Showing posts with label Magazin. Show all posts
Showing posts with label Magazin. Show all posts

Sunday, September 10, 2017

ELECTRONICS: Natalie Beridze TBA: Trackpremiere von "Waves Future" (groove.de) via @Groove_Mag


(groove.de) Groove-Chefredakteur besuchte für einen Szenebericht im aktuellen Heft Tiflis. Eine Generation im Aufbruch

Dass Georgien aber noch mehr als roughen Techno der Marke HVL oder einem bezaubernden Stamm an Volksliedern bietet, beweist die Compilation დე / DE – Sounds From Georgia, die auf einem neu gelaunchten Label mit dem geschwungenen Titel Intergalactic Research Institute For Sound erscheint. Neben einem der Labelbetreiber, dem I/Y-Mitglied Irakli, versammeln sich darauf Acts, die sechs zwischen zartem Klangflächendesign bis hin zu an frühe Aphex Twin-Werke erinnernde Electroncia in sechs Tracks eine erstaunliche stilistische Bandbreite vereinen.

Natalie Beridze ist die Veteranin unter den Beitragenden. Seit Anfang der Jahrtausendwende ist die Klangkünstlerin unter verschiedenen Pseudonymen – hier als Natalie Beridze TBA – in fast allen erdenklichen stilistischen Richtungen unterwegs und hat dabei auf zahlreichen Labels ihre eigensinnigen Soundentwürfe veröffentlicht. Beridze gehört auch zum Line-Up, das am 21. September im Berliner Silent Green Kulturquartier die Veröffentlichung der Compilation feiert. Neben den ebenfalls auf დე / DE vertretenen Rezo Glonti, MYI, Zesknel und Severiane wird sie dort live aufspielen und beweisen, dass Georgien weit mehr als nur Clubmusik zu bieten hat.

Groove präsentieren TBAs "Waves Future" als exklusive Premiere! VÖ: 21. September 2017






Fotos: Presse (Natalie Beridze)

Saturday, September 06, 2014

PHOTOESSAY Georgian Online Magazine. June-July Issue 2014


more: issuu.com/photoessaymag

www.photoessay.ge

facebook.com/photoessaymag

Friday, May 30, 2014

PORTRAITS: Tiflis - Leben in einer neuen Zeit. Von Lisa Fuhr (issuu.com/icon-verlag)

(issuu.com/icon-verlag) Tbilisi – Life in a New Era – 34 Portraits

Interviews in photographs and text conducted in Tiflis with 34 women and men from various social strata, age groups, ethnic and religious communities. Because the subjects are inter-generational some still bear the mark of the Soviet era while others can hardly remember that time. Prospects for many have radically changed, when looking back, often for the better. In some cases people have had to abandon the future they had envisioned completely and reinvent their lives entirely. The portraits presented here show individuals in their immediate surroundings at work and at home. 

in german >>>

Saturday, April 26, 2014

MUSIK: Trailer zu Heinz Emigholz’ 2+2=22 (The Alphabet) - Kreidler im Studio in Georgien. Text: Thomas Vorreyer (spex.de)

(spex.de) Ein sechsminütiger Trailer oder doch ein Musikvideo? Heinz Emigholz war mit Kreidler in Tiflis, als die Band dort ihr neues Album aufnahm. Jetzt gibt es die ersten vertonten Aufnahmen. 

Die Zusammenarbeit zwischen Heinz Emigholz und Kreidler ist eine weithin etablierte. Der Filmkünstler Emigholz war u. a. verantwortlich für alle sieben Musikvideos zum letzten Album der Band, Den. Diese hat nun wiederum im georgischen Tiflis ihre neue LP ABC aufgenommen, während der ebenfalls angereiste Emigholz rund um die Studioarbeiten herum seinen nächsten Film 2+2=22 (The Alphabet) drehte. Für diesen können wir nun erstmals den Trailer zeigen.

Kreidler spielen hier in einem wundervoll geformt und gemusterten Studio Kartuli Pilmi das ABC-Stück »Modul«. Emigholz fängt die konzentrierte Halb-Performance ein und wechselt dann hinaus auf die Straße und später zu reisetagebuchartigen Text-Bild-Collagen. Währenddessen zählt er eine Liste von Lokalnamen auf, immer in der Kombination »das Lokal zum / zur …«. Schwindelig gefressen kehrt die Kamera schließlich ins Aufnahmestudio zu Kreidler zurück. 

Kreidler feiern ihr 20-jähriges Bestehen mit dem neuen Album ABC, das im Mai erscheint, und einer von SPEX präsentierten Tour.

Die Berlin-Düsseldorfer Band legt mit der LP bereits ihre 25. Veröffentlichung vor. Bureau B wird das Album am 2. Mai herausbringen. Aufgenommen haben Kreidler ihr neues Werk in Tbilisi, Georgien, zusammen mit einem hiesigen Chor. Nach Heinz Emigholz, der das Vorgängeralbum DEN filmisch begleitete, wird nun der israelische Filmemacher Lior Shamriz Videos zu ABC veröffentlichen. Dessen Cover (s.u.) basiert auf einer Fotoarbeit der georgischen Künstlerin Thea Djordjadze, die u.a. auch an der dOCUMENTA (13) teilnahm. Emigholz wiederum drehte ebenfalls in Tbilisi seinen neuen Film 2+2=22 (The Alphabet), der überwiegend auf Aufnahmen der arbeitenden Band im Studio basiert.

Auf Soundcloud gibt es bereits Ausschnitte aus den ersten vier Songs von ABC zu hören, die den typischen Kreidler-Transit-Groove diesmal ziemlich transzendental und luftig erscheinen lassen. Klingt nach besten Vorraussetzungen für die Termine im Mai.


ABC erscheint am 2. Mai bei Bureau B, 2+2=22 (The Alphabet) demnächst. 

kreidler.spex.de
 
SPEX präsentiert Kreidler live
09.05. Köln – Achtbrücken Festival @ Philharmonie
15.05. Nürnberg – K4
16.05. Offenbach – Hafen 2
17.05. Fulda – Kulturzentrum Kreuz
24.05. Düsseldorf – FFT
26.05. Stuttgart – Schocken
28.05. Leipzig – Täubchenthal
29.05. Bremen – Theater Bremen
30.05. Hamburg – Uebel & Gefährlich
31.05. Berlin – Bi Nuu

Tuesday, December 17, 2013

ART: In Conversation: Tara Isabella Burton interviews Marika Asatiani (whitehotmagazine.com)

 

(whitehotmagazine.com) In the early twentieth century, Paris was the go-to city for serious artists and dilettantes alike. But further east, across the Black Sea, another thriving capital threatened to rival Paris in both ambition and innovation. Dadaism, the avant-garde, modernism, futurism – all these movements and more found an early and welcoming home in the balmy city of Tiflis (now Tbilisi), capital of the tiny Caucasian nation of Georgia, Russia’s neighbour (and former colony) to the South.

