კულტურა plus #2

www.culture.gov.ge

kultura plus / CULTURE PLUS 2(2)2015

gilocavT Soba-axal wels!

s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i

J u r n a l i

sarCevi / Contents werili Zmas

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A LETTER TO MY BROTHER

Ria gakveTili

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OPEN LESSON

akaki wereTlis saiubileo weli

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AKAKI TSERETELI’S JUBILEE YEAR CLOSED

ulmobeli saqmis kaci

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RELENTLESS MAN OF BUSINESS

rogor davberdi frankfurtSi

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HOW I GREW OLD IN FRANKFURT

S.O.S. TviTorganizebadi sistemebi

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S.O.S. SELF-ORGANZED SYSTEMS

gvaqvs uTvalavi feriTa...

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INFINITE IN VARIETY...

rogorc geneboT...

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AS YOU LIKE IT...

Ralia - qarTvelTa monasteri kviprosze

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GIALIA - A GEORGIAN MONASTERY IN CYPRUS

Tbilisis saerTaSoriso kinofestivali

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TBILISI INTERNATIONAL FILM FESTIVAL

feliqs varlamiSvili

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FELIX VARLAMISHVILI

www.culture.gov.ge saredaqcio jgufi EDITORIAL STAFF revaz iukuriZe ramaz Wilaia xaTuna kereseliZe qeTevan anTelava qeiTi ruT deivisi

REVAZ IUKURIDZE RAMAZ CHILAIA KHATUNA KERESELIDZE KETEVAN ANTELAVA KATIE RUTH DAVIES

dizaineri DESIGNER nikoloz bagrationi NIKOLOZ BAGRATIONI el-fosta: kulturaplusm@gmail.com tel: 032 298 96 13 gamodis kvartalSi erTxel gasayidad ar vrceldeba JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT

Issued quarterly Not for sale The material published in this magazine cannot be used without the authorization of the editorial staff

ISSN 2346-8165 beWdva: Sps „sezani“/Print: LTD Cezanne fotomasalis mowodebisTvis redaqcia madlobas uxdis: saqarTvelos parlamentis erovnul biblioTekas; qarTuli literaturis saxelmwifo muzeums; saqarTvelos Teatris, musikis, kinosa da qoreografiis saxelmwifo muzeums; saqarTvelos kulturuli memkvidreobis dacvis erovnuli saagentos garekanze: feliqs varlamiSvili, `meTevzeebi~; foto: gia CxataraSvilisa

redaqciisgan:

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xali weli gamorCeuli dResaswaulia, romelsac didpatara sixaruliTa da gulisfancqaliT elodeba. am dros arasasiamovnos, cudad damaxsovrebuls warsulSi vtovebT da

viTvliT wuTebs, wamebs raTa momavals, axals, imedianad gavxedoT. ra dasamalia da bavSvebTan erTad Tovlis papas mobrZanebas, mis saCuqrebs Cvenc, ufrosebi mouTmenlad veliT, radgan am dros Cveni bavSvoba gvaxsendeba... saaxalwlod CvenSi, axali wlis win ojaxSi mohqondaT `uZraxi~ wyaros wyali, romelsac ezoSi moasxamdnen. rogorc ki Tormeti saaTi Sesruldeboda, ojaxis ufrosi an mowveuli mekvle saxlSi xonCiT xeldamSvenebuli Semodioda.

xonCaze aucileblad elaga: `dedas purebi~, yveli, xorci, xeladiT Rvino, gozinayi, xili, Ciri-CurCxela da marcvleuli. mekvle zRurblze mimoabnevda simindis an qeris marcvals, weli xvaviani da mosavliani rom yofiliyo da Tan locvas daayolebda: Semovdgi fexi, gwyalobdeT RmerTi! fexi Cemi _ kvali angelozisa!..

2015 weli Cveni qveynisTvis keTilad dasrulda. axda Cveni mravali winapris ocneba da saqarTvelo daubrunda did evropul ojaxs, rac qarTvelTaTvis udidesi pasuxismgeblobaa... visurvoT, axal 2016 wels evropelTaTvis da danarCeni msofliosTvis Tamamad gveTqvas: Semovdgi fexi, gwyalobdeT RmerTi! saqarTvelos kulturisa da ZeglTa dacvis saministro da Jurnali `kultura plus~ gilocavT Soba-axal wels!

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From the Editors:

N

ew Year’s Eve is a celebration of great significance that adults and kids both await with anticipation. It is a time for leaving all our bad experiences and unpleasant memories in the past, and for counting the minutes and seconds

that are left for us before we take on the future, and what lies ahead of us, with renewed hope. Why hide it? – We, adults, expect Santa Claus and his presents as much as kids do, because it reminds us of our childhood...

Traditionally in Georgia, pure spring water was brought into the household and sprayed in the yard. As soon as the clock struck midnight, the head of the family, or a designated mekvle (the person who first crosses the threshold of the house after the coming of the new year), would enter the house with a khoncha (a plate or basket with various foods) in his hands. The khoncha would always include: a few dedaspuri (thin Georgian bread), cheese, meat, a jug of wine, gozinaki (traditional Georgian confection of walnuts fried in honey), fruit and dried fruit, churchkela (walnut in dried grape juice), and cereals. The mekvle would hang a grain of corn or barley above the entrance for the coming year to bring good crops and harvest, and would utter a prayer: “I have entered, have faith in God! My foot – the footprint of an angel!..”

2015 has ended on a very gratifying note for Georgia. The wish of many of our ancestors is being fulfilled and Georgia is being returned to the large European family, which is also a great responsibility for Georgians... Let us hope that in 2016, we will be able to proudly say to Europeans and to the rest of the world: “I have entered, have faith in God!” The Minsitry of Culture and Monument Protection of Georgia and the magazine “Culture Plus” wish you a Merry Christmas and a Happy New Year!

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nugzar SataiZe

werili Zmas

Nugzar Shataidze

A letter to my brother

Zmao sergo! me kargad var. amJamad vimyofebi fSavSi da am werilsac maRaroskaridan gwer. es aris patara, sacodavi sofeli Tavisi ubadruki duqniTa da fostis SenobiT. aq me piriqiTa xevsureTidan Camovedi, sadac vimuSave Zalzed nayofierad _ gavakeTe mravali eskizi da Canaxati.

Sen, albaT, gikvirs da fiqrob: ra minda me am mivardnil mxareSi an ram maiZula aq wamosvla. vecdebi yvelaferi wvrilad agixsna: Sen ici, rom Cemma gamofenam, romelic tfilisis sastumro `orientSi~ ama wlis maisSi moewyo, didi miTqma-moTqma gamoiwvia. es gasagebia, tfilisi xom patara da Worikana qalaqia. unda vaRiaro, rom sazogadoebis didma nawilma ver gaigo, an ar isurva gaego Cemi naxatebi. aseTive mdgomareobaSi aRmoCnda oficialuri presac. magaliTad, gazeTi `komunisti~ 9 maisis nomerSi werda: `gamofenili suraTebi gakvirvebas iwveven. gasagebic aris, radgan aseTi gamofena, Cveulebrivi evropiuli gagebiT, tfilisSi pirvelad ewyoba da kedlebze ar Cans garTobis, nugeSis da moralis gadmomcemi suraTebi. samwuxaroa, rom mnaxvelma daviT kakabaZis SemoqmedebaSi ver aRmoaCina didi gemovnebis mxatvari~. kerZo gamosvlebSi Cems Semoqmedebas uwodes `usagno~, me ki _ `formalisti~. dRevandel pirobebSi aseTi Sefaseba ara mxolod Seuracxmyofelia, aramed Zalze saSiSic. miT ufro, rom bolSevikuri mTavroba didad madlieri ar unda iyos Cemi erTi saqcielis gamo: parizSi yofnis dros, saqarTvelos sabWoTa respublikis saxalxo ganaTlebis komisariatma saswrafod damibara tfilisSi da amasTan samgzavro xarjisTvis gamomigzavna 50 girvanqa sterlingi. es fuli miviRe WiaTuris Savi qvis sazogadoebis `Cemo~-s

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My dear brother Sergo, I’m now in Pshavi feeling pretty good, writing this letter from Magaroskari, a small poverty-stricken village with a thoroughly miserable store and a post office. I came here from Pirikita Khevsureti where I spent my time most profitably, doing a long series of sketches and drawings.

You may be wondering what on earth I’m doing in this out-of-theway wretched place. I’ll try to make myself clear: as you know my exhibition held in May in Tbilisi’s Orient Hotel left the city buzzing with rumours, which is only natural for a small city like Tbilisi wallowing in hearsay and gossip. I must admit a large part of society did not or maybe could not puzzle out the meaning I had packed into my paintings. Nor could the official press capture the essence of what my paintings are all about. A May 9 issue of the Communist Newspaper reads: “The exhibited paintings throw us into a state of deep confusion, understandably though, since it is the first-ever European-style exhibition in Georgia. There is hardly any painting conveying a sense of relaxation, consolation or moral relief. It is regrettable that the exhibition failed to earn Davit Kakabadze the title of “artist of impeccable taste”. My works were labeled as “devoid of meaning”; critics censured me for being a “formalist”.

Such evaluations, apart from being insulting, are meant to contain some elements of threat. I don’t think the Bolshevik Government is very appreciative of my behaviour in Paris. The thing is that, while in Paris, I was summoned to appear at the People’s Commissariat for Education of the Soviet Republic of Georgia. They even remitted £50 to cover my travel expenses.

The man who handed over the money to me in late December of 1922 was Jakeli, a representative of the Chiatura blackstone enterprise “Chemo”. But I quickly spent the money (£50 is not a sum that can stay long in your pocket in Paris) and could not return to Georgia.

You know that the reason I went to Paris was to master my painting skills. I pursued my studies with great diligence as long as I was paid a stipend by the former government of Georgia. However, when contributions towards the costs of my studies ceased to flow to Paris

warmomadgenlis jayelisgan dekembris damlevs, 1922 wels. magram imxnad saqarTveloSi dabruneba ver movaxerxe da, saubedurod is fulic maleve SemomeWama (mogexseneba, ra Zala aqvs parizSi 50 sterlings).

Sen ici, rom Cemi safrangeTSi wasvlis mizani iyo mxatvruli saqmis Seswavla. im xnis ganmavlobaSi, rodesac saqarTvelos yofili mTavroba stipendias maZlevda, me sistematurad da gulmodgined vmuSaobdi mxatvrobaSi, magram rodesac 1921 wlis martSi daxmareba aRar momivida, iZulebuli gavxdi mecadineoba Semewyvita da mTeli Cemi Rone iqeT mimemarTa, rom Tavi kerZo muSaobiT damerCina. amis gamo mxatvruli saqmis, erTxel Sewyvetilis, damTavreba ver movaxerxe, Seuswavleli damrCa mxatvrobis zogierTi umTavresi sakiTxi, daumTavrebeli swavliT ki saqarTveloSi dabruneba ar miviCnie mizanSewonilad. vfiqrob, es garemoeba sakmarisi mizezia imisTvis, rom sabWoTa saqarTvelos mTavroba Cemzed gaRizianebuli iyos. amitomac avikar guda-nabadi, gadavikide mxarzed Cemi `etiudniki~ da aqaurobas movaSure. me namyofi var bretanSi _ safrangeTis ukidures Crdilo-dasavleTSi, lamanSispira raionSi, sadac batoni niko maris rCeviT Cavedi. es kuTxe safrangeTisa SesaniSnavia, magram fSavsa da gansakuTrebiT, xevsureTs ver Seedreba. arc ki vici, sityvebiT rogor gadmogce misi mSveniereba. amaSi rom darwmunde, erTxel mainc unda axvide `daTvis jvris~ uReltexilze da piriqiTa xevsureTs iqidan gadahxedo. es aris mkacri da SemaSinebeli silamaze, romelic sruliad gansxvavdeba nazi da Tbili imeruli peizaJisgan. gamogitydebi, iman, rac pirvelyofil bunebaSi vixile, Cems yovelgvar molodins gadaaWarba. me fexiT gaviare as versze meti maRaroskaridan sofel Satilamde da ukan. mravaljer davsveldi mTis Cqar da yinuliviT civ mdinareSi, zogjer mSioda da, Sen warmoidgine, mcioda kidec, am gagania SuazafxulSi, gansakuTrebiT, RamiT. vinaxule anatoris Tavzardamcemi

in March 1921, I had to give up training and find a job to support myself. In the end, I failed to catch up on what I had already missed and remained uninitiated in several important fields. Thus, at the halfway point in my studies, I could ill afford to return to Georgia.

I think it was a good enough reason to incur the wrath of the Soviet authorities. So I packed my bags, slung my case over my shoulder and came here.

Following Nicholas Marr’s advice, I once visited Breton, a town by La Manche in the northwest of France. It is an extremely scenic part of France but it can’t even come remotely close to Pshavi and Khevsureti, in particular.

Words fail to convey the outstanding natural beauty of this area. To appreciate it fully you need to ascend the Datvis Jvari Pass and survey Pirikita Khevsureti from there.

It is an austere and awe-inspiring beauty totally different from the warmly elegant and graceful features of Imeretian landscapes.

Frankly, what I experienced in this thoroughly primeval nature far exceeded all expectations.

I walked over 100 versts from Magaroskari to Shatili and back, plunging many times into the fast-flowing and ice-cold current of the river. I sometimes went hungry, freezing cold in the baking hot summer, especially at night. It was an awesome experience to visit the Anatori vaults and the Shatili Fortress, which, I presume, derives

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its name from the French word Chateau (fortress). An ancient sabre I came across in Shatili provides further evidence to support this point: erroneusly regarded as Georgian “Davitferuli” by its owner, the sabre in fact turned out to originate from the Medieval Marseilles engraved with an inscription: “David Ferari”.

But it is just nothing compared to what happened to me afterwards.

With no tent to shelter in I had to stay in a village. Night was closing in. I saw a man mowing a field and asked him to let me stay overnight with him. He agreed with great pleasure.

Khirchla Chincharauli was the name of the man who took me in. He was about 40 years old.

My host stopped mowing and led the way. We climbed up a slope, ascended some featureless mount and came up to a huge heap of dung, behind which I saw a shabby hut of mud and five or six children playing in the virtually treeless yard. Seeing me they immediately scattered.

We walked into the hut and were met by the host’s wife looking too old for her age, yet retaining some vestige of beauty.

She put us on a couch in front of a low table and took to getting akldamebi da agreTve cixesimagre Satili, romlis saxelwodeba, Cemi varaudiT, franguli sityvidan _ Chateau-dan (`Sato~ _ cixesimagre) unda momdinareobdes. es azri ufro ganmimtkicda, rodesac SatilSi erTma adgilobrivma mcxovrebma maCvena misi winaprebis naqoni Zveli xmali, romelsac TviTon qarTul `daviTferuls~ eZaxda da romelic sinamdvileSi aRmoCnda Suasaukuneebis marselSi damzadebuli iaraRi Sesabamisi damRiT: `David Ferari~ magram es araferia imasTan SedarebiT, rac Semdeg gadamxda. radganac arc karavi gamaCnda da arc sxva ram saZile saSualeba, iZulebuli viyavi Rame romelime sofelSi gameTia. erTxel, rodesac ukve Ramdeboda, sofeli ki arsad Canda, davinaxe viRac kaci, romelic balaxs Tibavda da vTxove, CemTvis Rame gaeTevinebina, razedac igi siamovnebiT damTanxmda. es kaci aRmoCnda vinme xirCla WinWarauli, daaxloebiT ormoci wlisa.

Cemma maspinZelma balaxis Tibva miatova da win gamiZRva. aviareT ferdobi, avediT erT moSiSvlebul mTaze da gamoCnda funis uzarmazari grova, xolo im grovas rom SemovuareT, davinaxe miwuri saxli, romlis winac, motitvlebul ezoSi, 5 Tu 6 bavSvi TamaSobda. Cems danaxvaze isini dafrTxnen da gaiqcnen.

SevediT miwurSi, sadac dagvxvda maspinZlis coli _ naadrevad daberebuli, magram jer kidev, sakmaod lamazi qali. diasaxlisma dagvsxa taxtze, win dagvidga patara tabla da Seudga vaxSmis samzadiss.

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me interesiT vaTvalierebdi oTaxs: gaSavebul, patara buxars, mis Tavze Semodebul, gamurul fandurs, wylis ramdenime Tungs da xis dergebs, sadac Cemi maspinZlebi yvelsa da erbos inaxavdnen. magram es yvelaferi damaviwya erTma sakvirvelma Teqam, romelic mopirdapire kedelze iyo gakruli. yoveli nawarmoebis sikarge, es iqneba realisturi Tu abstraqtuli xelovneba, an ornamenti, erTi sityviT, yvelaferi, rac gamosaxulia zedapirze, damokidebulia imaze, iZleva Tu ara igi mayurebelze sivrcis gancdis STabeWdilebas. sivrcis gancda aris erTi mTavari maxasiaTebeli xelovnebisa. Tu xelovnebis nawarmoebi ver iZleva sivrcis gancdas, is arc aris xelovnebis nawarmoebi. cnobilia, rom geometriuli anu xazovani perspeqtiva italiurma renesansma aRmoaCina da aqedan moyolebuli evropul mxatvrobaSi sibrtyeze samganzomilebiani sivrcis iluzia swored am xazovani perspeqtiviT miiRweva. magram xevsurul miwurSi nanaxma Teqam me damarwmuna, rom sivrcis gadmocema xazebis sistemis gareSe, marto ferebis saSualebiTac yofila SesaZlebeli. es iyo fantastiuri aRmoCena! me am aRmoCenam imdenad SemZra, rom damaviwyda sad viyavi da vin viyavi. gons rom movege, ukve fexze videqi da Cemi gaocebuli maspinZlebis Tvalwin im sakvirvel Teqas xeliT vsinjavdi. is ar hgavda Cveulebriv abstraqtul namuSevars _ arc feriT, arc kompoziciiT da arc, miT umetes, siuJetiT, magram masSi me vgrZnobdi saqarTvelos miwa-wyals, haersa da mis gamaognebel kolorits. unda giTxra, rom Cveni warsuli xelovnebis formebi jer kidev Seuswavlelia: versad naxav damajerebel azrs maTi esTetiuri Rirebulebis Sesaxeb. CvenSi yvelanair siZveles erTnair

supper ready for us.

My eyes kept wandering around the room: a small blackened fireplace, a soot-stained Fanduri (Georgian musical instrument), a few jugs of water and wooden casks for cheese and butter. But, suddenly, all these things started fading away under the impact of some picturesque felt rug hanging on the opposite wall of the room.

The artistic merit of each painting or ornament, whether abstract or realistic, and of everything depicted on a flat surface, can be judged by its ability to convey a sense of space. A sense of space is art’s chief gauge. A painting that does not aim to capture space has nothing in common with art. The geometric linear perspective invented by the Renaissance emerged as a tool for European artists to project the three-dimensional world onto a two-dimensional surface. However, when I saw the felt rug in the Khevsurian hut, I was convinced that the world around us can be captured, rather than through linear perspective, by some subtle choice of colours.

It was a fantastic discovery!

For a minute I lost myself in an overwhelming rush of emotions. When I came to my senses, I was already fingering the felt rug under the curious gaze of my hosts.

It was unlike any abstract painting I had seen before – whether in terms of colour, composition or theme. I felt an intense flavour of Georgian soil, water and air radiating from it. Traditional forms of art remain unexplored in Georgia. There is hardly any authoritative study of their aesthetic value. Everything that is old is put into one and the same prism. Age seems to be the greatest merit of all movements of art.

The rug was also old, yet the newest of all the things I had seen in Paris. It was gradually dawning on me that this unforgettably unique piece did not belong here; it would rather grace the wall of the Louvre Museum and become a constant source of delight for millions of people.

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mniSvnelobas aZleven da xelovnebis formis dafaseba marto imiT isazRvreba, rom is Zvelia. es fardagic Zveli iyo, magram mTeli Cemi parizSi yofnis dros aseTi axali da originaluri araferi menaxa.

TandaTanobiT vrwmundebodi, rom misi adgili aq ar iyo, es Teqa luvris saukeTeso darbazSi unda gamoefinaT, raTa misi xilviT datkbobis saSualeba milionobiT adamians miscemoda. am fiqrebidan maspinZlis xmam gamomiyvana, romelic sufrasTan mepatiJeboda. taxtze Camovjeqi Tu ara, xirClam JipitauriT savse patara yanwi momawoda da me, rogorc aq aris miRebuli, davloce misi jalabi da saqoneli, Semdeg frTxilad Sevapare, rom Teqa Zalian momewona da rasac damifasebda, uyoymanod gadavuxdidi. man Tavi gaaqnia da mTxova, rom am sakiTxze aRar gvesaubra. davlieT kidev ramdenime yanwi da amasobaSi daRamda kidec. ar vici, sasmelis brali iyo Tu kedelSi Camagrebuli Wraqis moliclice Suqisa _ xelovnebis im nawarmoebma sul sxva, idumali feri miiRo da Cems Tvalwin sruliad axali RirsebebiT warmosdga. qalma bavSvebi daawvina da male Cvenc dasaZineblad movewyeT, magram TiTqmis mTeli Rame Tvali ar momixuWavs,

My thoughts were abruptly interrupted by my host inviting me to the table. Khirchla passed to me a small horn filled with Zhipitauri (home-distilled vodka). As it was customary, I toasted his family and cattle. When we were already deep in conversation I dropped a hint that I was very impressed by his felt rug and would pay any amount of money for it. But he shook his head and asked me not to raise the issue again.

We drank a few more horns and the dusk began to slip into night. I don’t know what was to blame, vodka or a wick-lamp flickering dully from the wall, but the felt rug seemed now even more mysterious, creating a new blaze of colours.

The woman put the children to bed. We also wrapped up in blankets but I did not get a wink of sleep that night. I was utterly infatuated with the felt piece and could ill afford to part with it.

Determined to go the extra mile to make the masterwork my own I devised a cunning plan.

We woke at dawn. The hostess set the table for us and we started to get that nasty Zhipitauri down.

We drank three horns each and I again engaged him in conversation on the felt rug. He mentioned that it was the handicraft of his great grandma, Gulkan Arabuli.

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sul im Teqaze vfiqrobdi da vgrZnobdi, rom mis gareSe aqedan wasvla Cems Zal-Rones aRemateboda. gadavwyvite, radac ar unda damjdomoda, es Sedevri xelSi Camegdo, risTvisac, mTeli Ramis ganmavlobaSi, sakmaod marjve da eSmakuri gegma movifiqre. meore diliT adre avdeqiT. diasaxlisma sufra gagviSala. Cven davsxediT da daviwyeT im sazizRari Jipitauris sma. sam-sami yanwi rom davlieT, me isev Teqaze Camovagde laparaki. maspinZelma miTxra, rom is misi bebiis dedis, vinme gulqan arabulis naxelavi iyo.

Cemis mxriv me vuambe sakuTari Tavgadasavali _ vuTxari, rom mxatvari viyavi da am saqmes safrangeTSi cxra wlis ganmavlobaSi vswavlobdi. velaparakebodi, ra Tqma unda, misTvis sruliad gaugebar Temaze: parizis xelovnebis dRevandel mdgomareobaze, iq arsebul or umTavres dajgufebaze, romelTagan erTi ganagrZobs kubizmis monapovarTa gaRrmavebas, mis organizacias, sinTezs, axali pirobebis mixedviT axali SesaZleblobebis aRmoCenas (pikasodan dawyebuli andere lotamde), xolo meore jgufi an sargeblobs ukve mocemuli mxatvruli formulebiT (Andre Derain, Risling Favori, Suzane Valadon, Marie Laurensin, Frie, Waroquier) an fiqrobs bunebis uSualo

I told him my own story – that I was an artist and had been studying art for nine years in France. I knew I was speaking about something that was alien to him: the current state of art in Paris, two main movements of which one is committed towards deepening Cubism tendencies, its organization, synthesis, discovery of new opportunities (from Picasso to André Lhote) and the other, which either makes use of already existing formulae (André Derain, Risling Favori, Suzanne Valadon, Marie Laurencin, Frie, Waroquier) or is focused on the sensual depiction of landscapes (Dunoyer de Segonzac, Gromaire, Van Dongen, Vlamich, Grosz). Then I told him that his felt rug offered a complete contrast to the concept of art developed by both the groups and represented an absolutely new and hitherto uncharted movement capable of making an enormous

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gadmocemaze (Dunoger de Segonsas, Gromaire, Van Dongen, Vlamich, Grosz). amasTan, ar davumale, rom es Teqa Zireulad gansxvavdeba am orive jgufis mier SemuSavebuli koncefciisagan da warmoadgens sruliad axal, jer kidev ucnob mimdinareobas, romelmac, SesaZlebelia, revoluciuri gardatexa Seitanos Tanamedrove evropis mxatvrul realobaSi. daskvnis saxiT ki vuTxari, rom Cveni valia, es namuSevari usaTuod gavacnoT evropel mxatvrebs, rac ormxriv sasargeblo saqme iqneba _ jer erTi, rom isini sul sxva TvaliT Sexedaven ara mxolod sakuTar Semoqmedebas, aramed, TvalnaTliv dainaxaven mxatvrobis ganviTarebis perspeqtivebs da meorec, Cveni patara qveynisaTvis mniSvnelovani da saamayo iqneba is, rom am perspeqtivas genialuri qarTveli Semoqmedi, anu misi didi bebia daudebs saTaves.

Cemi sawyali maspinZeli mTeli yuradRebiT mismenda, magram veWvob, Cemi am grZeli triadidan niSandobliv raime gaegos, amitom arc vacie, arc vacxele da pirdapir vuTxari, Teqa unda momyido-meTqi. arao, _ mipasuxa, _ guSinac xo giTxari, ro ver gavyidio. maSin, maCuqe-meTqi! es mzakvruli xerxi winaswar movifiqre da Cemi gegmis kulminaciad davsaxe, radgan vicodi, rom mTieli kaci stumars aseT Txovnaze uars verafris didebiT ver etyoda. marTlac, Cems sityvebze Zalian moiwyina, saxe xelisgulebSi Camala da didxans, Zalian didxans ijda egre. me vxvdebodi, rom mis arsebaSi

breakthrough in contemporary European art. On closing, I asserted that it was our duty to bring this artwork to the attention of European artists. The effect, I added, would be mutually beneficial in the sense that European artists could see through a different prism both their own paintings and new art tendencies, whereas Georgia could pride itself on being able to give rise, of course thanks to my host’s grandma, to these new tendencies in art.

