ON ONE'S OWN ACCOUNT: German Blog About Georgia by Ralph Hälbig Reaches More Than 3 Million Viewers. Interview: Nina Gomarteli via @cbwge

Ralph Hälbig manages a blog about Georgia and South Caucasus. Blog is available in German and shares politics, economics and art narrative in the region. Visitors are increasing day by day, while he’s planning to commit himself more and write a travel guide about Georgia. CBW had an interview with Ralph about his inspirations, experience and opinion towards region.

The full interview here (cbw.ge) >>


cbw.ge/e-version

BUCH: Georgia: A guide to the cradle of wine. Von Miquel Hudin and Daria Kholodilina (georgianjournal.ge)

(georgianjournal.ge) Der neue Weinführer "Georgia: A guide to the cradle of wine" wurde offiziell am 9. Juni, dem Eröffnungstag der 10. jährlichen Winexpo in Tbilisi in Georgien von den Autoren Miquel Hudin and Daria Kholodilina in der beliebten Amber Bar in Tbilisi vorgestellt.

Das Buch ist der Höhepunkt einer monatelangen Forschung über das gesamte Land Georgien. Das Publikation ist 300 Seiten dick, mit unzähligen Vollfarbfotos, umfangreichen Karten, Kellerlisten und einer Fülle von zusätzlichen Informationen über eines der ältesten Weinanbaugebiete der Welt.

Wie bei den anderen Büchern in der Vinologue-Serie (die im Jahr 2007 begonnen hat) konzentriert sich das Buch darauf, umfassend zu informieren, und sich die in der alten und manchmal exotischen Natur der georgischen Weine zurechtzufinden. Ein besonderer Schwerpunkt ist die Herstellung und Nutzung der alten Terrakotta-Töpfe namens Kvevri (über 8.000 Jahre alt). Das Buch beinhaltet zudem auch die Weine, die nach internationalen Methoden im Edelstahltank und dem Ausbau im Eichenfass gekeltert werden, sowie die Experimente, für die die die Georgier sehr aufgeschlossen sind.

Die beiden Autoren sind Experten auf ihrem Gebiet und Liebhaber des Georgischen Weines. Miquel Hudin wurde mit dem Fortnum & Mason Award's Best Drink Writer of 2017 ausgezeichnet und ist zudem ein zertifizierten Sommelier, der für unzählige internationale Weinpublikationen schreibt.

Er sprach mit Georgian Journal über das Buch.

"Das Buch ist für Leute, die das Essen und den Wein in Georgien lieben, dafür gab es keine richtigen Führer. Es war mir ein Bedürfnis, dass ich persönlich hatte und seit der Veröffentlichung des Buches habe ich festgestellt, dass viele andere es teilen."

" Die Co-Autor Daria Kholodilina war für die Veröffentlichung des Buches sehr wichtig, da sie in Tbilisi ansässig ist und zusätzliches Insider Wissen sowie lokale Informationen geben kann."

Wein-Enthusiasten finden Empfehlungen für weinbezogene Orte sowie Bars, Restaurants und die Mehrheit der Weinkeller in Georgien in diesem Buch. Außerdem, wie Herr Hudin erzählt, gibt es eine Reihe von Kapiteln über die Geschichte, das Essen, die Trauben und sogar ein bisschen über die georgische Sprache.

Die Co-Autorin des Buches, Daria Kholodilina ist ein Marketing-und Tourismus-Experte aus der Ukraine, mit Sitz in Tbilisi - mit betreibt einen sehr beliebten Blog mit überwiegend georgischen Essen und Reisen.

Das Buch ist erhältlich unter: www.vinologue.com (weltweiter Versand)
Source in english: georgianjournal.ge/georgia a guide to the cradle of wine

PHOTOGRAPHY: Very cool photo series presented on Tamara Natenadze Photo Blog. By Timothy M. Bowser

This is an interesting look but one that I cannot say I've shared in. I've spent over three years living among Adjarians and spending much time in the highlands and villages of Xulo. There is a dark dignity to the photos presented here, and the people do have this dignity but I do not feel that there is the darkness illustrated here. I do not imply darkness as a mood or feeling, only the lens through which the photographer chose to portray her subjects. I have always found the highlanders to be amazingly open and joyous. I've spent a few Shuamtoba festivals at Beshumi and Goderdzi. They are riots of color, wrestling, horse racing, dance, and song. Marriages are conducted before the community and drunken fights are pretty common. The days leading up to the festivals were filled with merriment and obscene amounts of drinking. I've partook. Remember these are Muslim populations. The idea/s that we know anything about the Muslim world in Adjara is correct in the photographer/author's opening assessment. We do not know much about it. What we think we know about the populations of Adjara are most likely mistaken and wrought with unwarranted prejudices. One thing mentioned in the article and I find a truism is that the households would fall apart without the women managing them and they are present at the supras but are only periphery participants. Very cool photo series presented on Tako's blog. I found the smaller village Shuamtoba festival very interesting.


Timothy M. Bowser (e-portfolio)


Tim Bowser's Blog: beyondbatumi.com
beyondbatumi@gmail.com
facebook.com/beyondbatumi
Twitter @beyondbatumi

Tamara Natenadze Photo Blog: takonatenadzeajara.blogspot.de

GEORGIA: Polaroids of Rabati. By Jacopo Miglioranzi (riowang.blogspot.it)

Jacopo Miglioranzi does research in the anthropology of religion in the Southern Georgian town of Akhaltsikhe among the local Armenians and Georgians. About the Jews of the town he has earlier written in río Wang. His further essays can be read here.

Tolerance. A new word. Until some times ago, you could see it, written in great letters, on a large panel. Tolerance, this was received by the citizens and visitors who entered Rabati. The oldest neighborhood of the city of Akhaltsikhe. To enter the neighborhood, you have to cross a wide road, then take a narrow road under the bridge of the old and disused railway. Two streets. Two forms of tolerance. To the left, the fortress of Rabati, a symbol of tolerance. Tourists, travelers, backpackers, border-crossers. Young people taking photos and letting themselves be photographed. Brides dressed in white. To the right, Rabati. The neighborhood. Tourists, travelers, backpackers, border-crossers. Young people taking photos and letting themselves be photographed. Brides dressed in white, a few. Men smoke their cigarettes nervously. A yellow marshrutka, without wheels, lies dying on the railway embankment. I climb up to the dying tracks. Armenian men. Georgian men. Turkish men. Armenian taxi drivers. Georgian taxi drivers. Turkish buses. Georgian buses. Cars. Police patrol. More taxis. Shopping bags. Women with children. Armenian boys. Georgian boys. Armenian girls. Georgian girls. Russian tourists. Polish tourists. Couples on motorbikes. Cyclists.

further text here >>>

REZENSION: Nino Haratischwilis „Das achte Leben (Für Brilka)“ – Über die Unausweichlichkeit dieser beispielhaften Leben. Von Bernd Schneid (medienobservationen.lmu.de)

(medienobservationen.lmu.de) Diesen Herbst wird die deutsche Literaturlandschaft endlich um einen großen neuen Roman reicher. Reich nicht nur ob sein es Umfangs von fast 1300 Seiten, sondern reich auf Grund seiner 107 Jahre umfassenden erzählten Zeit, die einen anderen Blickwinkel auf da s vermeintlich bekannte 20. Jahrhundert liefert. Einen Blickwinkel auf das Jahrhundert der ehemaligen Sowjetunion und auf den Verfall der georgischen Familie Jaschi, auf ihre Schicksale, ihre Lieben, Geburten, Tode und ihre fluchbehafteten Schokoladengeheimnisse.