Yet like in so many other post-Soviet countries, Georgia’s art scene in recent years has been stymied by decades of censorship. With some notable exceptions (among them the haunting works of Merab Abramishvili and of former child prodigy Rusudan Petviashvili), Georgia’s output in the latter half of the twentieth century was dominated by State-approved propaganda, whose historical interest has long outlived its aesthetic value. Kitsch and slipshod imitations of nineteenth-century painters like Pirosmani and Elene Akhlevediani abound in the Vernissage, Tbilisi’s outdoor art market, alongside once-revered artists reduced to hawking their wares to tourists for a fraction of their former value. The Persian-style palace that houses the once-prominent State Academy of Arts is still standing, but only just.

Today, however, Tbilisi’s gallery scene is undergoing something of a renewal. Artists who have trained or studied abroad, often in Paris, are returning to their homeland. The dilapidated State Academy of Arts is under new management; its new (and first female) director, Irina Popiashvili, spent decades running a gallery in New York City. Underground café-galleries have begun to spring up in apartment-house basements on the city’s labyrinthine side-streets. Artists are experimenting with alternative media – Nino “Chubika” Chubinishvili, for example, bridges the gap between art and fashion with intricate embossed leather pieces that hint at a whole cosmology of angels and demons surrounding and inhabiting the wearer’s body, while Maya Sumbadze elevates the doodle into a powerful medium for pop-art.

One such up-and-coming Georgian artist is Marika Asatiani, recently returned to Tbilisi after several years abroad. A photographer with an uncanny ability to reveal the stark emptiness of her subjects, whether brooding Georgian youths, abandoned Soviet structures, or abstract installations, Asatiani unsettles and disorients the viewer, playing with the dynamic tensions inherent in stillness, exploring what she calls the idea of “places as process, rather than something static and physical”.

To learn more about Asatiani – and about the challenges Tbilisi still presents for the artists who call it home – I interviewed her via a series of emails in September, 2012.

Tara Isabella Burton: How would you describe your process as an artist?

Marika Asatiani: I am trying to articulate subtle human experiences and ask the following –what is the meaning of words like ‘space’ and ‘place’? What is space? Do you ever experience it? What is the relationship between space and place? In [my] experience, the meaning of space often merges with that of place. Is undifferentiated and un-oriented space possible? Is there a spatiality that is not organized by the determination of frontiers?

Therefore, I [work] to use photography as a tool to research dynamic ideas about issues of spatiality; to develop my practice in such a way as to present places as process, rather than something static and physical [and to] explore not only one position, one perspective, [one] fixed center but a passage, which escapes localization and needs to be endlessly articulated. In our everyday lives, we are cluttered with images, with material objects. Therefore, I would like to explore not the[se] images/places but [rather the] space that makes these places possible. Something that is ever elusive and hard to pin down, since it is immaterial, intangible; it reminds me of [the] traditional beginning of many fairytales – “There was and there was not.”

Also, I regard places not only as a manifestation of physical, object-based world, but also as something beyond the reach of our ordinary perception, full of intangible ‘things’, pulsations, layers. [When I focus on the] shifting fixity of places, questioning their stability, I am attempting to destabilize ‘the fixed place’ in a non-violent, subtle manner and maybe point at the perceiver as a main figure who makes the world appear as it is, and through whom [the] act of perception is possible. Through repetition and certain arrangement of similar images, I [create] situations that are expressed with minimal means, whereby the viewer experiences himself, his own being in [the] here and now, along with the work he is facing. In this way, the gaze/perception is…redirected from the object/image back to the viewer as he… stands in front of the work or moves from one position to another. Ideally, it should be a direct and intimate experience, unmediated by conceptual knowledge…sensed [rather] than rationally understood.

Burton: Which of your work best represents your personal artistic approach or style and why?

Asatiani: I don’t know if I have’ a style’, I think it changes over time; today one work might best represent my practice, while another work [might best represent it] tomorrow, depending how my practice develops. It’s not really up to me, I find [the] creative process completely unpredictable, it depends what ideas come into my head.

Burton. Could you tell me a bit more about your background and training?

Asatiani: I studied sociology at the university in Tbilisi (BA level), and LSE, UK (MSc). But it was a long time ago, and I was never really interested in it. I was more interested in philosophy and psychology, so my art today has no connections with my previous studies. In 2009-10 I did my two-year residency at the Rijksakademie for Visual Arts, Amsterdam.

Burton: How do you think Georgia's art scene has changed in the past decade or two?

Asatiani: I don’t really know, because I never belonged to the Georgian arts scene (I did not go to the Art Academy in Tbilisi and I’ve also been away for the past four years) - but at the moment I don’t think there is any scene at all. [Rather], there are mostly individual artists working by themselves. There are no contemporary art galleries in Tbilisi, in a Western sense, which would represent artists both locally and internationally, and make interesting exhibitions and sell their work. Basically, there is no market for contemporary art, and the government does not see any value in developing and supporting local contemporary art scene. But it’s mostly because of [their] ignorance of contemporary art, and its lack of value in society, rather than some kind of ill-intention or censorship. Art and everything associated with it has not developed in Georgia in the same way as in Western Europe or the US, so it’s not [a natural part of contemporary] Georgian society (Stalin killed or forced to leave everyone in the arts who was progressive and avant-garde, thus horrible break took place in the development of Georgian culture, entire generation perished, those who were capable of contributing to culture, or to transfer their knowledge to further generations). Everything has to be artificially implanted now, if one wants any developments in this regard.

Burton: What other Georgian artists influence you? What about artists worldwide?

Asatiani: I don’t know if I have any particular influences (none Georgian though); at least that’s how I think and I also don’t have any favourite artists. I like certain works by certain artists however. I find that American Art of the 60s and early 70s deeply resonates with my current interests. I find approaches in contemporary Dutch art photography interesting too… I also like many works from the artists that were part of the Rijksakademie in Amsterdam.

Burton: Is Georgia - and Tbilisi in particular - a dynamic place for artists today? Is it possible to make a living as an artist there?

Asatiani: No, it’s absolutely not dynamic, and you can’t make any money from contemporary/conceptual, etc., art in Georgia, unless you’re a painter ([as] understood in a traditional sense), but certainly even in that case, you can’t live off that. So, for now, it’s quite a hopeless situation.

