May 1-31, 2021 at Ivy Brown Gallery, New York.
Participating artists: Samira Abbassy, Whitney Harris, Mark Milroy, Bea Scaccia
Our time defies logic in many ways or rather it creates a different kind of logic. What was certain for centuries becomes obsolete in a matter of hours, while simultaneously old ideas of isolationism thrive once more. Logic is outdated and recreated, dissected and revisited. Only artistic production can fathom such discrepancies and come unscathed. Surrealism is a notion that comes to mind when an individual is facing a reality of one’s own making, when considering how real is her reality, how accurate his dreams. Surreal painters bring in their mysteries, their puzzles and riddles, their sets of visual associations and hidden keys. Artists selected for Defied Logic – a four-artist exhibition at Ivy Brown Gallery do not purposefully chase their dreams or subconscious drives, yet what they show us are questions and metaphors executed through their highly personalized and masterful languages. In the selected works phantasmagoric dynamic of traditional surrealism gives way to a more contemplative and reflexive turn, a turn that is also disquieting and shape-shifting.
Culture Cue feature at The Y Circus Magazine
Review by Deborah Frizzell for White Hot Magazine
- THIS IS NOT MY TREE, NARS Foundation, Brooklyn March 26-April 16,2021
Participating artists: Yael Azoulay, Eli Barak, Omer Ben-Zvi, Mosen Binnalee, Delano Dunn, Jan Dickey, Michal Geva, Jon Gomez, Lia Kim Farnsworth, Tamara Kvesitadze, Netta Laufer, Dana Levy, Pedro Mesa, Mark Tribe
The exhibition considers several questions. First, how new species change and destabilize the ecosystem and over time assimilate into hierarchical groups, irrevocably changing them while simultaneously adapting to the existing conditions. Second, how migration stories of our times mirror these environmental movements and how artistic works could show these complex processes. Third, why and where do we feel at home and what is an ecosystem on our human, every-day level. As globalization is showing its alternative face, we are faced with the collective question of where do we belong and how we know it. If until now we almost blissfully lived in a dream of integration and connectivity we are forced to once again reevaluate our notions of territoriality, control, and parameters of trust. In the presented works natural habitats stand in for human ecosystems, some of them being welcoming and open, others prejudiced, discriminating, and punishing. Considering nature and environmentalism as part of social theory is necessary if we want to have a more rounded understanding of human journeys. Presented artists come from Israel, Georgia, Saudi Arabia, United States, and Colombia, but all of them share either immigrant past or present and find connection with natural environment as their main metaphor.
Installation photos above by Jon Gomez and Lia Kim Farnsworth.
Border Crossers via The Y Circus Magazine.
Conversation about Migration via XIBT Magazine.
Review by Jonathan Goodman, Arte Fuse
This Is Not My Tree via Arte & Lusso
Rooms & Beings, Rusudan Khizanishvili solo show. 68 Projects, Berlin, Germany.
November 7, 2020- January 9,2021
From press release:
Khizanishvili balances between Georgian culture, rich in traditions, and the conceptually driven contemporary discourse on representation and its functions. The fourteen works on view were all created in 2020 while the artist was living in Tbilisi, and can be thematically divided into two categories: works centred around sacral transformations, and those featuring theatrically staged interactions within rooms. These two themes are implicitly interconnected for the artist, as the human being and her identity are of central interest. Questions of self, connections to biology, cultural memory and myths, and the female body are all the subjects of an ongoing investigation for Khizanishvili, who shows maturity of purpose and mastery of colour.
The human can be both larger and smaller than oneself, both a subject and an object. At a time when digital machines are systematically taking over human functions, we as a species are seeking new forms of being, where simple gestures, the sense of touch, and the potential to relate and to hope are our essential traits not mediated by screens. Khizanishvili’s canvases are symbolic anthropologic blueprints for our new reality, for a brand-new world. Beings roam the rooms in these paintings, searching for their new meanings, just as we do.
Interview with Rusudan Khizanishvili for Tussle Magazine.
Interview with Rusudan Khizanishvili for Ante Magazine, New York.
Selected by Artcollected among twelve other December presentations as a current must-see exhibition in Berlin.
Featured on Dubai- and Italy- based art and cultural platform Arte & Lusso.
Review by Berlin-based Larissa Kikol in White Hot Magazine of the Contemporary Art.