Ein achtes Leben? Keine einfache 8, auch nicht die 9 Leben einer Katze können diesen Roman zusammenfassen, sondern ∞ wie unendlich. So beginnt der Roman und so schließt sich auch der Kreis oder besser das Möbiusband, das diesen grandiosen Roman umfasst. Zentrum der Jahrhunderterzählung ist die georgische Familie Jaschi aus Tbilissi in der auch die Autorin Nino Haratischwili 1983 geboren wurde und die neben ihrer Arbeit als Theaterregisseurin und Dramatikerin bisher die beiden Romane "Juja" und "Mein sanfter Zwilling" veröffentlicht hat.

"Das achte Leben (Für Brilka)" ist zweifelsohne ein literarischer Durchbruch. Es sind die acht Leben der familiär sich forterzählenden ProtagonistInnen des Romans, die den Schrecklichkeiten des 20. Jahrhunderts im "sowjetischen" Umfeld zu trotzen versuchen: Stasia, Christine, Kostja, Kitty, Elene, Daria, Niza und zu guter Letzt Brilka (die auch eigentlich Anastasia heißt, den Bezug zur Urgroßmutter mit demselben Namen herstellt und so einen Bogen von 1900 bis über 2000 spannt).

Parallel wird von Niza (der Erzählerin, die Historikerin ist) dann auch noch die Geschichte des 20. Jahrhunderts sehr versiert zusammengefasst. Das ist sowohl die Geschichte der ehemaligen Sowjetunion, als auch letztlich die der europäischen und internationalen Geschichte, die unausweichlich miteinander verknüpft sind, mit ihren Weltkriegen, dem Kalten Krieg, über die Perestroika und so weiter.

Die komplex verwobenen Paargeschichten um Stasia und Simon, Christine und Rabas, Gula und Andro, Kostja und Kitty, Kitty und Fred, Kitty und Giorgi und all den folgenden sind beeindruckend angeordnet und spiegeln eine lange literarische Tradition. Nicht von ungefähr kann man ein paar bekannte Namen aus der Weltliteratur finden, wie die bereits erwähnte Anastasia oder Daria und Kitty, die man aus Tolstois "Anna Karenina" kennt oder in anderer Form und Tradition bei Flauberts Emma Bovary und Fontanes Effi Briest findet, deren ProtagonistInnen in „Das achte Leben (Für Brilka)“ mit einer aktualisierten Durchschlagkraft auferstehen.

Doch in Haratischwilis Romanepos geht es nicht allein um Gefühl und Verführung, um das Anna-Karenina-Prinzip der glücklichen oder unglücklichen Familien, das ja Nabokov in seinem Roman "Ada, oder Das Verlangen" schon kongenial anders interpretiert und übersetzt hat, um das Prinzip jener Familien, die sich gleichen oder unterscheiden; nein, es geht nicht nur um Ehen und Ehebrüche, um Züge, Kutschen und Duelle, Grafen und weite Felder, wie das in vielen Kolportagen serialisiert wurde. Im „achten Leben“ geht es um diese Metaphern und Motive als die existentiellen Themen eben dieser Weltliteratur, aktualisiert für das 20. Jahrhundert.

Es scheint fast so, als ob die Weltkriege nie geendet haben und sich stattdessen immer wieder fortpflanzten. All die in der Erzählung gewählten Orte wie Klassenzimmer oder Druckereien werden im Roman umfunktioniert zu schrecklichen Heterotopien mit Folter und Vergewaltigungen, einem totalitären Staat und nie zu tilgender Schuld. Die Orte verlieren ihre ursprüngliche Bedeutung und werden zum Trauma der jeweiligen Verhältnisse. Edith Piafs "La Foule" liefert der Erzählerin Niza in einer ihrer schwersten Stunden einen besonders bitteren Soundtrack, der einem den Hals zuschnürt.

Doch eines zeigt Haratischwilis Romanepos neben all dem Grauen: dass die ProtagonistInnen immer Sinn und Hoffnung aufrechterhalten, auch wenn es manchmal kaum möglich ist, einen unbedingten Lebenswillen und eine Hingabe an das Leben. Das dicht konstruierte Handlungsgefüge verwendet hierfür ebenfalls eine aktualisierte Tradition des magischen Realismus, wie ihn z.B. schon Bulgakow in "Der Meister und Margarita" vertreten hat. Ob Schicksal, Faktum oder Magie, die individuell-kollektiven ProtagonistInnen sind in eine historische Differenz eingeschrieben, für die jegliche Deterritorialisierung unmöglich ist und für die es keine staatliche Sicherheit mehr geben kann.

„Das achte Leben (Für Brilka)“ verdient Raum, um all die Verwebungen zu analysieren, die Haratischwili herstellt. In Motiven und Symbolen wird die Geschichte der Sowjetunion, mit Georgien, Tbilissi und den Kleinen großen Männern oder Diktatoren, verknüpft. Das Rezept für eine besondere und „magische“ Schokolade stellt sich gegenüber die als Intertexte fungierenden Zitate von Anna Achmatowa bis David Bowie. Auch ein epischer Witz aus Dantes Inferno reflektiert mit dem Figurenpersonal aus all den Schwestern, Brüdern, Männern, Frauen, Kindern, Gespenstern und dem unendlichen Meer zwischen Himmel und Chaos, den ewigen Kreislauf zwischen Schöpfung und Zerstörung.

Wenn man also bemäkeln wollte, dass es unrealistisch sei, dass sich die Figuren immer wieder treffen, dass es artifiziell konstruiert erscheint, dass gerade die und der schließlich zueinander finden und der und die aneinander zerbrechen, ob hier, ob dort: es ist nicht zufällig. Nein, die spannende Struktur des Romans macht diesen familiären Stamm notwendig. Die Familie Jaschi ist das Gewebe dieses Teppichs. Ihre über fünf Generationen und acht Schicksale ausgebreitete Geschichte ist eben nicht wahllos, sondern ergibt am Ende eine spezielle und doch allgemeine Chronik des 20. Jahrhunderts. Ob in Tbilisi, Moskau, Berlin oder Paris, die Charaktere – allen voran die im Westen als Protests ängerin erfolgreiche Kitty – liefern einen individuell-kollektiven Spiegel der Geschichte.

In „Das achte Leben (Für Brilka)“ entfaltet sich kein purer sozialer Realismus, sondern eine magische Realismus-Möglichkeit, die unabdingbar mit der Erzählerin Niza verbunden ist, die bis hin zur Urgroßmutter Anastasia zurückblickt und die unbeugsame Realität der Zeit, der Gesellschaft und ihrer ProtagonistInn en zeigt. Das süße Zauberrezept des Schokoladenfabrikanten und Ururgroßvaters von Niza ist das magische Serum, das gar nicht anders kann, als ein letztes Geheimnis aufzubewahren. Was aber ist das Geheimnis dieses süßen Familienfluchs? Gibt es den überhaupt? Sollte er bewahrt werden? Darauf gibt die Erzählung letzten Endes die einzig mögliche Antwort. Denn Adressatin dieses Epos ist für Niza die 13-jährige Nichte Brilka, die als Endpunkt dieser besonderen und dennoch beispielhaften Figuren das gegenwärtigste Leben im Gefüge dieser fluchbeladenen Familie repräsentiert. Wenn Niza am Ende diesen roten Schokoladenfaden endlich kappt, schließt sich der Kreis erst wirklich.

Die Literatur steht hier am Umschlagpunkt zur Geschichte, die Literatur und der unendliche Wunsch zu erzählen, die Wahrhaftigkeit auszusprechen, das Schweigen zu durchbrechen und immer wieder die ursprüngliche Liebesbeziehung jede r Botschaft als transsubstantiellen Akt zu zeigen. Denn nicht immer – oder sogar nie – steckt tatsächlich ein Familienfluch hinter einer geheimen Schokoladenmischung, sondern es ist die Unausweichlichkeit von Hippolyte Taines Diktum temps, race, milieu, dem die ProtagonistInnen ausgesetzt sind. Dagegen hilft tat sächlich nur das unendliche Weitererzählen, ein bisschen Magie und die Sendung von Liebesbotschaften, die Kitty persönlich in ihren Liedern verpackt und um die ganze Welt schickt.

