“The complex interplay of very different filmic styles in Xitana is partly a registration of this doubleness. There is certainly a Pasolini-like element of celebration of the premodern, especially in an ecstatic sequence where the climax of the race is intercut with nightvision shots of bones in a cave. But rather than Pasolini’s static theatrical shots, Medoidze employs some of the language of avant-garde filmmakers such as Stan Brakhage or Owen Land; her shots are reworked with stop frames, superimpositions, colour filters—devices which insistently highlight the constructed element of this experience, even as they intensify it for the viewer. And in stark contrast to these moments we find the informal, almost video diary-like quality of other sequences, with the conspicuously handheld camera, offscreen commentary and the free hand pointing or gesturing. 
...
Medoidze’s work is full of that playful sense of curiosity, as well as self-awareness about the act of sharing it. If anything, Tallis’ notion of pointing as an italicising is too broad here—Medoidze reminds us the gesture can be made in innumerable ways: ingenuously, accusingly, sorrowfully, parodically… There is no neutral act of pointing, just as there is no way to point a camera without making a hundred smaller expressive decisions. That understanding is the source of Medoidze’s kaleidoscope of filmic languages – ethnographic, diaristic, abstract, mythopoetic – which are constantly qualifying and contradicting each other: they are pointing to their own limits.”

                                                                                                                                                                                    Mike Sperlinger 



Born in the USSR, brought up in the Republic of Georgia and now living in London, Sophio Medoidze is an artist and filmmaker who works with film, writing, photography and sculpture. For a time, she worked anonymously as part of the Clara Emigrand collective. Her work is marked by precarity and explores the poetic potential of uncertainty. She often acts in her own films, which progress by juxtaposing different image modalities and bashing sounds against one another. Her work is driven by the desire that is caught up between state violence and personal agency. Her work has been shown, amongst others at LUX London, Serpentine Cinema (Peckhamplex), Kunstmuseum Luzern, Whitechapel Gallery, Arnolfini, Tbilisi Art Fair’s (TAF) public programme. She was shortlisted for South London Gallery’s Graduate Residency, she is a recipient of Feature Expanded Development award for her first feature ‘Let us flow!’ (with HOME, Manchester + Lo schermo dell’arte, Florence).

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                                                      Upcoming:     Sâr Dubnotal, CAC Brétigny, France, 19 September - 5 Devember 2020