phrases, allowing them to resonate deeply within. In doing so, each participant becomes both creator and subject, part of an infinite flow of love that transcends time, altering both personal and collective consciousness.

Book “I Love You”

“I Love You” is more than just a text. It is an endless act of self-discovery and a reminder of the complexity of love, which transcends ordinary perceptions of emotion. At the core of this book lies a paradox: a phrase that is both banal and sacred, everyday and transcendent. Each of the 63,468 repetitions of “I love you” represents an attempt to capture the fleeting, to transform a transient feeling into something permanent, as if love could be contained and preserved on the pages.

Love is presented here as a meditative cycle, where each repetition is a step deeper into oneself and into the meaning we often forget. The book invites the reader to reflect: Are we truly capable of love, or have our confessions become automatic, devoid of authenticity? What does it mean to say “I love you” not once, but again and again? In each repetition lies a new attempt to be heard, accepted, and shared.

The blank first page is an invitation to dialogue. It serves as a space for personal expression, a chance to contribute to the infinite text of love. This page reminds us that genuine words of love require not only acceptance but also active expression, even if doing so means confronting the fear of vulnerability. Thus, the book becomes not a finished object, but an interactive process, where each reader continues its story by bringing their own version of love into it.

On an existential level, the book speaks to our longing for connection. It draws attention to the fundamental loneliness of the human condition—our need to be understood and heard in a world where words often lose meaning. Every “I love you” in this book is not just an expression of emotion but a cry into the abyss, a desire to bridge the gap between “I” and “you,” between oneself and the other. It is an attempt to turn love from an ephemeral experience into an eternal constant, present in every moment and within every cell of our being.

The repetition of the phrase, like a mantra, becomes an act of programming the mind and body. It reminds us that love does not simply happen to us—it is something we cultivate. Just as we program machines, we can program ourselves through repetition and practice. The book offers a reimagining of love as a process we consciously choose to embody every day, in every action and every word.

In the end, “I Love You” is an attempt to capture a moment of eternity. In a world of constant change, love becomes an anchor, grounding us in the present. It is not merely an emotion but a way of being in the world, a way of engaging with reality. The book urges us not to hide love but to make it visible and tangible because love is the connection that allows us to feel alive, linked to others, and in tune with ourselves.

ARTISTERIUM 8 Tbilisi Annual International Contemporary Art Exhibition and Art Events 6.11.2015 - 16.11.2015

ARTISTERIUM is a Tbilisi annual International Contemporary Art Exhibition and Art Event organized by the Georgia-based non-governmental art organization Artisterium Association. The event is composed of international exhibitions, individual art projects, educational and cultural programs.  

As an international event, ARTISTERIUM hosts the artists, artist groups, curators and art critics from around the world.

ARTISTERIUM is supported by the Ministry of Culture and Monument Protection of Georgia, international and local art and culture organizations functioning in Tbilisi, such as the British Council, Goethe Institute, French Institute, the embassies working in Georgia

Batumi grafikart festival, Georgia 1.07.2015 - 20.07.2015

Every person wants to love and to be loved with strong, true and sincere love. Find your part of  love  at the exhibition where you can collect feelings.
Contemporary artist Zurab Arabidze fills his works with the most simple phrases. With the words, which we say to express our desire, love and warmth.
Works are untitled. On canvas one and the same phrase is being repeated with mantras principle. Visitor must read each word of every work from the beginning till the end. Energy charge, which mantra creates,  penetrates into different layers of persons unconsciousness and fills each cell with information. “I love you”, “come to me”, “I miss you”, “ I want to be with you” – repeated 100 or more, is some kind of meditation for visitors. Exhibition is interactive. Energies which  will  be collect  via reading the phrases, emotions which will be gathered in your sub-consciousness, can be expressed and fascinated on special wall. With this every visitor can participate in the exposition. Exhibition is for everyone, who loves to hug, who considers that love is and always will be, for whom love breathes, for those who believe that love will come, if not today than tomorrow.
At the exhibition F63.9 modern artist Zurab Arabidze will represent his book “I love you”.
Books about love are located in the book-case. The initial idea about the illustration came from the author's observations about attitudes towards love. In majority of cases we hide love, and as time passes we don’t open up ,we don’t talk about love anymore. In order to deepen the feeling of love , in order to highlight the memories ,Zurab arabidze presents the book "I love you".
On the 404 page, on 202 paper ,love is explained 63 468 times. Book for everyone who can love. Give this to beloved person and ask them to read this book. Give it to your parents , children, friends and of course to your beloved.
The first page of this book is empty for you to express how much you love that person.