Body, sacrifice, and crucifix are the three interwoven themes in the exhibition of Georgian sculptor, artist, and icon painter Marina Ivanishvili. The exhibition called “Corpus Marina” at the National Gallery of Art in Tbilisi runs from 20 June to 3 August 2025. Through these recurring iconographic motifs, Marina Ivanishvili (1952-2025) created a mythopoetic cosmos: a space for reflecting on existence, pain, and erotic desire.
The Latin word “corpus” – meaning “body” – signifies not only the physical body, but also a coherent body of work, i.e., the artist’s complete oeuvre. “Corpus Marina” is both a retrospective of Ivanishvili’s artistic path and a space where torsos and figures appear as sacred signs and objects of desire.
Curator Maia Chikvaidze says: in a world that strips the body of meaning and turns it into a commodified object, Ivanishvili’s works remind us that the body is not just an image; it is a sight of emotion, vulnerability, and resistance. It is a presence that raises difficult questions about identity and cultural norms.
A lesser-known dimension of Ivanishvili’s work is her Orthodox icons. While rooted in traditional orthodox iconography, her works resonate with the aesthetics of ancient Greek art. She likens the drawings in charcoal on oilcloth that she created while working in the Georgian Arts and Culture Centre as “a meditative act bridging the sacred image and the solitude of the artist.”
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MARTINA NICOLLS is an Australian author and international human rights-based consultant in foreign aid evaluations and audits, education, psychosocial support, resilience, peace and stabilization, and communication, including script writing and voice work. She lives in Paris. Her latest books are: If Paris Were My Lover (2025), Tranquility Mapping (2025), Moon, Mood, and Mind Mapping Tracker (2025), and Innovations within Constraints Handbook (2025). She is the author of: The Paris Residences of James Joyce (2020), Similar But Different in the Animal Kingdom (2017), The Shortness of Life: A Mongolian Lament (2015), Liberia’s Deadest Ends (2012), Bardot’s Comet (2011), Kashmir on a Knife-Edge (2010) and The Sudan Curse (2009).
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