კულტურა პლუს #1 by კულტურა Plus

kultura plus / CULTURE PLUS 1(1)2015

www.culture.gov.ge

vaJa-fSavelas saxelobis saxelmwifo premia

saqarTvelos mTavrobis dadgenileba N362

2015 wlis

23 ivlisi

q. Tbilisi

literaturis dargSi vaJa-fSavelas saxelobis

ikiTxeT

premiis miniWebis sakiTxebis ganmxilveli komisiis Seqmnisa da misi debulebis damtkicebis Sesaxeb `saqarTvelos mTavrobis struqturis, uflebamosilebisa da saqmianobis wesis Sesaxeb~ saqarTvelos kanonis me-5 muxlis `e~ qvepunqtis, me-6 muxlis pirveli punqtisa da 29-e pirveli punqtis safuZvelze, saqarTveloSi literaturis,

saliteraturo procesebis Semdgomi ganviTarebisa da stimulirebis, mweralTa da literatorTa Rvawlis aRiarebisa da dafasebis mizniT: muxli 1. Seiqmnas `literaturis dargSi vaJafSavelas saxelobis premiis miniWebis sakiTxebis ganmxilveli komisia~. muxli 2. damtkicdes `literaturis dargSi vaJafSavelas saxelobis premiis miniWebis sakiTxebis ganmxilveli~ TandarTuli debuleba. muxli 3. am dadgenilebiT damtkicebuli debulebiT gaTvaliswinebuli medlebisa da diplomebis damzadeba da sapremio Tanxis gamoyofa 10 000 (aTi aTasi) laris odenobiT uzrunvelyos saqarTvelos kulturisa da ZeglTa dacvis saministrom, xolo damatebiTi dafinansebis saWiroebis SemTxvevaSi Sesabamisi winadadebebiT mimarTos saqarTvelos finansTa saministros. muxli 4. dadgenileba amoqmeddes

premier-ministri irakli RaribaSvili

arakomerciuli reklama

gamoqveynebisTanave.

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 interviu ministrTan

INTERVIEW WITH MINISTER

patara samSoblo

A SMALL HOMELAND

ifiqre, Seqmeni, gauziare

IMAGINE, CREATE, SHARE

fiqrebi xmamaRla

THINKING OUT LOUD

literatura sazRvrebs gareT

LITERATURE WITHOUT BORDERS

xrikis moedani

SQUARE OF TRICKERY

me sizmrebs vxedav...

CYBERGALAKTION

Salva qiqoZe

SHALVA KIKODZE

mokled Teatralur festivalebze

THEATRICAL FESTIVALS IN BRIEF

kinos fasi

THE VALUE OF FILM

praRis kvadrienale

PQ 2015

saqarTvelo veneciis saerTaSoriso bienaleze

GEORGIA AT THE VENICE INTERNATIONAL BIENNALE

Savi zRvis feradi jazi

COLORFUL JAZZ OF THE BLACK SEA

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

fotomasalis mowodebisTvis redaqcia madlobas uxdis: quTaisis saxelmwifo istoriul muzeums; saqarTvelos parlamentis erovnul biblioTekas; qarTuli literaturis saxelmwifo muzeums; qarTuli xelovnebis istoriis da ZeglTa dcvis erovnul kvleviT centrs; kinematografiis erovnul centrs

redaqciisgan:

aqarTvelos kulturisa da ZeglTa dacvis saministro iwyebs axali Jurnalis gamocemas. axalSobils ki saxels arqmeven. bevri vifiqreT da gadavwyviteT _ gamocemas

`kultura plus~ vuwodoT. qarTuli kultura, xelovneba qveynis inteleqtualuri da

ekonomikuri formirebis mZlavri berketia. metic, Cveni samSoblos warmateba, momavlis safuZveli mniSvnelovnadaa damokidebuli Cvens inteleqtze, sulierebaze, gemovnebaze, zogadad kulturaze. yoveli eri unda cdilobdes sakuTars da sxva civilizebul samyaros erovnuli arsi gaumJRavnos, gaacnos. Tuki ers sxvaTaTvis sulierebis gaReba-gaziareba ar SeuZlia es umomavlobis, Ralatis tolfasia. Cveni simdidre Cvens kulturasTan ucxoTa mopatiJeba da gacnobacaa. miT ufro dRes, roca saerTaSoriso sazRvrebi SemoqmedebiTi urTierTTanamSromlobisa da gamdidrebisTvis Riaa... dabolos, kadnierebaSi Tu ar CamogvarTmevT, ilias movixmobT: `rom Jurnali saWiroa, amas Tqma aRar unda, Jurnali, rogorc sxva, ise Cvenica, ar aris erTi kacis survilis nayofi: mouvida Jini werisa da gamosca. ara, magisTana Jurnali Tavs didxans ar daiWers. Cvena vsTqviT, rom yovelis saWiroeba cxovrebidgan warmodgeba... marto is saqmea mkvidri da mtkice, romlis fesvic Sig cxovrebaSia gamokvanZili...~ imeds gamovTqvamT, rom es saqmec, `kultura plus~, dRevandelobaSi gamokvanZili da Cveni cxovrebidan warmomdgari, mkvidri da mtkice iqneba.

From the Editors:

he Ministry of Culture and Monument Protection is publishing a new magazine. Every newborn needs a name, so after much consideration we decided to name the publication Culture Plus.

Georgian culture and art is an important lever in the country’s intellectual

and economic formation. Furthermore, both our country’s success and the basis of our future are strongly dependent on our intellect, our spirituality, taste, and culture in general. Every nation should try to reveal its national essence to its own, as well as to the rest of the civilized world, and to acquaint them with it. A nation that fails to share its spirituality with others has no future, and this is tantamount to treason. Our wealth is in our ability to invite strangers to our culture, and to involve them in it. This is true even more so today, when international borders are open for creative cooperation and enrichment... And finally, taking the liberty to evoke the words of eminent Georgian writer Ilia Chavchavadze, we would like to quote: “To say that a magazine is required is hardly necessary, but our magazine, as well as that of anyone else, is not merely the fruit of one man’s desire, to be written and published on a whim. No, such a magazine will not last long. We have said that all of necessity comes from life... Therefore, only the activity that is deeply rooted in life itself is truly solid, and will endure.” We hope that Culture Plus, too, will be shaped by the present and rooted in our life, and that it will be truly solid, and will endure.

interviu saqarTvelos kulturisa da ZeglTa dacvis ministr mixeil giorgaZesTan

batono mixeil, kulturis sfero mravlismomcveli konceptia, mis ganviTarebas Cveni qveynis momavlisTvis gadamwyveti mniSvneloba aqvs. erTi weli gavida mas Semdeg, rac Tqven am urTules saqmes uZRvebiT... _ diax, erTi wlis win kulturisa da ZeglTa dacvis ministroba SemomTavazes. es winadadeba, miuxedavad imisa, rom samusiko biznesSi vmuSaobdi, CemTvis moulodneli iyo. samusiko biznesis problemebs kargad vicnobdi, xelovnebis sxva dargebisas ki ufro zogadad, Rrmad ara. SemoTavazebam damafiqra, vacnobierebdi pasuxismgeblobas, romelic unda metvirTa. me yofili wyalburTeli var, miCveuli sirTulesTan gamklavebas. yoveli matCis win miuxedavad momzadebis da sakuTari Tavis rwmenisa, erTgvar aRelvebas mainc ganvicdidi. erTi wlis winac amgvari grZnoba dameufla. Tumca mivxvdi imasac, rom es SemoTavazeba saSualebas maZlevda Cemi Sexedulebebi kulturis marTvisa da sistemuri cvlilebebis kuTxiT realur cxovrebaSi gametarebina, saqmed meqcia. da kidev, Tu xmamaRal gancxadebad ar CamiTvliT, getyviT _ es CemTvis iyo erTgvari Sansi, gamowveva _ emsaxuro Sens xalxs, Sens qveyanas. am erTma welma, Tamamad SemiZlia vTqva, CemTvis, Cveni gundisTvis, sainteresod, nayofierad Caiara. mas Semdeg rac Rrmad CavixedeT da davinaxeT arsebuli viTareba, myarad Camogviyalibda xedva _ Tu ra funqcia da daniSnuleba unda hqondes kulturis saministros. axla CvenTvis ukve mkafioa is amocanebi, prioritetebi rac kulturis saministros aqvs da maTi gadaWris gzebma xiluli saburveli, Sesamoseli miiRo. mokled, erTi winadadebiT rom vTqva, es kulturis xelSemwyobi garemosa da pirobebis Seqmnaa qveynis mdgradi ganviTarebisa da sazogadoebrivi cnobierebis amaRlebis mizniT. albaT, amis dasturia isic, rom dRes saqarTvelos kulturisa da ZeglTa dacvis saministro aqtiurad muSaobs saqarTvelos kulturis politikis strategiis SemuSavebaze. Catarda gasvliTi Sexvedrebi sxvadasxva regionSi, romelic momavalSic gagrZeldeba. ra etapzea mimdinare samuSao? _ nebismieri saqmis keTebas momavlis grZelvadiani xedva, strategia sWirdeba. unda gansazRvro sad xar dRes da

Questions for Mikheil Giorgadze, Minister of Culture and Monument Protection of Georgia

Batono [Georgian honorific] Mikheil, the culture sphere is a comprehensive concept and its development is of decisive importance for the future of our country. Almost one year has passed since you took charge of this complex sphereâ&#x20AC;Ś Yes, I was offered the post of Minister of Culture and Monument Protection a year ago. This offer was a surprise to me, even though I had been working in the music business. I was well acquainted with the problems in the music business, though my awareness of the problems of other art forms was more general, rather than in-

ra sirTulis gza unda ganvlo, rom mixvide ganviTarebis garkveul etapamde. rodesac Cvenma gundma daiwyo muSaoba, aRmoCnda, rom saministros aseTi ram ar hqonda. uZveles, unikalur da TviTmyofad qarTul kulturas, mis samomavlo ganviTarebas ki amgvari saxelmZRvanelo dokumentis Seqmna sWirdeba. kulturis strategia bundovani frazebis krebuli ar aris, is konkretul saSualebaTa erTobaa, sadac gawerilia nabijebi, romelic Cvenma sazogadoebam mTavrobasTan erTad unda ganvlos da, zogadad, kultura da xelovnebis sxvadasxva dargi ganviTarebis ufro axal, maRal niSnulze aiyvanos. dokumentze muSaoba wels, Tebervlidan daviwyeT. evrokavSiris eqspertebTan erTad kargad gaviazreT momavali nabijebi da movamzadeT gzamkvlevi, romelic mivawodeT aRmasrulebel, sakanonmdeblo da regionSi, adgilobriv xelisuflebas, politikur partiebs, arasamTavrobo organizaciebs, erovnul da religiur umciresobebs, kerZo biznesis warmomadgenlebs, SemoqmedebiT kavSirebs, kulturis saministros sipebsa da aipebs, yvela dainteresebul pirs. strategiaze muSaobisas vicavT umTavres princips _ sayovelTao CarTulobas _ nebismier adamians SeuZlia gaecnos saministros vebgverdze atvirTul gzamkvlevs, saqarTvelos sxvadasxva regionSi Catarebuli Sexvedrebis oqmebs da Tavadac gamoTqvas azri kulturis strategiis ama Tu im mimarTulebis Sesaxeb. a.w. oqtomberSi vfiqrobT sazogadoebis samsjavroze gamovitanoT kulturis strategiis pirveladi, samuSao varianti. gadauWarbeblad vityvi, es saqme uprecedento da istoriulia. strategia, romelic 2025 wlamde unda ganxorcieldes, exeba zogadad kulturis infrastruqturul gamarTvasa da saWiroebebs, sakanonmdeblo cvlilebebs, finansur sakiTxebs, adamianur resurss, menejments da ganaTlebis problemebs. kulturis strategiis sakoordinacio jgufTan erTad dokumentze yvela saministro muSaobs, romlebic uwyebaTa samuSao jgufSi gaerTiandnen. vfiqrobT, sazogadoebas kulturis strategia, romelic saqarTvelos mTavrobam unda daamtkicos, wlis bolomde warvudginoT, Tumca dokumentis mniSvnelobidan gamomdinare gvesmis isic, rom am saqmeSi aCqareba dauSvebelia. saqarTvelos kanonebi romlebic kulturas, ZeglTa dacvas da maTSi Semaval sxvadasxva sferos Seexeba, ZiriTadad, miRebulia gasuli saukunis 90-iani wlebis bolos da Cveni saukunis dasawyisSi. ramdenad esadageba es sakanonmdeblo baza dRevandelobas da rame xom ar aris Sesacvlel-dasaxvewi? _ kulturis strategiaze muSaobisas mivediT daskvnamde _ dRes saqarTveloSi kulturis sferos Sesaxeb moqmed kanonebs daxvewa-ganaxleba, evropul kanonmdeblobasTan