Burton: A particularly ‘hot topic’ among the Tbilisi intelligentsia lately has been President Saakashvili’s renovations of the Tbilisi Old Town – rebuilding facades of historic buildings in perhaps hastily-conceived approximations of the original style. These renovations and rebuilding projects have proved particularly controversial among Tbilisi’s younger generation – many of whom see the project as indicative of shifting values (indeed, objections over the renovations of the nineteenth-century Gudiashvili Square in the Sololaki district gave rise to an “Occupy Gudiashvili” movement that ended up turning into an impromptu outdoor art exhibition). What are your thoughts on the renovation of Tbilisi's historic districts?

Asatiani: It’s nice that they are renovating the districts, but it should be done with much greater care, and knowledge, and consideration of historical sketches, plans, photographs, and also better technology of renovation. But you can’t ask for something that is almost impossible for Georgia – it has no tradition of renovating buildings or entire districts, while preserving the historicity and old vibe. Also, there is no understanding and appreciation of urban planning in this country (it’s a problem of historical development) there are certain things people are absolutely not aware of in Georgia (I mean in terms of aesthetics, sense of the context, scale [and so forth]. ), while in Western capitals it would be completely natural. But even there, in some cases money buys it all.

Monday, June 03, 2013

BLOG: An Interview With The Photographer George Nebieridze (dreck-magazine.co.uk)

5979280053_34ea344375_bHow is it living in Tbilisi , Georgia for you? What do you like and dislike about it?
I feel alienated most of the time, having doubts in people’s honesty and friendship. It’s a city that had to be astonishingly beautiful and full of sunny smiles, but for unknown reasons it just isn’t. Of course there are things I like and love about it, a great mix of ethnicities and cultures for instance, reflected on every single corner of the town. I’d say: It’s a nice place to visit, but not to live.
I don’t know if the state is doing anything for young artists, but so much great photography is coming from your country lately? How do you explain this?
Do they have to do something for that?! I don’t think so. It’s 21st century everything is shared on the net.. Well yeah there are some high-budget contests and exhibitions, but I don’t know how that may reflect on the photography level. I’m not really into Georgian photography, to be honest. I know only several people making good snaps and most of them have been, or still do live abroad.
Did you expect all the attention when you started photographing and uploading stuff?
I didn’t and I still don’t. Making photographs is something else for me. I have to admit, photography is the thing I do for a living now, but I started all this just to document some stuff, my personal reality, moments I just want myself to remember.
What do you most enjoy photographing?
It depends, I think I have experience in most genres of photography, I’d describe myself as a variable and inconstant person, so there are days I have a desire of some tender, sweet and smooth photos, but most of the time I enjoy making rough-spirited, wild, violent and bloody images. I rarely stage photos.
What about you own magazine? Why did you start it? What’s the spirit?
CZE Magazine is my experiment of examining myself. How I am able to have skills of collecting and arranging stuff by particular themes. It’s a good way I think. I also love contacting people and by featuring their work making them slightly happier. It’s a project that I think one day will become something bigger and include people from all over the globe.
I saw lots of surroundings and lots of portraits. How do people influence surroundings and most of all how do surroundings influence people?
It’s impossible for me to shoot a portrait, not having anything surrounding it. I never get satisfied just by making a photograph of a body part, even a white paper on a background is a surrounding and adds its own spirit to a portrait. The huge part of my attraction is a background in people’s expressions, what do they do, where do they come from or who they want to be. I love watching people act. We all do that, we act different in every other place we’re in. I hate lifeless art and photography, even in some very abstract and surreal photos I try to show myself, I never get tired of saying that, every photo I make is a self-portrait, so even on a photo of a blank wall I try to discover something alive.

Friday, May 31, 2013

PHOTOGRAPHY: Thomas Dworzak’s Instagram Chapbooks. By Nathan Thornburgh (roadsandkingdoms.com)

(roadsandkingdoms.com) Thomas Dworzak, German-born polyglot and leading member of the louche fraternity of war photographers in the Caucasus, is not a trivial man. Yes, he’s excitable and headstrong: when I’ve shared a table with him in homes or at Pur Pur in Tbilisi or Delicatessen in Moscow, he’s always been an unfiltered kinesis of wild gestures and strong opinions blasted through clouds of smoke. But his work, from the mass graves of Chechnya to the flooded Lower Ninth Ward, could be Capa. Or Rodin: his subjects hunch and writhe like the Burghers of Calais, turned to statues in a moment of anguish. It’s powerful, permanent photography.

So why does his latest project involve, in part, curating a bunch of teenagers’ selfies on Instagram?

Photo by: Thomas Dworzak
The answer comes tomorrow night, May 31, in Tbilisi. In the same salon of the Writers House where the Georgian Writers Union received John Steinbeck and Robert Capa in 1947, Dworzak will show his latest obsession: a series of chapbooks—paperback, printed—of Instagrams he curated from a somewhat delirious range of hashtags. They aren’t available online at all; lord knows if you or I will ever actually see these things. But I talked to Dworzak this weekend about Instagram, dictators, tannings beds, his latest assignment for National Geographic, and the need to get the hell out of the Caucasus from time to time.

Roads & Kingdoms: You just got back from the North Caucasus on assignment for National Geographic. Were you Instagramming while you were out there?

Thomas Dworzak: If you are an Instagrammer, I think it’s generally considered a privilege when you’re allowed to use the National Geographic, New Yorker, Time Magazine Instagram account. [But] I didn’t want to do it in this case. I’m not against it, I’m not in favor. I’m weird about this stuff.

R&K: You’re weird about this stuff?

TD: I don’t know, I’m not super comfortable with all of it. I have an Instagram account but I only accept people I know. I don’t want to be visible with the little odd bits and pieces of my life. I don’t want to have a situation where I go somewhere, I take a picture of something and somebody says “why didn’t you call me? You were in town.” That was a classic Facebook problem but I guess Instagram will be the same. I don’t even have Facebook, so I think my problems are lacking.

R&K: It’s a little ironic, then, what you’re doing for Tbilisi Photo Festival.

TD: I’m not into social media for the social sense because it’s not something I’m used to. I’m too old, I’m not comfortable with it. But I checked it out and by checking it out I’ve come across documents of social situations that I think are very remarkable. So I started collecting Instagram screenshots.
It’s not like, oh my God, I can snoop into people’s private lives. No, I think there’s more to it, I think there’s a real sensitivity to it. As a photographer, I’m more interested in what kind of access I can get to certain things, how I am in relation to what I’m photographing. I mean, I’m a big embed fan. I love embedding, I love getting close to people and living with them, so there’s always a limit, there’s always a thing where you can’t go any further. So I was playing on that theme. That’s my Instagram exercise, if you will.