Die literarischste Metaphorik zeigt der Roman in diesem Sinne mit dem Teppich und seiner Herstellung. Man muss sich die ProtagonistInnen als Teppichwirkerinnen vorstellen, ständig am familiären Text webend, die das Geflecht, das diese beispielhaften Leben miteinander verknüpft, anordnen, in eine Ordnung bringen, die wahrhaftig ist, erotisch, grausam, rührselig, ohnmächtig, mächtig, aber auch komisch und zärtlich. Allezeit jedoch ist die Erzählung von einer tiefen Ehrlichkeit durchzogen, die gegen das Schweigen der Macht anschreibt und eine Notwendigkeit des immerwährenden Versuchs des Erzählens deutlich macht. Nicht allein für Niza wird das notwendig, die in ihrer Funktion als direkte Erzählerin des Romans fungiert, sondern auch im Hinblick auf die vielleicht zukünftige Erzählerin Brilka, für die Ni za die Familienchronik niederschreibt. Brilkas Roman jedoch bleibt ungeschrieben, muss noch geschrieben werden, wie de r Erzähler in Dostojewskis Roman "Die Brüder Karamasov" das schon mit Aljoscha angedeutet hat. Denn auch Niza kann die Unendlichkeit dieser Erzählungen nicht allein tragen. Aber sie kann Verantwortung übernehmen. Für ihre Nichte. Und das tut sie mit ihrer Erzählung. Sie durchbricht das Schweigen.

Leben ist im „achten Leben“ Erzählen, unendliches Erzählen, wie in Tausendundeiner Nacht, gegen den Tod, gegen die Gra uen des 20. Jahrhunderts, ob in der Gefangenschaft von Sultanen oder einem gewissen Generalissimus (wie Stalin hier nur genannt wird). Die Geschichten sind Teppiche und Schichten aus Geschichten, die Ebene um Ebene verwoben sind, Faden um Faden verknüpfen, abschneiden und wieder neu aufnehmen. Haratischwilis Romanepos zeigt die Unausweichlichkeit dieser beispielhaften Leben. Es liegt nicht alles in der Hand der Figuren. Schreckliche Dinge passieren.Die Zukunft bleibt in einem gewissen Nebel. Es kann jedenfalls kein einfaches Happy End geben. Das Erzählen muss weitergehen.

Kurzum, Nino Haratischwili hat mit „Das achte Leben (FürBrilka)“ einen existentiellen und historisch bedeutsamen Gesellschafts- und Familienroman der deutschen Gegenwartsliteratur geschrieben, der noch lange nachhallen wird. Die deutsche Literatur wird mit diesem Roman durch eine unerwartete deutsch-georgische Verbindung und Freundschaft bereichert. Und letzten Endes geht es in diesem Gefüge um nichts anderes als um eine Leerstelle, das titelgebende ac hte Buch als achtes Leben von Brilka, das noch nicht geschrieben ist. Es bleibt der Wunsch nach einem Zustand der Geschichte im Werden.

Und letzten Endes geht es in diesem Gefüge um nichts anderes als um den Wunsch nach dem, was Don DeLillo ans Ende seines großen Romanepos Unterwelt als letztes Wort stellt: ...

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Blog von Bernd Schneid: ecrinautik.blog.de
phil. Bernd Schneid, born in 1978. 1995 Education as an machining mechanic. 2004 Study in German Literature, Theatre Studies and American Literature in Munich. 2009 completion as Master of Arts. Then doctorate to spring 2012 in Literature and Media Studies. Since 2013 Assistant to the Board for an Association for Psychotherapists and freelance Author.
Focus: phenomenology, psychoanalysis, poststrukturalism, deconstruction, media theories, theatre, film, television and epicity.
Books about Shakespeare and the return of the epic in Quality-TV exemplified on The Sopranos and Lost.

PDF: medienobservationen.lmu.de/pdf

twitter: twitter.com/Ecrinautik

SUPRA: Culture Georgian Banquet to Spiritual Side of a Supra

If one is describing Georgian culture, attention must surely be given to the traditional Georgian supra. At first glance it would be described as a banquet at which there is much food, wine, toasting, and singing. However, this does not describe the spiritual side of a supra.

Whenever space allows, the supra is always held at one long table, or a makeshift table of many joined together end to end, running from one room to another, if need be. The table is laden with wine jugs which are always kept full of excellent Georgian wine, and copious amounts of food of all kinds, so much so that the table surface almost disappears.

Each supra has a tamada (the closest English translation is "toastmaster") and is chosen by the host of the supra before the supra begins. Fulfilling one's role as a tamada is an art form in itself. A good tamada is a poet/wit/philosopher/social commentator/orator/singer who creatively improvises a beautiful atmosphere of community, camaraderie and love through his toasts which introduce periods of tranquility and reflection amidst the extroverted energy of table conversation. Through an adroit choice of songs which are sung after every toast, the message of each toast is given more resonance.

The order in which the toasts are given is important. Throughout most of Georgia, the first toast is always to peace, followed by a toast to parents, to brothers and sisters, to those who have passed away (especially to any friend or relative of any person present at the table), to life (especially to the lives of the children of those who have recently passed away), and then to love and friendship.

After all these toasts have been made in this order, the tamada is free to choose his own additional topics, maintaining the established creative flow, usually relating these toasts to the people present or to the occasion which prompted the supra. The topics, to name a few, might be to ancestors, to mothers, to beauty, to creativity, to absent friends who are far away, etc. After any of the evening's toasts, a guest, with the permission of the tamada, can add some thoughts of his or her own with another toast on the same topic. Starting a new topic without the tamada's permission would be a social blunder.

One important rule of the supra is that there should be no negative remarks or toasts, and it is the responsibility of the tamada to ensure that this rule is observed. Another rule of the supra is that one must not be drinking one's wine unless a toast has just been made, and so it is the tamada's responsibility to space out the toasts accordingly, so that everyone has a chance to imbibe, but not so often that people might become too intoxicated. In the hands of a good tamada, a supra is a beautiful, moving experience.

Source: darbazi.com

ART: Nataliya Goncharovaʼs Hay Cutting and David Kakabadzeʼs Cubist Self-Portrait; a comparison. By Inge Snip (adjapsandali.wordpress.com)

(adjapsandali.wordpress.com) The start of the 20th century saw a blossoming of modern art in both Russia and Georgia, where in an intense period of time a ʻcultural evolutionʼ took place. In Russia, in rejection of the West, through neo-primitivism, a search was initiated to find new shapes, colors and conceptions. However, in Georgia no such rejection of the West took place, nevertheless, through collaboration of different art movements the same goal was set.

Two major figures who influenced the development in modern art in respectively Russia and Georgia are Nataliya Goncharova and David Kakabadze. Comparing their artworks, will lead to a more comprehensive overview of the developments of those times, as Goncharova clearly had the desire to move away from the West, and Kakabadze, on the other hand, was obsessed with accumulating as much different views on art and sciences during his life. In the following essay two of their paintings will be analyzed, the neo-primitive work ʻHay Cuttingʼ by Nataliya Goncharova in 1910, and David Kakabadzeʼs cubist self-portrait of 1914. Although both artworks are very different in style, and both artists have made works which are more alike, it is interesting to compare these two, as Goncharova was very much interested in the works of Georgian self-taught artist Niko Pirosmanishvili and was not impressed by cubism on its own, while Kakabadze was experimenting with different styles at the same time.