depth. The offer made me think, as I was aware of the responsibility I would have to shoulder. I am a former water polo player, so I am used to dealing with difficulties. Prior to every match, I used to feel a certain kind of nervousness despite my preparedness and self-confidence. I had the same feeling one year ago, though I also understood that this offer would allow me to implement my views on culture management and systemic changes; to make them real. And furthermore, not meaning to sound too bold, this was a chance for me, a challenge – to serve my people and my country. I can confidently say that this was an interesting and productive year for myself and my team. Once we took a more detailed look and understood the situation, we instantly attained a perspective regarding the function and purpose of the Ministry of Culture. Now, the goals and priorities of the Ministry of Culture are clear to us and the solution to existing problems has become visible and salient. The fact that the Ministry of Culture and Monument Protection of Georgia is actively working on developing the culture strategy of Georgia probably also serves as evidence for this. Field meetings have taken place in a number of provinces, and this will continue in future, too. At which stage is the work in progress? Any kind of endeavor requires a long-term vision, a strategy. You have to determine where you are today and how difficult the path is that you have to take in order to reach a certain stage of development. When our team began work it emerged that the Ministry had no such thing. And Georgia’s ancient, unique, and self-sufficient culture, as well as its future development, requires the existence of such a guiding manual. The culture strategy is not a collection of vague phrases; it is the unity of specific measures, which includes the steps that our public needs to take, together with the government, in order to elevate culture and various art forms to a new, higher level. We began working on this document this year, in February. We considered our future steps together with European experts and prepared a guidebook which we presented to our executive and legislative branches, as well as to our local governments in the regions, political parties, non-governmental organizations, ethnic and religious minorities, private business representatives, creative unions, legal entities under public law and non-entrepreneurial legal entities, and to all interested parties. We applied the essential principle of universal inclusion while working on the strategy – any person can access the guidebook, which has been uploaded to the Ministry’s website together with the minutes of meetings held in various regions of Georgia - and express his or her own opinion concerning any aspect of the culture strategy. We are considering presenting the initial working version of the culture strategy for public scrutiny in October this year. I will say that this is, without exaggeration, an unprecedented and historic event. The strategy, which must be realized by 2025, concerns

harmonizacia sWirdebaT. Cven vamzadebT iniciativas, raTa moxdes Sesworebebi da damatebebi saqarTvelos kanonmdeblobaSi ganaTlebis Sesaxeb saxelovnebo ganaTlebis kuTxiT. garda amisa, kulturuli memkvidreobis erovnul saagentosTan erTad vmuSaobT memkvidreobis kodeqsze. gvsurs am mimarTulebis gafantuli kanonebi gavaerTianoT, movaxdinoT maTi harmonizacia da memkvidreobis erTiani sakanonmdeblo baza SevqmnaT; sagadasaxado kodeqsSi Sesatan cvlilebebze, rac kulturis sferoSi moRvawe organizaciebs finansur SeRavaTebs moutans, amis magaliTi ki qonebis gadasaxadis gauqmebaa, romlis inicireba ukve movaxdineT; da mTavari _ kanoni qvelmoqmedebis Sesaxeb, romelic aucileblad misaRebia da jer-jerobiT ar gvaqvs! es kanoni gadebda xids xelovnebis sxvadasxva dargsa da kerZo bizness Soris, romelic, sabolood didad waadgeboda Cvens kulturas. a.w. TebervalSi briuselSi xeli moawereT SeTanxmebas, romlis mixedviTac saqarTvelo evrokavSiris programis _ `SemoqmedebiTi evropa~ _ wevri gaxda. ras miscems es SeTanxmeba Cvens qveyanas? _ gasul zamTars, rodesac xeli movawereT SeTanxmebas `SemoqmedebiT evropasTan~ saqarTvelo „aRmosavleT partniorobis“ qveynebs Soris erTaderTi qveyana iyo, romelic oficialurad miuerTda mas. `SemoqmedebiTi evropa~evrokavSiris eqvswliani programaa da saxviTi xelovnebis, saSemsruleblo, samusiko, Teatraluri, audiovizualuri, sagamomcemlo, kino, tele da videoTamaSebis industriebis, zogadad evropuli mravalferovani kulturisa da mediis mxardasaWeradaa Seqmnili. 2014-2020 wlebSi sxvadasxva konkursSi gamarjvebuli proeqtebis dafinansebas 1,46 miliardi evro moxmardeba _ dameTanxmebiT, es marTlac uzarmazari Tanxaa. am programidan miRebuli dafinansebiT saqarTveloSi kulturis sferoSi moRvawe jgufebsa da individebs, arasamTavrobo organizaciebs SeeZlebaT evropis masStabiT muSaoba, axali mayureblisa Tu msmenelis winaSe gamosvla da evropel partniorebTan, evrokavSiris an `aRmosavleT partniorobis~qveynebis warmomadgenlebTan (rac proeqtebis dafinansebis upirobo moTxovnaa) erTad erToblivi proeqtebis ganxorcieleba. axlaxan, avstriaSi vizitisas, avstriis respublikis xelovnebis, kulturis, sakonstitucio da mediis sakiTxebSi federalurma ministrma ioseb ostermaierma da me xeli movawereT urTierTgagebis memorandums, romlis safuZvelzec sxva sakiTxebTan da proeqtebTan erTad, avstria saqarTvelos, programa „SemoqmedebiTi evropis“ mimarTulebiT, sakuTar gamocdilebasac gauziarebs. avstrielebis garda, am saqmeSi polonelebi da litvelebic gvexmarebian.

the setup and needs of cultural infrastructure in general, as well as legislative amendments, financial issues, human resources, management, and problems in education. All ministries that are united in the departmental working group are working on the document, together with the culture strategy coordination group. We aim to hold a public presentation of the culture strategy, which needs to be passed by the government of Georgia, before the end of the year, though due to the importance of the document we also understand that haste is not appropriate in this case. Most Georgian laws concerning culture, monument protection, and their various constituent fields, were adopted in the late 1990s, and at the beginning of this century. How applicable is this legal framework to our current times and is there anything that needs to be changed or refined? We reached the following conclusion while working on the culture strategy: To put it mildly, current laws pertaining to the culture field require refinement and renewal, as well as harmonization with European legislation. We are preparing an initiative to implement additions and amendments to Georgian legislation on education, more specifically concerning art education. Furthermore, we are working on the Heritage Code together with the National Agency for Cultural Heritage Preservation of Georgia. We want to unify the relevant laws, which are currently scattered, and to harmonize them and to create a unified legal framework for heritage. We are also working on the changes that need to be made to the Tax Code, which will provide financial benefits to organizations operating in the culture sphere. An example of this is the abolition of property tax, which we have already initiated. And most important of all is the law on charity, which we do not have yet, and which definitely needs to be adopted. This law would bridge various art forms and private business, which would eventually greatly benefit our culture. In February of this year you signed an agreement in Brussels according to which Georgia became a member of the European Union’s Creative Europe program. How will this agreement affect Georgia? Last winter, when we signed the agreement with Creative Europe, Georgia was the only Eastern Partnership country to officially join. Creative Europe is the European Union’s six-year program, created to support the visual arts, performance, music, theatre, audiovisual, publishing, cinema, television, and videogame industries, as well as diverse European culture and media. 1.46 billion Euros will be spent in 2014-2020 to fund projects that have won various competitions – you will agree that this is a truly significant sum.

2018 wels saqarTvelo frankfurtis wignis saerTaSoriso bazrobaze sapatio stumris statusiTaa miwveuli. es ki rTuli da pasuxsagebi misiaa... _ frankfurtis msoflioSi udides wignis bazrobaze saqarTvelos sapatio stumroba SesaZleblobaa, raTa gavideT evropul bazarze, moviZioT axali mkiTxveli da, warmovaCinoT Cveni qveynis literatura da sagamomcemlo saqme, zogadad, kultura. es didi pasuxismgeblobaa da mzadeba ukve daviwyeT _ saministrosTan Seqmnilia wignis erovnuli centri da masTan arsebuli mrCevelTa sabWo. magaliTisTvis getyviT, rom mxolod 2015 wels ganxorcielda 47 proeqti, 18 enaze iTargmna da sazRvargareT gamoica klasikosi da Tanamedrove qarTveli mwerlebis nawarmoebebi. Tumca 2018 wlamde ramdenime welia da es dro, mosamzadeblad, maqsimalurad efeqturad unda gamoviyenoT. arqiteqturuli Zeglebis, samuzeumo koleqciebis, aramaterialuri memkvidreobis nimuSebis _ invenatarizacia, digitalizacia, fotofiqsacia, katalogizacia, da zogadad, kulturuli memkvidreobis popularizacia saSuri saqmea. ra keTdeba am mimarTulebiT? _ es imdenad didi Temaa, rom masze saubari dausruleblad SeiZleba. kulturis saministrosTvis kulturuli memkvidreoba, misi dacva da popularizeba prioritetulia. am mimarTulebas gasul wlebTan SedarebiT sagrZnoblad gazrdili biujetic aqvs. mxolod wels ganxorcielda 60-ze meti proeqti arqeologiuri da sareabilitacio proeqtebis CaTvliT. sadReisod, uaxlesi teqnologiebis gareSe es sfero ver ganviTardeba. amitom, vcdilobT aRvzardoT Tanamedrove teqnologiebs dauflebuli profesionalebi, romlebic dRes-xval SeZleben materialuri Zeglebis Seswavlasa da digitalizacias. amis magaliTi ukve gvaqvs _ Tbilisis meriam daiwyo dedaqalaqSi arsebuli 40 aTasze meti Zeglis pasportizacia. es saqme misabaZi unda gaxdes rogorc CvenTvis, aseve regionuli mmarTvelobebisTvisac. saqarTveloSi bevri Zeglia mosavlel-sapatrono. garda amisa, mimdinareobs saqarTvelos muzeumebSi daculi artefaqtebis monacemTa erTiani eleqtronuli bazis Seqmna, rac gadaudebel, saSur saqmed migvaCnia. iuneskos aramaterialuri kulturuli memkvidreobis Zeglis statusi mieniWa qarTul mravalxmianobas da qvevris Rvinis dayenebis uZveles tradiciul meTods. rogorc viciT am nominaciaze wardgenilia qarTuli anbanic (samive saxeoba _ asomTavruli, nusxuri da mxedruli)... da Semdeg? _ am erTi wlis ganmavlobaSi iuneskosTan TanamSromlobis mxriv namdvili garRveva moxda.