My poor host listened keenly to me but he could hardly grasp the meaning of my long-winded monologue. I therefore went squarely to the point and insisted on buying the piece.

No – he said flatly – I told you yesterday I’m not going to sell it...

Then give it to me as a gift – I blurted out.

It was meant to be the culmination of my well-thought-out plan because I knew perfectly well that no mountain-dweller can agree to disgrace himself by refusing a plea from a guest. My words did indeed hit the mark. He buried his face in his hands and sat motionless for

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ori grZnoba ebrZoda erTmaneTs: verc Teqas eleoda da arc stumris wyenineba undoda, ris gamoc, cota ar iyos, sindisis qenjnam Semawuxa, magram oRondac is dauZleveli survili amesrulebina da im wuTSi yvelafrisTvis mzad viyavi. bolos, rodis, rodis Tavi aiRo da Semomxeda. Sevcbi: Tvalebi cremliT hqonda savse. mere arayi daisxa, dalia da daaxloebiT aseTi ram miTxra: `me adre davvobldi. eqvsi wlisas deda momikvda, rvisas _ mama. bebia mzrdida, magram Tormetisa ro Sevsruldi, isic momikvda. davrCi marto. saqonels vuvlidi, Tivas vamzadebdi, tyidan SeSas vezidebodi. aq mkacri zamTari icis _ Tovli, yinva, zvavebi. kargad rom movizarde, es CemsaviT oboli, bogano qali SevirTe da ojaxi komlad vaqcie. eqvsi balRi gveyola, sul erTmaneTis momdevnoebi. mamlis yivilze vdgebi, vwvalob, vSromob, welebze fexs vidgam, rom jalabi rogorme gamovkvebo, magram mainc mSivrebi da SiSvel-titvlebi vyrivarT. zogjer ise Semjavrdeba yvelaferi, ro Tavis mokvla mindeba. moval daRlil-daqanculi da taxtze mivegdebi _ ar vici, Tofi davice Tu xanjalze davego, magram am Teqas ro Sevxedav, gulSi naTeli midgeba, yvelaferi maviwydeba, isev kaci mgonia Cemi Tavi, _ erTxans iyuCa, mere yanwi isev Seivso da Tqva, _ exla, rogorc Sen ityvi, Tu egre guliT ginda, adeqi, Camoxseni da waiRe~. me veRaraferi vawame. erTxans gaognebuli vijeqi, mere avdeqi, gadavexvie, orTav mxarze vakoce, davemSvidobe da wamovedi. axla maRaroskaris fostaSi vzivar da am werils gwer. sruliad ar vnanob, rom is Teqa ar wamoviRe. albaT, isev im gamurul kedelze hkidia da mis patrons, erT ubralo xevsurs, cxovrebis amaoebisgan awewil suls umSvidebs. xelovnebis umTavresi daniSnulebac xom es aris. marad Seni moyvaruli Zma daviT kakabaZe. 4 agvisto. 1928 weli.

a long time. I was becoming conscious of an inner struggle raging inside him: he oscillated between his desperate desire to retain the rug and his extreme unwillingness to hurt me. I already felt a pang of guilt but my desire for the rug was overpowering.

At last he raised his head and looked at me, eyes brimming with tears. I was shocked. Then he poured himself vodka, drank it at a gulp and started: “I was orphaned early. Mother died when I was six, father – two years later. I lived at my grandma’s but she too died as I turned twelve. I remained all alone. I had to raise cattle, cut and bale hay, chop down trees and drag firewood – winter is usually harsh here with a heavy snowfall, keen frost and devastating avalanches. As I advanced in years I married a young orphan woman as penniless as me.

She bore me six children – one after the other. Every day, I get up with the lark and toil long hours in sweat and blood to support my family, but anyway we are raggedly-dressed and half-starved. I sometimes plumb the depths of despair and collapse on this couch thinking of either shooting or stabbing myself to death... but then I look at this rug and feel a serene calm filling my heart. I forget about everything and feel myself becoming a man again” – he paused for a while, then poured himself more vodka and said: “It’s up to you now... if you are really so madly keen on the rug, then get it off its hook and take it away”.

I fell silent. Then I rose, threw my arms around him, kissed him on both shoulders, said goodbye and took my leave.

I’m writing this letter from the post office in Magaroskari. I don’t at all regret leaving the rug in the hut. Perhaps, it still graces the same soot-coloured wall giving the simple Khevsurian man a blessed relief from the sheer futility of life.

And it is exactly what art is all about.

Forever yours, Davit Kakabadze 4 August 1928

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sergo qobulaZis fardis asli TbilisSia Replica of Sergo Kobuladze’s Curtain Hung in Tbilisi Opera

Ria gakveTili

Open Lesson imisTvis, rom srulfasovnad gaigo eliso virsalaZis fenomeni, unda daeswro mis cocxl koncerts, SeigrZno atmosfero, romelsac is dResac im maRali saSemsruleblo eTikiT qmnis, warsulis did pianistebs rom axasiaTebdaT... misi yoveli koncerti, TiTqos, auxsneli, amoucnobi ritualia.

TelavSi musikis saerTaSoriso festivalis aRdgenis Semdeg ukve meeqvse welia eliso virsalaZe da misi wre, erTgul msmenelTan erTad, am ritualis Tanaziars axal Taobebsac xdis. Taobebs, vis Tvalwinac ar gauvlia pianistis SemoqmedebiT gzas da romelTa mexiserebisTvisac ucxoa is Soreuli 1957 wlis koncerti Tbilisis konservatoriis mcire darbazSi, sadac TxuTmeti wlis eliso virsalaZe pirvelad warsdga msmenelis winaSe solo programiT. XX saukunis didi piansitis, sviatoslav rixteris dabadebidan 100 wlisTavisadmi miZRvnili wlevandeli klavirabendi TelavSi im legendis gagrZeleebaa, romelic virsalaZeebis ojaxSi didi xnis win daibada, rodesac elisos didedam da qarTuli safortepiano skolis erT-erTma fuZemdebelma, anastasia virsalaZem pirveli gakveTilebi Cautara SviliSvils...

In order to fully understand the phenomenon that is Eliso Virsaladze, you would have to attend her live concert, to partake of the atmosphere that she creates even today with her high level of performance, which used to be characteristic of the great pianists of the past. Her every concert seems to be an inexplicable, mysterious ritual.

For six years now, ever since the restoration of the Telavi International Music Festival, Eliso Virsaladze and her circle, together with her faithful audience, allow the younger generations to share in this ritual as well. These generations have not witnessed the pianist’s creative path and they do not remember the distant year of 1957 when the fifteen-year-old Eliso Virsaladze first performed a solo programme in front of an audience at the recital hall of the Tbilisi State Conservatoire.

This year’s piano recital in Telavi, which was dedicated to the 100-year anniversary of the birth of Sviatoslav Richter, a great pianist of the 20th century, is a continuation of the legend that was born in the Virsaladze family a long time ago, when Anastasia Virsaladze, Eliso’s grandmother and one of the founders of the Georgian piano school, started tutoring her small granddaughter.

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Tavidan didedas ar undoda Cemi swavleba, amitom daviwye SedarebiT gvian, maSin eqvsi wlidan iwyebdnen swavlas, axla _ xuTidan iwyeben, me ki mxolod rva wlisa movxvdi bavSvebis im mcirericxovan rigSi, visac dideda amecadinebda. Cveulebriv, dideda bavSvebTan ar muSaobda.

Tu hqodna mas swavlebis raime meTodi, xom ar iyenebda egreTwodebul leSetickis meTods, romelic SesaZloa leSetickis mowafisgan da meuRlisgan, ana esipovasgan eswavla Tavad? swavlebis meTodi saerTod ar arsebobs, arsebobs im adamianTa gavlenebi, visTanac urTierTob. dideda yoveldRe igonebda peterburgSi ana esipovas klasSi gatarebul wlebs. skolebis arsebobis ki me saerTod ar mjera, rac ufro memateba wlebi, miT ufro. ras niSnavs franguli, rusuli an amerikuli skola? aris kargi da cudi skolebi. rasakvirvelia, garkveuli Tvisebebi axasiaTebs frangul skolas, magram es imas ar niSnavs, rom am skolis warmomadgenlebi sxvebze ukeT ukraven frangul musikas. an Tundac imas, rom moskovis konservatoriaSi ukeT esmiT rusi kompozitorebis musika. 1958 wels Caikovskis konkursze, rodesac ven klaibernma Seasrula Caikovksis da raxmaninovis

anastasia virsalaZe ANASTASIA VIRSALADZE

At first grandma did not want to teach me, which is why I began relatively late. At the time, they used to start piano lessons at the age of six, now they even start at the age of five; however, I was already eight when I joined the small group of children that my grandmother tutored. Grandma did not normally work with children.

Did she have a specific method of tuition? Did she use, for instance, the so-called Leschetizky method, which she could have learned from Leschetizky’s spouse and pupil, Anna Yesipova?

There is no such thing as a teaching method; there is only the influence of the people with whom you communicate. Grandma always used to recall the years she had spent in Saint Petersburg, being taught by Anna Yesipova. I, on the other hand, do not believe in schools of music and the older I get the more certain of this I become. What does a French, Russian, or American school mean?

There are good and bad schools. Naturally, there are certain features that characterize the French school but this does not mean that representatives of this school are better at performing French music than others. It also cannot be said that people understand the music of Russian composers better at the Moscow Conservatoire. At the Tchaikovsky competition in 1958, when Van Cliburn performed piano concertos by Tchaikovsky and Rachmaninoff, Alexander Goldenweiser, who had listened to the performance by Rachmaninoff himself, and who was a friend to Leo Tolstoy and used to perform for him, said that he did not think he would have been able to listen to such an interpretation again.

To what extent do great teachers influence their students?

Every professor has his or her own view on interpretation and the manner of performance. When Heinrich Neuhaus saw that a student was talented, and the performance was convincing, he never tried to force his own interpretation, or to limit the student’s imagination.

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Grandma was the same. She also had students, some of whom were more talented than others. I have experienced this myself as well – the more talented a student is, the more freedom you allow him in spite of the mistakes that he may make during the performance.

Meanwhile, less talented students are more meticulous in following the teacher’s instructions, and they usually get better evaluations at examinations, and particularly at competitions, too.

safortepiano koncertebi, aleqsandr goldenvaizerma, romelsac Tavad raxmaninovis Sesruleba hqonda mosmenili, megobrobda lev tolstoisTan da ukravda misTvis, Tqva, rom ar egona, Tu kidev mouxdeboda aseTi interpretaciis mosmena. ramdenad vrceldeba didi pedagogebis gavlena studentebze? yvela profesors aqvs Tavisi xedva interpretaciasa da Sesrulebis maneraze; henrix neihauzi Tuki atyobda, rom mowafe iyo niWieri, xolo Sesruleba damajerebeli, arasdros cdilobda Tavze moexvia miseuli interpretacia an SeezRuda misi fantazia. arc dideda iqceoda ase, masac hyavda ufro metad da naklebad niWieri mowafeebi. es sakuTar Tavzec gamomicdia _ rac ufro niWieria mowafe, miT ufro met Tavisuflebas aZlev mas, miuxedavad im Secdomebisa, rac SeiZleba iyos mis SesrulebaSi. maSin rodesac naklebad niWierebi ufro skrupulozurad misdeven pedagogis rCevebs da ukeTes Sefasebebsac iReben gamocdebze da gansakuTrebiT konkursebze.

Tqveni pirveli repertuari Tavisufali iyo etiudebisa da gamebisgan, SesaZloa aseTi midgoma iyos universaluri? musikaSi araferi ar aris universaluri; repertuaris mxriv unda iyos mravalferovneba, erTi da imave asakis mowafeebs SeiZleba sxvadasxva sirTulis nawarmoebebi misce, Tumca arsebobs garkveul asakSi garkveuli sirTuleebis daZlevis aucileblobac, raTa mowafes hqondes is sabaziso codna da teqnika, rac daexmareba mas samomavlod. arsebobda meToduri kabinetebis damuSavebuli qrestomaTiebic, sadac CamoTvlili iyo nawarmoebebi, romlebic sxvadasxva klasSi unda Segesrulebina. axlac aris aseTebi, rac sabWouri skolis gadmonaSTia. Rimilis momgvrelia, rom meTodurma kabinetma raime gavlena moaxdinos saswavlo procesze.

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Your first repertoire was free of etudes and scales. Can such an approach be universal?

Nothing in music is universal. In terms of the repertoire, there should be diversity. It is possible to give students of the same age works of various difficulties to perform. However, it is also necessary to overcome certain difficulties at a specific age, in order for a student to attain the basic level of knowledge and technique that will help him or her in the future. The office of methodology also used to provide chrestomathies, which contained lists of works that should be performed at various grades. Such things still exist today, though they are relics of Soviet times. It is an amusing thought that such offices of methodology could influence the tuition process.

Today, fairly complex repertoires are being performed at rather an early age...

I remember that when I was 14 or 15 years old, grandma asked Neuhaus about the works that she could give me to perform. His answer was that I should be allowed to play what I wanted to play.

However, grandma did not give me very difficult pieces as she believed that anyone, at any age, whether it is a student or a pupil, should play so that the level of performance is close to the aim of the piece. Grandma’s requirements were always as strict as possible.

dRes ukve sakmaod adreul asakSi ukraven rTul repertuars... maxsovs, rodesac ToTxmeti-TxuTmeti wlis viyavi, dideda ekiTxeboda neihauzs, Tu ra nawarmoebebis mocema SeiZleboda CemTvis. igi pasuxobda _ mieciT is, risi dakvrac mas surs. Tumca, dideda arasdros maZlevda Zalian rTul nawarmeobebs, radgan Tvlida, rom nebismier asakSi, mowafe iqneba es Tu studenti, unda ukravdes ise, rom Sesrulebis done uaxlovdebodes nawarmoebis amocanas, xolo, didedis moTxovnebi yovelTvis maqsimalurad mkacri iyo.

What is the range of your repertoire, in terms of early and contemporary music, and what is your future repertoire to be?

From the old ones I’ve played pieces by Rameau, Couperin, and Bach. And in my latest solo programme I played Piano Sonata No. 8 by Prokofiev and the 24 Preludes by Shostakovich.

As concerns my current repertoire, I want to play Rachmaninoff. In the 1980s I played his Piano Concertos No. 2 and No.3 but I haven’t done so lately – not because I did not want to but simply because when you have an extensive repertoire and a rigid concert plan, it is difficult to find the time for a musician that is not in high demand at the moment. Because of this, in order to get closer to a piece, I try to give it to my students.

rogoria Tqveneuli repertuaris sazRvrebi, adreuli da uaxlesi musika; da samomavlo repertuari? adrindelebidan dakruli maqvs ramos, kuperenis da baxis musika; uaxlesi solo programidan, albaT, prokofievis merve sonata da SostakoviCis ocdaoTxi preludia. rac Seexeba mimdinare repertuars, axla minda raxmaninovis dakvra. gasuli saukunis 80-ianebSi vukravdi meore da mesame safortepiano koncertebs, bolo dros aRar _ ara imitom, rom ar mindoda, ubralod, rodesac gaqvs vrceli repertuari da daZabuli sakoncerto gegma, Znelia im musikisTvis gamonaxo dro, romlis dakvras im konkretul momentSi ar iTxoven. amitom, xSirad, imisTvis rom mivuaxlovde ama Tu im nawarmoebs, vcdilob mivce isini studentebs.

Do you use any specific editions while studying a piece?

I do not prefer any specific editions. A pianist that plays Beethoven’s sonatas should be familiar with all famous editions. For example, those

by Hans Von – Bülow, which are old but very interesting. As concerns Chopin, a new edition by Jan Ekier is being produced now and everyone who intends to participate in the Chopin Competition in Warsaw must use this edition in order to study the pieces. It would seem that Cortot, Neuhaus, and Kempff all played incorrectly... In Bach’s case, there is only the original that Bach wrote himself – pure sheet music without any dynamic indications at all. We should simply forget everything else. As regards urtext editions, many of these are published, they are supposedly based on the author’s original works and claim to be the only precise ones, but do you know how many differences there are between them, and how many mistakes they contain?

nawarmoebis swavlisas Tu iyenebT romelime konkretul redaqciebs? arc erT konkretul redaqcias ar vaniWeb upiratesobas. pianisti, romelic ukravs beThovenis

You have held the following monographic concerts in Tbilisi: The complete Piano Concertos by Beethoven’s, sonatas for cello and piano, the complete Impromptus by Schubert...

I have played them but this is not good for either the performer or the audience as each of them is so deep in terms of meaning that

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they require a great deal of tension not only from the performer but also from the listener. Boris Berezovsky, my student, played all of Beethoven’s concertos in one evening; I also played them in 1970, at Beethoven’s 200th Jubilee, though this happened only once.

Do you prepare the pieces to be played as an encore in advance?

Never. I simply have a series of pieces that I know, and I choose one of them when the main programme of the concert is finished.

sonatebs, unda icnobdes yvela cnobil redaqcias. magaliTad, hans fon biulovisas _ Zvel, magram Zalian sainteresos. rac Seexeba Sopens, axla gamodis ian ekeris uaxlesi redaqciiT da yvela, vinc apirebs Sopenis varSavis konkursSi monawileobas, valdebulia swored es redaqcia gamoiyenos nawarmoebebis swavlisas. gamodis, rom kortoc, neihauzic da kempfic arasworad ukravdnen... baxis SemTvevaSi aris mxolod dedani, is rac Tavad baxma dawera _ `sufTa~ notebi, romelsac aranairi dinamikuri miniSnebebi ara aqvs. yvelaferi danarCeni ubralod unda daviviwyoT. rac Seexeba urteqsts, gamoicema bevri, romlebic TiTqos avtoriseul dedans efuZneba da aqvs pretenzia iyos erTderTi da zusti, magram iciT rogori sxvaobaa maT Soris da ramdeni Secdomaa?

TbilisSi gagimarTavT monografiuli koncertebi: beThovenis safortepiano koncertebis cikli, sonatebi Celosa da fortepianosTvis, Subertis eqspormtebis ciklebi...

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Like Sviatoslav Richter, you have refused to do studio recordings...

When I refused to do studio recordings I did not know that Richter had done the same thing; he had spent a lot of time recording in the studio. The point is that there is a huge difference between a live performance and a studio recording, in which the manner of performance, and the atmosphere of the hall, are both lost. If we compare the studio and concert recordings of ArthurRubinstein performing Schumann’s Fantasiestücke / Fantasy Pieces, we might find it hard to believe that the same pianist is playing both.

The attitude is different today. When my students listen to recordings of performances by Alfred Cortot, they count the number of wrong notes, and this is true. If you listen to determine how cleanly the text is performed, you will not understand a thing. Even Horowitz has such recordings, where you would find it difficult to believe that it is Horowitz who’s playing because the performance is not as clean as you would have expected.

In this sense, Arturo Benedetti Michelangeli is an exception...

That is because, as my professor Yakov Zak used to say, Michelangeli was a slave of his technique; he had a small repertoire that he had honed to perfection and this is the reason why I never liked him, despite the fact that I was amazed by the quality of his performance at the recitals in Moscow.

damikravs, magram es ar aris kargi arc SemsruleblisTvis da arc msmenelisTvis, radgan Sinaarsobrivad imdenad Rrmaa TiToeuli, rom did daZabulobas moiTxovs ara marto Semsruleblisgan, aramed msmenelisaganac. Cemma studentma, boris berezovskim daukra beThovenis yvela koncerti erT saRamoSi, mec erT saRamoSi maqvs dakruli 1970 wels beThovenis 200 wlis iubileze, Tumca es mxolod erTxel moxda. bisze Sesasrulebel musikas Tu amzadebT winaswar? arasodes, ubralod maqvs mTeli rigi nawarmeobebi mzad da rodesac koncertis ZiriTadi programa mTavrdeba, maSin virCev romelimes maTgans.

Tqven, iseve rogorc sviatoslav rixterma uari TqviT studiur Canawerebze... sxvaTaSoris, maSin rodesac Sevwyvite studiuri Cawerebi, ar vicodi Tu rixteric ase moiqca; is sakmaod didxans werda studiaSi. saqme isaa, rom Zalian didia sxvaoba cocxal Sesrulebasa da studiur Canawerebs Soris, romelSic dakargulia Sesrulebis manera, darbazis atmosfero. Tu SevadarebT artur rubinStainis Sumanis fantastikuri piesebis studiur da sakoncerto Canawerebs, gagviWirdeba Tqma, rom es erTi da igive pianisitia. dRes Secvlilia damokidebuleba; rodesac Cemi studentebi usmenen alfred kortos Canawerebs, iTvlian ramdeni usufTao noti aqvs, da es marTlac asea. Tu usmen, ramdenad sufTadaa Sesrulebuli teqsti, maSin verafers gaigeb, Tqven warmoidgineT, horovicsac aqvs iseTi Canawerebi, rom gagiWirdebaT dajereba rom horovicia, imdenad usufTaodaa Sesrulebuli. am SemTxvevaSi gamonaklisia arturo benedeti mikelanjeli... imitom, rom rogorc Cemi profesori iakov zaki ambobda, mikelanjeli mona iyo Tavisi teqnikis, mas hqonda srulyofilebamde miyvanili mwiri repertuari, ris gamoc igi arasdros momwodna, miuxedavad imisa, rom aRmafrTovana misma Sesrulebis xarisxma moskovis koncertebze.

Competitions are an unfortunate necessity... The Richter Competition...

Unfortunately, it is a fact that there is no alternative to competitions these days. They are the single source of income for students, which they should be able to use to provide for themselves for a while in order to then be able to work on their repertoire.

“The idea behind the Richter Competition was to provide an alternative to other competitions. But when we saw that our laureates to achieve the anticipated results, we chose not to continue with the competition.

However, if I’d had a team similar to the one that I have for the Telavi Festival, the Richter Competition would probably have gone on.

Do competitions facilitate the development of a standard performer?

It is possible... Earlier they did, but this is no longer true today. For example, at the Concours Géza Anda, at which I was a jury member, the American pianist Andrew Tyson won first place, and he most certainly was not a standard competition pianist.

Do competitions restrict young performers in terms of their repertoire?

It is possible, though I cannot say this about the Concours Géza Anda, at which performers are provided with an entire list of

konkursebi, rogorc samwuxaro aucilebloba... rixteris saxelobis konkursi... samwuxarod, konkurss alternativa dRes ar aqvs, es faqtia. is Semosavlis erTaderTi wyaroa studentebisTvis, riTic maT Tundac garkveuli periodiT finansurad unda uzrunvelyon Tavi, rom Semdeg SeZlon repertuarze muSaoba.

saorganizacio jgufi Managament Group

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rixteris saxelobis konkursis idea swored sxva konkursebis alternativas warmoadgenda. magram, rodesac davinaxeT, rom Cveni laureatebi konkursisgan ver iReben im Sedegs, rasac vvaraduobdiT, konkursi aRar gavagrZeleT. Tumca, iq rom myoloda iseTi gundi, rogoric Telavis festivalze myavs, rixteris konkursi, albaT, gagrZeldeboda. uwyobs Tu ara konkursebi xels standartuli Semsruleblis tipis Camoyalibebas?

SesaZlebelia... adre uwyobda xels, dRevandel dRes ukve aRar. magaliTad geza andas saxelobis konkursze, romlis Jiuris wevric viyavi wels, pirveli premia mieniWa amerikel endriu taisons, romelic absoluturad ar jdeba standartuli sakonkurso pianistis CarCoebSi. xom ar zRudavs konkursebi axalgazrdebs repertuaris mxriv? dasaSvebia, Tumca amas ver vityvi geza andas konkursze, sadac mocemulia mTeli rigi kompozitorebisa da nawarmoebebis CamonaTvali da winaswar ar iciT ris Sesrulebas mogTxoven. am mxriv es konkursi unikaluria,

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composers and pieces, and they do not know in advance which one they will be required to perform. In this sense this competition is unique, as, in addition to being well-prepared, you should also possess an extensive repertoire.

Does the jury make mistakes?

Naturally, oftentimes the jury attaches a great deal of importance to the audiences’ reaction or starts flirting with the listener, which is terrible.

Do you still consider the Moscow Conservatoire as the strongest institution of musical education?

I do, though unfortunately today it is no longer at the level it used to be. The case of the Juilliard School is even worse; it cannot be compared at all with the Juilliard of the past, where the LhĂŠvinnes used to teach. Today, any university can have a very good professor, and students may go there specifically to study under him or her. This is common practice as music tuition depends on the person and not on the system. For example, the school of piano at the Mozarteum University in Salzburg did not use to be of the level that it is today because now they have a number of professors that speciffically attract students.

radgan, garda kargi momzadebisa, unda flobdeT vrcel repertuarsac. scodavs Tu ara Jiuri? rasakvirvelia, xSirad Jiuri Zalian did mniSvnelobas aniWebs msmenelis reaqcias, iwyebs flirts msmenelTan, rac saSinelebaa. yvelaze Zlier musikalur saswavleblad isev migaCniaT Tu ara moskovis konservatoria? diax, Tumca samwuxarod, dRes aRaraa im donis, rogoric adre iyo. uaresia juliardis skolis SemTxveva, aranairi Sedareba ar SeiZleba warsulis juliardTan, sadac levinebi aswavlidnen. dRes SeiZleba Zalian kargi profesori iyos nebismier universitetSi da iq specialurad masTan midiodnen saswavleblad. es praqtika gamrTlebulia, radgan swavleba damokidebulia pirovnebebze da ara sistemaze. magaliTad, zalcburgis mocarteumSi ramdenime wlis win safortepiano skola ar iyo im donis, rogorisac dRes aris, imitom rom axla mivida ramdenime iseTi profesori, romlebic izidaven studentebs.