R&K: So it’s all screenshots?

TD: The way to do it is you do a screenshot of your own phone. The funny thing about Instagram as I understand it is, and there are people who are more specialized in it, is that it’s an ephemeral thing, it’s [always] moving. Something comes up and then it’s gone again, you can’t even really look for – I mean it’s very hard to look for anything. There are hashtags, but there’s billions of pictures and if they’re not hashtagged you can’t find them anymore. There’s no way of searching them. I guess Instagram itself has some sort of a picture recognition software, how they get rid of the tits and dicks. If you try uploading a breast, it will dissapear. I’ve tried it.

So I find it exciting because… I mean I can Google interesting pictures and try and find them and put something together, that’s what a photo editor does. With Instagram there’s always this feeling that if you’re too late… The first book I did was on the pope election. I just threw it together, it’s nothing, it’s unpublished and I don’t think it should be published in that sense, but so the night the pope got elected, for some fucked up reason, I don’t know why, I started hashtagging what comes up with pope. And suddenly all this insane stuff comes up. People dressing themselves up as pope, people dressing their pets up as pope, people smoking pot like crazy and taking pictures of themselves, like with pot smoke everywhere. And then I sat down, watching TV, everybody was on St Peter’s square, taking pictures of the pope on the balcony, very bad pictures from far away, and all blurry.

I don’t really know what I’m doing this book for, I haven’t figured out what to do with this stuff because obviously this is people’s pictures. It’s a bit like collecting people’s photo albums, it’s a little in that spirit, but I don’t think it should be published. For me, the whole point is a little bit in the exclusivity and in the tenderness. Everybody can go on Instagram and look at everybody’s pictures if you just spend enough time on it. So to take this and something that’s so fast and disappearing, to put it back in a physical book, and have it in a very limited edition or access. I mean you can only sit down and look at the little book, that’s it. I don’t scan it; I don’t distribute it digitally, no. I don’t want to do that.

R&K: Are you selling it, are you giving it to friends?

TD: Nothing, I just showed it to people, I don’t know… I think in a way, it’s something that has a real value as a document, it should remain, of this epoch. Whatever. I’m going to do nine books or twelve and that’s it.
R&K:How many have you done?

TD: I’ve done nine so far, I might do three more. I don’t know, I don’t think I’m going to do anymore. I spend two days on one of them. I’m collecting pictures for a month, on and off, whenever I have time or I’m bored.

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"It’s the only place where there’s actually a dialogue between a North Korean official and Western punks."

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R&K: So you did #pope, what are some of the other ones?

TD: I did #habemuspapam, that was the first one. Another one I did was [head of the Chechen Republic Ramzan] Kadyrov’s Instagram account, which I find actually interesting because early on he was doing it unprofessionally, he wasn’t trying to use it as a sort of PR tool. I came across it very early, the old account. There are two [books] that are actually political self-representation. One is Kadyrov and the other one is a kid at the North Korean embassy in Berlin who puts up official pictures. What I found interesting more than the pictures—which is sort of the crazy North Korean stuff on [Kim Jong Un], president or whatever he is—there’s the whole dialogue section which I copied a lot of, which to my knowledge is the only place where there’s actually a dialogue between a North Korean official and Western punks or something. They sort of insult each other but also ask each other very interesting questions. It’s a bizarre exchange. So the North Korean book has a lot of emphasis on the comments. The other ones I didn’t do much text. 

R&K: Which part are you doing for the Tbilisi Photo Festival? Is it the Kadyrov part, is it a collection?

TD: I didn’t do it for the photo festival. I said to them, let’s not have a [photo] exhibition. If you want something from me, why don’t we put a table and we put these books and people can look at the books? I think that’s the right way to do it.

It’s all things that are somehow related to what I’m doing in my “real work”, I’ve covered the pope before, I’ve obviously done Kadyrov, I have done North Korea. I mean David Guttenfelder is doing an amazing job on Instagram from Korea. It’s beautiful. But I’m not so interested in professional photography from North Korea. Kadyrov is the most professional because he has his personal photographer who takes pictures of him doing all this weird stuff, when he kisses an animal or something. So that’s another guy doing it, but I really like it if it’s sort of educated amateurs. Because what’s nice about this is also the aesthetics. They take decent pictures. You can look at it, it’s not totally off. 

R&K: Even the kid from the North Korean embassy?

TD: Well the kid from the North Korean embassy actually puts up stuff that is given to him. But with the North Koreans it’s really more the dialogue in that side. But there’s these weird things coming in, like there’s this one German kid who’s a fervent supporter of North Korea, constantly loves all the pictures, he’s this weird guy and posts the pictures up for himself and you just look at the guy, it’s just so funny. It’s funny to see who the people are that make ‘likes’. 

+++

"For a photographer, [the tanning bed] is a place you will never be able to take a picture. You don’t fit in there."

+++

The next book I did was the most innocent one. I don’t know how I came across it, but there’s an incredible fashion for women, especially in northern countries—you never really know where it’s from but you sort of get a feel for who they are, what their names are, etc, so mostly Russians, Ukrainians, Germans and Scandinavians—to take pictures of themselves in a solarium [tanning bed]. 

So they’re inside the thing. For a photographer, that’s a place you will never be able to take a picture because you don’t fit in there. It’s sort of a private joke, ha ha ha, you have to take it yourself; I can’t take a picture. And of course it’s just all pictures of body parts in different fluorescent lights, but if you take 100 of them, it gives you a nice scale of all the colors in the world. That’s the dumb end of the whole [project], the unpolitical part.

R&K: It does sort of flatten everything… I mean when you have this one very weird little publishing platform, it kind of flattens dumb, political, profound and everything else.

TD: The pope was hilarious for me because like every idiot who does hashtag #dope that night thinks, oh #dope, let’s also do #pope…. I don’t know, it was very funny the whole thing. 

I did another book on school trips to Auschwitz, like kids, because that’s sort of the forlorn generation, these hundreds of thousands of European school buses driving to Auschwitz every year. They’re like pictures from a school trip and then suddenly there’s this overwhelming drama of being in Auschwitz. I mean, so it’s like, I found it very tragic. There’s a few pretty sick things of course because they dress up as Hitler so whatever, but in general it’s very tragic. There’s something also, I don’t know, when you get into this, you don’t get into the closeness. 