With funding received from this project, groups, individuals, and non-governmental organizations operating in the cultural sphere in Georgia, will be able to work throughout Europe to reach new listeners and audiences, and to implement joint projects with European partners and representatives of the European Union and Eastern Partnership countries (which is an unconditional requirement for the funding of projects). Recently, during a visit to Austria, Josef Ostermayer, Federal Minister for Arts and Culture, Constitution, and Media of the Austrian Republic signed a memorandum of understanding with me on the basis of which Austria will share its experience regarding the Creative Europe project with Georgia, along with other issues and projects. In addition, the Poles and Lithuanians are also helping us with this. Georgia has been invited as an honorary guest to the 2018 Frankfurt International Book Fair. This is quite a complex mission, loaded with responsibility… Georgia being the guest of honor at the world’s biggest book fair in Frankfurt is an opportunity for us to enter the European market, to reach new readers and to promote our country’s literature, publishing business, and culture in general. This is a great responsibility and we have already started to prepare, with the Georgian National Book Center and its board of advisors having been created under the Ministry. For example, only in 2015, 47 projects were implemented, and works of classic and contemporary Georgian authors were translated into 18 languages and published abroad. A few years remain until 2018, however, and we must spend this time wisely. The inventory, documenting, passportization, photography, and cataloging of architectural monuments, museum collections, and examples of intangible heritage, as well as the general popularization of cultural heritage, is a pressing matter. What is being done in this regard? This is such a vast topic that one can talk about it endlessly. Cultural heritage, as well as its protection and promotion, is a priority for the Ministry of Culture. The relevant budget has also significantly increased compared to previous years. Over 60 projects, including archaeological and rehabilitation projects, were implemented this year alone. Today, this sphere will not be able to develop without state-of-the-art technology. Because of this, we are trying to nurture and train modern technology professionals who will be able to study and digitize material heritage monuments today and tomorrow. We already have an example of this – the Tbilisi City Hall has started the passportization of monuments in the capital, of which there are over 40,000. This should serve as an example both to us and to regional governments. There are many monuments in Georgia that require attention and maintenance.

rodesac daviwyeT saqmianoba kulturis saministroSi am mimarTulebiT Zalian bevri problema dagvxvda. saqarTveloSi msoflio materialuri memkvidreobis siaSi Setanili sami Zeglidan ors am statusis moxsnis safrTxe emuqreboda. gaweuli samuSaos Semdeg iuneskosTan mivaRwieT SeTanxmebas, romlis mixedviTac momaval wels mcxeTa garantirebulad daubrundeba msoflio materialuri memkvidreobis ZiriTad nusxas. bagratigelaTis sakiTxi ki ufro rTuladaa _ Tumca, gamosavali aqac moiZebna. esaa bagratisa da gelaTis sazRvrebis modifikacia da maTi renominacia, romlis Semdegac ZiriTad nusxas gelaTiRa daubrundeba. samwuxarod am siaSi bagratis taZari, rogorc damoukidebeli subieqti, veRar moxvdeba _ is SeiZleba axali renominaciis Semdeg gansazRvrul istoriul zonaSi Sevides. iuneskosTan erTad Cven vmuSaobT axal nominaciebzec _ axlaxans engurhesis TaRovan kaSxals erovnuli industriuli memkvidreobis Zeglis statusi mieniWa, romlis saerTaSoriso aRiarebisTvis dokumentaciis momzadeba ukve dawyebulia. mosamzadebel, axal nominaciebSi SesaZlebelia varZiac dasaxeldes. iuneskos eqspertebi gvexmarebian nominaciebis axali, winaswari nusxis SedgenaSic. maT samsjavroze ukve gatanili gvaqvs, rogorc aramaterialuri Zegli _ qarTuli damwerloba, misi samive saxeobiT. iuneskos mrCeveli organizaciebis _ ikromisa da ikomosis iniciativiT igegmeba saqarTveloSi regionuli saerTaSoriso saganmanaTleblo centris daarseba. am saswavlo centrSi `aRmosavleT partniorobis~ farglebSi Semavali qveynebis warmomadgenlebi Seiswavlian da imsjeleben restavraciaze, axal teqnologiebze, menejmentze, infrastruqturis marTvasa da sxv. iuneskosTan TanamSromlobis umniSvnelovanesi aspeqti maTi mxridan saerTaSoriso sadamkvirveblo misiis Seqmnaa, romelic daakvirdeba da Seiswavlis okupirebul teritoriebze arsebul qarTul Zeglebs. aseve gauwevs monitorings TurqeTSi, azerbaijanSi, somxeTSi, kviprossa da sxva qveynebSi arsebul Cvens Zeglebsac. muco-darTlo-CaJaSi _ maTi dasruleba, udaod Seuwyobs xels Cveni qveynis ekonomikis, turizmis ganviTarebas... rodis mTavrdeba maTi reabilitacia da samomavlod ra igegmeba? _ muco-darTlo-CaJaSi-varZia-noqalaqevi, es is msxvili proeqtebia, romlebic SarSan gazafxulze saqarTvelos premierministris, irakli RaribaSvilis, iniciativiT daiwyo. am pirvelqmnili Zeglebis restavraciakonservacia-reabilitacia msoflioSi aRiarebuli standartebis dacviT mimdinareobs da samuSaoTa warmoebas iuneskosTan erTad sxva avtoritetuli

Furthermore, a unified electronic database of artifacts kept in Georgian museums is being created. We consider this to be an urgent matter. Georgian polyphony and the ancient traditional method of making wine in the Qvevri clay vessel were granted the status of Intangible Cultural Heritage by UNESCO. As we know, the Georgian alphabet (including all three types - Asomtavruli, Nuskhuri, and Mkhedruli) is also nominated for this status. What’s next? We had a real breakthrough in terms of our cooperation with UNESCO this year. We encountered many problems in this regard when we started working at the Ministry of Culture. Two of our three World Heritage Cultural sites were in danger of losing their status. As a result of our efforts, we reached an agreement with UNESCO whereby the Mtskheta site will definitely return to the main list of World Heritage sites. The issue of the Bagrati Cathedral and the Gelati Monastery is more complicated, however a solution was found here as well. It entails modifying the boundary lines of the Bagrati Cathedral and the Gelati Monastery territories and then renominating them, after which only the Gelati Monastery will return to the main list. Unfortunately, the Bagrati Cathedral will not be featured on this list as an independent entity; though after being renominated, it may become part of a distinct historic zone. Together with UNESCO, we are also working on new nominations – recently, the arch dam of the Enguri Hydroelectric Power Plant was granted the status of Industrial Heritage Site, and the preparation of the documents required for the international recognition thereof has already begun. We may also name Vardzia among the new nominations that still need to be prepared. UNESCO experts are helping us prepare a new, preliminary list of nominations. We have already proposed to them the Georgian alphabet, along with all three of its types, as Intangible Cultural Heritage. Due to the initiative of UNESCO’s advisor organizations, ICCROM and ICOMOS, the founding of a regional international education center is being planned in Georgia. Representatives from the Eastern Partnership countries will study and discuss restoration, new technologies, management, infrastructure management, and other topics in this center. The most important aspect of cooperation with UNESCO is the creation of a UNESCO monitoring mission, which will monitor and study Georgian monuments located in the Georgian occupied territories, while also monitoring our monuments in Turkey, Azerbaijan, Armenia, Cyprus, and other countries. Mutso, Dartlo, Chazhashi – their completion will undoubtedly facilitate the development of the economy, as well as of tourism. When is their rehabilitation set for completion and what are the future plans?

organizaciebic akvirdebian. es proeqtebi obieqturi bunebrivi pirobebis gamo, ramdenime welzea gaTvlili. savaraudod SemiZlia vTqva, rom muco momaval wels dasruldeba. imeds vitovebT, rom aRdgenili da ganaxlebuli Zeglebi biZgs miscemen qveynis ekonomikur, turistul potencials da mitovebul mTas daubrunebs mosaxleobas, Seqmnis axal samuSao adgilebs. dawyebulia samxatvro akademiis, Teatraluri universtetisa da sxva saxelovnebo saswavleblebis Senobebis rekonstruqcia-reabilitacia... _ kulturis saministros iniciativiT Seqmnilma uwyebaTaSorisma komisiam Seiswavla samxatvro akademiis, Teatraluri universitetis, Tojinebis Teatris, niWierTa aTwledis, qoreografiuli saswavleblis, somxuri da azerbaijanuli Teatrebis Senobebis mdgomareoba, SeimuSava rekonstruqcia-reabilitaciis proeqtebi da praqtikuli samuSaoebis gansaxorcieleblad gamoacxada tenderebi. am mimarTulebiT, aseTi masStabisa da mniSvnelobis saqme saqarTveloSi ramdenime aTeuli welia ar ganxorcielebula. saqarTveloSi mravali festivali imarTeba _ folkloruli, Teatraluri, musikaluri, kino, Tanamedrove xelovnebisa Tu sxva... _ es tradiciuli yovelwliuri kulturuli RonisZiebebia, romlebic saqarTvelos sxvadasxva regionSi mTeli wlis ganmavlobaSi imarTeba da garda wminda saxelovnebo funqciisa, sagrZnobi ekonomikuri sargebelic (rac ramdenime aTeuli milioni lariT ganisazRvreba) moaqvT. 500-ze met festivals adgilobriv mosaxleobasTan erTad mravali ucxoelic stumrobs, es ki Cveni turistuli potencialis zrdis winapirobaa. festivalebi garkveul reklamasac uweven Cvens qveyanas da warmoaCenen xelovnebis ama Tu im dargis SesaZleblobebs. amis magaliTad gamodgeba Tundac Tbilisisa da baTumis jazfestivalebi. wlebis ganmavlobaSi maTSi monawileoba miiRes msoflioSi aRiarebulma Semsruleblebma, romelTa stumrobac saqarTveloSi ramdenime wlis win Znelad warmosadgeni iyo. dabolos, axali Jurnali _ `kultura plus~... _ dRes, Cvens sinamdvileSi, kulturas da xelovnebas media saSualebebisgan meti yuradReba sWirdebaT. CvenSi, samwuxarod, cotaa daxvewili, mkiTxvelisTvis da mayureblisTvis saintereso Jurnali Tu telegadacema, romelic adgils, dros kulturis sakiTxebs uTmobs. vfiqrob, aman ganapiroba Cveni Jurnalis gamocemac...

