Gallery Vanda hosted the opening of Nini Jaliashvili’s solo exhibition False Memory Syndrome.

Gallery Vanda hosted the opening of Nini Jaliashvili’s solo exhibition False Memory Syndrome.

The Exhibition will be open for two weeks.

The work of the young artist is distinguished by its depth, expressiveness, dynamism, and visual richness. The exhibition marks an important stage in the artist’s creative development and offers an engaging experience for both professionals and a wider audience.
The exhibition presents works created recently, in which the artist’s individual visual language and a free approach to contemporary aesthetics are clearly revealed.

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False memory is understood by the artist as the surfacing and manifestation of an internal flow of images and narratives. The source of memory is inaccessible; it emerges from an indeterminate place and seeks comprehension, self-revelation, and materialization. The artist does not work with personal memories. Instead, her interest lies in sensations and information that originate from collective memory. These are internally connected to something deeply embedded - something without a specific author and without a precise beginning. It is precisely this initial state that the artist considers true: a shared, untouched, and unconscious depth that precedes any form of understanding or materialization.

In this process, the transformation of thought is always followed by form. Yet form can never fully coincide with its original source. Memory, in this sense, seems to deceive itself - not intentionally, but inevitably. It is within this incompatibility between the source and its expression that the “false” is born.

Falsehood is neither a positive nor a negative condition. It is a necessary field, without which memory could not become visible. In this understanding, false memory is not a defect or a diagnosis, but the only possible way through which the true, untouchable source can appear in the form of an image.

The subjects and forms the artist engages with are forms of imagination. The imagery in the paintings often appears directly, roughly, and in a deliberately non-ethical manner. Yet within this hidden and unrefined structure lies precisely the memory that the artist seeks to recognize and comprehend. This is not an attempt to restore memory, but rather to explore the connections that generate sensation, form, and the tense space between them.