Hay-Cutters – Nataliya Goncharova, 1910

ʻWe have learned much from Western artists, but from where do they draw their inspiration, if not from the East?’. In her 1912s essay on neo-primitivism, Nataliya Goncharova explains her rejection of the west and her interest in old forms of art. Already for several years before 1912, she and her partner Mikhail Larionov were intrigued with folk art, children’s paintings and self-taught artists, such as Georgian Niko Piromanishvili.

As explained by Goncharova, the need to go back to these naive forms of art, are necessary to find new forms.

Moreover, Goncharova was clearly inspired by her own countryʼs traditions and culture, and argued that the folklore colors and surroundings of the East and Russia should be part of modern art in order to create something new: ʻI aspire toward nationality and the East, not to narrow problems of art but, on the contrary, to make it all-embracing and universalʼ.

In her neo-primitivist work of 1910, ʻHay Cuttingʼ, her search for naive forms, the east and parts of the russian nationality can be evidentially traced back. Although the work obviously has elements of Cubism and Gauguin (a symbolist western artist), the rural sight depicts a very Russian subject. Furthermore, the colors, the lines, the flatness and the deformed characters show the spectator Goncharovaʼs inspiration for this artwork: primitive, naive art.


David Kakabadze, Cubist self-portrait, 1914 

Although both Nataliya Goncharova and David Kakabadze shared their love for the works of Georgian self-taught painter Niko Pirosmani, they differed opinion on several other subjects. For instance, Goncharova stated in her introduction on Cubism in 1912 that the artists had gone too much into theory and, in doing so, had lost the soul of art; however, David Kakabadze believed that in order to find the ʻtrueʼ art, one should study as much as one could about it. As he said while living in Paris in the 1920s: “First Theory, then practice”.

Kakabadze identified himself with masterʼs such as Leonardo da Vinci; as his desire was to not only be a painter, but also a philosopher and a scientist. His theory entailed that all is interconnected, and in order to understand all aspects of life, one ought to study all.

For him his artistic works were both a foundation for, as the result of, his search for knowledge: ʻPainting is nearly the philosophy of natureʼ.

His quest to learn as much about art and life in general already started in 1911 when he received a scholarship to study in St. Petersburg. Although he was more interested in studying at the Academy of Arts, he was not accepted there because his drawings were not well developed yet, however, he did not want to waste time and decided to study Physics. Nevertheless, he did take some classes in drawing at the studio of Lev Dmitriev-Kavkazskii, and painted among his famous ʻMother and Imeretiʼ and ʻSelf-portrait with pomegranatesʼ, his cubist self-portrait (1914).

It is important to note that Kakabadzeʼs cubism is different from European style cubism, such as Pablo Picassoʼs. Although there are some linkages with cubist artis George Braque when it comes to his analytical approach, Kakabadze was not concerned with the form, but rather with colors and unification of the forms. His obsession with color, the expressiveness of color and forms, are very distinct and could be categorized as a form of ʻGeorgian Cubismʼ.

Although both Goncharova and Kakabadze had several different influences, their artwork at times is comparable and at times is not. With Goncharova it is eminent that her artworks have influenced the manner in which Russian modern art developed before she left for Paris after the Bolsheviks took power. However, the influence of Kakabadze on the Georgian modern art field should not be disregarded either. Both had in common their desire to find new art forms, to find a true language of art, and both have attempted so in different ways – Goncharovaʼs neo-primitive and Kakabadzeʼs cubo-futurist influenced artworks are perfect examples of their strategy.

link: facebook.com/adjapsandali

BLOG: Tamada Travels: The Color of Parajanov. By Giorgi Lomsadze (eurasianet.org)

(eurasianet.org) Iconic filmmaker Sergo (Sergei) Parajanov – a man who in his lifetime gained a reputation as the Soviet Union’s Fellini – would have turned 90 today. This EurasiaNet video pays tribute to Parajanov’s legacy, which extends well beyond his native region, the South Caucasus. 

video >>>

An ethnic Armenian born in Tbilisi, Georgia, Parajanov is still widely considered to be the greatest visual poet that the Caucasus has ever produced. Relying on a cinematic style that emphasized a rich, baroque tapestry of images and the expressive silence of his film characters, Parajanov transgressed the cultural and artistic borders of his time and place. While defying Soviet censors, he managed to rise above the parochial nationalist sentiments that prevailed in the Caucasus in his time -- much like another famous cosmopolitan Tbilisi Armenian before him, the 17th century troubadour Sayat Nova, a figure who became an inspiration for Parajanov’s internationally acclaimed movie, the Color of Pomegranates.

Ultimately, Communist authorities couldn’t tolerate Parajanov’s individualist streak, and he spent several years in prison starting in the late 1970s, convicted on what were widely seen as politically motivated charges. The experience broke his health, and he succumbed to cancer in 1990 at the age of 66. One can only wonder what might have been, if he could have lived long enough to enjoy full artistic freedom during the post-Soviet era.

Editor's Note: Giorgi Lomsadze is a freelance journalist based in Tbilisi. He is a frequent contributor to EurasiaNet.org's Tamada Tales blog. 

See also: 

Episode 1: Fortunetelling in Georgia

Episode 2: The Georgian Baths

Episode 3: The Return of Stalin

PHOTOREPORTAGE: Four Rooms. By Giorgi Amuni Shengelia (giorgi-amuni-shengelia.ideastap.com/four-rooms)

(giorgi-amuni-shengelia.ideastap.com/four-rooms) The most of Georgian familes destroy when women leave families and can't see their children and husbands. It is too hard for children to live without their mothers

Khatuna, 40, 8 monthe in Italy. She is praying. She left a child in Georgia, who got married recently. Khatuna was not able to attend her child's wedding celebration.

the reportage here:  
giorgi-amuni-shengelia.ideastap.com/four-rooms

SAVE: Help needed to locate the former German villages in Georgia (caucasusconflict.wordpress.com)

(caucasusconflict.wordpress.com) This summer 2013 we gone with CCC3 to the former German villages in the Caucasus. Most of the places and contemporary names of the former German viallages are clear, but some need to be confirmed or exactly located. In this post we ask you to help to locate some few villages in Georgia. The German villages in Azerbaijan will part of the next post.

Map: Kaukasusdeutsche Georgien 

Below you find a list of the German villages with some basic information related to them. The list is in alphabetical order. Underlined are the so-called “Mutterkolonien”, i.e. the first founded places from which other colonies did emerge. Then are listed other names of the colonies and its contemporary denomination. The list contains the number of the population (F=families, P=people/persons). Then are following the coordinates and link to Wikimapia, if the exact place is known.

First you find a map with the German villages in Georgia. Inverse are the names of the villages of which the place is not confmirmed. Please note that the villages in the map and listed below are those in which Germans originating from the region of Württemberg lived. There are also other former German villages (e.g. near Sokhumi), with Germans from other origins. These villages are not of interest here.

Swabian Colonies/Villages

Alexanderdorf, founded 1918, “Mutterkolonie”, Other names: Avtochalo [?], Liebknechtsdorf, Today: თბილისი-დიდუბე [Tbilisi-Didube]), Population 1817: 23F; 1843: 36F; 1868: 44F, 239P; 1913: 790P; 1936: 879P; Coordinates 41°44’24″N – 44°47’0″E

Alexanderhilf, founded 1857 [or 1860?], resettled from Elisabethtal, Other names: Manavar (before), Rosenberg, Tschotschiani, Beshtasha, today: თრიალეთი [Trialeti]), Population 1857: 38F; 1868: 30F, 201P; 1913: 650P; 1936: 800P, Coordinates: 41°32’38″N – 44°6’28″E

TBC: Blumenfeld, founded 1905, resettled from Alexanderhilf, Other names: Blumental, Jakobli, Coordinates: it said to be near Alexanderhilf/Tsalka, but where?