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"[Boston] had beautiful pictures, like really moody and suddenly they got this SWAT guy sitting in their living room."

+++

I did one on the Boston thing because that’s sort of a classic. It has been used in the mainstream media, but it was nice. It was this whole sort of Rear Window, also because if you go to a place like Boston or the school kids that go to Auschwitz, it’s really those people who excessively use cellphone cameras, all the time, so you have an incredible choice of pictures to pick from. So Boston was amazing. Just the amount of pictures of SWAT teams through windows… And beautiful pictures, like really moody and suddenly they got this SWAT guy sitting in their living room. 

The second volume of that is all the girls who write Free Djokhar on their hands, I mean there’s like hundreds of them, hundreds of white American teenagers who think that Tsarnaev is the sex symbol of the 21st century.

R&K: When you were in the North Caucasus, were you checking out the kids and their phones and just trying to see are they using it the same way?

TD: No, not at all actually because I really wanted to sort of… I had a really funny thing, I was riding from Vladikavkaz to Grozny and there’s this kid sitting next to me and suddenly I realize he’s actually liking every single picture on Kadyrov’s Instagram account. It’s just weird; I didn’t even want to talk to him. I took a picture of him and put it up on Instagram.

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"I think the Free Djokhar thing to a big extent is really a Western teenage Stockholm Syndrome."

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I saw a girl putting up a Free Djokhar poster from a bus and then got out of the bus and was trying to catch her and she disappeared. She was like a normal, Western-looking kid. I think the Free Djokhar thing to a big extent is really a Western teenage Stockholm Syndrome or something. It’s got nothing to do with Islam or the Caucasus. The more I collected, I tried to exclude anybody who could have been from the area, my whole thing was to find people who had nothing to do with this.

R&K: So tell me how it’s going to go down at the festival, it’s literally going to be a table with these books on them?

TD: Yes, definitely the library and if someone wants to come, they can consult and they can take one and sit down. 

R&K: So there will be no digital thing?

TD: No, definitely not digital.

R&K: All just printed?

TD: All just printed.

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"I’m not happy with what’s happening [in Georgia] but it’s not like, oh my God it’s so horrible to be based here."

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R&K: Right now, what is going on in Georgia for you as a photographer? I talked with [Tbilisi Photo Festival co-director] Nestan Nijaradze a little bit about the elections and the politics of May 17th, but are you finding it a strange place to be based?

TD: Georgia is Georgia. I mean I’m not happy with what’s happening [but] for now, I’m here. I wasn’t here for the 17th, I think it’s ugly. On the other hand, it’s what people think and now it suddenly came out. It’s not like, oh my God it’s so horrible to be based here. It’s just that I’m not going to continue to deal with Georgian politics. It’s not my subject. I’m following Misha [Saakashvili] and when he’s gone he’s going to be gone. I mean I’m following on and off whenever I’m here I do something and then sometimes I make money. After him, I’m not personally interested in Georgina politics. 

R&K: But you guys are not going anywhere?

TD: No, I’m staying here [for now]. I want to go to Iran, I’m working on it. I’ve always said I want a change anyway. Every five years I have to get out of the Caucasus, I have to get out of Georgia because it’s so absorbing. I need to force myself to do something else. That was independent from the elections. So next Spring, I want to do something else.

Nathan Thornburgh is the co-founder of Roads & Kingdoms and the intrepid voice behind @roadskingdoms. He is a former editor and foreign correspondent at TIME Magazine.

Thursday, January 17, 2013

FEATURE: Tangle in the Caucasus. Iran and Israel Fight for Influence in Azerbaijan. By Alex Vatanka (foreignaffairs.com)

David Mdzinarishvili / Courtesy Reuters)

