I Mountain. I Snow Whenever I Want.




Annea Lockwood - a Film About Listening

Annea Lockwood is a New Zealand-born American composer and academic musician. She taught electronic music at Vassar College. Her range is vast and often includes microtonal, electro-acoustic soundscapes and vocal music, as well as recordings of natural found sounds.








Gvantsa Jishkariani’s ‘𝓘 𝓗𝓪𝓽𝓮 𝓟𝓸𝓮𝓽𝓻𝔂, 𝓸𝓻 𝓗𝓸𝔀 𝓣𝓸 𝓑𝓮 𝓗𝓪𝓹𝓹𝔂’.

The Why Not Gallery presents Gvantsa Jishkariani’s solo show. With the intensity characteristic to the artist, the exhibition turns into a total installation, where the viewer gets lost in the whirlwinds of information flows and visual stimulation. The main source of inspiration for the artist is her immediate environment, the socio-political situation that forms the reality around - a busy, DIY chaos, at times toxic, uneven, disordered, all-engulfing tsunami that one tries to survive in vain. Although this dichotomy between the collective and the individual, between the normative and the non-standard, is a subject of constant research and inspiration for the artist, it has never before been illustrated with such intensity in her work. The chaos in the exhibition space is superimposed with gentle, aesthetic works filled with special sensitivity. Beautiful giant mosaic flowers grow out of now trash newsreels; timeless, sublime landscapes offer a refuge; bold paintings drawn with free brushstroke promise a different reality.




MAFF ♥s 🇬🇪: Nika Qutelia

Georgian artist working in the direction of digital art. In the past, the artist was actively involved in music, soon decided to devote himself entirely to visual art, from collages on a mobile device to abstract 3D renders. He calls his self-expression "Phantom bridges between the past and the future." Through his works, the artist shows a subtle connection between violent fantasy and everyday reality, between innermost memories and our self.




Rusudan Khizanishvili : Velvet Armor

Velvet Armor, a solo exhibition by the Tbilisi, Georgia-born female artist Rusudan Khizanishvili (1979-). Khizanishvili, whose practice is influenced by an array of themes, including architecture, mythology, selfhood, and womanhood, explores the ways in which art connects us to the world beyond our introspective selves. As hinted by the exhibition's title, Velvet Armor — Khizanishvili's Korean debut — stands for the soft yet potent power of women. She veers away from portraying women as solely beautiful and romanticized subjects, a trope often found in pre-modern art. Instead, she vividly expresses their vibrant energy, painting them as strong, occasionally eccentric figures. This emphasis on female strength is a recurring theme in Khizanishvili's work, demonstrating her belief that "armor" is not designed to segregate us from our adversaries but rather to embrace them. Accompanying Khizanishvili's pieces, a work by Saeng Kwang Park (1904-1985) is featured in the exhibition, drawing a parallel between Georgia and Korea. Through Park's vibrant pentachromatic portrayal of Korean folklore and shamanism, Khizanishvili discerns resonances with her practice. The cross-cultural dialogue between the distinctively Korean elements in Park's work and the traditional Georgian context of Khizanishvili's pieces invites contemplation of the convergences among diverse cultures.




SPEECHLESS / დადუმებულები

The 2008 Georgian War resulted in the deaths of several hundred people and expulsion of tens of thousands from South Ossetia. Is there a way to show the tragedy of families that lost their loved ones, of thousands of people forced to leave their homes, of soldiers from the battlefield, and children who cannot comprehend the situation? Salomé Jashi answers this question in a way that leaves few apathetic, though the horrors of war are never visible on the screen. Her short film makes the audience witness a tragedy it never sees. watch the film here Produced by Sakdoc Film and Artefact production Directed by Salomé Jashi Filmed by Tato Kotetishvili Sound Nika Paniashvili ​ Speechless is part of the documentary film series ’10 Minutes of Democracy’




Tadáskía's monumental wall drawing in progress

In this timelapse, watch the artist Tadáskía produce an expansive wall drawing in response to the blank gallery space. For "Projects: Tadáskía,” the artist's first solo exhibition in the United States, she worked at MoMA over the course of several weeks, drawing directly on the wall using charcoal. She invited a team of coloring assistants to help fill in her drawing with colors chosen from her kaleidoscopic palette of dry pastels. Color is fundamentally important to the artist's practice. As Tadáskía has explained, "When I was drawing, my mother, Elenice Guarani, and my aunt, Gracilene Guarani, who are both Black, Afro-Indigenous women, told me to add more color because color is life."