Elisabethtal, founded 1818, “Mutterkolonie”, today (since 1914): ასურეთი [Asureti], Population 1818: 65F, 307P; 1843: 90F, 575P; 1868: 128F, 881P; 1886: 2440P; 1913: 2120P; 1936: 2128P, Coordinates: 41°35’30″N – 44°40’12″E

Katharinenfeld, founded 1819, “Mutterkolonie”, Other Names: Kamarlu, 1921: Luxemburg, today since 1944: ბოლნისი [Bolnisi], Population 1819: 116F; 1826: 431P; 1843: 153F, 482P; 1868: 158F, 786P; 1913: 2710P; 1936: 2713P, Coordinates: 41°27’2″N – 44°32’42″E

Marienfeld, founded 1817, “Mutterkolonie”, was later named Rosenfeld (together with Freudenthal and Petersdorf), today: სართიჭალა [Sartichala], Population 1817: 31F; 1843: 48F; 1868: 49F, 316P; 1913: 530P, 1936: 531P, Coordinates: 41°42’50″N – 45°10’22″E

TBC: Marxheim (near Marneuli), founded 1914, Population 1936: 105P, Coordinates: where is this place and how is it called today?

Neu-Tiflis, founded 1818 (?), “Mutterkolonie”, Today: Tbilisi-Kukia (suburbanized 1861), Population 1818(?): 60F; 1936: 4000P, Coordinates: 41°43’4″N – 44°48’50″E

Petersdorf, founded 1820, was later named Rosenfeld (together with Marienfeld and Freudenthal), today: სართიჭალა [Sartichala], population 1820: 17F; 1843: 12F; 1868: 21F, 149P; 1913: 300P, Coordinates: 41°42’50″N – 45°10’22″E

Steinfeld, founded 1922, Today: Kotishi, Population 1836: 95P, Coordinates: 41°31’40″N – 44°44’23″E

Traubenberg, Founded 1908, resettled from Katharinenfeld and Marienfeld, Other names: Allawar, today: თამარისი [Tamarisi]), Population 1913: 123P, 1936: 420P, Coordinates: 41°26’10″N – 44°44’36″E (is it really todays Tamarisi or the small village Alavari nearby?)

TBC Waldheim, founded 1911, Other Names: Ormashen, Bashitshet, Population 1936: 310P, Coordinates: it is said to be near Tsalka, but Ormasheni is near Dmanisi

TBC Wiesendorf, Founded 1921, Other names: Wiesenfeld, Wiesental, Marabental, Neu Marabda, Today: Akhali Marabda TBC, Population 1936: 86P, Coordinates: 41°32’2″N – 44°45’32″E

Not Clear

TBC Wiesenhof (near Asureti), Coordinates: Where is this place and how is it called today?

Left Villages

Kolonie der 12 Apostel, founded 1818; it had to be left in 1820 was was newly founded next to Marienfeld.

Non-Swabian Colonies

Freudenthal, founded 1847, Other names: Jammertal, later named Rosenfeld (together with Marienfeld and Petersdorf), today: სართიჭალა [Sartichala], population 1842: 10F; 1868: 13F, 70P; 1913: 100P; 1936: 104P, Coordinates: 41°42’50″N – 45°10’22″E

Georgsthal, founded 1910, mostly non-Swabians from the North Caucasus, but also some resettled from Katharinenfeld, today ძველი ქანდა [Dzveli Kanda] Coordinates 41°54’15″N – 44°35’57″E

TBC Gnadenberg, founded 1879, near Sokhumi, poopulation 1926: 163P

TBC Grüntal, founded 1922, other names: Neu-Grüntal, Karatapa, Karajasi, Ruisbolo (Rayon Korojazy), Population 1926: 120P, Where???

TBC Hoffnungsthal, founded 1922, other names: Karatapa, Karajasi (Rayon Karajazy), Population 1926: 92P, where???

TBC Lindau, founded 1879, where???

TBC Neudorf, founded 1879, near Sokhumi, Population 1926: 187P, where???

Please comment on any point listed above, especially those villages prececed with a TBC (to be confirmed). We will update this post with the incoming information. Any help is welcome! Thank you. (Please note: the sources which lead to the information are manifold and often even contradictous. For the sake of a clear presentation they are not listed here).

More: caucasusconflict.wordpress.com/german-villages-ccc3

WEIN: "Wein weit weg". Stuart Pigott besucht Winzer in Nord-Michigan, Georgien, Moldawien, Norwegen und China. (weindeuter.blogspot.de)

(weindeuter.blogspot.de) In vielen Weinbücher werden häufig nur bekannte Themen wiedergekäut, Weinautoren ergötzen sich an Punktebewertungen und endloser Gaumenlyrik oder geben Wein-Lifestyle-Tips.

Stuart Pigott agiert anders !

Neben seinem jährlich erscheinenden Band "Kleiner genialer Weinführer" und seinem Opus Magnus zum Deutschen Wein "Wein spricht deutsch" berichtet er im Stil der Reisereportage in nunmehr drei Büchern von seinen spannenden und manchmal abenteuerlichen Erkundungen zur Globalisierung der Weinwelt. Seine Spur zieht sich mittlerweile durch alle Kontinente, auch in für unsere Vorstellungen (noch) abseitige Anbaugebiete wie Indien und Thailand. Im aktuellen Band mit dem Titel "Wein weit weg" besucht er Winzer in Nord-Michigan, Georgien, Moldawien, Norwegen und China.

Zum Glück versteht Pigott es auch, seine Texte mit viel Humor, Verve und einer gewissen Dramatik vorzutragen, wovon man sich bei seiner Lesung in der wunderschön hergerichteteten Maschinenhalle der Zeche Ewald in Herten (organisiert von der Weinhandlung Molitor) überzeugen konnte. Und es war nicht (nur) der Showauftritt eines spleenigen Engländers in buntkarierten Anzügen, sondern ein absolut kenntnisreicher Bericht, z.Bsp. über die Auswirkungen des Klimawandels auf die Bedingungen für den Weinbau. Obwohl also schon der Vortrag durchaus nicht "trocken" daherkam, gab es passend zum Buch ausgewählte Weine.

Zu Beginn zwei Rieslinge, beide so feinduftig mit angenehmen Frucht-Säure Spiel, wie Weine aus dieser Rebsorte idealerweise sein sollten. Jedoch der eine (Riesling O. 2008 von Olaf Schneider) kam von der Mosel von einem nur im Nebenerwerb als Winzer arbeitenden Elektriker mit Mini-Weinberg. Der andere ("Whole Cluster" Riesling 2008 vom Chateau Grand Traverse) war aus Nord-Michigan vom "Ayatollah des Rieslings" Sean O´Keefe. Noch origineller ging es bei den Roten zu. Der 2006er "Premium" Cabernet-Saubignon/Merlot von Grace Vineyard aus der Shanxi Provinz hatte wunderbar cremig-weiche Himbeer/Johannisbeeraromen, jedoch nicht überbordend, eher fein und feminin wirkend mit 12,5%. Absolut expressiv ging dann der 4. Wein zur Sache: Saperavi 2008 vom Weingut "Nika" aus Georgien. Ein "wildes Tier aus dem Kaukasus" (Stuart Pigott), nach traditioneller georgischer Kellertechnik in Tonamphoren vergoren und gereift. Dichte Nase nach Plaumenkompott mit Zimt, Mund voll mit Frucht, Gerbstoff kommt als Nachbrenner - absolut faszinierend. Natürlich gab es auch dazu eine originelle Winzergeschichte: Nika Bakhia lebt eigentlich als Künstler in Berlin.

Nähere Infos mit links zu den Winzern: weindeuter.blogspot.de/2009/12

Homepage von Stuart Pigott: stuartpigott.de

ART FOR DEMOCRACY: Antidote for repression- a new platform in the making (flyingcarpetsandbrokenpipelines.blogspot.de)

(flyingcarpetsandbrokenpipelines.blogspot.de) Crowd-funding appeal for an Art for Democracy website. The site will provide an engaging, interactive platform for art that promotes human rights and democratic reform in Azerbaijan.