(foreignaffairs.com) As Iran’s progress on its nuclear program continues unabated, 2013 may well mark the climax of the long-standing impasse between the Islamic Republic and the West. Hopes for a diplomatic solution are fading, and an Israeli or a U.S. military strike on Iran’s nuclear program seems increasingly likely. The potential fallout from such an action for the United States, Europe, and the Middle East has been the object of frequent speculation; far less discussed, although no less pertinent, is what a violent confrontation would mean for the South Caucasus -- an area just north of Iran where the standoff between the Islamic Republic and the West is already palpable in everyday life. Long considered a powder keg, the region, which includes Armenia, Azerbaijan, and Georgia, is once again on the brink.
At the center of the tensions in the region lies Azerbaijan, a country with firm historical and cultural connections to Iran but one whose interests have overlapped with those of Israel, the Islamic Republic’s mortal enemy. During his visit to Baku last October, Iranian President Mahmoud Ahmadinejad described his country’s relationship with Azerbaijan as “brotherly and very deep,” drawing on the two countries’ shared ethnic and religious heritage. (Ethnic Azeris populate much of the northwest region of Iran, which is also known as Azerbaijan, and both countries are predominantly Shia.) Ahmadinejad’s statement, however, blatantly misrepresented the current state of affairs; today, it is not historical affinity but rather intense suspicion and rivalry that shape ties between Baku and Tehran. The same month Ahmadinejad made the statement, a court in Baku gave lengthy prison sentences to 22 Azerbaijanis charged with spying for Iran’s Islamic Revolutionary Guards Corps (IRGC) and plotting to carry out attacks against U.S. and Israeli targets in Azerbaijan. Meanwhile, in December, Tehran kicked up a fuss after ethnic separatists from the northwest Iranian region of Azerbaijan held a conference in Baku.
Yet Ahmadinejad’s statement in Baku was not entirely insincere. Over the past few months, Iranian officials and the state-controlled media have stressed Tehran’s desire for friendlier relations with Baku; at the same time, they are prodding the Azerbaijani government to reconsider its foreign policy alignments -- principally its close ties with Israel. Nowhere in its immediate neighborhood does Iran see such an unambiguous Israeli footprint as it does in Azerbaijan. Israel and Azerbaijan share the common goal of containing Iranian influence. In this joint front, Azerbaijan provides proximity to Iran -- with much speculation about Azerbaijani soil being used as a staging ground for Israeli military operations -- while Israel possesses superior weapons technologies and other resources. But the Azerbaijani-Israeli partnership does not rely solely on the question of Iran; it spans broader economic and military cooperation, trade and investment, and mutual diplomatic support. For Iranian leaders, this uncomfortable reality has raised the stakes, forcing them to vacillate between threats and overtures in their attempts to sever Baku’s relationship with Israel.
Nevertheless, although the Israeli presence in Azerbaijan is a significant security concern for Iran, it represents only one aspect of Tehran’s interests in the South Caucasus. In fact, the three countries of the region view their large southern neighbor through very different lenses. Iran enjoys cordial ties with Georgia and intimate relations with Armenia, which has helped Tehran evade sanctions through its banking sector. As the Western standoff with Iran plays out over the next year, scholars and policymakers alike cannot afford to ignore the parallel developments in the South Caucasus.
INTERTWINED HISTORY
It has been nearly 200 years since Iran lost its foothold in the South Caucasus. In 1813 and 1828, having repeatedly failed to repel invading Russian armies, the Persian Qajar dynasty signed the treaties of Gulistan and Turkmenchay. With the two agreements, Persia relinquished to the Russian Empire its territorial claims on most of the eastern parts of present-day Georgia and the territories that now make up Armenia and Azerbaijan. In Iran, the word “Qajar” is still synonymous with territorial loss and national humiliation.
Occasional statements from Tehran leave no doubt that many Iranians still consider the South Caucasus part of their historical domain, a sphere where deference to Iranian interests is expected if not vocally demanded. In August 2011, General Hassan Firouzabadi, the chief of staff of Iran’s armed forces, lambasted the Azerbaijani government for its secular policies and ties to Israel. In an explicit threat, Firouzabadi warned of insurrection in Azerbaijan, stating that “Iranian blood flows in the veins of the people of [Azerbaijan], and their hearts beat for Islam.”
As two of only four Shia-majority countries in the world, Azerbaijan and Iran share important religious ties. And there are more ethnic Azeris living in Iran (estimated at 15-20 million) than in the Republic of Azerbaijan itself (around nine million). Many families have branches on both sides of the Azerbaijani-Iranian border. With so many commonalities, Azerbaijan and Iran would seem likely to be natural allies.
But the opposite has been the case. When Azerbaijan broke away from the Soviet Union in 1991, Tehran quickly recognized it as an independent state, hoping that it would serve as fertile ground for spreading the Islamic revolution. But from the early days of independence, the Azerbaijani elite evinced no interest in emulating Iran’s marriage of religion and politics, looking instead to secular Turkey as its prime political and economic partner. Iran’s initial euphoria at the prospect of a new Shia state quickly turned into dread, as Baku expressed irredentist sentiments and promoted the idea of a “Greater Azerbaijan,” which would unite Azerbaijan (the country) and Azerbaijan (the region in northwest Iran). Fearing Baku’s intentions to fuel secessionism inside its borders, Iran provided vital backing to Armenia in its war against Azerbaijan over the disputed region of Nagorno-Karabakh, which dragged on from 1988 to 1994 and ended in an inconclusive cease-fire. In Azerbaijan, Iran’s stance in that unfinished war has never been forgiven, and Tehran has continued to support Armenia ever since.  
From the end of the Nagorno-Karabakh war in 1994 to the early years of the twenty-first century, formal relations between Azerbaijan and Iran grew more stable. Tehran broadly acknowledged that the South Caucasus fell within Russia’s sphere of influence and thus avoided playing its Islamist card too blatantly in Azerbaijan; Moscow is highly sensitive to Islamism on its southern flank. Meanwhile, during the tenure of Azerbaijani President Heydar Aliyev, from 1993 to 2003, Baku quieted its calls for unification with the northwest Iranian region of Azerbaijan. In recognition of the improved relations, Iran rewarded Azerbaijan with a consulate in the northern Iranian city of Tabriz, the world’s second-largest Azeri-populated city.
Since Ilham Aliyev became president of Azerbaijan in 2003, however, Baku has grown both considerably richer -- thanks to revenues from energy exports -- and noticeably bolder in its foreign policy. Nothing exemplifies this latter shift more vividly than the close ties Azerbaijan has forged with Israel, despite knowing full well that this would anger Iran. Azerbaijan has been adamant that Iran has no basis to criticize its ties with the Jewish state given that Tehran has long ignored Baku’s pleas to shun Christian Armenia.
When Tehran has appealed to Azerbaijan’s Islamic identity, the Azerbaijanis quickly point out that Tehran’s relations with Armenia have been trouble-free compared with its ties with its Muslim neighbors. Armenia and Iran have signed more than 30 bilateral agreements, and Iran provides Armenia with roughly 23 percent of its natural gas supply -- the country’s chief source of energy. As Araz Azimov, Azerbaijan’s deputy foreign minister, recently put it: “Iran gives life to Armenia.”
A PRECARIOUS BALANCE
A cycle of provocation and retaliation has become the central characteristic of Iranian-Azerbaijani relations in recent years. Tit-for-tat measures have included arrests of each other’s citizens on charges of espionage, most recently in March and July 2012; deadly border incidents in July and October of the previous year; the recall of ambassadors in May 2012, after Tehran protested against the burning of pictures of Iran’s supreme leader, Ayatollah Ali Khamenei, at a rally in Baku; and plenty of incendiary rhetoric.
Last February, when Azerbaijan signed a $1.6 billion defense deal with Israel that included air defense systems, intelligence equipment, and unmanned aerial vehicles, Iran was swift to condemn the Aliyev government. Tehran claims that Baku has given the Mossad a blank check to conduct operations against Iran from Azerbaijani soil. Esmail Kosari, a senior member of the Iranian parliament and a former IRGC commander, said that “Azerbaijan’s cooperation with the U.S. and Israeli spy agencies will harm the Azeri people” and claimed that Iran had documents showing “Azeri officials have helped Mossad and CIA agents” in “the assassination of Iranian nuclear scientists.” (The documents have not yet been publicly released.) Baku, meanwhile, complains that Tehran does not respect Azerbaijan’s sovereignty, finances radical Islamist groups in the region, and is willing to go to any length to undermine the legitimacy of its leadership, including sponsoring anti-Aliyev broadcasts in the Azeri language.
Yet, despite all the acrimony, neither side appears ready to let ties plunge much further. At the Non-Aligned Movement conference in Tehran last September, the Azerbaijani Foreign Minister Elmar Mammadyarov reportedly told his Iranian hosts that “Azerbaijan will never allow an action against Iran from its soil.” Shortly thereafter, Iran’s vice president, Hassan Mousavi, extended an olive branch by visiting Aliyev in Baku, and Iran released two Azerbaijanis who had been arrested on charges of espionage. In turn, Baku released an Azerbaijani citizen who had been charged with spying for Iran.
Tehran’s recent overtures to Azerbaijan are part of a broader effort to limit Iran’s isolation and prevent Baku from aiding or joining an Israeli or U.S. military operation against its nuclear program. But these worries are vastly exaggerated. Baku fully understands the security risks it would face in the event of a war between Iran and the West, including mass refugee inflows, inaccessibility to the semi-autonomous exclave of Nakhchivan (an Azerbaijani region sandwiched between southern Armenia and northern Iran), and, in the worst case, direct Iranian military retaliation. Moreover, there is no evidence that Baku would look to an attack on Iran as an opportune moment to realize its irredentist dreams. It is clear that the idea lacks momentum among Azeris living in Iran, a fact that the leadership in Baku is well aware of. As one senior Azerbaijani parliamentarian, Asim Mollazade, put it to me in Baku, “No serious person in Azerbaijan speaks of unification [with the south].”
The standoff between Iran and the West also threatens Armenia. Ever since Armenia’s borders with Turkey and Azerbaijan closed in 1993, Yerevan has grown reliant on Iran and Georgia, which have become Armenia’s sole avenues to world markets and its principal trading partners. A war involving Iran, therefore, would almost definitely harm Armenia’s economic interests.
And the political impact could be greater still: the main fear in Yerevan at the moment is that Tehran might be forced to reassess its close ties with Armenia as a result of the impasse. If Iran wants to mollify Azerbaijan to ensure that it does not aid the United States or Israel in a military operation, Tehran might agree to distance itself from Armenia. From Armenia’s perspective, however, this would be the worst-case scenario, because it could embolden Azerbaijan and tempt it to seek a military solution in Nagorno-Karabakh. Armenian President Serzh Sargsyan recently suggested that Baku’s defense buildup could be a precursor to a new round of war: in 2003, Baku spent $175 million on defense; in 2012, the figure was estimated at $4.3 billion. Government officials across the South Caucasus are now experiencing first-hand the cost of the region’s three unresolved territorial disputes (Nagorno-Karabakh, South Ossetia, and Abkhazia): when the status quo is so fragile, any jolt to the geopolitical landscape has the potential to reignite old, violent conflicts.
Where does Iran fit in the geopolitical landscape of the South Caucasus? For starters, Tehran’s latest political maneuvers vis-à-vis Azerbaijan are driven by the perception that its security is at risk. Although it is debatable whether Azerbaijan has agreed to become a launchpad for Israeli operations, that is Tehran’s assumption, which in turn guides the mix of Iranian threats and conciliatory measures aimed at Baku. But there is also a larger factor at play: the ascendency of Azerbaijan as an economic and military player. That, more than anything else, is forcing Tehran to recalibrate its overall approach to the South Caucasus.
Whether or not the confrontation between Iran and the West comes to a head in 2013, the South Caucasus will remain entangled in the stalemate with much at stake. Azerbaijan is unlikely to abandon its deepening ties with Israel or pursue adventurous actions against Iran. From Baku’s perspective, being wooed by both Iran and Israel has its benefits, despite the fact that Israel is the more reliable partner. This regional dynamic, in turn, weakens the hand of Armenia, which understandably fears a more aggressive Azerbaijani posture. On the whole, the standoff between Iran and the West is shifting the geopolitics of the South Caucasus. Both a more stable peace and another descent into war seem but a hair’s breadth away.
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The standoff between Iran and the West has moved into the Caucasus, where both the Islamic Republic and Israel are trying to woo Azerbaijan -- a country with firm historical connections to Iran but whose interests have overlapped with those of Israel. The dynamic is upsetting the regional balance of power and threatening to overturn nearly two decades of uneasy peace.
ALEX VATANTKA is a scholar at the Middle East Institute.