Mutso, Dartlo, Chajashi, Vardzia, and Nokalakevi are the major projects that were started at the initiative of Irakli Gharibashvili, the Prime Minister of Georgia. The restoration, preservation, and rehabilitation of these original monuments is proceeding using global standards, and other reputable organizations are monitoring this process together with UNESCO. Due to objective, natural conditions, these projects are planned across a number of years. I can say that Mutso will most likely be finished next year. We hope that these restored and renovated monuments will give momentum to the country’s economic and tourism potential, cause people to return to the abandoned mountain settlements, and will also create jobs. The reconstruction and rehabilitation of the Academy of Arts, the Theatre State University, and various other art schools is underway… The inter-departmental commission, which was created on the initiative of the Ministry of Culture, studied the condition of the buildings belonging to the Tbilisi Academy of Arts, the Shota Rustaveli Theatre and Film State University, the Tbilisi State Puppet Theatre, the Zakaria Paliashvili Central Music School, the Vakhtang Chabukiani State Ballet School, and the Armenian and Azerbaijani Theatres. The commission then developed reconstruction and rehabilitation projects and announced a corresponding tender. Such important works, on such a scale, have not been conducted in Georgia in a number of decades. Many festivals, including folklore, theatre, music, film, and modern art festivals, along with various others, are taking place in Georgia… These are the traditional annual cultural events that take place throughout the entire year in various regions of Georgia. In addition to their purely artistic function, they also provide significant economic benefits. Many foreigners, along with local residents, visit over 500 festivals and this is the precondition for the growth in our tourism potential. In a way, these festivals advertise our country and promote the potential of various art forms. The Tbilisi and Batumi Jazz Festivals could serve as an example of this. Over the years, many world-renowned performers have participated in the festivals – performers whose visits to Georgia would have been hard to imagine a few years ago. And finally, the magazine, the new Culture Plus… Today, in our reality, culture and art need more attention from the media. Unfortunately, there are very few interesting magazines and television programs for refined readers and viewers that cover cultural issues. This is what led to the publishing of this magazine.

geronti qiqoZe

patara samSoblo

amamad SeiZleba iTqvas, rom dRes yovel TviTcnobier mamuliSvilSi solomon lioniZis suli feTqs da gancalkevebuli arsebobis azrs dRes saqarTveloSi meti gavlena aqvs, vidre odesme hqonia. dRes erovnuli Tavisuflebis ideas iseTive stiqionuri Zala aqvs, rogorc XIX saukunis dasawyisSi demokratiul ideas hqonda da Tanamedrove Zlevamosili sardlebi xSirad iZulebuli arian qedi moixaron uflebaayrili erebis winaSe, rogorc napoleon pirvelma asi wlis winaT sankiulotebis winaSe moixara qedi. marTalia, patara samSoblos bevri ram aklia dRevandel pirobebSi: qonebrivi morWmuloba, mravalricxovani spa, mWreli maxvili Tavis dasacavad, magram samagierod mas zogierTi maRalxarisxovani zneobrivi Tvisebebi aqvs. patriotuli grZnoba Cveulebriv, patara xalxSi ufro cxovelia, vidre didSi. es, albaT, imiT aixsneba, rom siyvarulis sagani yovelTvis axlobeli da xelSesaxebi unda iyos, didi saxelmwifoebi ki xSirad usazRvro da Tvaluwvdeneli teritoriis saxes Rebuloben. aseT teritoriaze patriotizmis adgils imperializmi iWers, samoqalaqo Segnebis adgils _ qveSevrdomis Segneba. TiToeuli moqalaqis Wiri da lxini naklebad aris dakavSirebuli saerTo lxinTan da WirTan da didi saxelmwifo sxeulis erTi aso xSirad wyluldeba da nadgurdeba ise, rom meore aso verc ki grZnobs safrTxis moaxloebas. zogierTi didi imperia ufro xelovnurad Sekowiwebul manqanas waagavs, vidre organul arsebas da xSirad erTi patara mavTulis gawyvetaa sakmarisi, rom mTeli uzarmazari meqanizmi daiSalos. piriqiT, rarig cxovelmyofelia patara samSoblo. mamuliSvili ar ikargeba usazRvro da upirovno masaSi. Temis Wir-varami misi Wir-varamic aris, erovnuli saqmeebi mis sakuTar saqmeebSia gadaxlarTuli. mtris Semoseva safrTxes uqadis mis saxl-karsa da col-Svils, samSoblos gamarjveba keTildReobas hpirdeba mis arsebobas. samSoblo mas mets sTxovs da mets hpirdeba. es garemoeba yovel adamianur niWs amoZravebs da uxvad asazrdoebs adamianur Taosnobas da Semoqmedebas. amiT aixsneba, rom patara qveynis mefeebi xSirad ufro didi adamianebi arian, vidre didi qveynis moqalaqeebi da patara erebi xSirad geniosobisa da TviTmoqmedebis saswauls aaSkaraveben. aTenma perikle, sokrate da platoni warmoSva, roca is oci aTas moqalaqes Seicavda da didi sparseTis mefe daamarcxa erovnul brZolaSi. qalaqma romma ramdenime Taobis ganmavlobaSi mTeli xmelTaSua zRvis auzi daipyro. patara florenciam italiuri aRorZinebis niadagi Seqmna da xelovnebis saukeTeso yvavilebi warmoSva. patara veneciam ramdenjerme osmalebi, bizantielebi, dalmacielebi da ungrelebi ukuaqcia, konstantinopoli, peloponesi, kviprosi da kritosi daimorCila da Savi zRvidan CrdiloeTis zRvamde msoflio aReb-micemoba gaaCaRa. Cvens patara samSoblosac hqonia didi wuTebi. mis mxedrebs Zlevamosili sulTanebi daumarcxebia, mis ostatebs gmirTnakveTi taZrebi augia. amitom aris, rom drouli bedSavoba guls ar utexs da misi Tvalebi ase imedianad icqirebian momavlisaken. cxovrebis brZolaSi ar arsebobs dasasvenebeli pauzebi. gansakuTrebulad qarTveli xalxis darajebs ara aqvT ufleba Tvali daxuWon, imitom, rom saqarTvelo yovelTvis alyaSemortymul cixes warmoadgenda da dResac aseT cixes warmoadgens.

Geronti Kikodze

A small homeland

t could be straightforwardly stated that today every true patriot shares the spirit of Solomon Lionidze, and the idea of independent existence has become much more predominant in our time than it has ever been before. Today, the idea of national freedom has the same overwhelming power as the idea of democracy had at the beginning of the XIX century. And contemporary, almighty commanders-in-chief are often obliged to take their hats off before the oppressed nations, just as Napoleon I did one hundred years ago when he bowed down before the sansquilottes. It is true that, under the present circumstances, a small homeland lacks many things, such as the possession of wealth, a numerous army, a sharp sword to defend the country, but it does enjoy a number of high moral features. Patriotic feelings are usually more ardent in a small nation than in a large one. This can probably be explained by the fact that the object of love should always be close and tangible, whereas large states often acquire the shape of an infinite, boundless and immense area. On such territories patriotism is replaced by imperialism and civil consciousness by the consciousness of a subordinate. In a huge state the joys and sorrows of every citizen are to a much lesser degree bound up with common joys and sorrows and very often if one part of the body of a large state becomes sore and is consequently destroyed, its second part cannot even feel the jeopardy of the approaching threat. Certain big empires resemble an artificially concocted machine rather than an organic creature and merely breaking a small wire frequently becomes sufficient to make this huge mechanism collapse. A small homeland is quite the contrary - it is life-giving and vivifying. A patriot does not get lost in a boundless and featureless mass. Misfortunes of the community are his misfortunes as well and national affairs become intertwined with his own activities. The aggression of an enemy puts his family and household at risk, whereas victory gained by his homeland promises well-being to his existence. This circumstance drives human talent and amply nourishes human undertakings and creative endeavour. Perhaps this is the reason that the kings of a small country often turn out to be greater personalities than the citizens of a large country, whereas small nations frequently manifest the miracle of genius and initiative. Athens gave birth to Pericles, Socrates and Plato when there were twenty thousand citizens living there who defeated a great Persian king in a national struggle. In the course of several generations, the city of Rome conquered the entire Mediterranean Basin. Small Florence laid the foundation for the Italian Renaissance and created the best masterpieces of art. Several times little Venice put to flight the Ottomans, the Byzantines, the Dalmatians and the Hungarians, overrode Constantinople, Peloponness, Cyprus and Crete and expanded worldwide trade from the Black Sea to the North Sea. Our small homeland has also experienced its moments of greatness. Its warriors have defeated mighty sultans and its craftsmen have erected grand monuments. That is why temporary misfortunes cannot make it lose heart and, therefore, it faces the future with ever hopeful eyes. In the struggle for life there are no intervals for relaxation. The guardians of the Georgian people, in particular, have no right to shut their eyes because Georgia has always been a fortress under siege and it remains as such today.

Imagine Create Share

ifiqre Seqmeni gauziare saqarTvelo 2015 wlis Tebervlidan evrokavSiris programis - `SemoqmedebiTi evropa~ wevri qveyana gaxda. Cveni samSoblo „aRmosavleT partniorobis“ qveynebidan pirvelia, romelic am proeqts SeuerTda. ras niSnavs „SemoqmedebiTi evropa“ da ras gulisxmobs is? ras veliT misgan da ras elian evropelebi Cvengan? rogor CaverToT kulturis, xelovnebis mxriv am saintereso da mravalprofilur proeqtSi? vcadoT da am patara werilSi es `gza~ erTad, TanmimdevrobiT gaviaroT. IN FEBRUARY 2015, GEORGIA BECAME A MEMBER STATE OF THE EU PROGRAM CREATIVE EUROPE, OUR HOMELAND BEING THE FIRST EASTERN PARTNERSHIP COUNTRY TO HAVE JOINED THIS PROJECT. WHAT DOES CREATIVE EUROPE MEAN, AND WHAT DOES IT ENTAIL? WHAT DO WE EXPECT FROM IT AND WHAT DO THE EUROPEANS EXPECT FROM US? HOW SHOULD WE ENGAGE IN THIS INTERESTING AND MULTIFACETED PROJECT IN TERMS OF ART AND CULTURE? LET US GO THROUGH THE STEPS TOGETHER, ONE BY ONE, IN THIS SHORT REVIEW. Creative Europe

proeqti „SemoqmedebiTi evropa“ (Creative Europe) evrokavSiris eqvswliani programaa, romelic kulturuli memkvidreobisa da evropuli mravalferovani kulturis, audiovizualuri, sagamomcemlo, saxviTi xelovnebis, saSemsruleblo, musikaluri, Teatraluri, kino, tele da videoTamaSebis industriebis mxardasaWeradaa Seqmnili. „SemoqmedebiTi evropis“ mTliani biujeti 1,46 miliardi evroa da es Tanxa 2014-2020 wlebSi sxvadasxva konkursSi gamarjvebuli proeqtebis dafinansebas moxmardeba. am programidan miRebuli dafinansebiT saqarTveloSi kulturis sferoSi moRvawe organizaciebs SeeZlebaT evropis masStabiT muSaoba, axali mayureblisa Tu msmenelis winaSe gamosvla da evropel partniorebTan erTad erToblivi proeqtebis ganxorcieleba. „SemoqmedebiTi evropis“, rogorc evropis kulturis ganviTarebis gegmebSi Sedis, daaxloebiT, 250 aTasi xelovanis da kulturis dargSi moRvawe profesionalis, 800 filmis gadaRebis, aseve 2000 kinoproeqtisa da 4500 wignis Targmanis dafinanseba. programis meSveobiT monawileni codnisa da gamocdilebis urTierTgaziarebasac SeZleben. mcire kulturul-SemoqmedebiTi sawarmoebisTvis 750 milioni evros sabanko sesxebs „SemoqmedebiTi evropa“ uzrunvelyofs. amasTanave, kulturis sferoSi moRvawe aTasobiT organizacia da profesionali isargeblebs proeqtiT dafinansebuli profesiuli ganviTarebisa da gadamzadebis treningebiT, SeiZens axal gamocdilebas da daxvews saerTaSoriso formatSi muSaobis unarebs. kultura, evrokavSiris ekonomikis ganviTarebaSi, zogadad, did rols TamaSobs. SemoqmedebiTi industriis produqtebis eqsportiT is msoflio lideria, Tumca am poziciis SenarCunebas mudmivi investiciebi sWirdeba.

„SemoqmedebiTi evropis~ fondebiT sargebloba evrokavSiris wevr 28 qveyanasTan erTad SeeZleba: • •

•

evropis Tavisufali vaWrobis asociaciis qveynebs (islandia, lixtenStaini, norvegia, Sveicaria); evrokavSiris wevrobis kandidat, potenciur kandidat qveynebsa da politikur erTeulebs (montenegro, serbeTi, makedoniis respublika, TurqeTi, albaneTi, bosnia da hercogovina, kosovo); da evrokavSirTan mosazRvre qveynebs (azerbaijani, alJiri, belarusi, egvipte, iordania, israeli, libani, libia, maroko, moldova, saqarTvelo, siria, tunisi, ukraina, palestina, somxeTi).