La Croix, Juliette Minchin, 2023

Juliette Minchin created in situ for the Abbey of Beaulieu-en-Rouergue. Arranged at the crossroads of the transept between the nave and the choir, the 28-meter-long cross-shaped sculpture responds to the Latin cross plan of the abbey. It is composed of 33 openwork steel panels covered with wax, where 363 wicks are lit in turn. Like a huge candle, the installation evolves over the exhibition and gradually reveals its metal structure. "The work is a real monolith of wax and steel. A mausoleum, a votive monument, perhaps also a cave. Inspired by a Sicilian silt, Juliette Minchin adapted the "diving" technique by which, minute after minute, millimeters after millimeters, the strands of the candles are covered with waxes and cooled, thickening, to use it in the construction of real wax walls. The metallic motif of their frame is a bouquet of elongated roses that pays tribute to the rosettes of the Abbey of Beaulieu. But patience! Because it is only at the consumption of this monumental candle that the structure is revealed. The wax sculpted the metal at the time of the dive, by the concretion of its drops. By melting, it becomes architectural garment, skin of the work, shroof of the cross. Like an hourglass, the work evokes the passage of time, the patient and meticulous repetition of the same gestures that form both immemorial techniques and disappeared rites. Like miraculous water, the molten wax will be recovered at the end of the exhibition in order to be integrated into the initial reservoir and the work will be reactivated during its next exhibition. The wax will return to wax, according to the reason of the eternal return, made to ward off the fears of those who remain, the fears of the after.:





“Only a single bird is singing. The air echoes it. We hear through mirrors.”




Inside the Studio: Kasper Sonne on his new paintings in 'Last Goodbye'

We are pleased to present Last Goodbye, the debut solo exhibition of our newly represented artist Kasper Sonne. From his Brooklyn studio of ten years to his childhood home that he lived in again upon returning to Denmark, the paintings in Last Goodbye depict physical places that carry a meaningful significance to Kasper Sonne. Whether these places are attached to emotions that are positive, melancholic, or somewhere in between, the works immortalize evocative memories wherein he also seeks closure. The cathartic process of painting them presented a salutary last goodbye, and, similarly to the nature of the eponymous song by Jeff Buckley which inspired the exhibition’s title, there remains a nostalgic affinity for these places. The source materials used in the paintings are comprised of personal images from his archive from the last 15 years. Like a collage, he pieces together various fragments to create a single image, and never paints directly from a photograph. He writes, “I’m not interested in depicting reality - I’m interested in visualizing a mood…to me there’s obviously a clear connection between all my works. I don’t wish to reveal too much about my personal motivations, as I want the viewer to be able to make their own interpretations - but perhaps my interests can be identified as a fascination with the destructive elements in man and nature, combined with an overall feeling of displacement and melancholy.” Kasper Sonne (b. 1974 Copenhagen, Denmark) graduated from The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation in 2000 and has for the past fifteen years been living and working between Copenhagen and New York. With roots in design and graffiti, Kasper Sonne spent years making large, bold figurative paintings, before turning to abstraction to fully explore the qualities of medium, without being beholden to narrative. Throughout his practice, Sonne has continuously investigated the way we interpret our surroundings and make sense of the world we live in by purposefully constructing and deconstructing reality. His works are included in several public collections such as Fuban Art Foundations in Taiwan, David Roberts Art Foundation in London and HEART Museum in Herning, Denmark.




Ketuta Alexi-Meskhishvili "Verkleidung"

Ketuta Alexi-Meskhishvili presents an ensemble of large-scale, quasi-abstract, almost diaphanous photographic images specifically developed for the outdoor context of the back wall of Kunsthalle Basel. The images are, as with so much of the Georgian-born artist’s practice, a mix of straight photographs, composite images created by superimposing photographic negatives, and explosions of chroma produced in darkroom processes. Here her images are printed on a PVC mesh often used to conceal building scaffolding. They expand the artist’s persistent interest in looking, deftly, at the minutia of everyday life as it is captured and shot through with transparency and light. The project is made possible through the generous support of HEIVISCH, with in-kind support from the Stadtreinigung, Tiefbauamt Basel-Stadt. Video by Nefeli Chrysa Avgeris ( Color Grading: Christian Taro Produced by Kunsthalle Basel

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The Great Indoors


Conceived and shot while in lockdown 2020, this film takes the viewer on epic mini adventure through the wonderful world that is the great indoors.



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