Sunday, September 09, 2012

MAGAZIN: MODI - A Georgian Press Service (issuu.com/moditogeorgia)



(issuu.com) Modi is Georgian for "come" and is the word we use to informally call or invite somebody over, yet the meanings within this word are boundless. "Please come over, come in, have a seat, make yourself comfortable ..."

Friday, September 07, 2012

RESTORATION: Bagrati Cathedral – Copy or Original? By Author Irina Bagauri (en.tabula.ge)

Tabula Magazine English (tabula.ge) "The authenticity of the Cathedral has been irreversibly destroyed. Bagrati Cathedral can no longer be said to contribute to the criterion for which the property was inscribed on the World Heritage List,” reads a preliminary “state of conservation” report prepared for the Thirty-Sixth Session of the UNESCO World Heritage Committee. The ancient Georgian monument is in serious jeopardy of losing its World Heritage status because of “irreversible interventions as part of major reconstruction of the structure of Bagrati Cathedral,” according to the preliminary assessment.

Specifically, the World Heritage Committee has expressed “extreme concern that a reconstruction of Bagrati Cathedral is already well advanced, largely in line with plans, rejected by the Committee at its 34th session, for a monumental re-building using reinforced concrete, including a cast concrete cupola, and installing stone facing that covers much of the original stonework.”

Nika Vacheishvili, the Director General of the National Agency for Cultural Heritage Preservation of Georgia, strongly disputes the preliminary conclusions drawn by UNESCO. He insists that the UNESCO assessment is based on incorrect information provided by experts who had not conducted a thorough study of the monument. Speaking with Tabula, Vacheishvili offered his own assessment of both the UNESCO preliminary opinion and the work completed at Bagrati Cathedral:

"That opinion, in my view, is very incompetent. Even though we tried to show every facet to an expert from the International Council on Monuments and Sites (ICOMOS) and to avoid superficial discussions regularly provided him with materials, the expert still arrived in Georgia unprepared and, therefore, the [UNESCO] document is riddled with mistakes. We have reacted to that, having sent a letter to the relevant entity. We expect that the one-sidedness that exists today will be balanced and the situation will be brought in line with the reality.

“Many things in the opinion have been regrettable lies. I do not know what turned that person blind. Those four hundred stones, which we had discovered during these recent years and found place for each of them, are not just abandoned but are being installed to the places they belonged originally. Openings in the dome, the width of the dome, the number and form of arches are documented with these very stones. It is therefore a pity that such competent organizations have drawn such incompetent conclusions. There have been instances, however, when UNESCO has disagreed with ICOMOS opinions and I hope that the case of Bagrati will be such an instance.

“Bagrati is a very complex project and, the closer the reconstruction comes to its completion, the more convinced I become that we have embarked on the correct path; that is, a balance between the old and the new. We have smaller modern inserts which reflect the Twenty-First Century, thus avoiding sham replication of the old. There, both old and modern are appreciated. And all that is combined in the fabric of the Cathedral.”