Tu iyo valdebuleba an iZuleba sabWoTa kavSirSi im garkveuli nawarmoebebis Sesrulebisa, romlebic ar gsurdaT? rasakvirvelia, filarmonias hqodna Tavisi gegma, Tu sazRvargareT midiodiT, programas aTanxmebdiT `goskoncertTan~, romelSic aucileblad unda CagerToT sabWoTa kompozitoris nawarmoebi. iZulebiT ki maSinac aravin arafers gaiZulebdaT. maxsovs, Cemma profesorma miTxra, Tu ginda moskovSi binis miReba, unda daukra tixon xrenikovis safortepiano koncertio, ar davukari da verc bina miviRe.

During Soviet times, were you compelled or forced to perform pieces that you may not have wanted to perform?

Of course, the Soviet Philharmonic had its own plan. If you went abroad, you had to coordinate your programme with the Goskontsert (State Concert Association of the USSR) and you had to include works by Soviet composers. As regards being forced to do it, no one ever forced you to do anything then. I remember my professor once told me that if I wanted to receive an apartment in Moscow, I had to play Tikhon Khrennikov’s piano concerto. I did not play it and, correspondingly, did not receive an apartment in Moscow.

Do you get a chance to perform in remote locations? This in itself is a great kindness as people there miss music more than the people in big cities...

This is a great kindness for me as well, perhaps even more so than for the audience. At that time, you realize that what you are doing is essential, much more so then when you play in big cities and great halls.

giwevT xolme periferiebSi dakvra? rac TavisTavad didi sikeTea, iq xom xalxs ufro metad enatreba musika, vidre did qalaqebSi... es CemTvisac sikeTea, SeiZleba ufro metadac, vidre maTTvis, visTvisac vukrav. am dros gesmis, rom rasac akeTeb, es aucilebelia, gacilebiT ufro metad, vidre did qalaqebSi da darbazebSi dakvra.

Tqvenma mowafem, boris berezovskim interviuSi Tqva, rom qali veradros daukravs ise, rogorc mamakaci... es namdvilad asea, qali ver daukravs kaciviT da piriqiT, kaci ver daukravs qaliviT. Tu igulsixma SesaZleblobebi, mamakac piansitebs Sorisac aris didi sxvaoba. risi Zalac Seswevs TviTon berezovskis, bevri sxva pianistisTvis SeiZleba dauZleveli sirTule iyos. sasaciloa amis Tqma, rodesac paganini-listis etudebi

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eZRvneba klara Sumans, rac niSnavs, rom listis drosac ki warmodgena pianist qalebze Zalain maRali iyo. kulturis politika da xelovnebis dargebis subsidireba...

Zalian xSirad momyavs xolme fineTis magaliTi, Tu ratom miaRwia dRes aseT Sedegs am qveynis saSemsruleblo xelovnebam, ratom aqvT aseTi miRwevebi? mxolod imitom, rom iyo saxelmwifo dafinanseba _ esaa erTaderTi axsna. espaneTs rom hqonoda aseTi dafinanaseba adre, dRes masac eyoleboda ukeTesi Semsruleblebi da diriJorebi, Tumca, 90-ianebis dasawyisSi madridSic Seiqmna dedofal sofias skola, rac samomavlod aucileblad gamoiRebs Sedegs.

Telavis festivalis amocana, koncertebi da Ria gakveTilebi...

Telavis festivalis mTavari amocana aris ara mxolod

Your student, Boris Berezovsky, said in an interview that a woman will never be able to play like a man...

This is certainly true; a woman can never play like a man, and vice versa- a man will never be able to play like a woman. If it’s ability that is implied, then it should be noted that there is a big difference between male pianists as well. Something that Berezovsky can do may be impossibly difficult for many other pianists. Saying this is laughable, particularly when Paganini’s etudes were dedicated to Clara Schumann, which means that even during Liszt’s time, women pianists were held in very high regard.

Culture policy and subsidizing various art forms...

I frequently cite Finland as an example of this. How did the performing arts of this country achieve this result today? Why have they accomplished so much? Simply because of state funding; this is the only explanation. Had Spain had such funding earlier, today it would also have had better performers and conductors. However, in the early 1990s, the Queen Sofia College of Music was created in Madrid, which will definitely yield results in the future.

SemsruleblebiT da koncertebiT msmenelis mozidva, aramed, misi saganamaTleblo xasiaTi. ar miyvars sityva maisterklasi! rodesac Tqven aZlevT maisterklass, es garkveulad privilegirebul mdgomareobaSi gayenebT... ubralod, Ria gakveTili, es ufro damajerebelia CemTvis, Tumca aqac SeiZleba iyos sxvaoba: zogi atarebs Sous, sanaxaobas da zogi Cveulebriv Ria gakveTils. xom ar fiqrobT Telavis festivalis funqciis gafarToebaze, magaliTad, festivalTan arsebuli skolis Seqmnaze? es Zalian rTulia, damokidebulia dafinansebasa da droze, ise ra Tqma unda, SesaZlebelia. Tumca, jerjerobiT im formatiT gagrZeldeba, romliTac aqamde iyo. festivalis aRdgenis Semdeg formati isedac Seicvala da gacda kamerul masStabebs, ramac SesaZlebeli gaxada festivalze simfoniebisa da koncertebis Sesruleba. esaubra Salva cxovrebaZe

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The aim, the concerts, and the open lessons at the Telavi Festival...

The main aim of the Telavi Festival is in its educational nature, rather than in its ability to attract an audience with its performers and concerts. I do not like the word master class! When you give a master class, this puts you in a rather privileged position... Simply an open lesson, this is more convincing for me, though there might be some differences here as well – some people hold a show, a spectacle, while others offer a regular open lesson.

Have you considered broadening the function of the Telavi Festival, for instance, by creating a school attached to the Festival?

This is very complicated. It depends on funding, and on time.

Otherwise, naturally, it is possible. However, for the time being the Festival will continue in its current format. The format has already changed since the Festival was restored; it went beyond its chamber scale, which made it possible to perform symphonies and concertos there.

Interview by Shalva Tskhovrebadze

akaki wereTlis saiubileo weli 16 noembers quTaisSi dasrulda

Akaki Tsereteli’s Jubilee Year Closed on November 16 in Kutaisi 24

saqarTvelos kulturisa da ZeglTa dacvis saministrom da quTaisis meriam, saqarTvelos `ugvirgvino mefis~ dabadebidan 175 da gardacvalebidan 100 wlisadmi miZRvnili saRamo lado mesxiSvilis saxelobis saxelmwifo dramatul TeatrSi gamarTa. „quTaisi mWidrodaa dakavSirebuli akakisTan. iuneskos mier wlevandeli welic xom akakis wladaa gamocxadebuli. vfiqrob, Cven swori gadawyvetileba mivReT, roca daskvniTi saRamo swored quTaisSi gavmarTeT“ _ brZana kulturisa da ZeglTa dacvis ministrma mixeil giorgaZem.

The Ministry of Culture and Monument Protection of Georgia and The Kutaisi City Hall arranged a commemorative evening for the 175th birthday and 100th anniversary since the passing of Akaki Tsereteli, Georgia’s “King without a crown”. The event was held at Kutaisi’s Lado Meskhishvili State Drama Theatre.

“Kutaisi is closely connected to Akaki, and UNESCO declared 2015 Akaki’s jubilee year. I believe we made the right decision when we chose to hold the closing evening of his commemorative year in Kutaisi,” said Mikheil Giorgadze, Minister of Culture and Monument Protection.

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Teatris foieSi gamofenili iyo mgosnis cxovrebisa da moRvaweobis amsaxveli fotoebi, plakatebi, posterebi, qarTvel mxatvarTa namuSevrebi, saiubileo albomebi da sxv. reJisorebis manana berikaSvilisa da giorgi sixaruliZis erTobliv namuSevarSi, Tbiliselma da quTaiselma msaxiobebma gaacocxles akakis Tanadrouli garemo, movlenebi, quTaisis bulvari _ `xrikis moedani~... rasac Tan erTvoda akakis leqsebze Seqmnili cnobili hangebi, romlebsac asrulebdnen: eka kaxiani, nato metoniZe, maia jabua, nukri kapanaZe, nini baduraSvili, anri joxaZe, daTo evgeniZe da misi bendi, axalgazrda momRerlebi, msaxiobebi da... rac mTavaria, Tavad mayurebeli.

The theatre foyer had photographs on display showing the poet’s life and works, as well as, among others, posters, paintings of Georgian artists, books, and a jubilee catalogue dedicated to the poet.

In a collaborative work of directors, Manana Berikashvili and Giorgi Sikharulidze, from Tbilisi and Kutaisi, revived the environment and events contemporary to Akaki, as well as Kutaisi’s Boulevard and “Khrikis Moedani” (“Square of Trickery”)... These were accompanied by well-known tunes and songs inspired by Akaki’s poems, which were performed by Eka Kakhiani, Nato Metonidze, Maia Jabua, Nukri Kapanadze, Nini Badurashvili, Anri Jokhadze, Dato Evgenidze and his band, other young singers, and most importantly... the audience itself.

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“We have tried to show that Akaki was not only a great poet, but also a great citizen and public figure; if the themes that worried the poet back then spoke to the Georgians of that time, they are still very much alive today... And this evening illustrates our constant striving for a better future,” said Manana Berikashvili, director and a deputy-minister of The Ministry of Culture and Monument Protection of Georgia.

„Cven vecadeT gveCvenebina, rom akaki ara marto udidesi mgosani, aramed _ didi moqalaqe da sazogado moRvawec iyo; is sawuxari da safiqrali, rac poetsa Tu maSindel qarTvelobas adardebda, dResac ar gamqrala... es saRamoc momavlis imediT gavmarTeT _ gviTxra kulturisa da ZeglTa dacvis ministris moadgilem, reJisorma manana berikaSvilma.

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ulmobeli saqmis kaci Relentless Man of Business

„Sroma kacis guls da sxeuls ar awuxebdes, arc simdabled iTvlebodes“ _ miaCnda sazogadoebrivi winsvlis orientirad qarTvel moazrovnes, publicists, iurists, ekonomists, finansists, sazogado moRvawesa da did praqtikoss, niko nikolaZes. Tavadac ase cxovrobda da qmnida. swored am muxlCauxreli Sromis mematianea memorialuri saxlmuzeumi qvemo imereTSi, did jixaiSSi. 1886 wels, soflis SuagulSi, ulamazes ezo-parkSi, marselis Sindisferi kramitiT daxuruli saxli augia deduleTSi, lorTqifaniZeebiseul miwa-wyalze dasaxlebul nikos. Senoba Semdeg samjer gadaukeTebia, 1910-ian wlebSi ki Svedi arqiteqtoris edmund frikis proeqtis mixedviT misTvis saboloo saxe miucia da aivnebi, marani, sardafi Tu sxva, evropidan gamowerili, ruseTis imperiis masStabiT saxlTmSeneblobaSi pirvelad gamoyenebuli betoniT mougia...

“Work should not disturb the heart and body of Man, and neither should it be considered to be beneath him” –this was the opinion of the Georgian thinker, publicist, lawyer, economist, financial expert, public figure and great practician, Niko Nikoladze. He himself lived and created by this rule, too. The memorial house museum in the village of Didi Jikhaishi, in Imereti province, is a monument to precisely this kind of tireless work. Niko, who had settled on the land of his mother’s family, the Lortkipanidzes, built a house tiled with burgundy-colored Marseilles roof tiles in 1886, in the middle of the village. He altered the structure of the house three times, and gave it its final form in the 1910s, based on a project by Swedish architect Frike. He constructed the balconies, the cellar, and the wine cellar with concrete that was shipped from Europe, unprecedented in the Russian Empire at the time...

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Today this museum holds over 1,340 exhibits, and also includes a rich library. Another important cultural center has been located separately within the house since 1958 – the museum of Giorgi Nikoladze, the mathematician, engineer-metallurgist and inventor, athlete, versatile public figure, and Niko Nikoladze’s son.

On Nikooba (a public celebration dedicated to Niko Nikoladze) as well as on other days, visitors to the museum will notice the first Georgian wind turbine that was built by Niko in 1910 (the structure was used to mechanically pump water out of a well and to supply water to various relatives and buildings in the region). They will also encounter family items and agricultural instruments that Niko Senior brought Giorgi­­­­from Europe or Russia: a laundry washing machine, a sulfur pesticide spraying machine of the Vermolil brand, a bottle corking machine, a bath brought from Berlin, a custom-made sundial that Niko ordered to be constructed in Paris specifically for the village of Jikhaishi, a milk separator and butter churn, an American multilanguage typewriter, one of the first Kodak photo cameras, a hay press brought from Russia... These items remain interesting to this day, so it is easy to imagine how impressive they must have been for the public at the beginning of the previous century, and even earlier!

dRes muzeumi 1340-ze met eqsponats moicavs, arsebobs mdidari biblioTekac. 1958 wlidan am saxlSi calkea ganTavsebuli kidev erTi mniSvnelovani kulturuli kera _ niko nikolaZis vaJis, maTematikosis, inJinermetalurgis da gamomgoneblis, sportsmenis, mravalmxrivi moRvawis giorgi nikolaZis muzeumic. „nikoobasa“ (niko nikolaZisadmi miZRvnil saxalxo dResaswaulze) Tu sxva, Cveulebriv dReebSi eqskursiaze mosuli damTvalierebelis yuradRebas ipyrobs nikos mier saqarTveloSi 1910 wels agebuli pirveli qaris Zrava (am nagebobiT xdeboda wylis meqanikuri amotumbva Widan da mamulis Senoba-nagebobebis, naTesebis wyliT momarageba); saojaxo nivTebi da sasoflo-sameurneo iaraRebi, romlebic mis mieraa evropidan Tu ruseTidan Camotanili: TeTreulis sarecxi manqana, „vermolilis“ firmis gogirdis Sesawamli manqana, boTlebis Tavsacobi manqana, berlinidan Camotanili abano, nikolaZis specSekveTiT sofel jixaiSisTvis parizSi damzadebuli mzis saaTi, rZis separatori da karaqis sadRvebi, londonSi SeZenili ponis etli, amerikaSi damzadebuli simindis saRerRi manqana, aseve amerikuli sabeWdi manqana, romelzec beWdva ramdenime enaze SeiZlebodao, „kodakis“ firmis fotoaparatis erT-erTi pirveli

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modeli, ruseTidan Camotanili Tivis sawnexi manqana... es nivTebi dResac sainteresoa da, advili warmosadgenia, rogor STabeWdilebas moaxdendnen isini gasuli saukunis damdegisa da ufro adrindel sazogadoebaze!

XX saukunis 20-ian wlebSi, roca bolSevikur xelisuflebas niko nikolaZe „gaukulakebia“ da mis kar-midamoSi sxvani SeusaxlebiaT; bevri iSviaTi nivTi dakargula, dRemde SemorCenili eqsponatebi ki mosaxleobasa Tu saxelmwifo SenobebSi wlebis manZilze ugrovebiaT saxl-muzeumis did moamageebs _ Tina WilaZes da mis meuRles, valerian bibileiSvils. swored saxl-

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In the 1920s, when the Bolshevik government labeled Niko Nikoladze a “kulak” and allowed others to settle in his land, many rare items were lost and many of the exhibits that have survived to this day were collected and preserved by the residents, as well as the great caretakers of the house museum, Tina Chiladze and her husband, Valerian Bibileishvili. Tina Chiladze was one of the first directors of the house museum. It is from her private diaries from the 1950s that we find a detailed description of how she, as a young lady, tried to find and preserve Niko’s items, how she used to go to the Central Committee of the Communist Party, the Ministry of Culture, and to the offices of local district officials in order to obtain permission to return the scattered items to the house museum. It is precisely due to the support and help of these people that the memorial items are lovingly restored and kept at their rightful place today.

Visitors to the house museum can receive information on Niko Nikoladze’s multifaceted scientific, publicistic, and social work, but the local vaults are mainly replete with the results of the extraordinary exploits of Niko Nikoladze, the practician.

Archil Jorjadze called him the “relentless man of business” and Ilia (Chavchavadze), Akaki (Tsereteli), and other contemporaries also lavished him with epithets due to his many large-scale activities of national importance.

The first thing you are likely to be told while visiting the house museum is that Niko Nikoladze, who graduated from the University of Zurich, is the first Georgian to have defended his doctoral dissertation and to have received an academic degree abroad (the topic was “Disarmament and its Social-Economic Consequences”). He was a forerunner in many other respects as well. Niko used everything, including his extensive education, reputation, contacts with foreign business circles, scientists, and experts of the highest level, to facilitate the implementation of great international projects in Georgia. In the 1870s he laid the groundwork for the first international Joint-Stock Company in Georgia, Nakhshira, which worked on the extraction, processing, and exportation of natural resources, and which cooperated with foreign businessmen.

In 1872-1874, the first and longest railway line in Transcaucasia was constructed between Poti and Tbilisi under Niko Nikoladze’s direct leadership. He is also the author of the initial idea of transporting oil from Baku to Georgian territory, as well as of the Baku-Batumi oil pipeline project. In the 1880s he brought the Rothschilds, the French millionaires, to Georgia and convinced them to fund and

muzeumis erT-erTi pirveli direqtoris, qalbatoni Tina WilaZis mier 50-ian wlebSi warmoebul pirad dRiurebSia detalurad aRwerili, Tu rogor cdilobda axalgazrda qalbatoni nikoseuli nivTebis moZiebas da gadarCenas, rogor dadioda partiis centralur komitetSi, kulturis saministroSi, raionis adgilobrivi Cinovnikebis kabinetebSi, raTa rogorme gamoeglija gafantuli nivTebis saxl-muzeumisaTvis dabrunebis nebarTva. swored am adamianebis meoxebiT, dRes saTuTadaa aRdgenili da adgilmiCenili es memorialuri nivTebi. saxl-muzeumSi damTvalierebels SeuZlia informacia miiRos niko nikolaZis mravalmxriv samecnieropublicistur, sazogadoebriv moRvaweobaze, magram,

implement this project, within the framework of which the Tsipi tunnel, and the railway line that ran through it, were built at the Rikoti Pass (1884-1888). Together with them, he ran the construction and, subsequently, the operation of the Baku-Batumi oil pipeline for many years. In the latter part of his lifetime, in 1926-1927, he conceived the project of one more oil pipeline, between Grozny and Poti. While discussing the project with the Nobel brothers, he strongly defended his position on the necessity for both pipelines to go through Georgian territory. Upon Niko Nikoladze’s request, the German engineer and entrepreneur Bunge conducted the first process of simultaneously making a telephone call and sending a telegram over a single telegraph line in the world, using the Tbilisi-Kojori line in Georgia.

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upirvelesad, aqauri fondebi didi praqtikosis sakvirveli garjis faqtebiTaa gajerebuli. „ulmobeli saqmis kaci“ uwodebia misTvis arCil jorjaZes da arc ilias, akakis, sxva did Tanamedroveebs dauSurebiaT epiTetebi mravalmxrivi da masStaburi saqveyno saqmeebis gamo. saxl-muzeumSi stumrobisas, uwinaresad, imas getyvian, rom ciurixis universitetis kursdamTavrebuli niko nikolaZe pirveli qarTvelia, romelmac ucxoeTSi daicva sadoqtoro disertacia da samecniero xarisxi moipova (Tema: `ganiaraReba da misi socialurekonomiuri Sedegebi“). is kidev mravali aspeqtiT iyo pirveli. nikom farTo ganaTleba, gamocdileba, avtoriteti, sazRvargareTuli kavSirebi bizneswreebTan, mecnierebTan, umaRlesi donis specialistebTan _ yvelaferi gamoiyena saimisod, rom saqarTveloSi didi saerTaSoriso

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In 1878-1892, Niko Nikoladze was elected as a voting member at the Tbilisi City Council four times. During this time he implemented a number of large-scale projects in the capital, including: constructing electricity infrastructure along the roads of Tbilisi; establishing the first form of public transportation in Tbilisi, a horse-drawn tram, or Konka, in 1883; introducing the electricity-powered tram in 1903;constructing the Vere Bridge; opening the Avchala water supply system (until then the residents of Tbilisi drank the water that was distributed by water carriers from the Mtkvari River); opening Tbilisi’s first power station in 1913, and so forth.

Niko Nikoladze made major contributions to the construction of the funicular and the aerial tramway. He brought the construction material for the aerial tramway from Greece.

Niko Nikoladze authored the projects of the so-called Aramiants Hospital and the Balneology Resort, which was built on Tbilisi’s sulfur springs.

A number of Niko Nikoladze’s large-scale projects were implemented after his passing.

Examples of this are the creation of a centralized

proeqtebi ganxorcielebuliyo. XIX saukunis 70-ian wlebSi man safuZveli Cauyara saqarTveloSi pirvel saerTaSoriso saaqcio sazogadoebas „naxSiras“, romelic Cveni qveynis wiaRiseuli simdidreebis mopoveba-damuSavebaeqsportis sakiTxebze muSaobda da ucxoel biznesmenebTan TanamSromlobda.

1872-74 wlebSi niko nikolaZis uSualo xelmZRvanelobiT gayvanili iqna amierkavkasiaSi pirveli da yvelaze grZeli, foTi-Tbilisis sarkinigzo magistrali. masve ekuTvnis baqos navTobis saqarTvelos teritoriaze tranzitis Tavdapirveli ideac da baqo-baTumis navTobsadenis proeqtic. XIX saukunis 80-ian wlebSi man saqarTveloSi Camoiyvana frangi milionerebi _ rotSildebi, daafinansebina da ganaxorcielebina es proeqti, romlis farglebSic aigo wifis gvirabi rikoTis uReltexilze, masSi ki _ rkinigzis magistrali (1884-88 ww.). igi wlebis manZilze maTTan erTad xelmZRvanelobda baqo-baTumis navTobsadenis jer mSeneblobas da Semdeg _ funqcionerebas. sicocxlis bolos _ 1926-27 wlebSi _ SeimuSava kidev erTi navTobsadenis _ grozno-foTis

sewage system and the supplying of drinking water for Tbilisi via the Natakhtari-Bulachauri water supply system. The project of the Tbilisi Sea also belongs to him (Niko Nikoladze wanted to create a cascade of artificial lakes at the current location of the Tbilisi Sea, in order to neutralize dry and poisonous air and to improve the climate. Later, in the 1950s, this project was implemented on a much larger scale, and one immense artificial reservoir was created in place of the lakes).

And still, Niko Nikoladze’s greatest efforts are connected with Poti and its port. This was the project of the century, with which he realized the aspirations of his youth as well as the experience of his later years.

When the “relentless man of business” took over Poti, the city budget consisted of 75,000 rubles. When enemies forced him to leave his position due to unfounded accusations, the city coffers had increased by 723,000 rubles. History

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_ proeqti. Zmeb nobelebTan kamaTisas mudam mtkiced icavda Tavis pozicias orive navTobsadenis usaTuod saqarTvelos teritoriaze gavlis Sesaxeb. niko nikolaZis TxovniT, germanelma inJiner-mewarme bungem, msoflioSi pirvelad, swored saqarTveloSi, Tbilisi-kojris telegrafis xazze ganaxorciela erT xazSi telefoniT laparakisa da depeSebis erTdroulad gadacemis procesi.

1878-92 wlebSi, niko nikolaZe oTxgzis iyo arCeuli Tbilisis qalaqis sabWos xmosnad. man am periodSi araerTi masStaburi proeqti ganaxorciela dedaqalaqSi, maT Soris: Tbilisis quCebis eleqtroficireba; 1883 wlidan Tbilisis pirveli sazogadoebrivi transportis _ cxenis tramvais, anu `konkas~ SemoReba, 1903 wlidan _ eleqtrotramvais amoqmedeba; veris xidis mSenebloba; avWalis wyalsadenis gaxsna (manamde Tbilisis mosaxleoba mtkvridan TuluxCebis mier amotanil wyals svamda); 1913 wels Tbilisis pirveli eleqtrosadguris gaxsna da mravali sxva. niko nikolaZes udidesi wvlili miuZRvis funikuliorisa da sabagiro gzis mSeneblobaSi. man saberZneTidan Camoitana saSeni masala, riTac sabagiro

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remembers that for the first time in the Russian Empire, the Poti city head, Niko Nikoladze printed 3% bonds, amounting to 1,400,000 rubles, in order to build a great port city: he established the first half-kopek (by pound of weight) customs duty, with which he facilitated the city’s development.

Through Poti local government regulations, Niko Nikoladze created the first precedent of an independent economic region within the Russian Empire (which is a predecessor of the contemporary free economic zone) – both the port and the city were self-funding, and made significant payments to the state treasury.