Back when Azerbaijan was the host of the cheesy pop song contest Eurovision, a campaign launched in support of democracy in Azerbaijan quickly built up attention around key human rights and freedom of expression issues that were skillfully covered by millions of euros poured into the "Light Your Fire" Eurovision campaign. The thick and high facades that unfortunately have become the "building blocks" of the so- called "democratic" government of Azerbaijan were challenged by an unusual rival- art. The launched campaign- "Sing for Democracy" had one goal- to inform contestants and the visitors of what kind of country they were actually coming to.

It was a successful initiative and needless to say, certainly not a popular one with the local authorities. But that didn't stop its founders- the Human Rights Club and its partner organizations the Institute for Reporters' Freedom and Safety and the Center for National and International Studies. Since the situation in Azerbaijan only deteriorates in this sphere, the spin off- Art for Democracy is continuing to fight for the cause. But it needs your help (indiegogo.com)!  As the initiative describes itself, "we are offering an antidote" and their focus is on art as its a very powerful tool in fighting repression.


Art for Democracy website - for human rights in Azerbaijan from epitype on Vimeo.

So please help! We would highly appreciate any contributions! There is no contribution too little, there is no contribution too big :)

Art for Democracy Launches Crowdfunding Campaign

(azerireport.com) LONDON. December 4, 2013: The Baku-based Art for Democracy campaign has launched a new fundraising campaign through the crowdfunding website Indiegogo. Art for Democracy is seeking contributions for an exciting new website that will support the promotion of human rights and democratic reform in Azerbaijan. The donations can be made through the provided link here

Art for Democracy is a campaign of the Baku-based Human Rights Club, launched on 10 December 2012. Building upon the previous Sing for Democracy campaign, Art for Democracy seeks to use all forms of artistic expression to promote human rights and democratic reform in Azerbaijan.

With 140 people currently in detention or prison for politically motivated reasons and an ongoing crackdown by authorities on the fundamental rights to freedom of expression, assembly, and association, the human rights situation in Azerbaijan is alarming. The Art for Democracy campaign is seeking to counter this ongoing repression and improve the situation in the country by using art to promote human rights and democratic reform.

Art for Democracy is calling for donations for the development of a new, innovative website that will serve as a platform for Azerbaijan’s alternative artists to share their work, and as an interactive forum for Azerbaijanis to discuss human rights issues.

“In helping us to develop this website, contributors will be providing vital support for the promotion of human rights and democratic reform in Azerbaijan. The website will give Azerbaijanis a place both to access alternative art, and to discuss human rights issues that are important to our society”, said Human Rights Club Chairman and Art for Democracy Coordinator Rasul Jafarov.

Art for Democracy is developing the website with London-based design agency epitype, an ethical future company that uses design to build communities and enable social change.

“The site will take users on a journey through the key issues surrounding social justice and democratic reform in Azerbaijan. Regardless of their level of understanding, users will be able to engage with the issues facing Azerbaijan in an exciting, stimulating, and accessible way by discovering art, exploring the issues through reading and discussion, and contributing to the campaign by raising awareness through social media”, said epitype Creative Director Martin Roach.

The Indiegogo campaign allows supporters to make donations in any amount. For as little as £5, contributors can receive rewards such as digital music downloads and prints of artwork from alternative Azerbaijani artists. The fundraising campaign will run through 23 December.

“We are asking for help both through donations and in spreading the word about the crowdfunding campaign. Every donation, no matter how big or small, is a tremendous help”, said Jafarov (Art for Democracy Press Release).

PHOTOGRAPHY: Georgian Houses. By Natia Rekhviashvili (natiar.blogspot.de)

blog: natiar.blogspot.de

Natia Rekhviashvili mostly works in documentary photography and self-portrature. “I’m inspired by stories and people around me. old places where you can see history, emotions.” (loeildelaphotographie.com)

Natia Rekhviashvili - New York Photo Festival (nyph.at)

Natia Rekhviashvili was born and raised in Tbilisi Georgia. 
Education: college of fine arts, Tbilisi State 
University: Artistic modeling of clothes. 
Awarded degree: Certified Specialist in Humanities. 

After 2009 she became interested in photography. Passed Workshops of photography. She is shooting people and life around her. Some of her works have been published in several online and printed magazines and art blogs. Currently works as a freelance photographer in Tbilisi, Georgia. She also studied accounting in Acca and works as accountant. “I’m inspired by stories and people around me. old places where you can see history, emotions.” She is interested in psychology, phylosophy, literature, art, religion.

Exhibitions:
30/30 Photoboite 2013
100 best photos of year 2013 "Kolga Tbilisi Photo" Tbilisi, Georgia 2013
New York Photo Festival " Devastation, Document, Drive" The POWERHOUSE Arena, NY, USA 2013

books:
Kolga (2013)
Tell me a tale (2012)
contact: natiarekhviashvili1@yahoo.com 

saatchionline.com/natiarekhviashvili

KULTUR: In Tbilisi. Living in a New Epoch. Kulturzentrum München 19. März bis 9. April 2014 (in-tiflis.de)

(in-tiflis.de) Georgien hat in den gut 20 Jahren seit dem Zerfall der Sowjetunion dramatische Wech­sel­bäder erlebt: Anfang der 90er Jahre galt es als „gescheiterter Staat“, der lange Zeit seinen Bürgern weder eine zuverlässige Infrastruktur wie Strom und Wasser, noch existentielle Sicherheit bieten konnte. Die Menschen waren allgegenwärtiger Straßenkriminalität und Korruption im täglichen Leben und großer Hoffnungslosigkeit ausgeliefert.

Den Zeiten von großer Not, verschärft durch Kriege und Vertreibung, folgten aber auch Phasen von wirtschaft­lichem Aufschwung. Der Kampf gegen Alltags­korruption und -kriminalität war erfolgreich und die Gesellschaft hat sich in Richtung Demokratie und Zivilgesellschaft entwickelt. Die 2012 gewählte neue Regierung hat die Menschen mit einer neuen Aufbruchsstimmung erfüllt.

Wie spiegelt sich dies alles im Leben einzelner Menschen?

Ausstellung
Foto-Ausstellung von Lisa Fuhr

Vernissage 18. März in Anwesenheit von Dato Turashvili

Interviews in Text und Bild mit 30 Personen in Tiflis aus verschiedenen sozialen Milieus, Altersgruppen, ethnischen und religiösen Gemeinschaften. Sie gehören verschiedenen Generationen an, so dass einige noch von der sowjetischen Zeit geprägt sind, andere daran kaum noch eine Erinnerung haben. Für manche haben sich die Lebensperspektiven radikal verändert, im Rückblick betrachtet oft zum Positiven. In anderen Fällen mussten sie von ihren urspünglichen Lebensentwürfen Abschied nehmen und sich völlig neu im Leben einrichten. Die Porträts zeigen die Menschen in ihrem unmittelbaren Umfeld, zu Hause oder am Arbeitsplatz.
Der durch sein Buch Die Jeans-Generation (erscheint 2014 im Wagenbach Verlag) bekannte Autor Dato Turashvili wird anwesend sein.
Eine Publikation zu der Ausstellung mit Texten und Fotos sowie einem Vorwort von Dato Turashvili ist in Vorbereitung. Eine Vorschau auf die Ausstellung mit Fotos sehen Sie hier in Bälde.