The Creative Europe project is a six-year project led by the European Union, created to support cultural heritage and European diverse culture, as well as the audio-visual, publishing, fine art, performance, musical, theatrical, cinema, television, and videogame industries. The total budget of Creative Europe is 1.46 billion Euro and this sum will be used to finance victorious projects of a number of competitions in 2014-2020. The funding obtained from this program will allow organizations working in the cultural sphere of Georgia to work throughout Europe, to appear before new audiences, and to implement joint projects with European partners. In terms of developing European culture, Creative Europe plans to finance around 250 thousand artists and professionals working in the cultural sphere, as well as to fund the filming of 800 movies and the translation of 2,000 video projects and 4,500 books. Participants will also be able to share knowledge and experience through the project. Creative Europe will provide bank loans worth 750 million Euro to small creative cultural enterprises. Furthermore, thousands of organizations and professionals working in the culture sphere will be able to take advantage of professional development and requalification training courses in order to obtain new experience and to refine the skills associated with working in an international format. Culture, in general, plays a large role in the development of the European economy. It is the global leader in terms of the export of creative industry products. Retaining this position requires constant investment. The following countries will be able to utilize Creative Europe’s funds, along with 28 EU member states: • •

•

European Free Trade Association member states (Iceland, Lichtenstein, Norway, Switzerland); EU membership candidate, potential candidate countries and political entities (Montenegro, Serbia, the Republic of Macedonia, Turkey, Albania, Bosnia and Herzegovina, Kosovo); Countries bordering the EU (Azerbaijan, Algiers, Belarus, Egypt, Jordan, Israel, Lebanon, Libya, Morocco, Moldova, Georgia, Syria, Tunisia, Ukraine, Palestine, and Armenia).

im qveynebs, romlebic evrogaerTianebis moqmedi wevrebi ar arian, damatebiT „Sesasvleli bileTis“ yidva mouwevT, romlis safasuric programis biujetTan SedarebiT ama Tu im qveynis mTliani Sida produqtis odenobiT ganisazRvreba. ganaTlebis, kulturis da axalgazrdobis saqmeTa evrokomisiis azriT, „evropaSi kulturul da SemoqmedebiT seqtorebs axali samuSao adgilebis Seqmnis didi potenciali aqvT. evrokavSiris dafinanseba mraval xelovansa da kulturis sferoSi dasaqmebul profesionals sazRvrebs gareSe muSaobasa da auditoriis moZieba-gafarToebaSi daexmareba“. rogorc ukve aRvniSneT, „SemoqmedebiTi evropis” xaziT dafinansdeba daaxloebiT 250 aTasi xelovani da kulturis dargis profesionali. fondebi xelmisawvdomi iqneba mxolod SemoqmedebiTi organizaciebis mier wardgenili proeqtebisTvis. komisiis winaswari SefasebiT „SemoqmedebiTi evropis“ farglebSi dafinansebuli proeqtebi pirdapir Tu iribad milionobiT adamianamde miaRwevs. sabolood, 2020 wlisTvis, es proeqti ganaTlebuli da Zlieri evropis konkurentunarianobas gazrdis. mravalferovnebis SenarCuneba da saerTaSoriso warmatebisTvis mxardaWera _ programis arsia. `SemoqmedebiTi evropa~ or ZiriTad qvekategoriad iyofa: kultura da media. kulturis qveprograma metwilad saerTaSoriso, kulturuli da SemoqmedebiTi organizaciebis da am sferoSi moRvawe specialistebis sazRvrebgareSe mimosvlis xelSewyobas da evropuli tipis proeqtebis dafinansebas gulisxmobs. mediis qveprograma ki mowodebulia evropuli kino da audio-vizualuri industriis ganviTareba, distribucia da popularizeba daafinansos. evropuli xedviTa da axali teqnologiebiT SeiaraRebuli proeqtebi scdeba rogorc erovnul, aseve evropul bazrebs da afinansebs mxatvrul,

Countries which are not active members of the European Union will need to buy additional “entrance tickets,” the price of which will be determined by the country’s GDP relative to the program budget. According to the opinion of the European Commission on Education, Culture, and Youth Issues, “The cultural and creative sectors offer great potential to boost jobs and growth in Europe. EU funding also helps many artists and cultural professionals to work without borders and to reach new audiences.” As we have already mentioned, Creative Europe will finance around 250 thousand artists and professionals working in the culture field. Funds will only be accessible to projects proposed by creative organizations. According to the Commission’s preliminary assessment, projects funded by Creative Europe will reach almost a million people, both directly and indirectly. Finally, by 2020, this project will have increased the competitiveness of an educated and strong Europe. Maintaining diversity and supporting it in order to succeed in the international arena is the core essence of the project. Creative Europe is divided into two main sub-categories: culture and media. The culture sub-program mainly deals with supporting the borderless travel of cultural and creative organizations and the specialists working in this field, as well as with the funding of European-type projects. The media sub-program, on the other hand, is committed to financing the development, distribution, and popularization of the European cinema and audiovisual industry. Projects armed with a European vision and novel technologies transcend national as well as European markets and finance the development of artistic, documentary, television, or various other media outlets. Funding schemes envisaged by the project are also multifaceted with mutual cooperation projects, new translations, networks and platforms, the abundance of which creates and develops the active cooperation and involvement of players in the cultural sphere on an international level. Creative Europe funds: • • • • •

• •

International cooperation projects by organizations that have a creative format and operate in the culture sphere; Networks that facilitate the international functioning of cultural sectors, and increase their competitiveness; The translation of works of literature, and their export to EU markets; Training and increasing the qualification of audiovisual field professionals; Advancing animated and documentary cinematography, as well as videogame development, for European cinema, television, and other media markets; European films and cinema festivals created through international cooperation; Attracting audiences with a diversity of events.

dokumentur, satelevizio Tu sxva media saSualebebis ganviTarebas. proeqtiT gaTvaliswinebuli dafinansebis sqemebic mravalmxrivia: urTierTTanamSromlobis proeqtebi, axali Targmanebi, qselebi da platformebi, romelTa simravle warmoSobs da ganavrcobs saerTaSoriso doneze kulturis seqtoris moTamaSeTa aqtiur kooperacias da CarTulobas. „SemoqmedebiTi evropa“afinansebs: •

•

• • •

• •

kulturis sferoSi moRvawe da kreatiuli formatis mqone organizaciebis saerTaSoriso TanamSromlobis proeqtebs; qselebs, romlebic xels uwyobs kulturis seqtorebis saerTaSoriso formatiT funqcionirebasa da maTi konkurentunarianobis gaZlierebas; literaturuli nawarmoebebis/naSromebis Targmnas da evrokavSiris bazarze gatanas; audio-vizualuri dargis profesionalebis kvalifikaciis amaRlebasa da gadamzadebas; mxatvruli, animaciuri da dokumenturi kinematografiis, aseve videoTamaSebis ganviTarebas evropis kino, satelevizio da sxva media bazrebisTvis; saerTaSoriso TanamSromlobiT Seqmnil evropul filmebs da evropul kinofestivalebs; RonisZiebaTa mravalferovnebiT auditoriis dainteresebas.

kinomoRvaweni, distributorebi, agentebi da sxva audio-vizualuri mimarTulebiT momuSave specialistebi dafinansebas miiReben kinoindustriaSi mravali axali produqtis SeqmnisTvis, ukve arsebuli festivalebis ganviTarebisa da axlebis CatarebisTvis. evropuli standartizacia marTlac SesaniSnavia, magram aucilebelia adgilobrivi resursisa da saerTaSoriso bazris Seswavla da monacemTa bazis Seqmna. Sedegad proeqtis farglebSi gamoikveTeba axleburi xedva da prioritetebi, rasac grZelvadiani strategiisa da samoqmedo gegmis SemuSaveba da popularizacia mohyveba. proeqtis warmatebis Sedegad, turizmis, sainformacio teqnologiuri seqtorebisa da kulturuli industriis

Film-makers, distributors, agents and other specialists working in the audiovisual field will obtain funding in order to create many new projects in the film industry, as well as to develop already existing festivals and to hold new ones. European standardization is truly brilliant but it is essential to study local resources and international markets, and to create a database. As a result, a novel perspective and priorities will emerge within the framework of the project which will be followed by the development and popularization of a long-term strategy and action plan. As a result of the project’s success, the development of the tourism and IT sectors, as well as of the cultural industry, will also have a positive effect on the country’s economy. Overall, the European environment is distinguished by the diversity of its cultures and linguistic areas. This is precisely why Creative Europe’s idea of cooperation should be applauded.

ganviTareba pozitiurad aisaxeba qveynis ekonomikazec. zogadad, evropuli garemo kulturaTa da enobriv areTa mravalferovnebiT gamoirCeva. swored amitomaa „SemoqmedebiTi evropis“ kooperaciis idea misasalmebeli. proeqtis wardgena Semdegi procedurebs gavlis Semdeg SegeZlebaT: •

• •

• • • •

• •

gamocxadebuli konkursis povna bmulze: http://eacea.ec.europa.eu/ creative-europe-en; evrokomisiis avTentifikaciis servisis (ECAS) angariSis Seqmna saitze; organizaciis daregistrireba bmulze: http:// ec.europa.eu/education/participants/portal/desktop/en/ organisations/register.html; monawilis saregistracio kodis (PIC) miReba; aplikaciis eleqtronuli formis (E-Form) Sevseba; dafinansebis SesaZleblobebis, enis, Tanamonawile organizaci(eb)is arCeva; informaciis dakargvis Tavidan asacileblad eleqtronuli formis sakuTar kompiuterSi an qselSi (moSorebul serverze) Senaxva; savaldebulo danarTebis Sevseba; eleqtronuli formis aqtivacia da ganacxadis gagzavna. am nabijebis gavlis Semdeg, dainteresebuli piri miiRebs dasturs da proeqtis nomers mis mier ganacxadSi miTiTebul eleqtronul misamarTze. dainteresebis SemTxvevaSi aseve SegiZliaT gawevriandeT tviteris jgufSi Creative Europe Chat. imeds vitovebT, mowodebuli masala dagexmarebaT da gagiiolebT gzas am saintereso da perspeqtiul saqmes SeeWidoT. kiTxvebze, romelzec ver gageciT amomwuravi pasuxebi, SegiZliaT kulturisa da ZeglTa dacvis saministros Sesabamisi samsaxuris warmomadgenlebTan daazustoT. maia morgoSia

You will be able to propose a project after going through the following procedures: • • •

• • • • • •

Finding the announced competition using this link: http://eacea.ec.europa.eu/creative-europe_en; Creating a European Commission Authentication Service (ECAS) account on the website; Registering the organization using this link: http://ec.europa.eu/education/participants/portal/desktop/en/ organisations/register.html; Obtaining a Participation Identification Code (PIC); Filling out the application’s electronic form (E-form); Selecting the funding possibilities, the language, and coparticipant organization(s); Saving the E-form on your computer or on a network (remote server) in order to avoid losing information; Filling out the mandatory addenda; Activating the E-form and submitting the application.