And finally – Jikhaishi! Where Niko Nikoladze practically realized an important part of his ideas over a period of 35 years, and where

gza aages. niko nikolaZea avtori e.w. `aramiancisa~ da gogirdis abanoebze balneologiuri kurortis mSeneblobis proeqtebisa. niko nikolaZis gardacvalebis Semdeg ganxorcielda misi kidev ramdenime masStaburi proeqti _ Tbilisis centralizebuli kanalizaciis gayvanis da nataxtarbulaCauris wyalsadeniT Tbilisis momaragebis; masve ekuTvnis Tbilisis zRvis proeqtic (niko nikolaZes surda, dRevandeli Tbilisis zRvis adgilas, mSrali da Sxamiani haeris gadatexisa da klimatis gaumjobesebisTvis, Seqmniliyo xelovnuri tbebis kaskadi. mogvianebiT, 50-ian wlebSi es proeqti gacilebiT masStaburad ganaxorcielda da tbebis nacvlad uzarmazari xelovnuri wyalsacavi gaSenda). da mainc, niko nikolaZis yvelaze didi Zalisxmeva foTTan da mis portTanaa dakavSirebuli. es iyo saukunis proeqti, romliTac ganaxorciela misi axalgazrdobis droindeli miswrafebebic da siWarmagis gamocdilebac. „ulmobelma saqmis kacma“ foTi rom Caibara, maSin qalaqis biujeti 75 aTas maneTs Seadgenda; roca mtrebma usafuZvlo braldebebiT, iZulebiT daatovebines Tanamdeboba, qalaqis `didi qisa~ ukve 723 300 maneTiT „gaberiliyo.“ istoriis furclebs SemorCa isic, rom foTis `qalaqisTavma~ niko nikolaZem 1896 wels dabeWda ruseTis imperiis masStabiT pirveli samprocentiani obligacia _ didi saporto qalaqis asaSeneblad, 1 400 000 maneTis odenobiT: daawesa pirveli sabaJo („safuTo“) naxevarkapikiani gadasaxadi, riTac xeli Seuwyo qalaqis keTilmowyobas. foTis TviTmmarTvelobis ganawesiT niko nikolaZem imperiaSi pirveli precendenti dauSva damoukidebeli ekonomikuri regionis Seqmnisa (dRevandeli „Tavisufali ekonomikuri zonis“ winamorbedi) _ portic da qalaqic sakuTar Tavs TviTon ifinansebda da saxelmwifo xazinaSic sakmao gadasaxadi Sehqonda. dabolos _ jixaiSi! sadac niko nikolaZe 35 wlis ganmavlobaSi praqtikulad xorcs asxamda ideebis mniSvnelovan nawils, sakuTari meurneoba didmniSvnelovan sacdel sadgurad aqcia. 1894 wels misi xelmZRvanelobiT gayvanili xonis sarwyavi arxi, romelmac iqauri miwebi gaacocxla, faqtobrivad, pirveli sarwyavi sistemaa mTel dasavleT saqarTveloSi. niko cdilobda eleqtrifikaciis danergvas soflis meurneobaSi. pirvelma Semoiyvana da gaavrcela mravali qveynis sxvadasxva jiSis frinveli da cxoveli. TanamedroveTa mogonebebiT, nikos mamulSi naxavdiT: maltur Txas, ruanis ixvs, iorkSiris Rors, espanur virs, holandiur Zroxas, senbernaris jiSis ZaRlebs da sxva. ezoparkSi ki dRemdea daculi: seqvoia, araukaria, qonis xe, sapnis xe, korpis muxa, amerikuli kakali da sxva unikaluri mcenareebi.

he fashioned his household into an important experimental station.

The Khoni irrigation channel, which was constructed in 1894 under his leadership and which revived the lands in the region, is in fact the first irrigation system in all of western Georgia. Niko tried to introduce electricity to the agricultural process. He introduced and ensured the propagation of various plant and animal species from different countries. According to his contemporaries, you could find Maltese goats, Rouen ducks, Yorkshire pigs, Spanish donkeys, Dutch cows, Saint Bernard dogs, and various other animals on his grounds. And sequoias, araucarias, tallow trees, red ashes, cork oaks, American walnut trees, and other unique species of plants are still protected in the park to this day.

At an agricultural exhibition in 1897, Niko Nikoladze presented the trifoliate (bitter lemon), which he had brought from abroad and

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1897 wels niko nikolaZes sasoflo-sameurneo gamofenaze warudgenia mis mier Camotanili da Tavis mamulSi cocxal Robeebad gavrcelebuli trifoliati (mware limoni), romelsac adgilobrivebi „nikolaZis ekals“ eZaxdnen. 1913 wels peterburgSi mowyobil gamofenaze man foTis baRidan da jixaiSidan SerCeuli eqsponatebi gagzavna. sanimuSod hqonda gaSenebuli Tavisi tye. holandiis magaliTze man melioraciisa da irigaciis magaliTebic uCvena Tanasoflelebs. cnobilia misi ojaxis wvlili dasavleT saqarTveloSi meabreSumeobis ganviTarebaSi. didi amagi dasdo nikom saqarTveloSi mevenaxeobisa da meRvineobis ganviTarebasac _ sakoleqcio nakveTze, vazis sxvadasxva jiSi hqonda gaSenebuli.

1912 wels niko nikolaZem aRZra sakiTxi „quTaisis meRvineTa aqcioneruli sazogadoebis“ daarsebis Sesaxeb, rac miznad isaxavda Rvinis sardafebis mowyobas quTaissa da zestafonSi. did jixaiSSi, nikos saxlis qveS, dRemde SemorCenilia betoniT naSeni Rvinis sardafi, sadac qvevrebsa da muxis kasrebSi inaxeboda Rvino. did jixaiSSi nikom pirvelma SemoiRo xilis Rvinis damzadeba, rac

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planted as a live hedge on his estate. The locals called it “Nikoladze’s Thorn.” In 1913, he sent choice exhibits from the Poti garden and from Jikhaishi to an exhibition held in Saint Petersburg. He had planted his own model forest. Using the example of the Netherlands, he showed his fellow villagers examples of land improvement and irrigation.

His family’s contribution to the development of seri-culture in western Georgia is well known. Niko also put in a great deal of effort towards the development of viticulture and winemaking in Georgia, cultivating various species of the grapevine on a collection plot. In 1912, Niko Nikoladze raised the issue of establishing the Kutaisi Winemakers’ Joint-Stock Company, which aimed to create wine cellars in Kutaisi and Zestaponi.The concrete

sagangebod Seiswavla safrangeTSi. niko nikolaZe mudam cdilobda, daxmareboda Tanamemamuleebs siaxlis Secnobasa da praqtikul danergvaSi, glexobaSi gaeRvivebina Svilebis swavlaganaTlebisadmi interesi. 1925 wels, swored misi moTxovniTa da rCeviT, nikolaZianT „gakulakebul“ mamulSi gaixsna dabali safexuris sasoflo-sameurneo skola, romelic 1930 wels teqnikumad gadakeTda... niko nikolaZe Rrma siberemde `ebrZoda~ saqmes. axali Taoba, albaT, misi magaliTiT unda swavlobdes qveynis msaxurebas, Sromis siyvaruls, progresuli azrovnebis kulturas. istoriis nebismier saskolo saxelmZRvanelos daamSvenebda dokumenturi masala didi mamuliSvilis, „ulmobeli saqmis kacis“, niko nikolaZis moRvaweobis Sesaxeb.

wine cellar in which wine was preserved in Qvevris (traditional Georgian clay vessel for storing wine) and wooden casks survives to this day under Niko’s house in Didi Jikhaishi. Niko introduced the making of fruit wines which he had learned in France.

Niko Nikoladze always tried to assist his fellow countrymen with the comprehension and practical implementation of innovation, and to encourage farmers to see the importance of education for their children. At his insistence and recommendation, a basic school of agriculture was founded in the Nikoladze kulak estate in 1925, and was made into a technical college in 1930.

Niko Nikoladze worked hard all the way through to his old age. New generations should learn the service of their country, the love of work, and the culture of progressive thought from his example. Any school history textbook would do well to include documentary material on the life of Niko Nikoladze, the great patriot, the “relentless man of business.”

nanuli cxvediani

Nanuli Tskhvediani

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sastumros fanjridan moCanda tye. namdvili, Semodgomis, frankfurtuli tye. mSvenieri xedi iyo da mSvenieri sastumro. oRond Sors. bazrobamde misaRwevad an tye unda gadameWra, mere cota xans avtobusiT mevlo, mere TxuTmetiode wuTi kvlav fexiT mecuncula, mere tramvaiSi Cavmjdariyavi da merve gaCerebaze Camovsuliyavi, an taqsiT mesargebla, romelic iafi namdvilad araa. did sizarmacesa da siZunwes Soris brZolaSi sizarmacem gaimarjva: Rrmad CavisunTqe da taqsi gavaCere.

CemTvis es meCvidmete wignis bazroba iyo. gadavwyvite, ocdaxuTamde avide da mere mxolod im SemTxvevaSi vewvio bazrobis koSks, Tu lurj divanze mimiwveven an mSvidobis premias gadmomcemen, rac Zalian saeWvod mesaxeba. imedia, im droisTvis mainc SemeSveba is ucnauri cieb-cxeleba, romelic oqtombris dasawyisSi mewyeba xolme. me mgoni, yvelas ewyeba, vinc erTxel mainc yofila am dros frankfurtSi: minda, Zalian minda da ra vqna?! am wlebis ganmavlobaSi uamravi ram Seicvala.

You could see the forest from the hotel window: a real autumn Frankfurt forest. The view was wonderful, and so was the hotel. It was remote, though. In order to get to the BookFair I either had to cross the forest, then go a bit by bus, then walk about fifteen minutes, and then taken the tram for eight more stops, or I had to use the taxi, which certainly was not cheap. The battle between great laziness and greediness was won by the former. I took a deep breath and hailed a taxi.

This was the seventeenth Book Fair for me.

I decided to go keep going until the 25th, and then to only visit the Fair’s tower if they invited me to the Blue Sofa or if they presented me with the Peace Prize, which seems highly doubtful. I hope that at least by then I will be free of this strange sensation of feverand chills that I usually experience at the beginning of October. I think everyone who has visited Frankfurt at least once gets it: I just want to, very much – what can I do?!

Innumerable things have changed throughout the years – mostly me, probably, but other things are obviously different as well. For instance, even the great German publishing houses have succumbed to stinginess and no longer gift books, even if you were to weep

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ZiriTadad, albaT, me TviTon, magram isedac, raRacebi aSkarad sxvanairia. Tundac is, rom germaniis didi gamomcemlobebic ki gawuwkdnen da, sul rom stendTan atirde, wignebs aRar gaCuqeben. amaze cota ki gavjavrdi, magram ar midardia _ wlebma Wkua maswavla, rom wigni kargia, magram mZimea, da sakuTari janmrTeloba ufro Zvirad miRirs, da arc zedmeti wonis gamo aeroportSi yayania didi siamovneba. adre giJiviT davqrodi pavilionebSi, yvelafris, sul yvelafris moswreba mindoda, axla ki Zalian dinjad varCevdi sanaxavs da dasaTvalierebels, da mainc saSinlad daviRale, da am ambavs, jerjerobiT, verafriT vxsni. uwin bazrobaze arc amdeni „manga bavSvi“ dadioda, ufro laifcigis wignis bazrobis personaJebi iyvnen, axla ki aqac sul sacobebs qmnian, da miuxedavad imisa, rom TavisTavad, cxadia, kargia, rom wignis bazrobas amdeni mozardi eswreba, da zogs isini mxiarul sanaxaobadac ki miaCnia, me aSkarad mabrazeben. ai, maT gamo wels riudiger safranskis ver movusmine, arada, mindoda. me ar miyvars manga bavSvebi. saerTod, bevri ram ver vqeni da ver movaswari. adre Zalian vidardebdi, axla ki _ ra gaewyoba. mTavaria, rom bazrobaze viyavi da Zalian kargi iyo. rogorc yovelTvis. ucnauri ambebi xdeba cisqveSeTSi. wels bazrobam ganacxada, rom eritreadan da siriidan ltolvilebs bazrobaze ufasod SeuZliaT Sesvla. maTTvis bileTebi sagangebod dajavSnes, da batonma iurgen boosma, bazrobis direqtorma, brZana, jgufebs bazrobaze megzurobas arabulis mcodne xalxi gauwevs da yvela kmayofili dagvirCeba, siriidanac ki Camodian gamomcemlebio.

in front of the stand. I was slightly angry about this but I did not worry – the years have taught me that while books are good, they are also heavy, and that my health is worth more, and that the excess weight-related commotion at the airport is also not particularly pleasant. Earlier, I used to rush from pavilion to pavilion like crazy; I wanted to have enough time for everything, absolutely everything.

This time I calmly chose what to see and examine, and I still ended up being exhausted – I have found no explanation for this yet. Earlier there didn’t use to be so many “manga kids” at the Fair, too; instead, they used to be the characters of the Leipzig Book Fair. But now they created gridlocks here as well and even though it is obviously good that so many adolescents attend book fairs, and some of them even consider them to be fun, they frankly make me angry. It is because of them that I couldn’t listen to Rüdiger Safranski, even though I really wanted to. I have no love for manga kids.

Generally, I couldn’t manage to do many things, didn’t have enough time for many things. This would have worried me earlier but now – oh well, what can you do. The main thing is that I attended the Fair, and it was very good. As always.

Strange things happen under the sun.

This year the Fair declared that refugees from Syria and Eritrea would be able to attend for free. Tickets were specially booked for them and Mr. Juergen Boos, the director of the Fair, stated that the groups would be accompanied by Arabic language speakers and that everyone would be satisfied, and that publishers were arriving even from Syria. Several weeks earlier, the Book Fair, together with the German Publishers and Booksellers Association, initiated a special campaign and opened reading and study “corners” near refugee settlements.

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ramdenime kviriT adre bazrobam, germaniis wigniT movaWreTa birJebis gaerTianebasTan erTad, sagangebo kampania wamoiwyo da ltolvilTa dasaxlebebis siaxloves sakiTxavi da saswavlo „kuTxeebi“ gaxsna. iranis mTavrobas ki problema Seeqmna, gadauWreli, ris gamoc qveyanam wlevandel bazrobaSi monawileobaze uari Tqva. problema gaxldaT Cemi sayvareli salman ruSdi. marTalia, bevri ram Seicvala mas mere, rac 1989 wels aiaTola homeinim ganaCeni gamoutana _ maSin mTlad „islamis Seuracxmyofeli wignebis“ avtori vera, magram misi mTargmneli ki mokles, magram salman ruSdi mainc problemad darCa, da imis gamo, rom 13 oqtombers bazrobas unda swveoda, amxela qveyanam amxela bazrobaSi monawileobaze uari Tqva. ruSdis axali wigni dauweria, „ori weli, rva Tve da ocdarva Rame“, didi gmirebis da didi siyvarulis _ da religiuri omebis Sesaxeb. me mas ver Cavuswari da ase, verc salman ruSdi vnaxe da verc iranuli wignebi. verc mSvidobis premiis gadacemas daveswari. maincdamainc arc gavqaCulvar, radgan, Cemda samarcxvinod, namdvilad ar vicodi, vin iyo navid qermani. is yofila germaneli mwerali, aRmosavleTmcodne da eseisti, romelic Tavis samecniero naSromebSi mistikis, esTetikis da Teodiceas sakiTxebs exeba, da didebuli romanebi da eseebic dauweria. ar wamikiTxavs, magram mjera, da vecdebi, wavikiTxo _ germanuli mSvidobis premiis laureatebs jer imedi arasodes gaucruebiaT, marto svetlana aleqsieviCi, martin valzeri, orhan famuqi, iaSar qemali Tu siuzen zontagi rad Rirs... mokled, navid qermani wasakiTxi gvqonia. iseve, rogorc indonezieli avtorebi. wels bazrobis stumari qveyana indonezia iyo. mSvenieri ambavi. „warmosaxvis 17 000 kunZuli“. indoneziaSi Cvidmeti aTasi kunZuli yofila, ras vifiqrebdi! araCveulebrivad lamazi, sul gansxvavebuli kunZulebi, did-patara, feradferadi, surnelovani da stumarTmoyvare. da wignieri, Tan Zalian. mTavar darbazSi, sadac mSvenieri musika JRerda, Crdilebis cekvac vnaxae da batikac, leqsebic movismine da quCis mxatvrobis nimuSebic davaTvaliere, da vnaxe wignebi, wignebi, wignebis zRva. iqidan araferi wamikiTxavs, magram rogor davijero, 17 000 kunZulze 17 Zalian magari wigni mainc ar iqneba?! mere germanulad Targmnili indoneziuri literaturis nusxaSi Cavixede da elda meca da cota SemSurda kidec, imitom rom Cven frankfurtis stumrebi 2018 wels viqnebiT, cxadia, Tu meored mosvla an rame msgavsi ar moxda... momavali weli niderlandebisaa, mere stumari qveyana safrangeTi iqneba, da mere _ Cven. hoda, davelodoT...

The Iranian government, on the other hand, was faced with a problem – an insurmountable one it seems, because of which the country refused to participate in this year’s Fair. The problem was my beloved Salman Rushdie. Even though many things changed since Ayatollah Khomeini issued the fatwa (calling for his assassination) – they never got to the author of the “books that insulted Islam” but they did manage to kill their translator – Salman Rushdie nonetheless remained a problem, and this huge country refused to participate in the Fair because he was supposed to visit it on the 13 th of October. Rushdie had written a new book, entitled Two Years Eight Months and Twenty-Eight Nights, about heroes and great love and religious war. I was unable to get there in time so I missed both Salman Rushdie and the Iranian books.

I was also unable to attend the presentation of the Peace Prize. I didn’t really exert myself as, to my shame, I really did not know who Navid Kermaniwas. He turned out to be a German writer, essayist, and Middle Eastern Studies expert who explores mysticism, aesthetics, and theodicy in his works, while also writing great novels and essays. I have not read his works but I trust the assessment, and I will try to read them. After all, German

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Peace Prize laureates never disappoint – Svetlana Alexievich, Martin Walser, Orhan Pamuk, Yaşar Kemal, and Susan Sontag alone are worth so much... In short, we will need to read Navid Kermani’s works.

The same goes for Indonesian authors. This year, Indonesia was the guest country at the Fair. How wonderful. 17,000 Islands of Imagination. Apparently there are seventeen thousand islands in Indonesia – who would have thought! Extraordinarily beautiful, distinct islands, colorful, big and small, fragrant and hospitable.

And, book-loving, too – greatly so. In the main hall, where wonderful music was playing, I saw the dancing shadows as well as batik, I listened to poems and saw the works of street art, and I saw books upon books – a sea of books. I haven’t read any of them but I could hardly believe that there won’t be at least 17 really great books in 17,000 islands! Then I looked at the list of Indonesian literature that had been translated into German and I was surprised, and also slightly envious, as we will be the guests in Frankfurt in 2018 – unless, of course, the Second Coming or something similar takes place before then... The guest country next year is the Netherlands, and France after that, and then it will be our turn. So, let’s wait...

bazrobis dros mTeli qalaqi kiTxulobs. TavisTvis ki ara, xmamaRla. sajaro kiTxvebi yvelgan imarTeba. kiTxuloben quCaSi, wignis maRaziebSi, biblioTekebSi, Zvel ratuSaSi da sakoncerto darbazebSi _ yvelgan, da es Zalian magaria! erTia, rom yvelgan ver miaswreb da guldasawyvetia xolme. magaliTad, siamovnebiT movusmendi nil makgregors, magram ver mivuswari, da zaza burWulaZis sajaro kiTxvaze amovyavi Tavi, rac cudi namdvilad ar iyo, ubralod, zazas kidev moveswrebi da imas sad vdio... mere ki, tradiciulad, rogorc wesi da rigia, Cemi frankfurtebis maradiul TanamgzavrTan, laSa baqraZesTan erTad wavedi mTavar saguSagosTan, da Semodgomis susxian saRamos CamovdeqiT daxlebTan da davlieT SesaniSnavi, cxeli, vaSlis Rvino. Stedelis muzeumSic viyaviT da iseTi gamofena vnaxe, arasodes damaviwydeba, da mainzec viseirneT mSvenieri gemiT, da saerTod, Zalian kargi iyo es Cemi frankfurti. rogorc yovelTvis.

The entire city is reading during the fair; not to themselves but aloud. Public reading sessions are being held everywhere. Books are being read in the street, in bookstores, in libraries, at the old city hall and at the concert hall – in other words, everywhere, and this is really great! One thing is that you cannot be everywhere, and this is sometimes disappointing. For example, I would have gladly listened to Neil Mac Gregor but I was unable to get there on time so I ended up at a public reading by Zaza Burchuladze, which was definitely not bad, it’s just that I will be able to listen to Zaza again, whereas I might not get another chance to meet Neil Mac Gregor...

Then, as per tradition, as is fitting and appropriate, I went to the main checkpoint together with the eternal companion of my trips to Frankfurt, Lasha Bakradze, and on a chilly autumn evening we set at the stalls and drank fantastic hot apple wine. We also went to the Städel Museum where I saw an exhibition that I will never forget, and we went on a wonderful boat trip on the Main, and overall, my trip to Frankfurt was excellent. As always.

ana korZaia-samadaSvili

by Ana Kordzaia-Samadashvili

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2018 weli frankfurtis saerTaSoriso wignis bazroba saqarTvelo - sapatio stumari qveyana

S.O.S. Self-Organized Systems

TviTorganizebadi sistemebi es trienalea da Tan ukve meore TbilisSi. gamofenebiT, vorkSopebiT, leqciebiT, prezentaciebiT datvirTuli, saintereso oqtombris Tve. gansxvavebuli adamianebis erT sivrceSi Tavmoyra, maTi socializacia, informaciisa da gamocdilebis gacvlagamocvla.

This is the Triennial, and the second one at that, in Tbilisi. An October loaded with exhibitions, workshops, lectures, and presentations. Bringing different people together in one space, allowing them to socialize, and share information and experience.

saqarTvelo arsebuli akrZalvebiT savse sivrcidan TviTdamkvidrebisa da komunikaciis axali formebisa da SesaZleblobebis maZiebel subieqtad gvevlineba. yalibdeba damoukidebel struqturad, sakuTari Tavis anabara, SezRudvidan axali SesaZleblobebis ZiebaSi. transformirebuli struqturebi ki e.w. „avtopoeur sistemebad“ moiazreba, romlebsac TviTSenarCunebisa da TviTrealizaciis unari SeswevT („termini „poezia“ nostalgiasTan mWidro kavSirSi myofi qveynis koleqtiuri mexsierebis gamoxatvisa da interpretaciis erT-erTi gavrcelebuli instrumentia. „autopoiesisi“ ki _ vizualuri poeziis axali formis meSveobiT wrebrunvis,

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Georgia emerges from restricted space as an entity searching for identity and new forms and opportunities of communication.

Coming from a state of restriction and looking for new opportunities, it develops as an independent, self-reliant structure. Transformed structures can be considered as so-called autopoietic systems, which are capable of self-maintenance and of self-actualization (The term poetry is one of the widespread instruments serving the expression and interpretation of collective memory in a country that is firmly connected with nostalgia. Autopoesis, on the other hand, is the comprehension of circularity, of mutual influence, of the complexities of an environment in perpetual flux,through new forms of visual poetry).

urTierTgavlenis, maradganaxlebadi garemos sirTuleebis gaazrebaa“). daibeniT? Tavidan mec da uamravi kiTxviT Tanamedrove xelovnebis centrSi (qarTuli medicinis istoriis muzeumi) aRmovCndi, mis iniciator vato wereTelTan. es damoukidebeli, arasamewarmeo, interesTa jgufze dafuZnebuli instituciaa, romelic platformis saxiT funqcionirebs. aq erTmaneTs ukavSirdebian da codnasa da gamocdilebas uziareben saerTaSoriso, regionul Tu adgilobriv saxelovnebo sferoSi momuSave pirebi _ kuratorebi, artistebi, studentebi an ubralod xelovnebis damfasebeli Tu moyvaruli adamianebi. swored am saxelovnebo sivrcem umaspinZla Tbilisis trienales gamofenebs, leqciebs, prezentaciebs. bienaleebi, trienaleebi, vatos TqmiT, ZiriTadad, qalaqze akeTeben brendirebas. TbilisisTvis gadamwyveti da warmatebuli ki strategiis Secvla, anu ara qalaqis, aramed Sinaarsis brendireba aRmoCnda. Tema _ isev da isev ganaTleba, codna da kvlevaa. bunebrivia, TbilisSic trienales formati RonisZiebis yovel mesame weliwads Catarebas gulisxmobs. programa erTi Tvis ganmavlobaSi mimdinare gamofenebis, vorkSopebisa da sxva sazogadoebrivi aqtivobebis serias aerTianebs.

Confused? So was I, at first, and with innumerable questions in mind I found myself at the Centre of Contemporary Art (located at the Museum of History of Georgian Medicine), meeting with Vato Tsereteli, its creator. This is an independent, non-entrepreneurial institution based on interest groups,which functions as a platform.

Persons working in international, regional, or local spheres of art contact each other here to share knowledge and experience. These include curators, artists, students, or simply art aficionados and laypersons. Precisely this art space hosted the exhibitions, lectures,

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Tbilisis trienale 2015-is Tema „TviTorganizebadi sistemebi“ iyo. pirveli RonisZieba 2012 wels Catarda Temaze „araformaluri saxelovnebo ganaTleba“. iciT es ras niSnavs? zog alternatiul-eqsperimentul saganmanaTleblo institucias ar aqvs licenziis aRebis Tu akreditaciis survili, unda legalurad eweodes saqmianobas, oRond saxelmwifos mxridan yovelgvari Carevisa da kontrolis gareSe. pirvel trienaleze TbilisSi mowveuli iyo msoflios cameti sxvadasxva skola, maT Soris swored amgvari saswavleblebi, romlebmac erTi Tvis manZilze sxvadasxva vorkSopi, prezentacia Tu gamofena SesTavazes damTvalierebels. am proeqtma didi gamoxmaureba hpova rogorc sazogadoebaSi, aseve saxelovnebo wreebSi, ramac Tbilisis meore trienale ufro mravalferovani da saintereso gaxada. amjerad monawileoba 109 qarTvelma da 22 qveynidan (saqarTvelos garda dania, fineTi, avstria, avstralia, espaneTi, aSS, TurqeTi, italia, axali zelandia, litva, CexeTi, Sveicaria, kolumbia, slovakeTi, SvedeTi, norvegia, germania, belarusi, holandia, azerbaijani, didi britaneTi, somxeTi) mowveulma artistebma, mxatvrebma, Teoretikosebma, prodiuserebma da SemoqmedebiTma koleqtivebma miiRes.

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and presentations of the Tbilisi Triennial.

According to Vato, biennials and triennials mainly use cities as the focus of their brands. For Tbilisi, however, changing the strategy and branding the content, rather than the city, proved to be decisive. The topic was, once again, education, knowledge, research.

Naturally, the triennial format implies holding the events every three years. The program unites exhibitions, workshops, and the series of other public activities that take place during one month.

The topic of the 2015 Tbilisi Triennial was self-organizing systems.

