As hundreds of thousands take to the streets in Georgia to demand democratic rights, political self-determination, and a European future, Kornfeld Galerie Berlin presents Double exposure, an exhibition of new works by Georgian artist Rusudan Khizanishvili. At a moment of heightened political urgency, the exhibition brings renewed resonance to a practice that has long explored the tensions between personal memory, cultural identity, and lived political reality.

Curated by Asja Wolf, Double exposure operates both as metaphor and method. The title evokes the simultaneous visibility of multiple realities while referencing the photographic and cinematic technique of layering images. In Khizanishvili’s paintings, this principle unfolds as a complex visual structure: translucent figures, shifting contours, and stratified colour fields allow different temporalities, spaces, and emotional registers to coexist within a single pictorial plane. Past and present, myth and political reality, individual biography and collective history intersect without resolving into a singular narrative.

Khizanishvili’s background in painting and film informs a distinctly cinematic approach to image-making. Her compositions unfold like scenes; figures appear as protagonists; perspectives evoke the framing of a camera lens. The logic of double exposure – traditionally a technical process of superimposing images – is translated into painterly terms, resulting in dense compositions of overlapping lines, planes, and chromatic atmospheres. Bodies, faces, and symbols emerge as if briefly illuminated within an inner projection, suspended between presence and disappearance.

At the same time, Double exposure is grounded in the artist’s sustained international trajectory. The works presented in Berlin were created against the backdrop of a social and political climate in which questions of freedom, belonging, and cultural identity are once again being negotiated with urgency in Georgia. Khizanishvili does not respond through direct political iconography; instead, she develops a visual language in which personal memory, mythology, and collective experience are interwoven, offering a nuanced, multilayered reflection on the conditions of the present.