After taking the above steps, the interested party will receive confirmation and a project number at the email address designated in the application. In case of interest, you can also join the Twitter group Creative Europe Chat. We hope that the provided material will help you undertake this interesting and promising endeavor. Feel free to get in touch with representatives of the appropriate service of the Ministry of Culture and Monument Protection with any questions that we have not fully answered. by Maia Morgoshia

„ქართული ანბანის სამი უძველესი სახეობის ცოცხალი კულტურა“ წარდგენილია UNESCO-ში განსახილველად UNESCO-ს არამატერიალური კულტურული მემკვიდრეობის ნუსხაში შესატანად “Living Culture of Three Writing Systems of the Georgian Alphabet” is nominated for the Representative List of the Intangible Cultural Heritage of Humanity at UNESCO

a b g d e v z H T i k l m n

¡ o p J r

a b g d e v z Y

T i k l

m n U o p J r

a b g d e v z H T i k l m n Y o p J r

a b g d e v z ẽ t i k l m n j o p žh r

s t ¢ u f q R y S C c Z w W x £ j h ¥

s t I

u f q R y S C c

Z w W x O j

h `

s K u f q R y S G c Z W x P j h

s t y u f q gh .q sh ch c dz ts’ tch’ kh q j h ω

fiqrebi xmamaRla Thinking Out Loud Merab Berdzenishvili

i l i v S i n e merab berZ

foto: sergo ediSeraSvilisa

PHOTO BY SERGO EDISHERASHVILI

adamianis daknineba sulieri siRatakiT iwyeba. Tu Cvens yofacxovrebas CavwvdebiT, aRmovaCenT, rom qarTvel kacs Seryevia sulieri simtkice. gulsatkenia da didi usamarTlobaa, roca wina planze uxamsoba da Zaladobaa warmoCenili da am dros WeSmariti saqarTvelo TiTqos nislSi CaZirula... jer kidev saukuneebis ukan, akademiebSi izrdebodnen Cveni winaprebi... qarTvels ar ucxovria damwerlobis, filosofiis, SemoqmedebiTi Rvwis gareSe. amas Cveni literatura da kulturis ZeglTa siuxve adasturebs. saqarTvelos aRmSeneblobis dedaboZi kulturaa. dRes Cveni upirvelesi amocana gonieri, ganswavluli axalgazrdobis saqmeSi Cabma unda iyos, radgan axalgazrdul energias Seswevs unari SemoqmedebiTi Tavdadebisa. saqarTveloSi odiTgan iswrafodnen swavla-ganaTlebisken, radgan swamdaT, rom `ymawvili unda swavlobdes sacnoblad Tavisadao: vin aris, sidam mosula, sad aris, wava sadao...~ ers ganswavluli profesionalebi, suliT Zlierni da samSobloze mofiqrali Svilebi sWirdeba. yvelam unda gaiazros, rom eris Wkua-gonebis saganZuri mis inteleqtualur nawilSi Zevs. qarTvel politikosebs rom Tavis droze hqonodaT unari, Caswvdomodnen mecnierTa miniSnebebs, literaturasa da xelovnebaSi gumaniT mignebul simarTles, Caswvdomodnen mweralTa tkivils, dRes, albaT, saqarTvelo am dReSi ar iqneboda... unda vTqvaT, unda vaRiaroT, rom didi istoriisa da kulturis qveyanaSi axla Rirebulebebi dakninebulia. Semcdaria is, vinc fiqrobs, rom kultura maSin amaRldeba, roca davnayrdebiT, ekonomikurad movmagrdebiT, mereRa dadgeba kulturuli aRmSeneblobis dro?! rom aRaSeno, kultura unda gagaCndes! ra donis kulturac geqneba, im donis saxelmwifos SevqmniT! amitomac erTi wuTiTac ar

The decline of man begins with spiritual bankruptcy. If we comprehend our existence and way of life, we will discover that Georgian Man has lost his spiritual strength. It is heartrending, and also a great injustice, that indecency and violence are in the foreground while the real Georgia seems to be shrouded in fog... And yet, centuries ago, our ancestors were brought up and nurtured in academies... Georgia has not existed without writing, philosophy, and creative yearning. Our literature, and the abundance of cultural monuments, is a testament to this. Culture is the pillar of a flourishing Georgia. Today, our primary aim should be to involve intelligent and learned young people, as youthful energy has the capacity of creative devotion. Since time immemorial, people yearned towards knowledge and enlightenment in Georgia, as they believed that “A young man should learn in order to know himself: “Who is he? Where has he come from? Where is he? Where will he go..?” The nation needs learned professionals; sons and daughters strong in spirit and with their Motherland on their minds. Everyone should comprehend that the nation’s treasures of wisdom are in its intellectuality. If only Georgian politicians had had the skill, at the appropriate time, to comprehend the hints of the scholars; the truths found intuitively in literature and art; to have comprehended the pain of writers. Then Georgia would not be in its current state today... We should say, we should admit, that in this country of great history and culture, values have been compromised. He who thinks that culture will rise when we will be well fed and better off is mistaken – would the time of cultural revival come then? You must have culture in order to revive it! And the state we create will be of the same level as the culture that we possess! For this reason, its development cannot be delayed for a single minute. It is true that war, poverty, people’s concern with physical survival, thieving, robbery, and betrayal did not leave us any time to catch our breath in the recent years of our history. But let us not blame our current state of being only on this... The actions of the people trapped in the Leningrad blockade are a well-known example – how they preserved

SeiZleba misi ganviTarebis Seferxeba. marTalia, omma, siduxWirem, adamianTa fizikur gadarCenaze fiqrma, ZarcvayaCaRobam, Ralatma amosunTqvis saSualeba ar mogvca Cveni istoriis bolo wlebSi, magram Cvens dRevandel yofas marto amas nu davabralebT... yvelasTvis kargad cnobili magaliTia leningradis blokadaSi moqceuli moqalaqeebis qmedeba _ rogor gadaarCines Zeglebi, rogor ganarides daRupvas xalxis sulieri simdidre, dagvarwmunes, rom kultura adamianis Rirsebis didi wyaroa. Cven ki, Cvenda samarcxvinod, rac spilenZiT Semosili Zeglebi gagvaCnda, gavatyaveT, davangrieT, movspeT, gavanadgureT. amaze metad savalalo raRa unda iyos, rom Sens ers sulieri ganZi mostaco, xelovnebis nimuSi dalewo da ferad liTonad TurqeTSi gayido... imasac moveswariT, rom Tavad xelisuflebam memorialebis afeTqebas mihyo xeli (romelsac saubedurod msxverplic mohyva) da gaugonari uzneoba gamoavlina... wertili unda daesvas kulturis ngrevas! Cvenma parlamentma axla mainc unda miaRwios imas, rom kulturas kanoni myarad icavdes. Cveni gadaudebeli saqme ki momavali Taobis swavla-ganaTlebaze zrunva unda gaxdes.

monuments, saved people’s spiritual treasures from destruction, and convinced us that culture is a great source of human dignity. On the other hand, we, in our shame, stripped all the copper-plated monuments that we had; we broke, we destroyed, we annihilated. What could be more lamentable than to steal a spiritual treasure from your nation, to destroy a work of art, and to sell it as scrap metal in Turkey...? We have even witnessed the government itself blowing up memorials (which, unfortunately, even resulted in loss of life) and displaying unprecedented immorality... The destruction of culture should be brought to an end! Our parliament should, at last, now, ensure the strict protection of culture by law. And our most urgent matter at hand should be taking care of the education of the new generation. We should see the big picture when we talk about culture. Even big business cannot be created without specific culture. Those who took this into account were fortunate and also managed to help the country. “Let us save Georgian culture and it will save the Georgian people!” – This was well said but it failed to reach the right listeners. We should have begun the dignity of our country, which is unknown to the world, by acquainting others with our culture and we should not have deviated from this path even for a second. It is not too late now, either, if we work hard enough. Thinking about Georgian culture is an issue related to statehood, so primarily the government – the state – should look after it.

Deep international contacts in political as well as economic and cultural spheres are essential. Noteworthy are the steps taken towards promoting the uniqueness of the Georgian alphabet... This process should be continued and we should acquaint the world with our self-sufficiency from another perspective as well. Naturally, in the presence of great art, inferior art tends also to proliferate. This cannot be avoided. This is a normal process, much like beauty and ugliness â&#x20AC;&#x201C; they may stare each other in the eyes but they have never mixed, and they never will. The main thing is to be able to tell a work of art from a surrogate. It is precisely true art that can be cathartic â&#x20AC;&#x201C; that it can possess the power of spiritual purification. Now is the time to write scientific and analytic papers. We will achieve nothing by writing primitive, superficial, inferior informational papers. We should provide the public, the youth, with deep, valuable material, which roca kulturaze vlaparakobT, igi masStaburad unda davinaxoT. specifikuri kulturis gareSe didi biznesic ar iqmneba. vinc es gaiTvaliswina, gaumarTlda kidec da qveyanasac argo. `gadavarCinoT qarTuli kultura da is gadaarCens qarTvel xalxs!~ _ brwyinvaled iyo naTqvami, magram kargad Tqmuls kargad gamgebi ar gamouCnda. dRemde msofliosTvis Seucnobi qveynis Rirseba swored Cveni TviTmyofadi kulturis gacnobiT unda dagvewyo da arc erTi wamiT ar unda Segveferxebina es gezi. arc axlaa gvian, Tuki movindomebT. qarTul kulturaze fiqri saxelmwifoebrivi saqmea da, pirvel rigSi, swored xelisuflebam, saxelmwifom unda upatronos mas. aucilebelia Rrma kontaqtebi saerTaSoriso arenaze rogorc politikur, ise ekonomikisa da kulturis sferoebSi. aRsaniSnavi faqtia bolo dros qarTuli anbanis unikalurobis warmoCenis mizniT gadadgmuli nabijebi... es procesi unda gagrZeldes da msoflios Cveni

TviTmyofadoba sxva mxrivac unda gavacnoT. bunebrivia, didi xelovnebis gverdiT sokosaviT mravldeba mdarec. amas ver avcdebiT. es normaluri procesia iseve, rogorc is, rom mSveniereba da simaxinje erTmaneTs Sescqerian TvalebSi, magram maTi aRreva arasdros momxdara da arc moxdeba. mTavaria, SegeZlos xelovnebis nawarmoebis garCeva surogatisgan. swored WeSmarit xelovnebas axasiaTebs kaTarsisi _ sulieri ganwmendis Zala. axla samecniero, analitikuri werilebis weris droa. primitiuli, zedapiruli, mdare informaciuli xasiaTis statiebiT verafers mivaRwevT. sazogadoebas, axalgazrdobas unda vawvdideT Rrma, Rirebul masalas, sadac saubari iqneba imaze, Tu ra aris specifikuri ena xelovnebisa, misi dargebisa, ras niSnavs Tanamedrove xelovneba _ riTi ganvasxvavebT mas winamorbedisgan... dRes Cvens dedaqalaqSi daSvebuli Secdomebi xval momavali TaobebisTvis mwvave problema gaxdeba. am saWirboroto Temis Sesaxeb bevri misaubria da damiweria. gavixseneb erT sakmaod `STambeWdav~ Zaladobas _ saakaZis moedanze, giorgi saakaZis

will talk about the nature of the specific language of art and of its genres, what modern art means, what differentiates it from its predecessors... The mistakes made in our capital city today will become acute problems for future generations tomorrow. I have spoken and written a great deal about this pressing issue. I would like to recall one, particularly “impressive” instance of violence – the closing off of the space behind the statue of Giorgi Saakadze on Saakadze Square, and the mutilation of an area rich in artistic value. The square where Saakadze’s statue stands was designed by four famous architects and was developed according to that excellent project. The architects provided a great background for the statue – the Caucasus Mountains. Such natural space is a great joy for a city, and its obstruction is great impudence. Due to someone’s personal desire, an entire group of closely-knit blocks – buildings that bring shame to contemporary architecture – was built behind Giorgi Saakadze’s statue on Saakadze Square. This completely congested the space and disfigured the

