This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.
Review our cookies information for more details.

No, give me more info
Yes, I agree!

Ketevan Gvinepadze

Ketevan Gvinepadze (Georgia,1988)

Ketevan Gvinepadze (b. July 29, 1988) is a Visual artist / Conceptual photographer from Georgia, Tbilisi, currently based in Barcelona.

Her main artistic practice is based on research about gender and politics, building a visual language for a concept which generally characterized by an autobiographical narrative alongside with recent history of a post-soviet country.

In the year 2015, after finishing several artistic and other cultural projects during her living in Tbilisi, she moved to continue her education and work in Barcelona. Succeding the Studio Art studies, she was working alongside the founders of Bombon Projects Gallery in Barcelona, as an assistant and digital content creator. In the middle of 2019, she founded Ketevan Studio which represents some of the particular aspects related to her general projects.

Selected Exhibitions:

Private Landscape, Why Not Gallery, Tbilisi, Georgia 2018

Coloring Book, Centre d'Art Maristany, San Cugat, 2018

Processing, Tbilisi photo festival, Tbilisi, Georgia 2018

Private Landscapes, Tbilisi Photo Festival, Tbilisi, Georgia, 2017

Jump Back in, Mutuo Gallery, Curatorial Project, Barcelona, 2017

More War More Cake, Curatorial Project with Gabriel Adam for Artisterium Festival, Tbilisi, Georgia, 2014

Batumi Backyard stories, artist residency, Batumi, Georgia, 2014

Did you wash your hands?
The Current ongoing project has started in 2014 in Tbilisi, Georgia as a part of the art campaign against femicide when in the duration of three months there were registered 13 cases in different regions of the country. But official statistics don't even reflect the whole picture of the real problem, because many occurrences are silent and therefore, invisible to the public. Till nowadays, gender abuse is still mostly treated as a part of everyday life built by a patriarchal society alongside religious views and deformed traditions. But still, we refuse to see the smoke and prevent the fire…
Women exposing their bodies in the kitchen censoring their faces became a visual allegory to objectification when the body is more important than the mind and is handled as a belonging.

For the huge respect towards all the participants, still, only a few photos can be published but it still might be convenient in a way to face the continuing issue and admit the reality that misogyny has spread the roots deep down in a fundamental soil of public identity and removing it requires a huge effort from all parts of society, because otherwise, any progress will become ephemeral and simply impossible.

Ketevan Gvinepadze, Barcelona, 2021