Lesung
Lesung mit Dato Turashvili

20. März 2014 im Gasteig Kulturzentrum, Raum 0.131
Moderation: Manana Tandaschwili

Manana Tandaschwili ist Professorin für kaukasische Linguistik am Institut für Empirische Sprachwissenschaften der Frankfurter Goethe-Unversität. Seit 2005 unterhält sie in Frankfurt den Literatursalon EUTERPE, eine Einrichtung von Georgisches Kulturforum e.V.
Sie ist Herausgeberin von zwei Anthologien mit moderner georgischer Literatur: Techno der Jaguare, Neue Erzählerinnen aus Georgien, Frankfurter Verlagsanstalt 2013, und Georgische Gegenwartsliteratur, Reichert Verlag 2010.

Dato Turashvili, Jahrgang 1966, studierte Literatur und Kunstgeschichte in Tiflis, Madrid und London. Er ist politisch engagiert und war einer der Anführer der Studentenproteste in Georgien von 1988/89. 2003 unterstützte er aktiv die Rosenrevolution, die zum Rücktritt Präsident Schewardnadses führte. Seit 1991 hat er zahlreiche Bücher, Drehbücher und Theaterstücke veröffentlicht. Sein erfolgreichster Roman, Die Jeans-Generation, erscheint 2014 im Wagenbach Verlag. Er schildert eine im Westen unbekannte Seite der Geschehnisse vor dem Zusammenbruch der Sowjetunion, als im Herbst 1983 sieben junge Leute ein Passagierflugzeug zu entführen versuchten, um in den Westen zu gelangen. (Zitiert aus gratzfeld.ch)

Film
Filmvorführung The Machine Which Makes Everything Disappear
von Tinatin Gurchiani (Georgien, Deutschland 2012)
3. April 2014 im Gasteig Kulturzentrum, Vortragssaal der Bibliothek Die Regisseurin ist anwesend

97 Minuten, Georgisch mit englischen Untertiteln Wie leben, fühlen, träumen junge Menschen in Georgien? Die Filmemacherin begibt sich auf ein Experiment und lädt 15-23-Jährige zu einem Filmcasting ein. Aus den Begegnungen mit der Kamera entfalten sich berührende Lebensgeschichten. (Text: DOK.fest München 2013) Tina Gurchiani hat in Potsdam/Babelsberg Film studiert. Mit diesem ihrem ersten Film hat sie einen fulminanten Start hingelegt: Preis für Beste Regie beim Sundance Festival 2013, Einladungen zu über 20 internationalen Festivals und vielfache Auszeichnungen.

Awards
Award for Best Georgian Film, Tbilisi IFF, Georgia, 2012; Directing Award in the World Cinema Documentary Competition, Sundance, USA, 2013; Award Best Documentary, Sofia IFF, Bulgaria, 2013; Best Documentary in the Int. Feature or Medium-Length Film Competition, It’s All True IDF, Brazil, 2013; Filmmakers Award, Hot Docs IDF, Toronto, Canada, 2013
Die Veranstaltung wird unterstützt aus Mitteln des Förderprogramms Grenzgänger der Robert Bosch Stiftung

Konzert
IBERISI Chor – Leitung Davit Kintsurashvili
Sonntagsmatinee am 23.03.2014 um 11 Uhr
im Gasteig in der Black Box

Der gemischte Chor arbeitet seit 2008 unter der Leitung von Davit Kintsurashvili, seine Mitglieder leben im Münchner Raum. Sie hören in diesem Konzert sowohl sakrale Lieder des Patriarchen Ilia II. der Christlich-Orthodoxen Kirche Georgiens als auch weltliche Lieder über die Ernte, das Feiern, die Liebe, die Freude ...
Der besondere Klang Georgiens beruht auf den sieben verschiedenen Polyphonien Georgiens, die in Regionen wie Svanetien, Tuschetien, Imeretien seit Jahrhunderten gepflegt und gesungen werden.
Manche Lieder stammen aus uralter, vorchristlicher Zeit, sie gelten somit als die ältesten überlieferten Lieder der Welt und sind in das UNESCO-Weltkulturerbe aufgenommen.
Nach 70 Jahren Sowjetzeit, in der diese Musik ein Schattendasein führte, ist sie in den letzten zwei Jahrzehnten zu neuer Blüte erwacht. Mehr über die vielen Aspekte der georgischen Musik und was sie von der europäischen unterscheidet: http://georgia-insight.eu/georgien/musik.html Davit Kintsurashvili hat am Staatlichen Konservatorium in Tiflis Chordirigieren studiert und an der Hochschule für Musik und Theater in München im Fach Orchesterdirigieren das Diplom und die Meisterklasse bei Professor Bruno Weil abgeschlossen. Seit 2006 zahlreiche Meisterklassen, Konzert- und Opernaufführungen mit verschiedenen Orchestern. 5 Konzert | In Tiflis. Tbilisshi. თბილისში http://in-tiflis.de/category/konzert/

Alle Seiten als PDF

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In Tiflis. Tbilisshi. თბილისში – Living in a New Epoch
Exhibition – Reading – Film – Concert
Gasteig Kulturzentrum München
March 18 thru April 2014

Georgia has witnessed dramatic changes since the fall of the Soviet Union over twenty years ago. In the early 90’s it was regarded as a “failed state” unable to provide its citizens with either reliable infrastructure such as electricity and water, or at the minimum, a secure livelihood. Instead its people grappled every day with ever present street crime, corruption, and deep despair.
These times of severe deprivation exacerbated by war and displacement were followed by periods of economic growth. The fight against everyday corruption and crime won, Georgia set out on the road towards civil society. The 2012 elections brought a new government to power and have filled the Georgian people with hope for a new beginning.
How does this enormous transformation affect individual lives? This question is the catalyst for this penetrating look at everyday Georgian society.

more in english here [pdf] >>>

EXHIBITION: Georgian Contemporary Art on the Vilnius Summit (geoplatforma.blogspot.de)

(geoplatforma.blogspot.de) Georgian art world is also getting ready for the Vilnius summit; Gala Gallery, sponsored by the Georgian Ministry of Culture will present the Georgian Contemporary art to the wider European audience. Gala gallery belongs to the list of the few Georgian galleries who pay attention to the concept and context of their exhibitions. The series of Kote Sulaberidze, Vakho Bughadze and Murtaz Shvelidze take the central stage in the exposition curated by Dedika Bulia and Vato Tsereteli for the Kalnas gallery, Vilnius.

Dedika Bulia: ‘All three of the painters closely cooperate with the gallery and we have accomplished many projects together. All of them are the generation of 90s. These painters share the European value system and their art reflects their pro-European orientation, but at the same time do not lose their distinctiveness.’ Gala gallery is the first to have Georgian artan opportunity to present themselves to the European audience. The owner of the gallery and the author of the concept for the exhibition, Dedika Bulia claims to aim at presenting the good quality Georgian art and those artists, who strive for producing art of European standards.

The last two exhibitions - Jump by Murtaz Shvelidze and Vakho Bughadze’s Asprovalta are the two shows that the Lithuanian team have seen while visiting Georgia, consequently choosing the Gala gallery. The Jump is a series of 13 canvases. The 12 of them, dramatically cropped portray different people in various settings fixing their shoelaces. It is fascinating to see the shoes composing portraits of people. However, the point is that individuals regardless their social standing or the lifestyle, still create artificial problems and restrictions for themselves. The series culminates in a large canvas named Jump. The girl is portrayed in the process of jumping; as the other canvases, the depicted angle is unusual- her dress and legs floating in the air are the focus. The blue sky, green grass, thin dress create careless mood- such a contrast to the tight sneakers and uncomfortable shoes. This is the freedom, all of us have a potential of that we resist for no reason.

Asprovalta by Vakho Bughadze drastically differs from Murtaz Shvelidze's lively, almost toxic colours, however, it fits in perfectly in the gloomy palette of the painter. The focus of the series is the abandoned houses and homeless dogs, which echo many social problems of today. The faintly defined high-rise buildings translate the grey feel the city has attained; the windows indicated by grey rectangles hint on the non-existent life behind them; the dog alike figures on the foreground are destined for solitude. All of this is engulfed into pinkish mist, revealing a hint of hope that keeps these creatures alive. According to the painter these series reveal the memories from the past: the life he had been living and the unclear world, a desire or waiting for change and novelty.

