The Heterogeneity of the modern world with its cultural contradictions and its economic paradoxes is transported in the montages and assemblages proposed by the artist. The collision of two distinct objects and the montages of images that represent different, moments of a narration strongly attenuate the concept of continuous, homogenous time.

When Iliko Zautashvili seems to be on essentially sentimental ground, with his installation Touch everything except my Heart he is positing the necessarily ambivalent relationship between the artists and his subject, translating the transient nature of our reality with fragmentary documents. The group of photographs depicting events distant in the mists of memory, as well as the white plaster heart locked in a display case, and the representation of a woman naked save for her black gloves, all these announce and yet simultaneously conceal different levels of meaning.

The work seems to function like a secret text which gives clues, but seeks also to maintain the privilege of hermeticism. It is a strategy whose objective is to arouse within the viewer a kind of mental impatience, which urges him to pose questions, leading him to put forward answers. By imagining situations with act upon the observer’s conscience, Iliko Zautashvili is able to touch simultaneously upon the behaviour of the individual in society, his relative passivity,and the absolute necessity of the principle of interiority, without the two appearing contradictory.

Touch everything except my Heart is a voluntarily sentimental work, for this enables the construction of a vision of a resistance, which is necessary in the relationship that obtains between the internal conscience and the course of history.