Zeglis ukan sivrcis Caketvas da mxatvruli Rirsebis mqone garemos damaxinjebas. moedani, sadac saakaZis Zegli dgas, oTxi cnobili arqiteqtoris mier iyo daproeqtebuli da am Cinebuli proeqtiT iyo ganaSenianebuli. Zegls arqiteqtorebma veeba sivrce dautoves _ kavkasionis mTebi. aseTi bunebrivi sivrce qalaqisTvis didi bednierebaa, xolo misi daxSoba _ didi Tavxedoba. viRacis surviliT giorgi saakaZis moedanze, Zeglis ukan, Tanamedrove arqiteqturisTvis samarcxvino SenobaTa krebuli _ erTmaneTze gadajaWvuli saxlebi aSenda, romelmac sruliad daaxSo sivrce da qalaqi daamaxinja. droTa cvlilebam, yovelma axalma biurokratma arsebuli, Zveli rom ase daazianos, mospos, maSin Cven uRimRamo da uistorio qalaqs avaSenebT _ dasaxlebul punqts. sabednierod, Cvens qalaqs bunebrivad axlavs iseTi adgilebi, romelTac SenarCuneba sWirdeba. Cven xelovnurad vspobT im silamazes, romelic RmerTma mogvca. Cemi azriT, landSaftis dacvis sakiTxi specialistTa ganxilvis, gansjis sagnad unda iqces. imedi maqvs, viRac-viRacaTa TviTnebobiT dedaqalaqi metad aRar dazaraldeba. vinc Cveni qalaqebis, Cveni samSoblos keTildReobaze fiqrobs, mis awmyosa da momavalze, maT daucxromeli qmedeba marTebT, radgan gulgrilobis garemoSi azrovneba dundeba, uniWoba zeobs, yvelaferi mdare Tavs iCens, adamianis mSveniereba da Rirseba fuladi SesaZleblobebiT fasdeba, amitom ar SeiZleba moduneba, Cven es ar unda davuSvaT! Cvens cxovrebas gamarTleba eqneba maSin, Tu Cven viqnebiT Rirseuli Svilebi Cveni winaprebisa, dReniadag saqarTveloze mofiqralni.

city. If changing times, and every new bureaucrat, were to damage and destroy everything that is old in such a way, then we will build a gray city lacking any kind of history â&#x20AC;&#x201C; creating merely a populated place. Fortunately, our city inherently possesses the kinds of places that need to be preserved. We artificially destroy this God-given beauty. In my opinion, landscape protection should be a topic of discussion for relevant specialists. I hope the capital will not suffer any more because of the willfulness of certain people. Those who think about the well-being of our cities and our Motherland, their present and their future, are duty-bound to act relentlessly, because in an atmosphere of indifference thought dwindles, mediocrity prevails, everything that is substandard rises, and human beauty and dignity become measurable by financial ability. This is why we cannot rest; we cannot allow this to happen! Our lives will be justified if we live as worthy descendants of our ancestors, with Georgia always on our minds.

literatura sazRvrebs gareT Literature without Borders msoflios yvelaze did da masStabur frankfurtis wignis bazrobaze qarTveli gamomcemlebi gasuli saukunis 90-iani wlebidan monawileoben. 2018 weli ki maTTvis sruliad gansxvavebuli da gamorCeuli iqneba _ frankfurtSi saqarTvelo sapatio stumari qveynis rangSi wardgeba! Cveni qveynisTvis es statusi, evropis erT-erT mniSvnelovan kulturul da finansur centrSi, qarTuli literaturis da, zogadad, kulturis popularizaciis unikaluri Sansia da evroatlantikur sivrceSi integraciis mxrivac gansakuTrebiT mniSvnelovania. RonisZieba, romelic yovelwliurad 130-mde qveynidan naxevar milionze met damTvalierebels maspinZlobs da misi programa (gansakuTrebiT, sapatio stumari qveynis RonisZiebebi) 9000-mde saerTaSoriso Jurnalistis mier Suqdeba. frankfurtis wignis bazrobis sapatio stumari qveynis formati saSualebas iZleva qarTuli wignisa da literaturis mravalsaukunovani tradiciis da memkvidreobis paralelurad, bazrobis sivrcis miRma, rogorc frankfurtSi, aseve germanulenovani evropis sxvadasxva qalaqSi, saxelovnebo Tu samecniero-

Georgian publishers have been participating in the Frankfurt Book Fair, the largest and most comprehensive in the world, since the late 20th century. Yet the 2018 Frankfurt Book Fair is set to bring a whole new experience for them as Georgia is to appear there as a guest of honor. This status is a unique opportunity for our country to popularize our literature, and culture in general, at one of the most important cultural and financial centers of Europe, and it is also particularly important in terms of integrating into the Euro-Atlantic space. The event annually hosts over half a million participants from around 130 countries, and its program (particularly those events held by the guest of honor) is covered by almost 9,000 international journalists. The honorary guest format at the Frankfurt Book Fair is an opportunity, parallel to the multi-century tradition and heritage of Georgian books and literature, to present Georgian cultural heritage from an interesting perspective in Frankfurt, as well as in other German-speaking European cities, by cooperating with artistic, scientific and educational centers. This process could potentially become an important step towards closer and more productive cooperation with international partner organizations for the Georgian creative industry. Processes ongoing in the global literature and publishing sphere... International book fairs and literature festivals... Contemporary Georgian

saganmanaTleblo centrebTan TanamSromlobiT, unikaluri qarTuli kulturuli memkvidreoba saintereso kuTxiT warmovaCinoT. saqarTvelos SemoqmedebiTi industriebisTvis es procesi, perspeqtivaSi, saerTaSoriso partnior organizaciebTan ufro mWidro da nayofieri TanamSromlobisken gadadgmul mniSvnelovan nabijad iqceva. msoflio literaturul da sagamomcemlo sferoSi mimdinare procesebi; saerTaSoriso wignis bazrobebi da literaturuli festivalebi; Tanamedrove qarTuli literaturis adgili saerTaSoriso literaturul sivrceSi; dargis winaSe arsebuli problemebi da maTi gadaWris gzebi _ am Temebze muSaoba, maTi analizi da Sesabamisi nabijebi, qarTuli wignis erovnuli centris yoveldRiur saqmianobad iqca. qarTuli literaturis popularizaciis strategia maqsimaluradaa orientirebuli mTavar Sedegze: aCvenos msoflios qarTul enaze Seqmnili literaturis saerTaSoriso mniSvneloba. Cven mier SemuSavebuli programebi da proeqtebi _ qarTuli literaturis ucxour enebze Targmnisa da gamocemis xelSewyoba, qarTveli mwerlebis monawileoba saerTaSoriso wignis bazrobebsa Tu literaturul festivalebSi, mTargmnelebisTvis da gamomcemlebisTvis profesiuli seminarebis organzieba, ucxoeli gamomcemlebisTvis da kritikosebisTvis saqarTveloSi profesiuli turebis mowyoba, monawileoba saerTaSoriso wignis bazrobebze _ maqsimaluradaa

literatureâ&#x20AC;&#x2122;s place in international literature... Problems facing the field and ways of solving them... Working on these issues, analyzing them, and taking appropriate steps has become a daily activity at the Georgian National Book Center. The strategy of the popularization of Georgian literature is completely focused on the main end result: To show the whole world the international importance of Georgian-language literature. Projects and programs developed by us, which include the translation of Georgian literature into foreign languages and supporting

orientirebuli dargis ganviTarebasa da, wignisa da

their publishing, the participation of Georgian writers in international

literaturis meSveobiT, kulturaTaSorisi dialogis

book fairs and literature festivals, organizing professional seminars for

gaRrmavebaze.

translators and publishers, conducting professional tours for foreign

2011-2015 wlebSi, literaturuli Targmanis kuTxiT ukve

publishers and critics in Georgia, and participating in international book

100-mde saerTaSoriso proeqti ganxorcielda (aqedan 47

fairs, are completely focused on the development of the field and on

_ mxolod 2015 wels). 21 enaze iTargmna da sazRvragareT

deepening intercultural dialogue through books and literature.

gamoica klasikosi da Tanamedrove qarTveli mwerlebis nawarmoebebi _ proza, poezia, sabavSvo literatura. centris mier „mTargmnelobiTi programis“ farglebSi

Almost 100 international projects relating to literature translation have been implemented in 2001-2015, and of them 47 projects were implemented in 2015 alone. The works of contemporary and classic

ganxorcielebul proeqtebs Soris, gansakuTrebiT

Georgian writers, including prose, poetry, and children’s literature, have

sasixaruloa 2014 wels aSS-Si inglisur enaze gamocemuli

been translated into 21 languages and published abroad.

mixeil javaxiSvilis romani „kvaWi kvaWantiraZe“, romelic

Of all the projects implemented by the Center within the framework

„gardianis“ mier, 2015 wlis zafxulSi wasakiTx wignTa

of the “Translation Program,” the most joyous accomplishment was the

sarekomendacio nusxaSi moxvda.

publishing of the English-language translation of Mikheil Javakhishvili’s

qarTuli wignis erovnuli centrisa da kulturisa

novel Kvachi Kvachantiradze in the United States of America in 2014,

da ZeglTa dacvis saministros mxridan, saerTaSoriso

which was also featured in The Guardian’s list of Best Holiday Reads for

partnior organizaciebTan TanamSromlobiT, momaval

2015.

wlebSi dagegmilia araerTi saintereso proeqti,

The Georgian National Book Center and the Ministry of Culture

romlebic, perspeqtivaSi, ucxoenovan qveynebSi qarTuli

and Monument Protection, in cooperation with international partner

literaturis mimarT interesis gaRrmavebasa da

organizations, plan many interesting projects which aim at deepening

Targmanebis ricxovnobis mzardi tempis SenarCunebazea

the interest of foreign countries towards Georgian literature, as well as

orientirebuli.

maintaining the high rate of output of translated works.

2018 weli frankfurtis saerTaSoriso wignis bazroba saqarTvelo - sapatio stumari qveyana

mravali wlis win akakim quTaisis bulvari oTxkuTxovani formis gamo imerul xaWapurs Seadara, xolo „baRiskideze“ gaCaRebuli mudmivi sazogadoebrivpolitikuri vnebaTaRelvisa da mZafri debatebis gamo, mas dRemde Seucvleli saxeli _ „quTaisis parlamenti“ uwoda. poeti imdenad iyo dakavSirebuli quTaisis istoriul baRTan, mis SinaarsTan da koloritTan, rom didi xnis Semdeg, XX saukunis 80-ian wlebSi, oficialuradac ki daisva sakiTxi, quTaisis bulvarisTvis „akakis baRi“ daerqmiaT... dRes quTaisis kulturul-istoriul Zeglebs Soris bulvars gamorCeuli adgili uWiravs, metic, igi Tavisuflad SeiZleba saqarTvelos meore dedaqalaqis siamayed CaiTvalos. am siamayes ki Sori, Rrma, Zalian saintereso safuZveli aqvs... Many years ago, Akaki Tsereteli (Akaki) compared Kutaisi’s Boulevard to an Imeretian Khachapuri due to its quadrilateral shape, and gave it its hitherto unchanged name, ‘the Parliament of Kutaisi,’ due to the constant social and political turmoil and the passionate debates that took place at the ‘Edge of the Garden’ there. The poet was so connected to Kutaisi’s historic garden, its core essence and couleur locale, that seventy years after his death, in the 1980s, even the issue of naming the Kutaisi Boulevard “Akaki’s Garden” was officially discussed... Today, the Boulevard holds a special place among Kutaisi’s historic cultural landmarks. Furthermore, it can easily be considered to be the pride of Georgia’s second capital. And this source of pride has a distant, deep, and very interesting origin...

