Ukrainian artist Alevtina Kakhidze to perform at Fine Arts Museum of Nantes in France
Ukrainian artist, performer and curator Alevtina Kakhidze will present a performance at the Fine Arts Museum of Nantes in France on 19 March. The event will take place as part of the exhibition project "Plants and People".
Source: Fine Arts Museum of Nantes
Details: After the performance, Kakhidze will take part in a public discussion together with curator and art historian Natalia Matsenko about contemporary Ukrainian art, the role of artists during wartime, and today's environmental and political challenges.
About the exhibition
The exhibition "Plants and People" explores the interaction between humans, living organisms and the environment. The project combines historical and contemporary works, including photographs, drawings, sculptures and paintings. The exhibition is composed of works from the collections of the Fine Arts Museum of Nantes and the regional contemporary art fund FRAC des Pays de la Loire.
Among the exhibited works is Kakhidze's piece "Invasions", in which the artist reflects on the spread of invasive plants as a metaphor for human conquests and war. Through this metaphor, the author draws attention to the invisible consequences of military conflicts.
The exhibition will run until 26 April.
Who is Alevtina Kakhidze
Alevtina Kakhidze is a Ukrainian artist, performer, curator and designer. She was born in 1973 in Zhdanivka, Donetsk Oblast. She graduated from the National Academy of Visual Arts and Architecture in Kyiv and the Jan van Eyck Academie in the Netherlands.
Kakhidze received the Malevich Prize and has participated in numerous international art projects, including the 7th Berlin Biennale, Manifesta 10 during the annexation of Crimea, and the project Working for Change in the Moroccan Pavilion at the 54th Venice Biennale.
Since 2018, she has been a UN Tolerance Envoy in Ukraine.
In December 2025, the Ministry of Culture appointed Kakhidze as director of the Taras Shevchenko State Art School in Kyiv. The decision sparked debate within the art community: some teachers and members of the public criticised the appointment procedure, while other representatives of the cultural community supported it as an opportunity to reform art education.
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