The first event took place in 2012 and the topic then was informal art education. Do you know what this means? Some alternative experimental educational institutions do not wish to obtain a license or to receive accreditation – they wish to conduct their business legally but without any kind of involvement or control from the state. Thirteen different schools were invited to the first Triennial in Tbilisi, including precisely these types of educational institutions.

They offered various workshops, presentations, and exhibitions to the participants throughout the month. This project received a lot of exposure in public as well as artistic circles, which made the second Triennial an even more interesting and diverse event. This time, the event was attended by 109 Georgians and artists, painters, theoreticians, producers, and creative teams from 22 countries in addition to Georgia (Denmark, Finland, Austria, Australia, Spain, the United States, Turkey, Italy, New Zealand, Lithuania, the Czech Republic, Switzerland, Colombia, Slovakia, Sweden, Norway, Germany, Belarus, the Netherlands, Azerbaijan, Great Britain, and Armenia).

Self-organizing systems, the topic of this year’s Triennial, is particularly interesting and relevant for us as a post-Soviet country.

Any democratic society in the process of political and social transformation needs to acquire the knowledge and to activate the mechanisms that will provide it with an opportunity to express initiative and to organize its self-governance.

We have often heard the opinion whereby civic activism and involvement in social processes is supposedly not a part of Georgian culture. The perception of public space disappears when the motivation to take care of common goals, and the understanding

wlevandeli trienales Tema „TviTorganizebadi sistemebi“ CvenTvis, rogorc postsabWoTa qveynisTvis, gansakuTrebiT aqtualuri da sainteresoa. nebismieri demokratiuli, politikuri da socialuri transformaciis procesSi myof sazogadoebas esaWiroeba im codnis miReba da meqanizmebis amuSaveba, romlebic mas iniciativis gamoxatvisa da TviTmmarTvelobis organizebis SesaZleblobas miscems. xSirad mogvismenia mosazreba, TiTqos samoqalaqo aqtivoba da sazogadoebriv procesebSi monawileoba ar iyos qarTuli kulturis nawili. socialur problemebTan WidilSi saerTo saqmeze zrunvis xalisi da mniSvneloba imdenad sustdeba, rom ikargeba sajaro sivrcis aRqma. amas emateba wlebis ganmavlobaSi gamjdari iniciativis SiSi („iniciativa dasjadia“), rac ase axasiaTebs postsabWoTa sazogadoebas. Tumca am mosazrebis sapirispirod unda aRiniSnos, rom saqarTveloSi Tavs iCenda adgilobrivi iniciativebi _ adamianebi saerTo problemebis garSemo erTiandebodnen da sazogadoebriv-kulturul gaerTianebebsac qmnidnen. gasabWoebamde saqarTveloSi TviTorganizebis araerTi SemTxvevaa cnobili. arsebobda emansipirebul qalTa

of the importance thereof, become diminished due to the constant struggle with social problems. This is further compounded by the fear of initiative that has been instilled in people over so many years (“no good deed goes unpunished”), and which is so characteristic of post-Soviet societies. It should be noted, however, that there used to be local initiatives in Georgia, people used to unite to face common problems, and they used to create social and cultural unions as well. Numerous instances of self-organization are documented in pre-Soviet Georgia. There were unions of emancipated women in cities, small towns, and villages; they used to engage in needlework and at the same time they used to have the ambition to establish schools, and to ensure education and public development in general.

The theatre and book depository or library of Kvemo Machkhaani (in Kakheti Province)would serve as a good example of this. They were created at the end of the 19th centurythrough the initiative, wish, and efforts of the Kiziqians (residents of a historic region of Kakheti Province that includes the town of Sighnaghi and adjacent territories), who were united by common interest. Communists forcibly replaced free initiative with collectives, which destroyed the motivation to work towards fulfilling public goals. The knowledge and experience acquired through sharing was replaced by an enforced hierarchical structure where only a small group of people made all the

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gaerTianebebi _ qalaqebSi, dabebSi, soflebSi, xelsaqmesac akeTebdnen da paralelurad imis ambiciac hqondaT, rom daearsebinaT skolebi, ezrunaT codnis miRebasa da zogadad, sazogadoebriv winsvlaze. amis karg magaliTad Tundac qvemo maCxaanis Teatri da wignTsacavi Tu biblioTeka gamodgeba, romlebic saerTo interesebis mqone qiziyelebma sakuTari iniciativiT, surviliT da ZalisxmeviT Seqmnes XIX saukunis bolos. komunistebma Tavisufali iniciativa Zaladobrivad koleqtivebiT Caanacvles, ramac sazogadoebrivi saqmis keTebis xalisi Caaqro. adamianTa Soris urTierTgaziarebis Sedegad miRebuli codna da gamocdileba iZulebiTi ierarqiuli struqturiT Seicvala, sadac gadawyvetilebas adamianTa mxolod mcire jgufi iRebda. TviTorganizebis mcdeloba sawyis etapzeve miuRebeli xdeboda, ris Sedegadac, sabWoTa kavSiris daSlis Semdeg, sazogadoebis sxvadasxva wreebi erTmaneTTan komunikaciisTvis uunaro aRmoCnda. am Cixidan gamosvla SesaZlebeli iyo mxolod TiToeuli adamianis mier sakuTari Tavis, ojaxis, saqmis da qveynis winaSe valdebulebis, pasuxismgeblobis gaazrebiT. swored am TviTorganizebadi sistemebis Seqmnasa da aRdgenaze fiqrs emsaxureboda Tbilisis wlevandeli trienale, Tan amjerad es RonisZieba mTavrobis TviTmmarTvelobis reformas daemTxva, ramac mas kidev

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decisions. Even the initial stages of attempting self-organization were unacceptable, which caused various segments of society to become unable to communicate with oneanothereven after the dissolution of the Soviet Union. This dead end could only be overcome by each individual person realizing their obligations and responsibilities towards their family, their country, and their work.

This year’s Tbilisi Triennial focused on the creation and restoration of precisely these self-organizing systems. Furthermore, this time the event coincided with the governmental reform of self-governance, which made it even more relevant.

Self-organization is essential in art as well as any other field.

Independent creative platforms and groups from around the world presented their self-organization-related experiencesin various ways. They did so in order to understand its importance and discover ways of overcoming obstacles. Each participant appeared to us as the curator as well as producer of his or her exhibition.

The events covered a large part of Tbilisi, including the Centre of Contemporary Art, the Georgian National Academy of Sciences, Europe House, the Giorgi Leonidze Literature Museum, Rooms Hotel Tbilisi, an underground car park, the NectarGallery, the Writer’s House of Georgia, the Riqe Park, the former hippodrome territory, the Gudiashvili Square, and the territory adjacent to the Samgori Metro Station. The event reached the provinces as well – venues outside Tbilisi included the city of Rustavi (Kvemo Kartli Province),

ufro meti aqtualoba SesZina.

TviTorganizeba xelovnebaSi Tu nebismier sxva sferoSi aucilebelia. misi mniSvnelobis gaazrebis da xelisSemSleli faqtorebis gadalaxvisaTvis saWiro gzebis moZiebis imediT msoflioSi arsebulma damoukidebelma, SemoqmedebiTma platformebma Tu jgufebma sxvadasxva formiT asaxes TviTorganizebis gamocdileba. yoveli monawile erTdroulad sakuTari gamofenis kuratorad

the Field Academy of the village of Shindisi (Tbilisi region), and the Kvemo Machkhaani Theatre in Kakheti Province. Lectures were also distinguished in terms of diversity: Resurrection of Alive (concerning self-organizing systems after the dissolution of the Soviet Union) – texts read out together with accompanying video material; Teamwork – for a Strong Village; More Than Supra – A Draft Prepared for Failure (a project that merged food- and art-related topics under the issue of social change using an interdisciplinary and experimental approach);

da prodiuseradac mogvevlina. RonisZiebebma Tbilisis didi nawili moicva (Tanamedrove xolovnebis centri, Tbilisis erovnuli samecniero akademia, evropis saxli, giorgi leoniZis saxelobis literaturuli muzeumi, „rums hotel Tbilisis“ miwisqveSa avtosadgomi, galerea „neqtari“, saqarTvelos mweralTa saxli, riyis parki, Zveli ipodromis teritoria, gudiaSvilis skveri, samgoris metros mimdebare teritoria) da regionebsac gadaswvda (qalaqi rusTavi, sofeli Sindisis savele akademia, kaxeTSi qvemo maCxaanis Teatri). leqciebic mravalferovnebiT gamoirCeoda: „cocxlebis aRdgoma“ (sabWoTa kavSiris daSlis Semdgom TviTorganizebad sistemebze) _ wakiTxuli teqstebi Sesabamisi videomasalis CvenebiT; „TanamSromloba Zlieri soflisTvis“; „sufraze meti _ monaxazi, romelic marcxisTvis mzad aris“

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(proeqti, romelic interdisciplinuri eqsperimentuli midgomis gziT sakvebisa da xelovnebis Temebs socialuri cvlilebebis sakiTxiT aerTianebs); „zeimi, rogorc Temis gaZlierebis saSualeba“; „safosto baraTebi ukacrieli kunZulidan“; „Cemi saxli Cemi cixe-simagrea“; „gaxeuli Rrubeli“ (filmi instalaciis awyobaze, sadac xelebs uWiravT platforma ucnobi obieqtisTvis) da „fuliT xatva“ (qarTuli banknotebis ferebis zusti gamoyenebiT miRebuli abstraqtuli imiji); „maCxaani“ (maCxaanis Zvel TeatrSi adgilobriv specifikaze agebuli performansi), galerea „neqtari“ (artistebis mier mowyobili musikaluri sivrce CanawerTa koleqciis, saund-arqivebis demonstrirebiT) da a.S. sabWoTa okupaciamde Temis organizebisa da TanamSromlobis gaazrebaSi daxmareba axlaxans gamocemul publikacias SeuZlia, romelic daibeWda saTemo ganviTarebis centris da Tanamedrove xelovnebis centris erToblivi proeqtis “TanamSromloba Zlieri soflisTvis” farglebSi; fondi Ria sazogadoeba-saqarTvelos mxardaWeriT. „iniciativa cvlilebebisTvis“ _ es is wignia, sadac faqtebsa da saintereso istoriebze dayrdnobiT zedmiwevniTi aRwera

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Celebration as Community Empowerment; Postcards from the Desert Island; My House is My Castle; The Torn Cloud (a film regarding the assembly of an installation, where hands held together a platform for an unknown object) and Money Painting (an abstract image created using the color palette used in Georgian bank notes); Machkhaani (a site-specific performance at the old theatre in Machkhaani); the Gallery Nectar (a musical space arranged by artists, demonstrating a collection of recordings and sound archives); and so forth.A recently printed publication can help understand the organization and cooperation in the pre-Soviet community. It was published within the framework of Teamwork for a Strong Village, a joint project by the Community Development Centre and the Centre for Contemporary Art, with support from the Open Society Georgia Foundation.Initiative for Changes – in this book, a thorough description based on facts and interesting stories makes the idea of initiative even more attractive.

The stories told in the book, which include those about the Gulgula village commune (in Kakheti Province), about Machkhaani, Avlevi (in Shida Kartli Province) and other villages, about the Guria Province Public Library, about the partnerships of sheepherders as well as other agricultural and trade associations, about women’s unions, unions of viticulturists and winemakers, and others, vividly present

kidev ufro mimzidvels xdis iniciativis arss. wignSi moyvanili ambebi sofel gulgulas komunis, maCxaanis, avlevis da sxva soflebis, guriis saxalxo biblioTekis, mecxvareTa da sxva sameurneo Tu savaWro amxanagobebis, qalTa da mevenaxe-meRvineTa gaerTianebebis Sesaxeb TvalnaTliv warmoaCens TviTorganizebis aucileblobas. ana margvelaSvilma, vato wereTelma, irakli da daviT xvadagianebma, diana kakaSvilma, Tamar sixaruliZem, paata alaverdaSvilma popularuli eniT gadmogvces iniciativisTvis gaerTianebis mniSvneloba (samoqalaqo ganaTlebis pedagogTa forumis daxmarebiT male wigni maswavleblebsac daurigdebaT).

SevTanxmdeT, rom trienale mxolod xelovnebis da teqnologiebis produqtebis warmodgenas ar gulisxmobs. imdenad ara STabeWdilebebze, aramed codnaze da realur procesebze orientirebuli RonisZiebaa. „ucxoeli stumrebi _ gviyveba vato wereTeli _ Camodian erTi kviriT adre, emzadebian. Cveni mxridan teqnikuri jgufis daxmarebiT mimdinareobs moTxovnisda mixedviT yvela gamofenis, vorkSopis, prezentaciis awyoba, gamarTva.“ konferenciis formatic ara mxolod sakuTari prezentaciis `Carakrakebas~, aramed interaqtivsa da

the necessity of self-organization. Ana Margvelashvili, Vato Tsereteli, Iralki and Davit Khvadagiani, Diana Kakashvili, Tamar Sikharulidze, and Paata Alaverdashvili communicated to us the importance of uniting for an initiative, in an impressive manner and using an easily accessible mode of speech. The book will soon be handed out to teachers as well, with the help of the Civic Education Teachers’ Forum.

Let us agree that the Triennial is not limited to presenting the products of art and technology. The event is focused more on knowledge and real processes, rather than on impressions. Vato Tsereteli tells us: “Foreign guests arrive a week early, and they start preparing. Our technical support team ensures the installation and correct operation of all the exhibitions, workshops, and presentations that require it.” And the format of the presentation also implies interaction and the active participation of everyone, rather than the mere reading of presentations.It is the function of every participant to share their knowledge, and everyone bears their own share of responsibility.

It should be noted with pleasure that in July 2014 the Tbilisi Triennial became the associated member of the International Biennial Association. Vato Tsereteli was even offered a position on its six-person board: “A small, independent country that has its own language and alphabet is very interesting to them. On the other

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yvelas aqtiur CarTulobas gulisxmobs. TiToeul monawiles sakuTari codnis gaziarebis funqcia da Tavisi wili pasuxismgebloba akisria. sasixaruloa, rom 2014 wlis ivlisSi Tbilisis trienale msoflio bienaleebis saerTaSoriso asociaciis asocirebuli wevri gaxda. vato wereTels eqvskaciani bordis wevrobac SesTavazes: „patara, damoukidebeli qveyana, romelsac sakuTari ena da damwerloba aqvs, maTTvis Zalian sainteresoa. meores mxriv ki, CvenTvis saerTaSoriso masStabiT lobireba, kontaqtebis didi baza da did platformaze gasvla _ Zalian mniSvnelovania“.

Tanamedrove xelovnebis centris saqmianoba marto trienales ar moiazrebs. aRsaniSnavia misi cxraTviani `udiplomo~, magram SemoqmedebiTi samagistro programa, romelic gamoirCeva „eqsperimentebiT Ria cis qveS saxelovnebo garemosTan SerwymiT“. vato wereTeli, haiperkinetiki anu guruli, rogorc is sakuTar Tavs moixseniebs, centris profils uwodebs eqsperimentebis da mediaciis hibrids. ucxoelma kolegebma es qarTuli iniciativa swor dros, swor adgilas SerCeul proeqtad Seafases. centris umTavresi saqmianoba ganaTlebaa, Tumca amavdroulad, misi aqtivoba _ gamofenebis

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hand, the opportunity to lobby on an international scale, as well as having access to a large base of contacts and to a great platform is very important for us.”

The work of the Centre of Contemporary Art is not limited to the Triennial. Its nine-month long creative master’s program, which does not provide a diploma but which is distinguished by “open-air experiments on merging with the artistic environment,” is certainly noteworthy. Vato Tsereteli, a hyperkinetic or a person of Gurian

momzadebis mudmivi procesi, sxvadasxva sajaro RonisZiebebi, saganmanaTleblo programebi da gacvliTi SesaZleblobebi _ saswavlebels codnis dauflebisa da gaziarebis aqtiur platformad aqcevs aramxolod adgilobriv, aramed saerTaSoriso doneze. garda amisa, centri inkluziur ganaTlebasac moicavs. mopovebuli aqvs granti _ DVV International, rac kursis dauflebis SesaZleblobas socialurad daucvel studentsac da SezRuduli SesaZleblobebis pirsac aZlevs. isev vatos azrs moviSvelieb da vityvi, rom „xelovneba ar unda iyos raRac nivTi, romelsac sadRac CamovkidebT, is SeiZleba iyos situacia, SeiZleba iyos organizaciac, mogonili SemoqmedebiTobiT.“ xelovneba subieqturi Tu obieqturi, Zveli, axali, Tanamedrove _ ar aqvs mniSvneloba, afarToebs sazRvrebs. xelovneba gvaTavisuflebs.

Cven ki meti TviTorganizebadi sistemebis Seqmnis surviliT, ideebis Ziebasa da proeqtebis realizebaSi CarTuli Tanamedrove xelovnebis centris saqmianobisa da gegmebis Sesaxeb informacias kvlavac ar mogaklebT.

heritage, as he describes himself, calls the Center’s profile a hybrid of experiments and mediation. Foreign colleagues assessed this Georgian initiative as a project chosen in the right place, at the right time. Education is the main focus of the Centre; however, its activities – the constant process of preparing exhibitions, various public events, educational programs, and exchange opportunities – render the institution an active platform of acquiring and sharing knowledge on an international as well as local level.

Furthermore, the Centre also provides inclusive education. It has obtained a scholarship – DVV International – that allowsboth underprivileged students and people with disabilities to complete the course.

I will once again use Vato’s words to say that “art should not be an object that we can hang somewhere; it can be a situation, it can also be an organization, with invented creativity.”

Art, whether subjective or objective, old, new, or contemporary, broadens horizons. Art frees us.

Due to our desire to create self-organizing systems, we, on our part, will keep providing you with information on the activities and plans of the Centre of Contemporary Art, which is engaged in the implementation of projectsand the search for ideas.

maia morgoSia

by Maia Morgoshia

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gvaqvs uTvalavi feriTa... (interpretacia, komentari Tu polemika „vefxistyaosnis“ uZveles miniaturebSi)

Infinite in Variety...

(Interpretation, Commentary or Argument about the ancient illustrations of “The Knight in the Panther’s Skin“) sxvadasxva mxatvruli Rirebulebis mqone orasze meti miniatura arsebobs, romelic dakavSierebulia `vefxistyaosanTan~. udavoa, rom poemis yoveli damsuraTebeli aris rusTvelisaTvis sanatreli mkiTxveli „kaci vargi“ da amitom maTi Semoqmedebis gacnoba, pirvelyovlisa, poetis samyarosTan daaxloebis TvalsazrisiTaa sasurveli, sayuradRebo da sasargeblo, miTumetes Tu ki damsuraTebeli didi mxatvaricaa.

1966 wels gamocemuli albomSi _ vefxistyaosanis dasuraTeba _ Sesaval werilSi akademikosi Salva amiranaSvili S-5006 nusxaSi arsebuli 87 miniaturidan gamoarCevs 24; maT aZlevs „vefxistyaosnis“ miniaturaTa Soris yvelaze maRal Sefasebas. am didebuli ucnobi mxatvris xelwera 60 miniaturaSi Cans; Tu gaviTvaliswinebT imas, rom es simravle ar exmianeba zRvaTa samefoSi, Tu qajeTSi momxdar ambebs da ar Seicavs arc sxva momdevno movlenaTa amsaxvel dasuraTebas, es Zalze bevria. yoveli miniatura dasrulebuli mxatvruli teqstia da amasTan maTi simravle erTi jaWvis rgolebs warmoadgens, anu, erTi mxriv, yoveli maTganis, rogorc mTlianis integraluri aRqmis ukan ikiTxeba poemis ama Tu im epizodis Sinaarsi, meore mxriv ki yoveli aseTi epizodi dakavSirebulia sxva miniaturidan amokiTxuli epizodis SinaarsTan; xazi unda gavusvaT im garemoebas, rom miniaturebs Soris kavSiri ara marto epizodis aRwerisa da Txrobis siuJetur donezea daculi, aramed konkretuli, saxeobrivi da ikonografiulicaa. kavSiri

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There are more than two hundred illustrations of different artistic value related to “The Knight in the Panther’s Skin.” There is no doubt in the fact that each illustrator of the poem is also an accomplished reader, a “man of value” that Rustaveli would have preferred over many, which is why it is more advisable, interesting, and useful to first get to know their creations through the lens of their proximity to the poet’s world – even more so if the illustrators in question are great artists.

In the introductory passage of the album “Illustrations of The Knight in the Panther’s Skin” published in 1966, Shalva Amiranashvili singles out 24 illustrations from the 87 existing in the S-5006 collection, and gives them the highest evaluation among all of “The Knight in the Panther’s Skin” illustrations. The signature style of this great anonymous artist appears on 60 illustrations; if we take into account the fact that none of them concern the parts of the story happening in the “Kingdom of the Seas” and in “Kajeti” (country of Kaj demons), nor any following parts, we understand that this number is prodigious. Each illustration is an accomplished prose in itself, and all of them represent the links of one chain – in other words, on the one hand, these illustrations depict both distinct episodes and a representation of the whole, integral work, and on the other hand, each of these episodes is connected to the content of another one. It is worth noting that if the connection between the illustrations can be found in their descriptive and narrative qualities, it is also rendered through a very concrete and symbolic way. Their relation to each other is preserved through the symbols of humans, plants, animals, birds, or other natural elements or manmade objects, through their reoccurrence from illustration to illustration, or through other means of artistic expression.

It appears that this kind of interpretation through illustration has drawn

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SenarCunebulia adamianis, mcenaris, cxovelis, frinvelis an sxva bunebrivi sagnis Tu xelqmnili nivTis konkretuli gamosaxvis simbolizebiT, miniaturidan miniaturaSi maTi SenarCunebiT, an kidev sxva mxatvruli xerxiT. miniaturebiT amgvar interpretacias, rogorc Cans, didi yuradReba daumsaxurebia da misi dazustebis iseTi survili gaCenila, rom maTSi interpolaciis Setanac ki gadawyvetila.faqtia, rom ramdenime miniaturaSi SeimCneva ostaturi, magram arsebiTad gansxvavebuli xelweris mqone mxatvris principuli Carevis kvali.Svid gamorCeul miniaturaSi tarielis Tavsaburavi gadakeTebulia samefo gvirgvinad, xolo tarielis gamijnurebisa da dabnedis epizodSi kompozicia mTlianadaa Secvlili _ mijnurobis

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much attention, and such a strong wish of refining them appeared that some even decided to interpolate some details in the existing images. We can clearly notice the insertions of artists with a dissimilar touch in some illustrations; though they were executed masterfully, these alterations constitute a substantial change in meaning. In seven distinct illustrations, Tariel’s turban is transformed into a crown, while the composition of the episode of his fainting has been completely revised – the subject of royalty is attached to the theme, with a fourth character, King Parsadan, being incorporated to the intended unity in composition and symbolism of Tariel, Nestan-Darejan, and Asmat, the confident of their love. With this, the second artist, at his own will or because of an instruction from a commissioner,changes the conception of the illustration and gives a greater importance to another, more comprehensive, multilayered interpretation

Temas emateba xelmwifmobis problema da tarielis, nestan-darejanisa da, maTi siyvarulis mesaidumlis, asmaTis gaazrebul kompoziciur da simbolur mTlianobas emateba meoTxe personaJi _ farsadan mefe. amrigad, meore mxatvari, an sakuTari nebiT an damkveTis, Tu mesakuTris davalebiT, cvlis miniaturis koncepcias, upiratesobas aZlevs teqstis gansxvavebul, ufro savse, mravalplanian interpretacias da mijnurobis Temas umatebs xelmwifobis problemas. am konceptualuri cvlilebis Sesabamsad Cndeba konkretuli saxovani gadawyvetac. poemis teqstis es ori interpretacia erTmaneTs ar ewinaaRmdegeba, meore maTgani aqcents ufro amZafrebs _ indoeTSi datrialebuli tragediis (xvarazmSas mkvleloba)

by adding the subject of royalty to the topic of love. A specific figurative variation also appears as a result of this change in perspective.

These two interpretations of the poem are not mutually exclusive; the second one only intensifies the focus on the tragedy that took place in India (the assassination of Khvarazmshah), it sheds light on this issue and gives it a specific figurative, iconic form.

Computer technology allows us to retrace the first interpretation in illustration of the episode of Tariel’s fainting, to see more clearly a detail only perceivable by a sharp and attentive stare– the figurative representation of Asmat. In order to underline the special role of her deep spirituality in the poem, Asmat, who is pictured kneeling down near the fainted Tariel, places her left hand on her ear, while holding a pigeon in her right hand.

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safuZvels aSiSvlebs, met naTels fens am problemas da mas konkretul xatovan, ikonografiul formaSi aqcevs. kompiuteruli teqnologia saSualebas iZleva aRvadginoT tarielis gamijnurebisa da dabnedis epizodis dasuraTxatebis pirveli interpretacia; naTlad davinaxoT mxolod dakvirvebuli, maxvili mzerisTvis aRqmadi detali _ asmaTis mxatvriseuli daxasiaTeba. poemiT dadasturebuli misi Rrma sulierebis gansakuTrebuli rolis xazgasasmelad,

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The analysis of the other illustrations demonstrates that the multilayered interpretation resulting from this interpolation does not go against the understanding of the original artist, and that, on the contrary, it is consistent with it. To give more substance to this idea, we can bring forth two illustrations that depict these two crucial episodes of the poem,which will display and clarify the probable intention of King Parsadan, as interpreted by the painter.

In one of them, we find an illustration of the gathering arranged

by Parsadan, in which Nestan-Darejan and Tariel, presented as the

dabnedili tarielis siaxloves muxlmoyril asmaTs marcxena xeli yurTan miutania, marjvenaSi ki mtredi upyria. sxva miniaturaTa analizi gvarwmunebs, rom Carevis Sedegad warmoCenili mravalplaniani interpretacia ar ewinaaRmdegeba da piriqiT TanxmobaSia ZiriTadi mxatvaris gaazrebasTan. am debulebis sailustraciod mogvaqvs ori miniatura, romelic maRalmxatvrulad asaxavs poemis or umniSvnelovanes epizods; warmoaCens da ganmartavs savaraudo, mxatvris mier interpretirebul mefe

de facto king of India, have been seated in front of each other. The artist presumes that with this invitation, Parsadan finally forgives Tariel for starting an unsolicited war against the Khatavians. He acknowledges his potential as a king and prepares the coordinated future governance of India. Each detail of the illustration is festive and elevated, it is set in open air, and each protagonist participates in filling the joyful and harmonious atmosphere, with singing birds in the background.As a way of insisting on the aspect of Parsadan’s search for a future king during this gathering, the second artist added more detail and transformed Tariel’s hat into a crown.