Modern inserts imply a glass lift. For some unknown reason, the existence of this object within the religious space has caused exaggerated concern among people interested in the fate of the Cathedral even though the UNESCO opinion itself says nothing extraordinary about the glass lift. Instead, the preliminary assessment is focused mainly on other more conspicuous interventions. In comments to media, architectural restorers and art critics alike have confirmed the fact that the glass lift is the least alarming problem among interventions endangering the authenticity of the Cathedral. In order to facilitate the movement of handicapped and elderly people, lifts, like wheelchair ramps, are considered desirable in buildings of any type or age. However, in the case of Bagrati Cathedral, questions have been raised about the engineering design which envisaged installation of the lift on the façade. Whether that design was prompted by the necessity to make lift access conspicuous or just to add yet another element of décor is a topic of separate discussion.

According to modern restoration theory formulated by Italian art historian Cesare Brandi, a ruin that is part of a monument of cultural heritage represents an independent work of art whereas the entire reconstruction of a building in ruins is merely a copy of an authentic building and is not justifiable either esthetically or historically.

The initiative to reconstruct Bagrati Cathedral originated with the Georgian Patriarchate. At the request of the Georgian Patriarch, discussions on the full reconstruction of Bagrati started in the 1990s. On 21 January 2008, Georgian President Mikheil Saakashvili chose Bagrati Cathedral as the site of his inauguration for a second term. There, the President addressed the nation after his swearing-in, declaring: “We are completing the ceremony and starting to rebuild Georgia. As a symbol of Georgia’s revival and strength, we pledge – with the blessing and supervision of the Patriarch as well as with the best specialists – to start restoration works on Bagrati in the forthcoming weeks.”

This year, President Saakashvili responded publicly to criticism that erupted following ongoing reconstruction work at the Cathedral. Speaking at the 26 May inauguration ceremony of the new Georgian Parliament building in Kutaisi, the President remarked: “Many people kept telling me that the reconstruction of the Bagrati Cathedral was barbarism, that no one reconstructed the Acropolis in Greece. I think, though, that Bagrati was built for people to pray there and now it must be restored for modern Georgians to pray there as well.”

Nika Vacheishvili, in his interview with Tabula, addressed the question of whether responsible people have to make a choice between the symbolism of the Cathedral and its authenticity:

“I want to specify that the entire authenticity is preserved. Anyone who will go to the Bagrati Cathedral will see that the main glory of the Cathedral comes from the Eleventh not the Twenty-First Century. That is that nuance which has been thoroughly observed in the project. UNESCO is a very respectable organization. But, when you are one-hundred percent sure that you meet all the criteria which is certified by national as well as by renowned international experts, I think you would agree with me that we could not stay inactive for the threat of hypothetical criticism, especially taking into account the reality that the Cathedral was on the verge of perishing. Bagrati is a national symbol of unity and it would be incorrect to preserve it in the form of ruins. Therefore, instead of just being on the UNESCO World Heritage List, it is better to make something innovative that would become an example for others. And I am sure that UNESCO will appreciate that risk. So far, it has maintained that cathedrals should not be touched but only preserved. This project, however, has shown that there is a solution between the preservation of antiquity, the restoration of a cathedral and the maintenance of it as a church.”

Tabula also contacted Andrea Bruno, the Italian architect in charge of restoration of Bagrati. In Bruno’s view, the plan of Bagrati rehabilitation – the largest part of which was drawn up by Georgian architect Ivane Gremelashvili – is “innovative” and in line with modern standards. As Bruno explained:

“The Bagrati Cathedral and the entire adjacent area, which have been distinguished for its construction stratigraphy for centuries, represent a synthesis of material and non-material values of certain importance. That treasury is acknowledged by international bodies and included in the World Heritage List. An innovative project which is being implemented on the left wing of the construction enables the reconstruction of a gallery which will house a museum in the future. Archeological items and photos of construction of the Cathedral displayed there will allow visitors to get acquainted with the history of Georgia from that angle.

“That project was presented from the very beginning as an innovative gesture in restoration, focused on identifying values of earlier structures and simplifying the reading of palimpsest of the Cathedral. I believe that after the completion of ongoing works, cultural and creative values of the Cathedral and its entire area will be shown more conspicuously.

“My creative plan, which I started to develop in January 2011 along with restoration interventions, involves the identification and study of values of the construction and that part which lies within the adjacent entire archeological area. I think that this is a necessary condition in order to fully meet the requirement of bodies in charge of preservation of cultural heritage, to increase the interest toward the monuments on the Cultural Heritage List and possibilities of determining their values. The work on these issues will start after the completion of the reconstruction process.”

The Cathedral of the Dormition, more commonly known as Bagrati Cathedral, is a monument of medieval Georgian architecture built during the reign of King Bagrat III in Kutaisi. Construction of the Cathedral started at the end of the Tenth Century and, according to the inscription discovered on the Northern façade of the Cathedral, was completed in the year 1003. The first serious damage to the Cathedral occurred during the invasion of the Ottomans in 1691, when the dome of the cathedral caved in as a result of an explosion of gunpowder. In 1770, under the order of General Gottlieb Totleben, Russian cannons fired at the Kutaisi fortress destroyed the upper part of the Cathedral. In the following centuries, the damage worsened.

In the 1950s, the restoration-conservation of the damaged monument started under the direction of Georgian architect Vakhtang Tsintsadze. The initial restoration work was divided into six stages and continued through 1994. That same year, UNESCO experts acknowledged the Bagrati Cathedral, along with the Gelati Monastery, as a World Heritage site and one of the distinguished monuments of Medieval-Age architecture.

The reconstruction work undertaken in the following years, however, has raised questions about the authenticity of the Bagrati and Gelati monuments. In 2010, both sites were demoted to the List of World Heritage in Danger. UNESCO has since repeatedly called on Georgia to halt the reconstruction. The UNESCO preliminary conservation opinion published on 1 June 2012 confirms the fears of experts that the monument may be removed from the List of World Heritage. Whether or not UNESCO will take that very drastic step should become clear during the Thirty-Sixth UNESCO session scheduled for 24 June through 6 July in Saint Petersburg. That will determine whether Georgia will preserve the reconstructed Bagrati as a historically authentic cathedral or a modern replica.

Editor’s Note: The UNESCO World Heritage Committee decided at its meeting in St. Petersburg to postpone any final resolution of the issue of Bagrati Cathedral until the year 2013. A group of international experts will arrive in Georgia in September 2012 to assess the status of the Georgian monuments on the UNESCO Cultural Heritage List.

This article first appeared in Tabula Georgian Issue # 106, published 25 June 2012.