Rusudan Khizanishvili

Una cortina

Rusudan Khizanishvili (1979) lives and paints in Tbilisi, Georgia. She has received her two BFAs in Painting from J.Nikoladze Art School and from Tbilisi State Academy of Art. In 2004 Rusudan received her MA in Film Studies from Tbilisi State Academy of Art. Over the past fifteen years Khizanishvili has participated in numerous group and solo exhibitions including Museum of Modern Art, Tbilisi, Georgia; Museum of Literature of Georgia, Tbilisi, Georgia; Georgia State Silk Museum; Mark Rothko Foundation at Daugavpils, Latvia; Galerie Am Roten Hof in Vienna, Austria; RHODES Contemporary in London, UK; New Image Art Gallery in Santa Monica, USA; Kunstverein Villa Wessel in Iserlohn, Germany; Galerie LJ and Nil Gallery in Paris, France; Assembly Room in New York, USA; 68 Projects and Kornfeld Galerie in Berlin, Germany; Window Art Project in Tbilisi, Georgia; Annarumma Gallery in Napoli and Mimmo Scognamiglio in Milan, Italy; HAGD Contemporary, Aalborg, Denmark; Seojung Gallery, Seoul/Busan, South Korea. In 2015 Khizanishvili represented Georgia among five other artists at the 56th Venice Art Biennale. Her works are in the collections of the Georgian National Museum; Mark Rothko Foundation, Daugavpils, Latvia; private collections of Stefan Simchowitz, LA and Ettore Rossetta, Italy; Breus Foundation, Moscow; Collezione Taurisano, Napoli, Italy; Sam Keller, Basel, Switzerland. Her painting practice unfolds as an exploration of the female body, memory, and transformation. Originating from Tbilisi,Georgia, she creates worlds where identities remain fluid, and female figures—archetypal heroines in perpetual metamorphosis embody both the strength and fragility of the human experience. Her work challenges the narratives imposed on post-Soviet identity, addressing questions of power and subjectivity through a deeply symbolic and intuitive visual language. Rather than simply illustrating, Khizanishvili evokes: her canvases serve as mirrors reflecting a collective consciousness in flux. Drawing on the concept of “hereditary mathematics,” she recognizes the genetic memory embedded within every body—an invisible web woven by thousands of ancestors—and translates it into hybrid forms that emerge from the intersection of the human, the animal, and the vegetal. These latent energies manifest as metaphors of expansion, embodying new possibilities of existence. Her practice intersects with ecofeminism, mysticism, and the political potential of visual art. Within her compositions, nature and the feminine intertwine as a single organism—a living force that resists, heals, and regenerates against patriarchal and ecological disruptions. Khizanishvili also explores transhumanistic notions of eternal life, envisioning beings that transcend the limits of flesh and time. Her paintings imagine futures where the organic, the technological, and the spiritual dissolve into one continuum—an ever-evolving realm of memory, identity, and infinite transformation.