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farsadanis ganzraxvas. erT maTganze dasuraTebulia farsadanis nebiT gamarTuli wveuleba, sadac erTmaneTis pirispir dasves „samefod saxeldebuli“ nestan-darejani da indoeTis faqtobriv mefed warmoCenili tarieli. mxatvari varaudobs, rom am wveulebiT farsadani sabolood Seundobs da apatiebs tariels xataeTTan omis daukiTxavad warmarTvas. aRiarebs ra misi mefobis SesaZleblobas da amzadebs indoeTis momaval harmoniul mmarTvelobas. miniaturaze yvela detali sazeimo da amaRlebulia, sivrce Riaa, yoveli mTavari personaJi mgalobel frinvelTa foniT sixarulis da Tanxmobis atmosferos avsebs. wveulebis, rogorc farsadanis mier momavali xelmwifis Ziebis procesis Semadgenel nabijad warmoCenis xazgasmiT, meore

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mxatvars damatebiTi detali Semoaqvs da tarielis quds samefo gvirgviniT cvlis. meore miniatura asuraTebs, kvlav farsadanis nebiT gamarTul TaTbirs. am miniaturis wakiTxva, anu suraTis verbaluri aRwera gvaZlevs poemis teqstTan Sedarebis biZgs da aaSkaravebs rusTvelis teqstis metad sayuradRebo interpretacias _ Cvens Tvalwinaa arasasiamovno moulodnelobiT gakvirvebuli, saxtad darCenili da damwuxrebuli personaJebi da saTanado sulieri garemo; aseTi STabeWdileba fonad SerCeuli daxuruli da mZime arqiteqturuli sivrcis, SeSfoTebuli da daZabuli cxovelTa samyaros da yvavilebdacvenili Reroebiani mdelos warmoCenis jamuri efeqtiT miiRweva. poeturi teqstis Tanaxmad siuJeti ase viTardeba: wveulebis Semdeg, tarielisa da nestan-darejanis siyvarulis realobaSi darwmunebulma kmayofilma farsadanma aRar daayovna, sisxam diliT saTaTbirod moiwvia tarieli da sami xasi da maT winaSe indoeTis momavali xelmwifisa da nestan-darejanis gaTxovebis sakiTxi dasva. tarieli ki am TaTbirze, Tavisi qmedebiT, araTu faqtobrivi mefe aRar aris indoeTisa, aramed iCens danaSaulebriv upasuxismgeblobas, iviwyebs Tu ugulvelyofs nestan-darejanisadmi micemul fics da avlens im Tvisebas, rasac is Semdeg avTandils dauwunebs _ avlens mefisadmi gadametebul „SiSs, krZalvasa da ridobas“, im Tvisebebs rac mas xataeTTan omis warmarTvis arc erT etapze ar gamouvlenia.

The second illustration depicts the same gathering arranged by Parsadan. The reading of this illustration, in other words the verbal description of this image, urges us to compare it to the poem itself, and presents a very interesting interpretation of Rustaveli’s text. Here, the characters are surprised by an unpleasant unexpectedness, taken aback, and troubled – and their spiritual surroundings are also depicted accordingly. This impression is rendered by the overall effect produced by the burdensome indoor architecture, the troubled and uneasy animals, and the flowerless meadow chosen for the background. According to the poem, the story unfolds so: after the gathering, Parsadan, convinced of the reality of the love between Tariel and Nestan-Darejan and thus satisfied, did not delay him anymore; he summoned Tariel and three women to a meeting in the early morning, and discussed the question of Tariel, the future king of India, and Darejan’s wedding. At this meeting, Tariel does not behave like the de facto king of India anymore, and indulges himself in irresponsibility: he forgets or neglects the oath he had taken towards Nestan-Darejan, and displays a behavior that he will himself reproach Avtandil for in the future – he displays “fear, respect, and

P.S.

precaution” towards the king, features that he had never shown during

dResac ar ganelebula interesi vefxistyaosnis

the war against the Khatavians.

xelnawerebisadmi da 2013 wels TiTqmis erTdroulad, maRalpoligrafiul doneze, gamoica ori

P.S.

albomi. vefxistyaosnis xelnawerTa memkvidreoba

Interest towards “The Knight in the Panther’s Skin” has not diminished,

moamzada xelnawerTa erovnuli centrma da

and two high quality albums were published in 2013, almost

mieZRvna vefxistyaosnis pirvel gamomcemels da

simultaneously. The National Center of Manuscripts prepared an album

rusTvelologiis fuZemdebels vaxtang VI. albomSi

titled “The Knight in the Panther’s Skin: Manuscript Heritage,” which was

Sevida yvela miniaturisa da xelnaweris ferad foto da

dedicated to Vakhtang VI, the first publisher of the poem and the founder

kaligrafiis nimuSi.

of “Rustvelology.” This album includes color photographs and calligraphy

gamomcemloba `nekerSi~ ki momzadda vefxstyaosnis dasuraTebuli xelnawerebi, romelic mieZRvna akademikos

samples of every existing illustration and manuscript.

And publishing house Nekeri prepared an album of “The Knight in

eqvTime TayaiSvilis 150-e wlisTavs da is Seicavs

the Panther’s Skin: Illustrated Manuscripts” which was dedicated to

eqvs uZveles dasuraTebul nusxasTan dakavSirebul

the 150th anniversary of the birth of academician Ekvtime Takaishvili.

arqeografiul da xelovnebaTmcodneobiT kvlevis

It includes the results of archaeological and art history studies about

Sedegebs. yvela miniaturis ferad foto oqsfordSi

the six most ancient illustrated volumes of the poem. All the color

daculi nusxebidanaa.

photographs of the illustrations come from collections kept in Oxford. parmen margvelaSvili

Parmen Margvelashvili

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rogorc geneboT... anu saerTaSoriso programa As You Like it...

Or the International Programme

Tanamedroveobis `xmaursa da mrisxanebaSi~ mxolod ZiriTad instinqtebs vinarCunebT. gvsurs sakuTar TavSi namdvili grZnobebi gavaRviZoT, magram araferi gamogvdis. mankieri, emociuri cxovreba xan aRtkinebaSi gvamyofebs, xan depresiaSi. am koleqtiuri xilvebis wres iSviaTad Tu arRvevs raime. marjaniSvilis Teatris mcire sarepeticio darbazSi niukaslis Teatris `greisqeilis~ speqtaklze, siCumeSi, Cems axlos mjdomi gogona moulodnelad atirda, rac nanaxzed misi reaqcia iyo.

Tumca, am sanaxaobas speqtaklsac ki ver daarqmevdi, ufro savarjiSo iyo, adamianTa mier gaucxovebis gadalaxvis mRelvare procesi. ori mamakaci dedisa da qaliSvilis urTierTobas ganasaxierebda. speqtaklis idea stainbekis teqstiT iyo STagonebuli. vxvdebodi, rom romanidan bevri araferi iyo darCenili. `samoTxis aRmosavleTiT~ CamovtvirTe, wavikiTxe da marTalic aRmovCndi. speqtakls `RmerTebi daecnen, Cven vinRa dagvicavs~ erqva da mokrZalebuli, sada, kameruli etiudi iyo; xelovnebis makurnebeli Zala grZnobaTa simarTleSia. im dRes sakuTar Tavs Sevurigdi...

In The Sound and the Fury of today, we only retain our most basic instincts. We wish to awaken true feelings within ourselves but we are unable to do so. A flawed emotional existence renders us at times excited and at times depressed.

This circle of collective reverie is rarely interrupted. During a play by the Grayscale Theatre Company from Newcastle, in the small recital hall of the Marjanishvili Theatre, a girl sitting close to me unexpectedly started to cry in the silence. It was her reaction to the play. You couldn’t even have called this spectacle a play; it was more of an exercise, an emotional process through which people attempted to overcome alienation. Two men were portraying the relationship of a mother and a daughter. The idea for the play was inspired by a novel by Steinbeck. I understood that very little was left of the novel there. I downloaded a copy of East of Eden and read it, and I turned out to have been correct. The play was called Gods Are Fallen And All Safety Gone, and it was a modest, plain, chamber performance. The healing power of art is in the truth of the senses. I came to terms with myself that day...

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momdevno emociuri stresi Tomas ostermaieris `xalxis mtris~ naxvisas ganvicade. saxelganTqmulma reJisorma, germanuli „Saubiunes“ samxatvro xelmZRvanelma ibsenis drama TanameroveobaSi gadmoitana, gmirebi gaaxalgazrdava da maqsimalurad mogviaxlova. amiT, piesis movlenebis winaSe daucvelni aRmovCndiT, naTeli gaxda, rom scenaze Cven varT _ kargi, keTilganwyobili adamianebi, Cveni yoveldRiurobiT, patara Tu didi kompromisebiT da zneobrivi dilemis gadawyvetis uunarobiT. aRarafers vityvi mxatvrul xerxebze, grifelis kedlebze, romlebzec yoveli speqtaklisas xelaxla iwereba da iSleba erTi da igive istoria, ekologiurad sufTa saRebaviT. ra aris ostermaieris speqtakli _ politikuri manifesti, pamfleti, brextis publicisturi Teatris Tanamedrove versia Tu provokacia, romelic mayureblis gamowvevas, mimqrali protestis grZnobis gaRviZebas lamobs? erTi ki cxadia, Stokmanis mgznebare sityvis Semdeg (romelic, ostermaieris ganmartebiT, romeliRac evropuli memarcxene organizaciis manifesti yofila), msaxiobis mier dasmul SekiTxvaze, unda daingres Tu ara samyaroSi gabatonebuli pragmatizmi, unda gamofxizldes Tu ara kacobrioba, rom TviTganadgurebas gadaurCes, monusxuli darbazi, Tanxmobis niSnad, erTxmad uwevs xels. Tumca speqtali amiT ar mTavrdeba, radgan cxovreba ase ioli rodia da Stokmanebi yoveldRiurad dgebian moraluri arCevnis winaSe _ ganagrZon uTanasworo da amao brZola,

I experienced a second instance of emotional stress during Thomas Ostermeier’s play An Enemy of the People. The famous director and artistic director of the German Schaubühne brought Ibsen’s drama to the contemporary world, made the characters younger, and brought them as close to us as possible. Thus, we became defenceless against the events of the play – it became evident that we were on the stage, good, benevolent people with our everyday lives, with our daily compromises both large and small, and with our inability to resolve moral dilemmas. I will not even mention the artistic devices, the walls decorated in slate pencil, on which the same story is painted and erased for every play, with ecologically clean paint. What is Ostermeier’s play – a political manifesto, a pamphlet, a modern version of Brecht’s social and political theatre, or a provocation that aims to challenge the viewer, to kindle the dimming flames of protest? One thing is clear, after Stockmann‘s fiery speech (which, according to Ostermeier, was the manifesto of some European leftist organization), when asked whether or not the pragmatism that is dominating the world should be destroyed, and whether or not Mankind should awaken in order to avoid self-destruction, the members of the enchanted audience unanimously raised their hands in agreement. The play did not finish with this, however, as life is not so simple and Stockmanns are faced with a moral decision everyday – whether to continue an unequal and futile struggle, or to find their own, brief benefits in the greater common pragmatic interest.

I am once again convinced that true art cannot be judged by conceptual criteria characteristic of a style, a genre, or a period. The

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Tu saerTo pragmatul interesSi Tavisi xanmokle sargebelic naxon. kidev erxel vrwmundebi, rom WeSmarit xelovnebas mxolod stilis, Janrisa Tu epoqisTvis damaxasiaTebeli konceptualuri kriteriumebiT ver gansji, indikatori ki Cveni emociuri wvdoma, codnaa, romelic CvenSi mcire droiT mainc cocxlobs. swored codnisa da masze damyarebuli Zalauflebis Temas eZRvneboda didi rumineli reJisoris _ silviu purkaretes Seqspiriseuli `qariSxali~. purkarete klasikis Tavisufali interpretaciiTaa cnobili, mas msoflios sxvadasxva TeatrSi dadgmuli aqvs esqiles, Seqspiris, bokaCos, rables, rasinis, sviftis, molieris, Cexovis nawarmoebebi, puCinis, vagneris, donicetisa da sxvaTa operebi. iseTi STabeWdileba Semeqmna, TiTqos `qariSxalis~ mxatvrul saxeebsa da scenografiaSi dasavluri samyarosa da Tavad reJisoris esTetikuri gamocdileba da msoflmxedvelobrivi paradigmebi aisaxa. purkaretem da mxatvarma dragoS buhagiarma Seqspiris `qariSxalis~ moqmedeba fantastikuri xomaldis triumSi gaiTamaSes, romelic, erTdroulad, civilizaciis, saxelmwifos, xelovanis saxelosnos, gandegilis gamoqvabulis, mecnieris laboratoriisa Tu gandevnili xelisufalis utopiuri kunZulis alegoriad iqca. Tavad prospero racionalizmis gansaxierebad warmomidga. mis saxeSi ki samyaros Semecnebis tragikuli fausturi paradigma gamoikveTa. gansakuTrebiT niSandoblivi aRmoCnda speqtaklis finali, romelSic reJisorma prosperosa da misi mtrebis saboloo Serigebis scena misitifikaciad aqcia. TiTqos Tanamedroveobis logikam, saukuneebiT

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indicator is our emotional connection, the knowledge that lives in us at least for a short time. The Shakespearean Tempest by the great Romanian director Silviu Purcărete is dedicated precisely to the topic of knowledge and the power that is based on it. Purcărete is famous for his free interpretation of the classics. He has staged the works of Aeschylus, Shakespeare, Boccaccio, Rabelais, Racine, Swift, Miller, and Chekhov, as well as operas by Puccini, Wagner, Donizetti, and others. Purcărete and the painter Dragoş Buhagiar set the Tempest in the cargo hold of a fantastic ship, which served simultaneously as an allegory of civilization, the state, an artist’s studio, a hermit’s cave, a scientist’s laboratory, and the utopic island of an exiled ruler.

Prospero himself appeared to me as the manifestation of rationalism.

He personified the tragic Faustian paradigm of world perception.

The play’s ending, in which the director turned the scene of the final reconciliation between Prospero and his enemies into a mystification, proved to be particularly striking. As if the logic of the present, the experience amassed over the centuries, had changed the play’s genre, rendering a harmonious ending impossible.

Lithuanian theatre was represented at the Tbilisi International Festival of Theatre by the Oskaras Koršunovas Theatre (OKT) with the Georgian public becoming acquainted with Koršunovas through plays staged during the Tbilisi International Festival. This year we saw his directing from a novel perspective. He assigns special importance to plays focused on a different kind of contact with the viewers, and during his creative process he attains knowledge of himself while also maintaining an awareness of his responsibility. During the process of co-creation together with the audience, “every second of stage time is permeated with existential metastases.” This metaphor had a special effect on me and reminded me of Mikheil Kvlividze’s poem entitled Life – “At times you are old, at times you are new again/ At the same time you are familiar, like an old custom/Are you the fever of the Earth’s youth/Or are you an ailment of elderly matter?”

The director seated the audience on the stage of the Marjanishvili Theatre, with their backs toward the house, with the critics in the back row. We found ourselves at the brink of an improvised amphitheatre and we even joked that if this structure were to topple, Georgian

dagrovilma gamocdilebam piesas Janri Seucvala da harmoniuli finali SeuZlebeli gaxada. litvur Teatrs Tbilisis saerTasoriso festivazle oskaras korSunovasis Teatri (okt) warmoadgenda. korSunovass qarTveli mayurebeli Tbilisis saerTaSoriso festivalze naCvenebi speqtaklebiT icnobs. wels misi reJisura axal rakursSi vixileT. mayurebelTan gansxvavebul kontaqtze orientirebul warmodgenebs is gansakuTrebul mniSvnelobas aniWebs da Semoqmedi ZiebebSi Tavsac Seimecnebs da pasuxismgeblobasac acnobierebs. mayurebelTan TanaSemoqmedebis procesSi `sasceno drois yoveli wami egzistencialuri metastazebiTaa ganmsWvaluli~, ambobs reJisori _ am metaforam Cemze gansakuTrebuli STabeWdileba moaxdina da mixeil qvliviZis leqsi `sicocxle~ gamaxsena _ `xan Zveli xar, xan ki isev axali xar/Tan nacnobi, rogorc Zveli Cveuleba,/ dedamiwis saymawvilo saxadi xar,/Tu beberi materiis sneuleba?~. reJisorma mayurebeli marjaniSvilis Teatris scenaze dasva, darbazisken zurgSeqceviT, kritikosebi bolo rigSi, improvizirebuli amfiTeatris mijnaze aRmovCndiT da vxumrobdiT kidec, es konstruqcia rom gadavardes, qarTuli Teatri yvela kritikosisgan erTbaSad ganTavisfldebao... warmodgenis _ gorkis `fskerze~ _ meoTxe aqti `dawyebuli~ dagvxvda. msaxiobebi mayureblis pirdapir dadgmul grZel magidasTan isxdnen, romlis kompozicia provokaciulad gvagonebda saidumlo serobis scenas, da darbazis Sevsebas ucdidnen. gorkis meoTxe aqtis piesis konteqstidan `amoglejam~ teqstis gasaocari transformacia gamoiwvia. `fskerze~ erTgvar postapokalifsur absurdad warmogvidga. reJisori Seecada usazriso realobaSi adamianis fsiqologiuri gardaqmnis TvalsaCino procesi Seeqmna. marcxniv mdgom ekranze uadamiano udaburi da usicocxlo realobis suraTebi midioda. dialogma TandaTan dakarga mTlianoba, danawevrda, magidaze arayi gaCnda, msaxiobebi SezarxoSdnen, male aryis daleva mayureblsac SesTavazes. moqmedeba sul ufro eqscentriuli, qaosuri gaxda, moulodnelad, msaxiobma hamletis monologi wamoiwyo, dramatizmisa da absurdis xarisxsma imata, xolo klasikuri teqstebis aRrevam apokalifsuri interteqsti warmoqmna. amasobaSi, hamletis winaSe mdgomi problemebiT damZimebulma sasowarkveTilma msaxioba Tavi CamoixrCo, Tumca finalSi kvlav magidas miujda da usazriso realobis wrebrunvaSi xelaxla CaerTo. Seqspiris, ibsenis, gorkis gverdiT, festivalze, raRa Tqma unda, Cexovis piesac iTamaSes (programa new). es moskovis Teatris _ `sferos~ axalgazrda, damwyebi reJisoris debiuti iyo. vladimir smirnovma anton Cexovis adreuli piesis `mamis gareSe~ (cnobilia, rogorc `platonivi~), versia dadga. piesa erTgvari Janruli hibridia, romelSic vodevili da drama erTiandeba. `mamis

theatre would instantly become free of all critics. The fourth act of the performance, Maksim Gorky’s The Lower Depths, had already begun. The actors sat at a long table in front of the audience, the composition of which was provocatively reminiscent of the scene of the Last Supper, and waited for the house to become full. Ripping Gorky’s fourth act out of the context of the play caused the text to undergo amazing transformation. The Lower Depths was presented to us as a certain kind of a post-apocalyptic absurdity. The director tried to create an apparent process of the psychological transformation of man in a meaningless reality. A screen on the left showed images of a lifeless, uninhabited reality devoid of humans. The dialogue gradually lost coherence, became segmented; vodka appeared on the table, the actors became tipsy, soon they offered the vodka to the audience as well. The action became more and more eccentric, even chaotic, and unexpectedly an actor began to recite Hamlet’s soliloquy; the degree of both drama and absurdity increased, and the blending of classic texts created an apocalyptic inter-text. Meanwhile, the actor who was burdened by the problems faced by Hamlet proceeded to hang himself, though during the final scene he returned to the table and re-joined the cycle of a meaningless reality.

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gareSes~ piesa-monstrs, piesa-eskizsac uwodeben, radgan masSi Cexovis gviandeli piesebis yvela dramatuli Tema da motivi ikveTeba. vladimir smirnovma piesis orazrovani da winaaRmdegobrivi bunebis vizualuri xati Seqmna da moqmedeba sakuWnaoSi, qilebs, gobebs, saTlebsa da yuTebs Soris gaSala. Seiqmna erTgvari `mxiaruli vodeviluri apokalifsisi~, srbola sasiyvarulo barierebiT, imedgacruebiT, TviTmkvlelobebis mcdelobiTa da sicocxlis wyurviliT. yovelive amas ki TandaTan, fonad mamulis dakargvis Cexoviseuli Tema daerTo, romelmac eqscentriuli sanaxaoba, SeumCnevlad, absurdis registrSi aiyvana. miuxedavad amisa, speqtaklis finalSi platonovma TviTmkvleloba gadaifiqra, rac sicocxlis mamkvidrebel energetikiT ganmsWvalul speqtaklis xasiaTSi organulad Cajda. bengaliuri warmoSobis cnobili ingliseli qoreografis akram xanisa da moqandake da scenograf aniS kapuris 2002 wels Seqmnil qoreografiuli speqtaklis, `kaaSis~ samyaros, dabereba ar emuqreba da yvelaferi kosmiuri wrebrunvis uzenaes kanonzomierebas efuZneba. damdgmelebma Tamamad, organulad gaaerTianes Tanamedrove cekvisa da tradiciuli induri naratiuli cekvis _ `kaThakis~ elementebi. vfiqrob, aq mTavari sivrcisa da sxeulis siRrmiseuli gancda iyo, rasac akram xanma da aniS kapurma induisturi kosmogoniuri

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Naturally, Chekhov’s plays were also performed alongside those of Shakespeare, Ibsen, and Gorky (New International Program). This was the debut of the young, novice director of the Sphera theatre from Moscow. Vladimir Smirnov presented a version of Anton Chekhov’s early play entitled Fatherlessness, also known as Platonov.

The play is a hybrid of genres that unites vaudeville and drama.

Fatherlessness is often called a monster-play or a sketch-play as well, as all the dramatic themes and motifs of Chekhov’s later plays can be distinguished in it. Vladimir Smirnov created a visual image of the play’s ambiguous and contradictory nature and set the play in a storeroom, among jars, wooden bowls, buckets, and boxes. A certain kind of a cheerful vaudeville apocalypse was created, a race with love barriers, disappointments, suicide attempts, and a yearning to live.

All this was gradually accompanied by the Chekhovian theme of losing one’s homeland, which imperceptibly elevated the eccentric spectacle into the realm of the absurd. In spite of this, Platonov reconsidered suicide at the end, which seemed natural in this play, saturated with life-affirming energy.

The universe of the choreographic play Kaash, created by Akram Khan, the famous British choreographer of Bangladeshi descent, and sculptor and scenographer Anish Kapoor, in 2002, is in no danger of ageing and everything is based on the supreme order of the cosmic cycle. The directors daringly and originally merged the elements of contemporary dance and Kathak, the traditional Indian storytelling dance. In my opinion, the main thing was the deep perception of

miTologiisa da modernistuli xelovnebis Teoriuli principebis gaazrebiTa da sxvadasxva saSemsruleblo teqnikis konceptualuri sinTeziT miaRwies (moqmedeba maleviCis `gacocxlebuli~, `mfeTqavi~ Savi kvadratis fonze iSleba). induri Teatris ritualur tradiciaSi cekvasa da Jests samyaros kreaciisa da destruqciis gamowveva SeuZlia. zecaSi Seqmnili xelovneba RvTaebriv Zalas miwazec inarCunebs. akram xanis dadgmaSi TviTeuli moZraoba aRmosavluri Teatris ritualuri Jestis mniSvnelobas, damajereblobas da dasavluri abstraqcionizis lakonizms, minimalizms iZens. Sedegad, ormagi xiblis mqone daxvewili sanaxaoba iqmneba.

2015 wlis Tbilisis saerTaSoriso festivalma kidev erTxel dagvarwmuna, rom Tanamedrove saTeatro sivrceSi avangardi da meinstrimi xSirad erTmaneTs uaxlovdeba da klasikasa da eqsperiments Soris zRvari ikargeba. axali eqsperimentuli koleqtivebi sul ufro iSviaTad eswrafvian mayureblis gamowvevas da aqcents mcire Janrebsa Tu laboratoriul Ziebebze akeTeben, tradiciuli koleqtivebi ki moulodnel mxatvrul gadawyvetebs gvTavazoben da pirobiTobisa Tu niSnobriobis damkvidrebul formebs arRveven. safestivalo speqtklebidan gamomdinare, SegviZlia davaskvnaT, rom Tanamedrove saTeatro procesSi

space and body, which Akram Khan and Anish Kapoor achieved by comprehending Hindu cosmogonic mythology and the theoretical principles of modernist art, as well as the conceptual synthesis of various performance techniques (the performance takes place against the background of Malevich’s pulsating and animated Black Square).