The Sky-24 hours by Kote Sulaberidze has been exhibited in the Gala gallery while hosting the Artisterium V. The fragment from the painting is used as a poster for the exhibition. It is quite common for the artist to compose an artwork from multiple canvases; the Sky-24 Hours is made of 24 standard sized canvases, illustrating the sky and objects flying across it on different times of a day. Sometimes this is an airplane, angels or bombs, birds and strippers. Kote Sulaberidze: ' the Sky- 24 hours is a metaphor for life. Everything happens under the sky. All of us live under the sky. The bombs fall from the sky and the almighty God is also in the sky. Sometimes it rains and at times the warm sun is shining. This contrast makes it captivating and mysteriously beautiful.' Kote Sulaberidze is always modest when he has to talk about his art. His oeuvre reflects the lyricism, enthusiasm and inexhaustible optimism of the artist. His very aesthetic art never loses the humoristic touch, even when referring to some of the most acute social problems.

Kote Jincharadze has presented an installation System of Coordination- IV dimension. ‘The installation places Georgia on the geopolitical system of coordinates of the world.The ¾ of the coordinate system are the spaces reflected in the mirror, creating intersections of the trajectories- a kind of crossroad. The vectors of 4 different colours personifying countries, cross each other corresponding to the political interests and relations of these countries.

Red- Russia
Blue- West (Europe, USA)
Green- East (Asia)
Yellow- China

The mirror offers audience the visual trajectory of Georgia’s positioning and development. Each of the spectators can choose a rectangle and place it on the surface of the mirror, therefore, stating their opinion about the aspirations of Georgia.’ According to the artist this is the visualization of the value system. The interactive artwork is a kind of sociological research, when the audience reflected in the mirror record their opinion and the desirable future for Georgia. As Kote says every time he puts up the installation, the blue squares are always winning indicating the pro-European orientation of the Georgian society.

The Constructive Dialogue by Oleg Timchenko is about the newest history of Georgia, which exceeded the locality and became world news, namely the August war of 2008. Timchenko has summarised the provoking reasons, his attitude and the aftermath mood in the video collage. 'A fragment is taken from the film-ballet Othello. The flags of USA and Russia are inserted as the background. The most tragic fragment from the dance of Vakhtang Chabukiani, personifies Georgia. It is not accidental that this is the most dramatic, culminating moment in the ballet. The pain and the feeling of despair that the dancer has masterly translated is identified with the state of Georgia.' It was vital for the exposition presented on the summit to include the politics, especially the August war.

Vato Tsereteli curates Video Art section demanded by the Lithuanian side. Vato, artist himself is a head of CCA. The Center for Contemporary Art besides hosting some very interesting exhibitions takes students for a non-formal MA program. CCA provides the vital knowledge and freedom to the future artists that academy of fine arts in Tbilisi lacks. The artist sees the center as one of his artworks. 'I find it forced to discuss the contemporary art; art does not need specifying whether it is contemporary or not. What makes art contemporary is its relation to reality and time it is created in.’

Vato during his stay in Vilnius has to deliver a public lecture. 'It will concern the creative and art practices that are little known or defined, at least in Georgia. For example, we have an educational program, which in itself is an artistic product. I would like to talk about creativity not in terms of producing art, but other processes, for example creativity in the educational system. My lecture will be about the new territories in art. Our center is an exciting synthesis of the educational and exhibition practices, which in itself is an accidental discovery and has a promising perspective. Everyone is creative, but the artist is ingenious by profession, therefore, I think they should use this and it should exceed the gallery space and integrate into other spheres. For example we have a course of art and eco-farming; this is not about Land Art or exhibiting vegetables in a museum space, but about incorporating the capabilities and being productive into that domain.

Georgian society itself is marginalised and it is not the fault of people. I think this is a deeply traumatised society as a consequence of the Soviet Union and the following, 20 years; but we have agreed that this has to change. The society has to develop itself, has to awaken the sense of responsibility and desire to participate for us to form into a democratic country. Education plays the key role that's why we have the programs and courses. In my opinion contextual knowledge is vital, any human being needs to know and realise the context they wake up to, I mean awakening to the consciousness; when you do not have a clue about the reality you live in, the geo-political environment, historical and cultural heritage, you are not adequate; hence, the anachronistic moments in art as well as life. Art that is based on imagination has the ability to help the people lacking it. Koka Ramishvili has noticed that there is no science fiction genre in Post-Soviet countries, because this part of the brain, responsible for creative thinking is dumbed out. Art has the ability to activate it, so that people recognize their potential. This might prove crucial.'-Vato Tsereteli.

For the exposition Down Up Vato Tsereteli has chosen videos the Drawing Lesson, 2001 by Koka Ramishvili, Eye Trees,2003 Mamuka Japharidze and the Gripes, 2012 by Nino Sekhniashvili.

Vato Tsereteli: 'I have selected the artworks and not the artists. These videos are referential because of their complexity and visual quality. It is personal too; these are the artists I closely cooperate with. They relate to the exhibition contextually rather than thematically. The people living between the West and Georgia have produced these videos. Therefore, they seem to unite the two realities. The intensity and the accumulated energy of these works were the main attraction for me.'

Koka Ramishvili reverses the process of drawing and the video begins with the sketch being erased. The deconstructed painting stays in the memory. Therefore, art becomes writing, the drawing becomes a notebook; the story of an individual isolated from his usual habitat is written as a result. Ramishvili has created the Drawing Lesson after moving to Geneva. This video has marked the return to image that the artist had abandoned for 10 years. Koka Ramishvili:' back then this video went against the conventional video art production. I was creating something radical and eccentric. This was the biography I was writing with the drawn pictures. The sketches themselves were of quite low quality because my focus was the montage. I have created a sculpture in a virtual space, at that stage I was exploring compression and decompression. It was important for me to show the prohibited in the West, I wanted to portray the manual labor.' It is fascinating to observe Ramishvili opposing the drawing, as the traditional medium to the innovatory video; the two seemingly incomprehensible media create the art that highlights the craftsmanship in drawing. The soundtrack, the sound of lead pencil scratching the paper points to the acoustic side of the job. Employing the montage the artist breaks the central myth of the documentary and objective nature of video.

Nino Sekhniashvili is a very interesting conceptual artist. The Nectar Gallery is one of her projects in the Georgian Art scene. The expositions always manage to surprise the audience with the unlikely emphases. This is the only gallery that hosts the risky and alternative art, like the recent exhibition of Kutaisi and Tskaltubo artists.

The video Gripes was created while living in Zurich. 'In the Finnegan’s Wake there is an episode from Aesop's fable the Fox and the Grapes. Joyce customizes this with the different language, actually, no language at all. I have put the text onto the recording in the foam plastic factory- the huge objects were floating defying the gravity laws. At the time when I lived in Zurich on scholarship, I was attending the readings in the James Joyce society, which were quite comical for me, as they sounded delirious; therefore, I decided to work on the text. Gibberish is very important to me, as I often find myself incapable of expressing my thoughts.'- says Nino Sekhniashvili.

In Mamuka Japharidze’s video the trees resemble the human faces with the help of optical illusions. The mysterious feel of the video plays with the imagination of the spectator and lets them decide the narration and culmination for themselves. Mamuka Japharidze is the artist who has directed his creative potential into farming and has an Art farm in Shindisi, where he combines art and eco-farming; he also tries to engage the students and reads the lectures about soft farming to them.

The exhibition Down Up opened on the 20th of November, Vilnius,Lithuania, Gallery Kalnas and will last for a month. 

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