“Salome Jokhadze’s (*1997, Tbilisi) artistic practice is deeply rooted in the recent history of Georgia. In her illustrations on paper and sculptural objects, she frequently draws upon political events in her homeland, intertwining them with autobiographical elements and memories to create collage-like installations.

The artist’s latest work, I’m Rooting for You, combines different media dear to the artist and delves into the ongoing anti-government protests that have gripped Georgia since October 2024. The monochrome pencil drawing is based on photographic material that the artist created during a visit to Tbilisi during the protests or images transmitted by friends, as well as pictures from social media. Triggered by allegations of electoral fraud and the government’s controversial decision to delay European Union accession talks until 2028, these protests have sparked widespread civil unrest. A central concern for citizens is the government’s growing ties with Russia, especially given that 20% of Georgian territory is already under Russian occupation. Despite the official pro-EU stance of the ruling “Georgian Dream” party, its actions have increasingly aligned with Russian interests. Tens of thousands have taken to the streets in daily rallies, demanding new elections and a stronger commitment to EU integration. In response, the government passed harsh laws in December 2024, effectively criminalizing even symbolic acts of protest, such as placing stickers on public property and froze the accounts of organizations supporting the protests, in an effort to stifle the ongoing peaceful movement. These measures have in return drawn international condemnation for targeting peaceful demonstrators, journalists, human rights defenders, and political activists.

The metal plate the paper work is presented on refers to a wall Georgian government has put in front of the parliament to protect itself from people. This barricade has become a part of anger outburst and bears visible marks of people daily scratching and beating it from anger and frustration. A ceramic gate attached to the metal plate works as a reference to an incident from last winter, when the government failed to fulfill its duty of providing emergency power and food to a village in the western part of the country cut off by a snowstorm, while the already active civilian population in the protests stepped in to help. The accompanying video work combines journalistic moving images from different sources, thus connecting the current political events in Georgia with the waves of protests in the late 1980s and early 1990s and 2003 These protests were ignited by the dissolution of the Soviet Union, which split Georgia into a pro-Soviet camp and its opponents, ultimately leading to a civil war that lasted from 1991 to 1993. “