In the ritual tradition of Indian theatre, dance and gestures can cause the creation or the destruction of a universe. Heavenly art retains its divine powers on the Earth as well. In Akram Khan’s production, each individual movement attains the importance and persuasiveness

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ramdenime ZiriTadi tendencia ucvlelia; aqcentebi _ sxeulismier enasa da vizualur dramaturgiaze, genderuli identobis kvlevze, mayurebelTan komunikaciis alternatiuli formebis Ziebaze, klasikis aqtualizaciasa da konceptualuri montaJze, erTi nawarmoebis farglebSi Janris, stilistikis cvlaze, sazrisebiT TamaSze, sxvadasxva fsiqoteqnikis, samsaxiobo skolis elementebis mizanmimarTul sinTezze, dasavluri da aRmosavluri saTeatro praqtikebis daaxlovebasa da dramis, musikis, qoreografiis Serwymazea. wlevandel festivalze mcire Teatraluri Janrebis saintereso panorama Seiqmna. israelis Teatr `inkubatoris~ hip-hop miuzikli `qalaqi~ da `fexSiSveli musikosebis~ ungruli dasis speqtakli `maria didi qalaqidan~ (programa new) popularuli urbanuli `kontrkulturis~ gonebamaxvilur da ironiul stilizaciad momeCvena. omer moris hip-hop miuziklSi sakmaod moduri `Savi kabares~ da gasuli saukunis 40-iani wlebis Savi kinodeteqtivis Janrebi gacocxlda; speqtaklSi mniSvnelovan rols teqstis `Savi~ poezia, ritmi da repis musikaluri reCitativi asrulebda. `fexSiSvel musikosebSi~ argentinuli tangos rTuli bedis gansaxovneba _ meZavi, koWli marias sevdiani istoria vixileT. mis saxeSi damdgmelebma mdabalis sakralizacia moaxdines, xolo fizikuri nakli yovelive eqscentriulis, Cagrulisa da uaryofilis grZnobad simbolod aqcies. orive speqtakli musikalur-verbaluri Txrobis formiT gaTamaSda, pirvel SemTxvevaSi es ritmuli, dinamikuri repi

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of the ritual gesture of Eastern theatre, as well as the laconism and minimalism characteristic of Western abstractionism. The result is a refined spectacle of dual appeal.

The 2015 Tbilisi International Festival of Theatre convinced us once again that in the modern theatre space, the avant-garde and the mainstream often approach each other, and the line between the classic and the experimental is often blurred. New, experimental theatre companies yearn to challenge the viewer less and less frequently and focus on small genres or laboratory searches, whereas traditional companies offer unexpected artistic decisions and disrupt the established forms of convention and semiotics. Based on the plays from the Festival, we can conclude that a number of main trends remain constant in the contemporary theatre process; body language and visual dramaturgy, studying gender identity, searching for alternative ways of communicating with the audience, changing genres and styles within one work, playing with opinions, deliberately synthesizing various psychotechniques and art school elements, bringing Western and Eastern theatre practices closer, and merging drama, music, and choreography are the focal points.

This year, the Festival hosted an interesting assortment of small theatrical genres. The hip-hop musical The City, by The Incubator Theatre, Israel, and the play Mary of the Metropolis by the Hungarian company of Barefoot Musicians (New International Program) appeared to me as clever and ironic stylings of the popular urban counterculture. The rather fashionable dark cabaret and the genres of the noir detective films of the 1940s were resurrected in Omer Mor’s hip-hop musical. The black poetry of text, rhythm, and the

iyo, meore SemTxvevaSi ki astor piacolas `tango nuevos~ motivebis vokalur-instrumentuli interpretacia. epikuri Txroba gamoiyena polonurma Teatrma `qoream~ (programa new) speqtakl-koncertSi `gilgameSi.~ xelovnebis arqaul sawisebTan misabruneblad kompozitorma tomaS krJiJanovskim musikisa da ritmis universalur bunebas mimarTa da Tanamedrove jazis, instrumentuli musikisa da arqauli musikaluri intonaciebis gamoyenebiT `winaredramatuli~ Teatris statikuri sagundo warmodgena Seqmna. qarTuli warmoSobis qoreografma Tea sosanma qalis bedis, identobisa da seqsualurobis Tema qoreografiul warmodgenaSi ganaviTara. speqtaklSi `gaqvavebuli~ man vizualur TxrobaSi qoreografiuli Teatrisa da kinematografis ena CarTo. norvegiuli moZraobis Teatris _ kari hoas prodaqSenis speqtaklSi `sasowarkveTilebis zRvarze~ (programa new) ki wina planze mamakacuri samyaros energetikam wamoiwia. xuTma axalgazrda kacma aTleturi sanaxaoba cekvis, moZraobisa da akrobatikis zRvarze warmoadgina. speqtaklSi xazi gaesva mamakacuri samyaros fuZiseul energias, romelic xan miTologiur da heroikul masStabebs aRwevs, xan ki tkivilisa da frustraciis safuZveli xdeba. samwuxarod, `globusis~ Teatris `hamleti~ ostermaieris speqtakls daemTxva, amitom is am mimoxilvaSi veRar moxvda. bunebrivia, festivalis mimoxilva avtorsac da mkiTxvelsac daukmayofileblobis grZnobas utovebs, Tumca Tavad festivalis gareSe Tanamedrove samyaros Teatraluri cxovreba warmoudgenelia. sakuTar viwro auditoriaSi Caketili Teatri da kultura dRevandel realobaSi veRar ganviTardeba. Tbilisis saerTaSoriso festivals am TvalsazrisiT, ukve mdidari gamocdileba da perspeqtiuli momavali aqvs.

Tamar bokuCava

musical recitative of rap played an important role in the play. With the Barefoot Musicians we saw the embodiment of the complex fate of Argentinian tango – the sad story of the lame prostitute Maria. The directing team sacralized the profane in her person, while turning her physical defect into a sensuous symbol of all that is eccentric, oppressed, and rejected. Both plays were performed through a mixture of music and verbal recitation. In the former case this was a rhythmic, dynamic rap, while in the latter case, it was a vocal and instrumental interpretation based on Astor Piazzolla’s Tango Nuevo.

The Polish Chorea Theatre (New International Program) used epic narration in their play/concert Gilgamesh. The composer Tomasz Krzyzanowski turned to the universal nature of music and rhythm in order to return to the archaic origins of art and created a static choral performance of pre-dramatic theatre with modern jazz, instrumental music, and archaic musical intonation.

Thea Sosani, the choreographer of Georgian descent, developed the themes of women’s fate, identity, and sexuality in a choreographic performance. In the play entitled Numb, she incorporated the language of choreographic theatre and cinematography into visual storytelling. In the play On the Desperate Edge of Now by the Norwegian movement theatre Kari Hoaas (New International Program), the energy of the male world was on the foreground. Five young men presented an athletic spectacle that verged on dance, movement, and acrobatics. The basic energy of the male world, which at times reaches mythological and heroic scales, and at times becomes the basis for pain and frustration, was stressed in the play.

Unfortunately, Hamlet by Shakespeare’s Globe Theatre coincided with Ostermeier’s play, and therefore could not be included in this review.

Naturally, the review of the Festival will leave both the author and the reader with a sense of unfulfillment, though the theatrical life of the modern world is unimaginable without the Festival itself. Theatre and culture that are isolated with their own limited audience can no longer thrive in the contemporary reality. In this regard, the Tbilisi International Festival has already amassed extensive experience, and has a future full of prospects.

Tamar Bokuchava

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Ralia qarTvelTa monasteri kviprosze

Gialia

A Georgian Monastery in Cyprus XI-XVI saukuneTa qarTul, berZnul da laTinur werilobiT wyaroebSi mravaljer naxsenebi Raliis RmrTismSoblis qarTvelTa monasteri, romelsac kviproselebi panagia xrisoialiotisas uwodeben mdebareobs kunZul kviprosis dasavleT nawilSi, q. polisis maxloblad, xrizoxus yuris aRmosavleTiT _ aT kilometrSi, tyiT dafaruli mTis kalTaze, sofel ialiasTan. monastris nangrevebs 1981 wels miakvlia da maTi identificireba SeZlo amerikaSi moRvawe qarTvelma mecnierma, vaxtang jobaZem.

One can find many mentions of the Georgian Gialia Monastery of the Virgin Mary in the Greek and Latin written sources of the 11th-16th centuries. Cypriots call it Panayia Chrysogialiotissa, and it is located in the forest on a mountainside near the village of Gialia, some ten kilometers outside the town Polis Chrysochous, in the western part of the island. The ruins of the monastery were discovered and identified in 1981 by Vakhtang Djobadze, a Georgian scholar based in America.

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2006-2010 wlebSi, saqarTvelos saxelmwifos dafinansebuli arqeologiuri gaTxrebiT gairkva, rom monasteri X saukunis samocian-samocdaaTian wlebSi dauarsebia daviT kurapalats (†1001w.). monasteri dafuZnebisTanave qarTuli kulturis mniSvnelovan centrad iqca, mas mzrunvelobas ar aklebdnen saqarTvelos mefeebi.

Raliis monastris mTavari taZari _ trikonqistipis gumbaTiani eklesia, kviprosze am tipis erTaderTi nagebobaa, maSin, roca saqarTveloSi, gansakuTrebiT taoklarjeTSi, am saxis eklesiebi mravlad gvxvdeba, Tumca, samSeneblo xelovnebis TvalsazrisiT, Raliis monastris nagebobebi adgilobrivia, kviprosulia. X-XI saukuneebis mijnaze eklesias CrdiloeTidan miaSenes wm. giorgis darbazuli samlocvelo, romlis saxelobac aq aRmoCenili qarTuli freskuli warwerebiT da kedelze SemorCenili mxedari wminda giorgis gamosaxulebiT dadginda; monastris ganaxlebis mniSvnelovani etapi emTxveva erTiani saqarTvelos mefis, daviT aRmaSeneblis, zeobis xanas, am dros aSenda RmrTismSoblisa da wminda giorgis eklesiebis karibWeebi, gumbaTi daadges wminda giorgis eklesias; am dros aaSenes wyaro da didi avzi, gamoiyvanes wyalsadeni.

RmrTismSoblis eklesiis interieri mTlianad moxatuli yofila, gamovlinda mxatvrobis ramdenime fena. uZvelesi _ XI saukunis meore naxevarSia Sesrulebuli, kedlis mxatvroba XII saukunis pirvel naxevarSi ganuaxlebiaT,

In the years 2006-2010, thanks to archaeological excavations funded by the Georgian State, it was determined that the foundations of the monastery had been laid by Georgian King David Kurapalates (†1001) in the second half of the 10th century (960s-970s). The monastery soon became an important center of Georgian culture, and Georgian kings protected and took particular care of it thereafter.

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mxatvrobiT daufaravT RmrTismSoblisa da wminda giorgis eklesiaTa karibWeebi. kedlis mxatvrobis fragmentebze dakvirveba gvafiqrebinebs, rom savane, didi albaTobiT, adgilobrivi (kviproseli) ostatebis moxatulia da mxatvrobis programac bizantiuri kedlis mxatvrobis tradiciebs misdevs.

X saukunis miwuruls an XI saukunis dasawyisSi monastridan mocilebiT aSenda ber-monazonTa kriptaakldama, dasakrZalavi kameriTa da oTxi saZvleTi, Tavdapirvelad kriptas xis orqanoba saxuravi hqonda. XI saukunis bolos an XII saukunis dasawyisSi xis gadaxurvas xanZari gasCenia. xanZris Semdgom kripta kamariT gadauxuravT da zed wm. nikolozis darbazuli eklesia dauSenebiaT.

The triconch-domed church constitutes the main part of the monastery and is the only structure of its kind in Cyprus, while at that time one could find many such churches in Georgia, especially in TaoKlarjeti – though, if we look at the construction technique, the edifice of the Gialia Monastery features local, typically Cypriot attributes. A hall-type chapel dedicated to Saint George was added to the north of the monastery on the eve of the 10th-11th centuries; its appellation was established thanks to the Georgian inscriptions on its frescoes and the image of a horseman representing Saint George on one of its walls. An important stage of the monastery’s renovation works coincides with the reign of King David The Builder of Georgia: it is at that time that the gates of both the Church of the Virgin Mary and the Chapel of Saint George were constructed, that a dome was built on the latter, and that a well, a basin, and a water supply system were all added to the monastery site.

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Raliis monasterSi ganxorcielebuli didi mSeneblobis kidev erTi etapi saqarTveloSi Tamaris mefobas (11841210ww.) ukavSirdeba. Tamaris dros mTlianad ganaxlda da gafarTovda RmrTismSoblis taZris karibWe. eklesias CrdiloeTidan miadges afsidiani samkveTlo. XIII saukunis meore naxevarSi RmrTismSoblis eklesias samxreTidan karibWe miaSenes, romlis dasavleT burjze amokveTilma asomTavrulma warwerebma Semogvinaxa RaliaSi moRvawe qarTveli berebis saxelebi: kvirike, maTe da nikolozi. es ukanaskneli, SesaZlebelia, nikoloz dvali iyos, romelic 1314 wels qristianobisTvis ewama. maTe moxseniebulia kidev erT minawerSi, romelic datanilia kedlis Selesilobis fragmentze, aqve ixsenieba vinme mamac... XIV saukuneSi RaliaSi beri minasec moRvaweobda, misi minaweri wminda giorgis samlocvelos kankelis svetzea SemorCenili.

It appears that the interior of the Church of the Virgin Mary was completely covered with frescoes, and many layers of painting have been discovered. The most ancient fresco was painted in the late 11th century. The murals were restored during the first half of the 12th century, and the paintings were also extended to the gates of both the Church of the Virgin Mary and the Chapel of Saint George. The study of the frescoes’ fragments points to the idea that they were most probably painted by local (Cypriot) masters, and also that the style of the frescoes follows the byzantine mural tradition.

At the end of the 10th century and the beginning of the 11th century, a crypt-vault for monks and nuns with a burial chamber and four ossuaries was constructed in the vicinity of the monastery. At first, the crypt had a wooden gable roof, but it burned down at the end of the 11th century or the beginning of the 12th century, so it was subsequently roofed with a cove, on which the hall-type Church of Saint Nicolas would later be built.

Another important stage of construction at the Gialia Monastery complex took place during the reign of Queen Tamar (1184-1210). The gate of the Church of the Virgin Mary was renewed and expanded in that period, while an apsidal prothesis was attached to the northern part of the church.

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XIV saukunis meore naxevarSi monastris ezoSi gaCnda sasaflao, sadac marxavdnen monastris maxlobeli soflebis mcxovreblebs. albaT imaT, romelTac monastris winaSe raime Rvawli miuZRvodaT. XVI saukunis meore naxevarSi Raliis qarTvelTa monasteri kunZul kviprosis osmaluri okupaciis (1571w.)

Semdeg cxovrebas wyvets. eqspediciis wevrebma aseve Seiswavles samonastro kompleqsidan ori kilometris manZilze mdebare martodmyofeli beris senaki da samonastro wisqvili...

2011, 2013, 2015 wlebSi, ganxorcielda gaTxrili Zeglisa da kedlis mxatvrobis konservacia, nagebobebi gadaixura da amrigad kvipross Raliis monastris saxiT Seemata erT-

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A gate was constructed on the southern side of the Church of the Virgin Mary in the second half of the 13th century. The asomtavruli (earliest Georgian alphabet) inscriptions on its western pillar tell us the names of some monks who resided at the Gialia Monastery: Kvirike, Mate, and Nikoloz. The latter may be Nikoloz Dvali, who was martyred for his Christian faith in 1314. Mate is mentioned in another inscription that we can find on a wall fragment.

Another monk, Brother Minase, also frequented the monastery in the 14th century – his name can be found on the pillar of Saint George Chapel’s iconostasis.

A cemetery appeared in the yard of the monastery during the late 14th century. Those who were buried there were inhabitants of the surrounding villages, and most probably those who in some way contributed to the everyday life of the monastery.

In the late 16th century, as a result of the Ottoman occupation of Cyprus (1571), the Georgian Monastery of Gialia ceased functioning.

Members of a scientific expedition also studied the cell and mill of a solitary monk, located two kilometers from the monastery complex.

In the years 2011, 2013, and 2015, works were carried out for the

erTi mniSvnelovani turistuli obieqti. saqarTvelos kulturuli memkvidreobis dacvis

conservation of the unearthed monument and the mural paintings;

erovnuli saagentosa da kviprosis respulikis

the structure was roofed, and one can now say that with the Gialia

komunikaciebisa da infrastruqturis saministros

Monastery, Cyprus has a new significant tourist destination.

siZveleTa departaments Soris 2013 wels dadebuli

As envisaged by the 2013 memorandum between the National

memorandumis safuZvelze 2015 wlis dekemberSi

Agency for Cultural Heritage Preservation of Georgia and the

saqarTveloSi gamoifina Raliis qarTvelTa monastris

Department of Antiquities of Cyprus’ Ministry of Communication and

arqeologiuri gaTxrebis Sedegad mopovebuli artefaqtebi, romelTa restavracia kviprosis mxarem iTava. gamofenaze warmodgenilia X-XVI saukuneebis arqeologiuri masala _ qvis, Zvlis, liTonis, Tixis nawarmi, kedlis mxatvrobis fragmentebi _ sul asocdaTerTmeti (131) eqsponati. es mxolod mcire nawilia

Infrastructure, an exhibition was arranged in Georgia in December 2015 at which it presented the artifacts found during the excavations at the Georgian monastery of Gialia and restored by the Cypriot side.

The exhibition also displays archaeological material from the 10th to 16th centuries: rock, bone, metal, and clay artifacts, as well as fragments of mural paintings, totaling 131 exhibits. This is only a small

Raliis monastris arqeologiuri gaTxrebis Sedegad

part of the rich material discovered as a result of the archaeological

mopovebuli im mdidari masalisa, romelic kviprosis q.

excavations carried out at the Gialia Monastery and currently

polisis arqeologiis muzeumSia daculi.

exhibited at the Archaeology Museum of the city of Polis. giorgi gagoSiZe

Giorgi Gagoshidze

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Tbilisis saerTaSoriso kinofestivali Tbilisi International Film Festival wels `promeTem~ 30 noembridan 6 dekembris CaTvliT, qarTvel mayurebels meTeqvsmeted umaspinZla. festivali levan TuTberiZis „moiram“ gaxsna. socialuri drama zRvispira qalaqSi mcxovreb ojaxzea, romlis mTavari gmiri cixidan gamosvlis Semdeg cxovrebis xelaxla dawyebas cdilobs: sesxs iRebs bankidan, Zvel TevzsaWer gems yidulobs da bedisweris qalRmerTis `moiras~ saxels arqmevs. umcros Zmas, romelic kriminalur wreSi trialebs ojaxis SeqmnaSi exmareba, invalid mamas uvlis da emigrant dedas saxlSi abrunebs. TiTqos yvelaferi Tavis adgils ubrundeba, magram mTavari gmiri umcrosi Zmis Secdomas ewireba. mwyobri da zusti dramaturgiis miuxedavad, filmiT axali araferi Tqmula. samwuxarod, arc vizualur gadawyvetaSia reJisoris novacia. rasac ver vityvi, dito cincaZis bolo namuSevarze „bednierebis RmerTi“, romliTac wlevandeli `promeTe~ daixura. filmis vizualuri mxare imdenad Zlieria, rom dramaturgiul Cavardnebs abalansebs. mTavar rols laSa baqraZe asrulebs. moqmedeba germaniis patara qalaqSi viTardeba, sadac umuSevar msaxiobs, giorgis, moulodnelad kanadidan 15 wlis Svili estumreba. is yvelanairad cdilobs qaliSvilisgan Tavisi realuri cxovrebis damalvas, magram sabolood yvelaferi irkveva.

This year, “Prometheus” has welcomed Georgian and foreign spectators for the 16th time, from November 30 up to and including the December 6. The festival was inaugurated by Levan Tutberidze’s movie “Moira”. This social drama is set in a coastal city and revolves around a family of which the main character is trying to start a new life after getting out of prison: he gets a loan from the bank and buys an old fishing boat that he names “Moira”, in reference to the Moirai, the goddesses of fate. He helps his younger brother, who frequents the criminal world, to start a family; he takes care of his disabled father, and he convinces his emigrant mother to come back home. It looks as if everything is back to normal, but the main protagonist falls victim to a mistake made by his younger brother.

Despite a neat, well-ordered storyline, the film does not contribute anything new to dramaturgy. Regrettably, there are no novelties in the director’s use of the visual aspect either. One could not say the same about “God of Happiness”, Dito Tsintsadze’s last work and the movie that closed this year’s “Prometheus” Festival. The visual side of the film is so strong that it makes up for any lows in dramaturgy.

The main role is played by Lasha Bakradze. The action takes place in a little town in Germany, where Giorgi, an unemployed actor, is visited by his 15-year-old child from Canada without notice. He does everything to hide his everyday life to her, but in the end, everything is revealed.

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wels festivalze 36 qveynis 125 filmi, 13 sxvadasxva Tematur seqciaSi iyo warmodgenili: saerTaSoriso konkursi, evropuli kinos forumi, damzadebulia germaniaSi, franguli koleqcia, horizontebi, qveyana fokusSi, qarTuli panorama, kino da socialuri cvlilebebi, qalTaxedva, apolo: kinos mexsiereba.

This year, 125 movies from 36 countries will be presented at the festival, in 13 different sections: International Competition, Forum of European Cinema, Made in Germany, French Collection, Horizons, Country in Focus, Georgian Panorama, Cinema for Social Change, WomenEyes, and Apollo – Cinema Memories.

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qalTa xedva „promeTe“ 2015 qalTa uflebebisa da genderuli Tanasworobis ganvTarebas mieZRvna. festivalis wlevandeli feri _ iasamnisferi, qalTa mimarT Zaladobis sawinaaRmdego saerTaSoriso kampaniis simboloa. `qalTaxedva/Women Eyes“ _ seqciis farglebSi moewyo qali reJisorebis mier Seqmnili mxatvruli da dokumenturi filmebis Cveneba. mayurebelTa gansakuTrebuli interesi gamoiwvia filmebma: `indoeTis qaliSvili~ (reJisori lezli udvini, britanul-induri koproduqcia, romelic realur istorias efuZneba), „RviZli debi“ (malin andersoni), „baraSi“ (mihal vaniki), „usimRero qveyana“ (aiaT najafi). qarTveli qali reJisorebis namuSevrebi festivalis wlevandeli gamoSvebis sxva seqciebis fokusSic uCvenes. qarTul panoramaSi warmodgenili iyo nino goguas dokumenturi filmi „madona“. filmis gmiri 58 wlis madona narouSvili saqarTveloSi municipaluri avtobusis erTaderTi qali mZRolia, romelic moxuc dedasTan erTad cxovrobs. reJisori observaciis princips irCevs da akvirdeba, Tu rogoria iyo qali patriarqalur sazogadoebaSi da asrulebde „kacis saqmes“. seqciaSi „kino da socialuri cvlilebebi“ nuca aleqsimesxiSvilis filmi _ „kreditis limiti“ uCvenes. reJisori mTavari gmiris saSualebiT, Tanamedrove saqarTvelos yvela im socialur institucias aRwers, romlTanac, TiToeul Cvengans, yoveldRiurobaSi uwevs gamklaveba. mTavari rolis Semsrulebelis, nino kasraZis maRali samsaxiobo klasi, filmis gamorCeul vizuals ufro met damajereblobas sZens. aRsaniSnavia, rom wels sapatio `promeTe~ qarvel qal reJisors, lana RoRoberiZes gadaeca _ „msoflio kinos ganviTarebaSi Setanili gansakuTrebuli wvlilisTvis“. mayurebelma kidev erTxel gaixsena sofiko Wiaureli filmiT „ramdenime interviu pirad sakiTxebze“.

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Women Eyes “Prometheus” 2015’s main focus was on women rights and the development of gender equality. Purple, the color of this year’s festival, is the symbol of an international campaign against violence towards women.

Motion pictures and documentary films by female directors were presented in the “WomenEyes” section. The following movies have sparked particular interest among viewers: “India’s Daughter” (director: Leslee Udwin – it is a UK/India coproduction based on actual events), “Blood Sisters” (Malin Andersson), “Barash” (Michal Vinik), and “No Land’s Song” (Aiat Najafi).

This year, the works of Georgian female directors were scattered in various other sections. Nino Gogua’s documentary film “Madona” was presented in the Georgian Panorama section.

Madona Naroushvili, the 58-year-old protagonist of the film, is the only female public bus driver in Georgia and lives with her elderly mother. The director choose an observational point of view and focuses on what it is to be a woman in a patriarchal society, and to be doing a “man’s” job. Nutsa Alexi-Meskhishvili’s picture “Line of Credit” was screened in the section “Cinema for Social Change”. Through the life of the main character, the director describes every social institution with which we have to deal daily in contemporary Georgia. The refinement of Nino Kasradze’s acting in the lead role, as well as the excellent visuals of the movie, make it even more convincing.

It is worth noting that this year, Georgian female director Iana Ghoghoberidze received an honorary “Prometheus” for her contribution to world cinema. Spectators could once again reminisce about Sopiko Chiaureli and the movie “A Few Interviews on Private Matters”.

saerTaSoriso konkursi festivalis gamarjvebuli nominaciaSi _ „saukeTeso filmi“, Turqi reJisoris senem Tiuzenis „samSoblo“ gaxda. filmi, veneciis saerTaSoriso kinofestivalze, kritikosTa kvireulis farglebSi uCvenes. mTavari gmiri saSualo asakis Jurnalistia, romelic stambulidan anatoliaSi bebiis sofelSi gadadis sacxovreblad;

International Competition The festival’s laureate in the nomination “Best Film” is Turk director Senem Tüzen’s “Motherland”. This movie was screened at the Venice International Film Festival in the context of the Film Critic’s Week. The main character is a middle-aged journalist who moves from Istanbul to Anatolia to live in her grandmother’s village. She wants to be alone in order to be able to carry out valuable, creative activities, but her

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nayofieri, SemoqmedebiTi saqmianobisTvis ganmartoeba surs. mis arCevans retrogradi deda aprotestebs. qalebis Tanacxovreba da mudmivi konfrontacia, maT bnel mxareebs aaSkaravebs. „vercxlis promeTe“ saukeTeso reJisurisTvis gadaeca axalgazrda, Zalian saintereso xelweris mqone reJisors _ ionas kaprianinos. misi pirveli, srulmetraJiani sadebiuto filmisTvis _ „xmelTaSuazRvispireTi“. filmi Tanamedrove samyaros aqtualur problemas exmianeba _ afrikis kontinentidan, evropis kontinentze adamianTa mudmivi migracia. filmSi mTavari gmirebi burkina fasodan italiaSi ukeTesi cxovrebis imediT miemgzavrebian.

