Nino Kapanadze

In 2007, she was admitted at Tbilisi State Academy of Fine Arts, Faculty of Architecture, where she held a scholarship of excellence and graduated with a Master's Degree in 2015. During this period she also attended courses at Aalto University of Technology in Finland and BAUHAUS Dessau in Germany. 

Kapanadze moved to Paris in 2018, pursuing Master's studies at Paris Institute of Political Studies (Sciences Po). Counting a decade of professional working experience internationally at private, governmental and non-governmental levels, in the sectors of architecture, infrastructure, energy, cultural heritage preservation, transportation and urbanism, Kapanadze decided to end the professional career and dedicate herself fully to painting, as a poetic and political act. 

In 2020, she enrolled at Beaux-Arts de Paris where she delivered a Master of Fine Arts diploma show titled NOT ONLY / BUT ALSO, in 2023. That time and couple of more years to follow, she worked solely on the same size canvases as part of her tête à tête approach: 

 « The most apparent common feature in Nino Kapanadze's oeuvre is its format. Coherence is found then in the scale of 195 x 130, though not clearly in the subject matter. The depicted universes vary with a lot of freedom, being disloyal to either visual guidelines or a fixed perspective. However, while seeking a common thread, one can feel Kapanadze's paintings are full of secrets that their preciousness will be spoiled once translated into words. We need thus to perceive the richness of their layers while standing on a threshold, embracing the hindrance created by the desire to know more. The struggle to accumulate these paintings into concrete conclusions leaves us in doubt, like Saint Thomas in his search for the real. » Noam Alon 

Since 2020, Kapanadze started practicing fresco painting and in 2024, she realized a monumental Renaissance Affresco technique painting “X” at a private property in Grasse, France. 

Distinctive of her series, diptychs and triptychs of Horseraces, depart in 2021 and since then, every year Kapanadze makes a new iteration. Counting six by 2026, Horseraces are a deeply conceptual exploration of landscape, movement, calligraphy, her personal memory related to Caucasus mountains, and history of art at large.

In 2025, the Horserace series were confronted with waterfalls, at twin exhibitions Cascades and Cavalcades at Villa Atrata, as an extension of artists research on vertical axis: 

“For the duration of the simultaneous exhibitions, superimposing the dual axes conceptually created a cross in the spatial registers of her practice. Positioned on the ground, the paintings of Cascades were anchored by local stones that echoed the absent stones of the half-ruined church as though resurrecting: a restoration of what is lost or offering the present to the past to create a balm, a wholeness in the now and possibly in the future.
What part is mimesis and which part is human imagination? Kapanadze confounds the two in rich, poetic ways. What emerges is an oeuvre – imbued with a desire to get both inside and beyond – that resonates with deep philosophical underpinnings that at times verge on the metaphysical. Indeed, Kapanadze consistently touches the hem of the mystical, the ontological, the semiotic, the ethereal and existential while remaining resolutely material and aesthetic.» Eve-Hill Agnus 

In 2025, Kapanadze introduced site specific installation as a new dimension to her painting practice at her first institutional solo show Rendezvous, at Fondazione Bonollo Arte Contemporanea, in Italy: « In homage to that gesture of affection, within the space of the Chiesa delle Dimesse, Kapanadze has installed two large, soft, and semi-transparent chiffon drapes, hand-coloured with pigments that evoke the hues of the cloaks worn by the figures in Giotto's painting Joachim and Anne Meeting at the Golden Gate (circa 1303–1305). Each drape, measuring over twelve metres in length, emerges from wooden windows adorning the upper portions of the church's side walls and cascades lightly until they converge on the floor in front of the altar. The drape on the left is rendered in Mars Red, recalling the colour of Saint Joachim's cloak, while the one on the right is painted in Golden Ochre, echoing Saint Anna's mantle, similarly to how the Chiesa delle Dimesse originally featured paintings of these very saints flanking the altar. In lieu of an altarpiece, a large roundel in deep blue tones celebrates Giotto's legendary ability to freehand a perfect circle.» Marta Papini 

Her most recent solo exhibitions include: Inertia, Michel Rein, Paris, France; Abstentions (A MIRAGE, BUT PERMANENT), Almeida & Dale, São Paulo, Brazil (2026); Cavalcades, Villa Atrata Palais-Royal, Paris, France; Cascades, Villa Atrata, Chapelle Saint-Croix, Angles-sur-l'Anglin, France; Rendezvous, Fondazione Bonollo Arte Contemporanea, Thiene, Italy (2025). 

Her work was presented in selected groupshows: Croire la peinture, Michel Rein Paris, France; Measures of Intimacy, Andrew Kreps Gallery, New York, USA (2026); Studio Conversations, David Zwirner, Paris, France (2025); Meet me by the lake, CLEARING, New York, USA (2024); Cache Cache, Perrotin Paris, France (2023); EXTASE DE L‘ABÎME, Societa delle Api, Le Quai contemporary art space, Monte Carlo, Monaco (2022); Jardin Secret, Le Théâtre des Expositions, Paris, France (2021).

Nino Kapanadze's work is part of major institutions including Fondazione Bonollo Arte Contemporanea, Sigg Art Foundation, The Noewe Foundation, and the Fonds de dotation Famille Moulin / Fondation Lafayette Anticipations.