Rusudan Khizanishvili Lets the Dog Out for Xbit Culture Magazine Berlin
Rusudan Khizanishvili: Art as Universal Language interview for Metal Magazine
New York Meets Tbilisi: Defining Otherness Part II at Kunstraum, Brooklyn presented in conjunction with Kunstraum LLC as part of my curatorial residency at Kunstraum 2019-2020
March 1-May 31,2020
Artists: Anuk Beluga, Nino Biniashvili, Tim Foley, Rita Khachaturian, Tamara Kvesitadze, Dana Levy, Shiri Mordechay, Mariam Natroshvili & Detu Jincharadze, Andy Ralph, Giorgi Rodionov, Mikheil Sulakauri
From press release:
Bringing the rare dialogue between contemporary Georgian and American art to New York, Kunstraum is pleased to present New York Meets Tbilisi: Defining Otherness – Part 2. As the result of a year-long period of curatorial research as Kunstraum’s Curator-in-Residence, Nina Mdivani sets works by eight Georgian and four American artists into relation to facilitate a discussion on Otherness – and what it potentially means.
Compassion, sympathy, possessiveness, infatuation, mistrust, anger, rage, an ability or inability to relate— all of these affects derive either from a pull of belonging or a push towards a threatening annihilation of the self. At times, they are projected towards a single being, a distinct society, an architecture, languages or cultural iconography. The purpose of this two-part, Georgian-American exhibition is to explore and evoke emotions and perspectives that habitually arise when we confront the other on a micro or macro scale.
New York Meets Tbilisi: Defining Otherness Part I at Assembly Room,NYC presented in conjunction with Kunstraum LLC as part of my curatorial residency at Kunstraum 2019-2020
January 17-February 23,2020
Artists: Rusudan Khizanishvili, Juliana Cerqueira Leite
From press release:
The main question this exhibition poses is how the phenomenon of Otherness is defined when examined in relation to two different cultures and understandings of the world, as well as considers onlookers’ reactions when experiencing Otherness in the form of a person different from their own race, orientation, or background. Another subtler dimension of this important fundamental question is how Otherness is encountered within one’s own persona, whether it be in the form of prejudice or shared historical and collective memory. As Georgia has been undergoing significant transformation within the last thirty years, the country has to recognize its Soviet past, along with the mechanisms that have helped it to survive for centuries. Georgian art has mirrored this journey, at times reverting to mimicry through a Soviet or Western visual language, and at other times by producing strongly authentic work. Similarly, Otherness is experienced at many different levels in the United States that have led in the past to racial violence as well as to intra-cultural consensus.
King is Female: 3+1 at Kunstverein Villa Wessel, Germany in conjunction with Kornfeld Galerie, Berlin
September 8 – November 11, 2018
Artists: Natela Grigolashvili, Natela Iankoshvili, Rusudan Khizanishvili, Tamara Kvesitadze
From press release:
King is Female: 3+1 questions identities of modern Georgian women: visual and psychological traditions that are currently in the process of deep internal metamorphosis. This process is not unique to Georgia and because of this the exhibition has a larger context. Role of women has drastically changed in the last hundred years, through education, emancipation, increased global numbers women are gaining more influence, although they fight hard to balance this newly found independence with traditional feminine archetype of a caring mother and a loving spouse. The upcoming exhibition explores this duality on the example of a small country where women have been historically strong, yet, invisible.
Natela Iankoshvili Centennial Exhibition at Museum of Modern Art, Tbilisi, Georgia
Co-curator Mamuka Bliadze
Artist: Natela Iankoshvili
From press release:
Natela Iankoshvili attracts the eye and captivates you with mystical darkness and searching for light. In 1970s she reinvented old Georgian color contrasts, dating back to medieval frescoes and primitivism, by creating new forms of visual tradition. By transforming old forms of Georgian landscape into a new neo-expressionist mode Iankoshvili opened up the painterly dispute, bringing in fresh thinking and paving way for daring young Georgian artists of today.
Conversion Device of Rusudan at Mark Rothko Foundation, Latvia
April 20-June 24, 2018
Artist: Rusudan Khizanishvili
From press release:
There are two sides to the global story that Rusudan’s neo-expressionist paintings in this exhibition highlight, and they both address existential concerns with the reality of subjective experience. First is a more metaphysical, cerebral approach to the complex and painful ongoing social transformation. We all witness total digitalization of human society, our smartphones have already become our extra palms, but this disconnect from physical reality (inevitably reconstructed into pixels) produces an equal longing towards nature, desire to reunite with it, to reconquer our animal and plant selves. In her series “Into the Nature” (with “Conversion Device” being the central painting), Rusudan explores this unique process. Flora is merging into fauna and, through blurring of these organic lines, a human being also becomes a part of them. In her vision, humans become integral parts of nature on a deeper biological level, they become a new species by going back to their roots. In the day-to-day reality of total information flow, we are drawn by the incomprehensible and the strange, and what could be stranger then nature? It is a metaphysical creation of a parallel world, which becomes intelligible to others without words.