Zaladoba, usamarTloba da araerTi gansacdeli ltolvilebis mogzaurobis Tanmdevi xdeba; maT am sirTuleTa gadalaxva, zogjer, sakuTari sicocxlis fasadac ujdebaT. gamarjvebuli filmebis garda, saerTaSoriso sakonkurso programaSi aRsaniSnavia: petar valCanovisa da kristina grozevas „gakveTili“, germanuli filmi „bunkeri“, socialuri drama „pikadero“, romelic levan koRuaSvilis „quCiis dReebs“ mogagonebT, Tumca, qarTuli filmisgan gasnxvavebiT, reJisoris mcdeloba, sevdanarevi iumoriT moeTxro mZime socialur yofaSi Cavardnili gmirebis bedi, mxolod mcdelobadRa darCa. socialuri, ufro zustad ki _ `sportuli dramaa~ ivan ostroCovskis 90-ian wlebis esTetikiT Seqmnili filmi „Txa“. mTavari gmiri olimpiuri TamaSebis monawilea, romelic colis fexmZimobis SetyobisTanave, mzadaa, kidev erTxel, gaiaros rTuli gza da xelaxla daubrundes rings. saintereso vizualisa da kargi dramaturgiis

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retrograde mother joins her and criticizes her choice. Living together and endless confrontation make the darker parts of both women’s inner selves come out to the surface.

The “Silver Prometheus” for the best director was handed to Jonas Caprignano, a young director with a very interesting touch, for his debut feature film “Mediterranea”. The movie echoes a very contemporary issue: the massive human migration from the African continent to Europe. The main protagonists are trying to travel from Burkina Faso to Italy with hopes of finding a better life there. Violence, injustice, and several other challenges accompany the refugees throughout their journey; on some occasions, overcoming those difficulties costs them their life. Apart from the winning films, we picked the following movies in the International Competition section: Petar Valchanov and Kristina Grozeva’s “The Lesson”, the German film “The Bunker”, the social drama “Pikadero”, which is remindful of Levan Koghuashvili’s “Street Days”, although unlike the Georgian movie,

Tanxvedraa britaneli reJisoris helen uolSis filmSi „moZaladeebi“. qarTuli panorama 2015 wlis Tbilisis saerTaSoriso kinofestivalis erovnul konkursSi, qarTul panoramaSi warmodgenili filmebi monawileobda. germanelma kinomoRvaweebma _ ulrix da erika gregorebma (romlebic „promeTes“ TiTqmis yovelwliurad stumroben da festivalis aqtiuri mxardamWerebi arian) _ mxatvruli, dokumenturi da moklemetraJiani filmebis gamarjvebulebi gamoavlines. wels, SarSandelisgan gansxvavebiT, erovnuli konkursis ucvlel Jiuris, axalgazrda, iraneli kinokritikosi hosein eidizade SeuerTda. ramdenime moklemetraJian filmSi, romelTagan upirobo favoritebi daTa fircxalavas „mama“ da tato kotetiSvilis „ogasavara“

the director’s wish to relate the story of a difficult social reality with a saddish humor tone did not become a reality. Ivan Ostrochovský’s “Goat” is a social, or to be more exact, “sport drama” that takes place during the 1990s, with all the aesthetics that this period involves.

The main protagonist is a former Olympic boxer who is ready to train again and step back into the ring after learning about his wife’s pregnancy. British director Helen Walsh’s “Violators” has interesting visuals that blend harmoniously in the storyline.

Georgian Panorama The movies presented in the section Georgian Panorama were participating in the national competition of Tbilisi International Film Festival’s 2015 edition. The German cinema figures Ulrich and Erika Gregor (who have been the festival’s guests almost every year and who actively support “Prometheus”) divulged the laureates for Best Motion Picture, Best Documentary, and Best Short Movie.

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iyvnen, Jiurim saukeTeso moklemetraJiani filmisTvis „promeTe“ Tornike bziavas „meqelexes“ gadasca. saukeTeso mxatvruli filmisTvis prizi _ zaza xalvaSis „solomons“ ergo. „promeTe~ saukeTeso dokumenturi filmisTvis gadaeca salome maCaiZis, Tamuna qarumiZisa da daviT mesxis erTobliv namuSevars „roca dedamiwa msubuqia“. filmis premiera amsterdamis dokumenturi filmebis saerTaSoriso kinofestivalze Sedga. arastandartuli Txrobis manera da gamorCeuli vizualis mqone dokumenturi eqsperimenti, ara mxolod qarTuli panoramis, aramed festivalis erT-erTi gamorCeuli dokumenturi suraTia. evropuli kinos forumi mayurebeli, am seqciaSi warmodgenil filmebs yvelaze metad elodeba. 2015 wlis, evropis sxvadasxva qveynis yvela mniSnelovani filmi swored aq erTiandeba.

Svedi reJisoris roi andersonis „cxovrebis trilogiis“, (romelsac „absurdis komediebsac“ uwodeben) bolo filmi _ „ijda mtredi totze da cxovrebis arsze fiqrobda“ festivalis erT-erTi mniSvnelovani filmi iyo. minimalizmi dialogebsa da kadrebSi. fraza: „mixaria, rom yvelaferi kargad gaqvs“, refrenad miyveba mTel films, maSin roca araferi ar aris kargad, piriqiT, groteskamde misuli martosuli personaJebi sxvadasxva gziT cdiloben Tavis damkvidrebas da cxovrebaSi sakuTari

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This year saw Hossein Eidizadeh, a young Iranian film critic, join the traditional national competition jury. In the Short Movie category, in which Data Pirtskhalava’s “Father” and Tato Kotetishvili’s “Ogasavara” were the unconditional favorites, the jury surprisingly handed the “Prometheus” to Tornike Bziava’s “Wake Man”. The “Prometheus” for the Best Motion Picture was awarded to Zaza Khalvashi’s “Solomon”. As for the Best Documentary Film prize, it was awarded to a collective work of Salome Machaidze, Tamuna Karumidze, and David Meskhi: “When the Earth Seems to Be Light”.

The latter’s premiere was screened at the International Documentary Film Festival in Amsterdam. The unconventional narrative and spectacular visuals of this documentary experiment transcended the section it was assigned and made it stand out as one of the festival’s distinguished documentaries.

Forum of European Cinema It is the movies presented at this section of the festival that the audience was the most excited about. Indeed, it is in the Forum of European Cinema that all the interesting 2015 movies from European countries have come together.

“A Pigeon Sat on a Branch Reflecting on Existence”, the last part of Swede director Roy Andersson’s “The Living Trilogy” (called absurdist comedies by some), was one of the most important films of the festival. It is very minimalistic in both dialogue and frames.

The sentence “I’m happy to hear you’re doing fine” comes back and forth, as a chorus to the movie, while nothing is actually going well

adgilis povnas. reJisoris ironia adamianebis, istoriis, Tanamedrove samyaros gamowvevebisadmi calsaxaa; amas emateba Sveduri kinematografisTvis damaxasiaTebeli Txrobis manera da andersonis gamorCeuli vizualuri xelwera. filmi SarSandeli veneciis 71-e saerTaSoriso kinofestivalis „oqros lomis“ mflobeli gaxda. andersonis msgavsad, mayurebelTa gansakuTrebuli interesi wilad xvda italieli reJisoris, paolo sorentinos films „axalgazrdoba“. Tbiliseli mayurebeli mas icnobs filmiT „didebuli silamaze“, romelic festivalze SarSan iyo warmodgenili. „axalgazroba“, romelic gamorCeuli vizualis mqone filmia, ori moxucebulis „mSvid“ siberes aRwers. mTavar rolebs harvi keiteli da maikl keini asruleben, maTi ekranuli dueti samsaxiobo masterklasia. evropuli kinos forumis mniSvnelovani filmia Jako van dormalis „axalTaxali aRTqma“. RmerTi arsebobs da warmoidgineT rom, is briuselSi cxovrobs _ epataJuri siuJeti, kargi iumori da msaxiobebis gasaocari Sesruleba. filmi ara imdenad RmerTsa da rwmenaze, aramed adamianebze, maT miswrafebebsa da survilebzea. tod hainsis filmi „qeroli“ feministuri dramaa, gasuli saukunis 50-iani wlebis maRali wris qalze, romelic bednierebas saTamaSoebis maRaziis gamyidvel gogonasTan poulobs. qeiT blanSetis da runi maras kargad SeTamaSebuli dueti, SeiZleba iTqvas filmis erTaderTi Rirsebaa. reJisors, samwuxarod, filmiT axali araferi uTqvams. saintereso namuSevaria, britaneli reJisoris endriu

– quite on the contrary, grotesque solitary characters all try, through various means, to establish themselves in life and find their own place in it. The irony of the director towards the challenges of humans, history, and the modern world, is very clear. Added to this, there is the characteristic Swedish narrative and Andersson’s specific visual signature. This film was awarded a Golden Lion at the 71st Venice International Film Festival last year.

“Youth”, the picture of Italian director Paolo Sorrentino, has also drawn much attention to itself. Tbilisi’s audience knew the filmmaker through his movie “The Great Beauty”, which was presented at the festival last year. “Youth”, which has a particular focus on visuals, describes the “peaceful” old age of two elderly friends. In the main roles, we can find Harvey Keitel and Michael Caine, and their duet is a masterclass in acting.

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hais filmi „45 weli“, mTavari rolis Semsrulebel Sarlota remplingianad. qorwinebidan 40 wlis Tavze coli qmris warsulis Sesaxeb mniSnelovan ambavs igebs; sabolood, am yvelafers ojaxi dangrevisken mihyavs. polonuri kinoskolis kidev erTi warmatebaa reJisor malgoJata Sumovskas filmi `sxeuli~, sadac reJisoris gansakuTrebuli xedva Cans. aRsaniSnavia, bakur bakuraZis filmi „Zma deiani“, sadac balkaneTis omis generlis sicocxlis bolo wlebia asaxuli. amave seqciaSi iyo warmodgenili mateo garones „zRaparT zRapari“, paolo da vitorio tavianebis „saocari bokaCo“, karlos sauras „argentina“. maT vinc festivalze daswreba ver moaxerxa, vurCevdi evropuli kinos forumSi ganxiluli filmebis naxvas. damzadebulia germaniaSi/franguli koleqcia germaneli reJisoris sebastian Siperis filmi „viqtoria“ da Jak odiaris „dipani“ wlevandeli promeTes mayureblTa favoritebi gaxdnen. „viqtoria“ festivalze warmodgenili iyo tradiciul seqciaSi _ „damzadebulia germaniaSi“. erTi Rame, erTi ambavi, erTi kadri... gogonas berlinuri Rame saxifaTo TavgadasavalSi gadaizrdeba. germanelma reJisorma filmis gadaReba 2014 wlis 27 aprils dilis 4:30 wuTze daiwyo da 7 saaTze daasrula. uwyveti kadris principiT gadaRebul filmSi aRsaniSnavia novatoruli audio-vizualuri mxare. filmi 2015 wlis berlinaleze „oqros daTvis“ nominantTa Soris iyo. 2015 wlis kanis kinofestivalis triumfatori, `oqros palmis rtos~

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Another important film presented in the Forum of European Cinema section is “The Brand New Testament” by Jaco Van Dormael.

God exists, and he lives in Brussels – a popular theme, good humor, and a remarkable performance from the cast. You will find that the movie is more about humans, their aspirations and wishes, than about God and faith.

Todd Haynes’ “Carol” is a feminist drama set in New York during the 1950s about a lady from the high society who finds happiness with a young woman working in a toy store. One could say that Cate Blanchett and Rooney Mara’s subtle acting duet may be the only value of this film. Unfortunately, the director does not offer anything new with this movie.

British director Andrew Haigh’s “45 years” is an interesting picture – just like the performance of the main actress, Charlotte Rampling.

After more than 40 years of marriage, a woman learns an important piece of information about her husband’s past, which leads to the ruining of the couple’s relationship.

Malgorzata Szumowska’s film “Body” is an additional success from the Polish cinema, and one can feel the director’s exceptional vision in it. Another notable movie is Bakur Bakuradze’s “Brother Dejan”, which describes the last years of a former Balkan War General. Mateo Garrone’s “Tale of Tales”, Paolo and Vittorio Taviani’s “Wondrous Boccaccio”, and Carlos Saura’s “Argentina” were also presented in this section. For those who could not attend the festival, if you had to choose, I would advise you to take a look at the movies screened within the context of the Forum of European Cinema section.

Made in Germany / French Collection German director Sebastian Schipper’s “Victoria” and Jacques Audiard “Dheepan” became the favorites among this year’s festival’s spectators.

“Victoria” was presented in “Made in Germany”, a traditional section of “Prometheus”. One thing, one story, and one frame: a girl’s night in Berlin will transform into a dangerous adventure. The German director started shooting the movie on 4:30 in the morning of April 27, 2014, and finished it at seven, two and a half hours later. Innovative audiovisual features will be noted in this movie shot in one continuous take. It was nominated for a “Golden Bear” at the 2015 Berlinale Festival.

“Dheepan” is the laureate of the “Palme d’Or” at the 2015 Cannes Film Festival. Its setting is the two last days of the civil war in Sri Lanka.

After having lost the war, Sivadhasan, the main protagonist, decides to move to France and ask for political asylum with the passport of Dheepan, a dead man. But upon arriving in Paris, the suburb he lives in turns out to be just another conflict zone for him.

mflobeli filmi „dipani“ Sri lankis samoqalaqo omis bolo dReebs asaxavs. wagebuli omis Semdeg mTavari gmiri _ sivadhasani gardacvlili adamianis _ dipanis pasportiT politikuri TavSesafris saZebnelad safrangeTSi gadainacvlebs, magram parizis gareubani misTvis axali konfliqtis sawyisi aRmoCndeba. apolo _ kinos mexsiereba seqciiaSi „apolo kinos mexsiereba“ rainer verner fasbinderis Semoqmedeba moeqca. wels germaneli reJisoris 70 wlis iubile mTel msoflioSi retrospeqtivebiT, gamofenebiT, kinokvireulebiT aRniSnes. „promeTec“ CaerTo am maraTonSi da festivalis farglebSi naCvenebi iyo misi ori filmi: „erideT wminda meZavs“ da „petra fon kantis cxare cremlebi“, folker Slondorfis „baali“. mayureblebis gansakuTrebuli interesi gamoiwvia danieli reJisoris _ qrisTian braad Tomsenis dokumenturma filmma „fasbinderi-siyvaruli moTxovnebis gareSe“. XX saukunis erT-erTi yvelaze mniSnelovani avtoris damajerebeli biografiuli portreti, sadac reJisoris yvelaze mniSnelovani namuSevrebi da mayureblisTvis dRemde ucnobi saarqivo masalebia warmodgenili. „promeTes“ Tbiliseli mayurebeli wlidan wlamde elodeba, TbilisSi es festivali erTaderTi sivrcea, sadac mayurebels saSualeba aqvs ixilos uaxlesi filmebi msoflios sxvadasxva qveynidan. `promeTe~ dedaqalaqSi municipaluri kinoTeatris ararsebobis sicarielesac avsebs, kargi kinos yureba siamovnebaa da didi ekrani am gancdas aormagebs. niSandoblivia festivalis yovelwliurad cvalebadi koncefciac, romlis garSemoc filmebi da personaliebi erTiandebian. swored amitomac, promeTes kulturul-socialuri mniSvneloba wlidanwlamde izrdeba. neno qavTaraZe

Apollo – Cinema Memories Rainer Werner Fassbinder was screened in the section “Apollo – Cinema Memories”. The German director’s 70th birthday was celebrated worldwide with retrospectives, exhibitions, and special cinema weeklies. “Prometheus” joined this marathon and screened two of his films: “Beware of a Holy Whore” and “The Bitter Tears of Petra von Kant”, as well as Vokler Schlöndorff’s “Baal”, in which he plays the lead role. Danish director Christian Braad Thomsen’s documentary film “Fassbinder – To Love without Demands” was particularly popular among spectators. It is a convincing biographic portrait of one of the greatest filmmakers of the 20th century. It goes through his most important works, and also presents some previously unseen archive footage.

Tbilisi residents await “Prometheus” with more and more expectation from one year to the next, as this festival is one of the only events in Tbilisi were the audience is given the possibility to watch the most recent movies from around the world. “Prometheus” fills the gap created by the inexistence of a public movie theatre in the capital. Watching a good movie is a pleasurable pastime, and a big screen doubles this pleasure.

It is worth noting that the conception and themes of the festival change each year. Many movies and personalities have gathered around these different topics, and the sociocultural importance of “Prometheus” grows larger with each year. by neno kavtaradze

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varla varla _ qarTveli mxatvris, feliqs varlamiSvilis evropuli fsevdonimia. misi cxovreba da Semoqmedeba ramdenime periods moicavs da rogorc erTi dasavlur gazeTi werda, zRapruli mistiurobiTa da siurrealizmis detalebiT gamoirCeva. cxenebi HORSES

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Varla Varla is the European pseudonym of Georgian painter Felix Varlamishvili. His life and work include several periods, and as a western magazine once wrote, were characterized by fairytale-like mysticism and surrealistic details.

quTaisi, axalcixe, Tbilisi... feliqs varlamiSvili 1903 wels quTaisSi grigol varlamiSvilisa da roza faliaSvilis ojaxSi daibada. deda naadrevad gardaecvala da deidam patara sacxovreblad axalcixeSi gadaiyvana.

1912 wels feliqsma swavla quTaisis realur saswavlebelSi daiwyo, romlis damTavrebis Semdeg Tbilisis saxelmwifo universitetis sabunebismetyvelo fakultetze Cairicxa. 1922-dan ki Tbilisis axalgaxsnil samxatvro akademiaSi gadavida. misi pedagogebi iyvnen: gigo gabaSvili, iakob nikolaZe, evgeni lansere, oskar Smerlingi, boris fogeli, ioseb Sarlemani. student varlamiSvilis grafikulma Tu ferwerulma namuSevrebma sazogadoebis yuradReba swrafad miipyro da maleve misi naxatebi gamofena

imereTi IMERETI

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Kutaisi, Akhaltsikhe, Tbilisi...

Felix Varlamishvili was born in 1903 in Kutaisi to Grigol Varlamishvili and Rosa Paliashvili. His mother passed early, and her sister moved him and took care of him at her home in the city of Akhaltsikhe.

After finishing school in Kutaisi, Felix studied natural sciences at the Tbilisi State University. In 1922, he moved to Tbilisi’s newly opened Academy of Arts, where he had Gigo Gabashvili, Iakob Nikoladze, Eugene Lanceray, Oscar Shmerling, Boris Fogel, and Iosif Charlemagne among his fellow students. The graphic art and paintings of Varlamishvili from his student years quickly caught the eye of the public, and his works were soon being displayed in personal exhibitions in Tbilisi and Kutaisi. In 1927, a collection of Ietim Gurji’s poems was published with Varlamishvili’s illustrations. After graduating from the Academy of Arts, Felix founded a private art school in Tbilisi – but it only functioned for two years.

gogona kraviT GIRL WITH A LAMB

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kompozicia COMPOSITION

Tbilissa da quTaisSi moewyo. 1927 wels varlamiSvilis ilustraciebiT daibeWda ieTim gurjis krebuli. samxatvro akademiis damTavrebis Semdeg, feliqsama TbilisSi kerZo samxatvro skola daarsa, romelmac mxolod ori weli iarseba. safrangeTi...

1928 wels akademiis Tanakursel luka xiTariSvilTan erTad, feliqs varlamiSvilma sabWoTa saqarTvelo datova da „bilik-bilik“ jer stambulSi, xolo mogvianebiT parizSi Cavida da mxatvrebisa da mwerlTa sayvarel monparnasze dasaxlda.

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France...

In 1928, Felix Varlamishvili left soviet Georgia together with his fellow student Luka Khitarishvili. After a first stop in Istanbul, he arrived and settled in Montparnasse –the neighborhood of choice of artists and writers in Paris.

At first, living in France was not easy for him, but he soon started working in Paris’ Atelier, for which he created decorative artworks throughout a number of years. His paintings were exhibited in Paris for the first time in 1933, at the Speranza Gallery.

In 1934 Felix Varlamishvili married Danish painter Zire Binder.

From 1945, the “French painter” Felix Varla became a member of the so-called “Salon d’Automne,” a society founded by painters Georges

kompozicia COMPOSITION

Tavidan safrangeTSi cxovreba Zalian uWirda, Tumca male parizSi sieJelis atelieSi daiwyo muSaoba, sadac ramdenime weli dekoratiuli xelovnebis nimuSebs qmnida. misi naxatebi, pirvelad, 1933 wels gamoifina parizSi `sperancas~ galereaSi. 1934 wels daojaxda _ colad SeirTo daniuri warmoSobis mxatvari zire binderi. 1945 wlidan feliqs varla, `frangi mxatvari~, _ e.w. `Semodgomis salonis~ (franguli sazogadoeba) wevri gaxda. 1903 wels es sazogadoeba mxatvrebma _ JorJ rualma, andre derenma, anri matisma da alber markem daaarses, rogorc parizuli salonis akademiur-konservatoruli imijisa da

kompozicia COMPOSITION

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mka REAPING

politikis Tanamedrove alternativa. `Semodgomis saloni~ gaxsnisTanave XX saukunis mxatvrobisa da skulpturis gamorCeul sagamofeno sivrced iqca, sadac pol sezanis, pol gogenis, pablo pikasos, amadeo modilianis, mark Sagalis, rene iSes garda, qarTvelebic _ elene axvlediani, lado gudiaSvili da sxvanic ifinebodnen. argentina...

1948 wels, feliqs varla meuRlesTan erTad argentinaSi gaemgzavra, sadac dekoratiul JanrSi daiwyo muSaoba; xatavda panoebs xaliCebisTvis da, paralelurad, ferwerul Tu grafikul namuSevrebsac qmnida.

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Rouault, André Derain, Henri Matisse, and Albert Marquet in 1903 as a modern alternative to the academic and conservative policies of the official salons in Paris. Following its inaugural exhibition, “Salon d’Automne” became an important exhibition space for 20th century painting and sculpture. Paintings of Georgian artists Elene Akhvlediani, Lado Gudiashvili, and others were exhibited in some of the annual exhibitions of the Salon, alongside the works of Paul Cézanne, Pablo Picasso, Amadeo Modigliani, Marc Chagall, and René Iché.

Argentina...

In 1948, Felix Varla traveled to Argentina with his wife.

axalgazrda qali, magida, cxenebi YOUNG WOMAN, TABLE, HORSES

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Canaxati SKETCH

espanuri peizaJi SPANISH LANDSCAPE

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gamofenebze gamotanili misi suraTebi xSirad winaswar, didi xnis gayiduli iyo. am periodisTvis aRsaniSnavia varlas 1950 wlis buenos-airesis cnobili gamofena, romelmac mas didi aRiareba moupova. statia _ „b-n feliqs varlamiSvilis samxatvro gamofena~ buenosairesSi _ viktor nozaZis redaqtorobiT gamosul Jurnal „mamulSi“ daibeWda. feliqs varlamiSvilis mravalricxovani gamofenebi erTmaneTs cvlis: niu-iorki, los-anJelesi, dalasi, hiustoni, tokio, osaka, iokohama, briuseli, montekarlo, Teirani, gansakuTrebuli mxatvruli sisruliTa da popularobiT gamorCeuli parizis _ 1933, 1947, 1959, 1976 wlebis, buenos-airesis 1950, 1951 wlebis, sanfranciskos _ 1959, 1960, 1961 wlebis, detroitis _ 1963 wlis gamofenebi unda aRiniSnos. mxatvris namuSevrebi mravali qveynis muzeumebsa Tu kerZo koleqciebSia daculi.

There, he started working on the decorative genre; he would draw carpet designs, and simultaneously create paintings and graphic artwork. The paintings he used to display in exhibitions were usually sold long before they were hung.

Varla’s famous 1950 exhibition in Buenos Aires met notable success, and an article written by Viktor Nozadze and titled “Mr. Felix Varlamishvili’s Painting Exhibition” was published in the newspaper “Mamuli” (“Fatherland”) about it.

Felix Varlamishvili’s exhibitions kept on coming – in New York, Los Angeles, Dallas, Houston, Tokyo, Osaka, Yokohama, Brussels, Monte Carlo, Teheran... We can single out the exhibitions in Paris (1933, 1947, 1959, and 1976), Buenos Aires (1950 and 1951), San Francisco (1959, 1960, and 1961), and Detroit (1963) for both their artistic value and popularity. The painter’s works are now kept in many museums and private collections around the world.

monparnasi MONTPARNASSE

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meTevzeebi FISHERMEN

isev parizi... miuxedavad warmatebuli SemoqmedebiTi saqmianobisa, varla 1952 wels parizs, monparnass ubrundeba... da safrangeTSi dabrunebuli saqarTvelos xatavs. xatavs gonebaSi daleqil mogonebebs _ quTaisze, Tbilisze, axalcixeze. misi tiloebi TiTqos ganyenebulia, konkretuli peizaJisa Tu saxeebis gareSe... varla 83 wlis asakSi, 1986 wlis 6 Tebervals gardaicvala. anderZis Tanaxmad, misi neSti dawves da ferfli levilis qarTvelTa sasaflaoze mimofantes. zire binderma, meuRlis TxovniT, ramdenime ferweruli da grafikuli tilo saqarTvelos saxelmwifo xelovnebis muzeums gadasca...

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Paris Again...

In 1952, despite his successful creative activity, Varla headed back to Paris and Montparnasse... Where he started painting Georgia. He painted his remote memories of Kutaisi, Tbilisi, and Akhaltsikhe. His canvases look abstract, as they do not depict any particular landscape or face...

Varla passed at 83 years of age on the 6th of February, 1986. In accordance with his will, his remains were cremated, and his ashes were scattered on the territory of the Leuville Cemetery, a burial ground to many prominent Georgian political émigrés.

Following his wish, Zire Binder donated several of her husband’s paintings and graphic artworks to the Museum of Fine Arts of Georgia...

www.culture.gov.ge

kultura plus / CULTURE PLUS 2(2)2015

gilocavT Soba-axal wels!