`parlamenti~ anu „xrikis moedani“ “The Parliament,” or the “Square of Trickery” quTaTurTa mwvaneSi Caflul sacxovrebel saxlebs odiTganve gaaCnda sakuTari baRebi. amaTgan yvelaze saucxoo solomon pirvelis asulis _ darejanis baRi iyo, romelic 1820 wels imperiam xazinas gadasca, Semdgom ki sazogadoebis saseirno adgilad gamoacxada. es iyo amierkavkasiaSi pirveli evropuli tipis sazogadoebrivi baRi. xolo is adgili, sadac dRevandeli istoriuli bulvaria, XVIII saukuneSi asparezs warmoadgenda, romelic vaxuSti batoniSvilis gadmocemiT, „mozRudvili iyo varjad WandriT“. feodalur quTaisSi aq imarTeboda sxvadasxva garToba-TamaSoba: marula, burTaoba, yabaxi... sxvadasxva mosazrebas Soris, yvelaze sando petre glinesarovisaa, romelic bulvaris dabadebis TariRad 1848 wels asaxelebs. igi quTaisis vice-gubernatori swored am dros iyo. amdenad, quTaisis bulvari saukunenaxevarze meti xnis _ sul mcire, 167 wlisaa! quTaiselebma axal sazogadoebriv baRs imTaviTve, ratomRac, franguli saxeli „bulvari“ Searqves. albaT,

The houses of the Kutaisians, swathed in verdant greenery, have always had their own gardens. The most awe-inspiring of these was the one that belonged to Darejani, the daughter of Solomon I. The empire handed this garden over to the treasury in 1820, and it was subsequently designated as a promenade to be enjoyed by the public. This was the first public garden of a European type in Transcaucasia. The location of the contemporary historic Boulevard housed an arena in the 18th century, which, according to Prince Vakhushti, was “encircled by intertwined plane trees.” Various games and recreational activities took place here during the feudal age of Kutaisi: marula, burtaoba, qabakhi... Among various opinions, the most trustworthy is that of Petre Glinesarov, the vice governor of Kutaisi at the time, who designated 1848 as the birth year of the Boulevard. Therefore, the Kutaisi Boulevard has existed for over a century and it now counts 167 years! For some reason, the Kutaisians gave the new garden a French name when naming it the ’Boulevard’ and in this way they presumably wanted to strictly differentiate it from the old city garden, where grapevines and vegetables bloomed alongside shade-casting trees. A combination of

1914 wlis 29 maisi. sxedan (marcxnidan marjvniv): tician tabiZe, grigol veSapeli, irodion evdoSvili, varlam ruxaZe, akaki wereTeli, daviT kldiaSvili, lado darCiaSvili, iason nikolaiSvili, isidore kvicariZe. dganan (marcxnidan marjvniv): galaktion tabiZe, akaki (svani) margiani, barnaba gelazania, ilia baxtaZe, ia ekalaZe, mixako (nemo) janoevi, Teofile xuskivaZe, konstantine gamsaxurdia, jaju jorjikia, daviT mebuke (cvarnami), leliko jafariZe 12 MAY, 1914. SITTING: (FROM LEFT TO RIGHT) TITSIAN TABIDZE, GRIGOL VESHAPELI, IRODION EVDOSHVILI, VARLAM RUKHADZE, AKAKI TSERETELI, DAVID KLDIASHVILI, LADO DARCHIASHVILI, IASON NIKOLAISHVILI, ISIDORE KVITSARIDZE. STANDING: (FROM LEFT TO RIGHT) GALAKTION TABIDZE, AKAKI (SVANI) MARGIANI, BARNABA GELAZANIA, ILIA BAKHTADZE, IA EKALADZE, MIKHAKO (NEMO) JANOEVI. TEOPHILE KHUSKIVADZE, KONSTANTINE GAMSAKHURDIA, JAJU JORJIKIA, DAVID MEBUKE (TSVARNAMI), LELIKO JAPARIDZE

am SinaarsiT mkveTrad gamijnes im Zveli saqalaqo baRisgan, sadac, saCrdilobel xeebTan erTad, venaxi da bostanic ki bibinebda. „bulvaris“ analogiiTa da imeruli maxvilsityvaobiT, sul male franguli sityvis qarTuli saalerso versiac gaCnda: `gulvardi“. siyvaruliT Serqmeuli saxelwodeba imdenad popularuli gaxda, rom bolo aTwleulebamdec moaRwia. gazeT „kavkazis“ korespondentis cnobiT, XIX saukunis ormocdaaTian wlebSi quTaisis bulvars farTo kvadratis forma hqonda da oTxive mxriv wiTeli ficruli RobiT iyo Semoraguli... kviraobiT mwvane mindorze msxdari quTaTurebi bunebis wiaRSi tkbebodnen musikiT. sxva dReebSi xalxi aq Tavs iSviaTad iyrida. qalaqis TviTmmarTvelobis iniciativiT 1878 wels gakeTebuli xis Robe, e.w. „reSotka“, maleve daZvelda. qvaSi Casmuli rkinis moajiriT mis Sesacvlelad ki Tanxa quTaisSi gadmosaxlebuli oldenburgeli princis, konstantines mier gadaxdili baJidan gamoinaxa. SemoRobva didxans gagrZelda da 1891 wlisTvis mTlianad damTavrda. baRis gareT qvafenilic daigo. bulvaris SemoRobvasTan dakavSirebiT arsebobs akakis erTi sakmaod mware xumroba: `moajiris svetebi sasaflaos Zeglebs hgvanan, davTvale da zustad imdenia, ramdenic xmosania qalaqis rCeva-gamgeobaSio“. es Robe baRs XX saukunis 70-ian wlebSi moxsnes. arsebobis ganmavlobaSi bulvarma, sxvadasxva drois

an analogy for the word ‘Boulevard’ and Imeretian wit and eloquence promptly yielded a playful Georgian version of the French name: “Gulvardi,” or “Roseheart.” The lovingly crafted name proved to be so popular that it has even survived to recent decades. According to a reporter of the newspaper ‘Kavkaz,’ in the 1840s the Kutaisi Boulevard was shaped like a wide square, and was encircled by a red wooden fence on all sides... On Sundays, Kutaisians used to sit on the lush green grass and enjoy music alfresco. People rarely gathered there on other days of the week. The wooden fence, or the so-called ‘reshotka,’ which was built in 1878 on the initiative of the City Council, soon decayed. The funds that were required to replace it with an iron railing embedded in stone came from the levy paid by Prince Constantine Oldenburg, who had moved to Kutaisi. The railing took a long time to be built and was completed by 1891. The roads outside the garden were also paved with cobblestone. Akaki is said to have made quite a bitter joke on the topic of the Boulevard’s new fence: “The railing pillars resemble monuments at a cemetery. I counted them, and their number exactly matches the number of balloters at the city administration.” Throughout its existence, the Boulevard has been transformed many times according to the wishes of this or that ruling authority, while buildings have appeared and disappeared on the garden territory. The garden, which the empire’s servants intended to be nothing but a harmless venue for rest and relaxation, managed to broaden its purpose in a most unusual way soon after its establishment. It became a center of social activity and an arena for the dissemination of progressive attitudes,

xelisufalTa mowadinebiT, araerTxel icvala saxe. baRis teritoriaze Cndeboda da qreboda garkveuli nagebobebi. baRma, romelic, imperiis msaxurTa CanafiqriT, mxolod dasvenebisa da garTobis uwyinari adgili unda yofiliyo, daarsebidanve uCveulod gaifarTova daniSnuleba da quTaisSi, mTel guberniaSi sazogadoebrivi moRvaweobis centrad, progresul SexedulebaTa gavrcelebis asparezad iqca. Tu aq, Tavdapirvelad, mxolod garTobas dawafebuli Tavad-aznauroba, saxelmwifo uwyebaTa moxeleebi daseirnobdnen da, giorgi wereTlis sityvebiT, „quTaisis bulvars... imisTana mniSvneloba hqonda qalaqisaTvis, rogorc pariJSi yavaxanebs da klubebs... mudam erTi sicili da xarxari iyo“. mogvianebiT swored aq, akakis mier „quTaisis parlamentad“ monaTlul bulvarSi arCevdnen qalaqis mmarTvelobis xmosanTa av-kargs, qmnidnen sxvadasxva mimarTulebas, davobdnen da amuSavebdnen saarCevno svlebs. kidev erTi maxvilgonivruli Sedareba _ akakim arCevnebis dReebis bulvars „xrikis moedani“ uwoda... bulvars hyavda rCeulebi da, akakisTan erTad, eseni iyvnen _ quTaisuri sazogadoebis mier TeTrwvera „aristided“ monaTluli, TergdaleulTa ufrosi

in Kutaisi and in the entire province. If, initially, the garden was only traversed by state employees or nobles with entertainment on their minds, in Giorgi Tsereteli’s words: “the Boulevard of Kutaisi had the same meaning and importance for the city as cafes and clubs did for Paris... Mirth and merriment abounded there.” It was here, in the ‘Parliament of Kutaisi,’ as Akaki had christened it, that the good and the bad of the city leadership’s balloters were elected, various movements were created, and electoral strategies were debated and refined. Another witty simile: Akaki called the Boulevard during election time the ‘Square of Trickery’...The Boulevard had its chosen personalities, and, along with Akaki, they were: Kirile Lortkipanidze, who was christened by the Kutaisian public as the white-haired ‘Aristides,’ and a representative of the older Tergdaleulebi generation, Solomon Leonidze, the Ghoghoberidze brothers, Rapiel Eristavi, Giorgi Tsereteli, Niko Nikoladze, Davit Kheltuplishvili, Giorgi Zdanovichi-Maiashvili, Mose Kikodze, Simitri Nazarishvili, Pavle Tumanishvili, Data Nizharadze, Giorgi Sharvashidze, Konstantine (Kotsia) Eristavi, Anton Purtseladze, Luka Asatiani, Ilia Chikovani, Isak and Ivane Pundashvili, Solomon Mikeladze, Dimitri Bakradze, Davit Bakradze, Erote Sidamonov-Eristavi, Gerasime Kalandarashvili, Sergei Meskhi, Petre Nakashidze, Data Eristavi, Davit Kldiashvili, Niko Lortkipanidze, Ivane Zurabishvili, Seit Iashvili, Sergi Gersamia, Kita Abashidze, Anton Lorktipanidze, Tripon Japaridze, Giorgi Maisuradze, and many others.

akaki sastumro `grand otelis~ win, 1912 wlis 21 ivlisi AKAKI IN FRONT OF GRAND HOTEL, JULY 21, 1912

Taobis warmomadgeneli kirile lorTqifaniZe, solomon leoniZe, Zmebi RoRoberiZeebi, rafiel erisTavi, giorgi wereTeli, niko nikolaZe, daviT xelTufliSvili, giorgi zdanoviCi-maiaSvili, mose qiqoZe, dimitri nazariSvili, pavle TumaniSvili, daTa niJaraZe, giorgi SarvaSiZe, konstantine (kowia) erisTavi, anton furcelaZe, luka asaTiani, ilia Ciqovani, isak da ivane puradaSvilebi, solomon miqelaZe, dimitri baqraZe, daviT baqraZe, eroTe sidamonov-erisTavi, gerasime kalandaraSvili, sergei mesxi, petre nakaSiZe, daTa erisTavi, daviT kldiaSvili, niko lorTqifaniZe, ivane zurabiSvili, seiT iaSvili, sergi gersamia, kita abaSiZe, anton lorTqifaniZe, trifon jafariZe, giorgi maisuraZe da mravali sxva. Zvel bulvars axsovs is axalgazrda quTaTurebic, gatacebiT rom kiTxulobdnen „Rubernski stambaSi“ dabeWdil wigns melqisedek abesaZisas _ „saarSiyo leqsebi vaJebisagan qalebTan minaweri“ da axsovs „soboros“ mopirdapired, myudro kuTxeSi, amoCemebul skamze mjdomi moxucic _ saqarTvelos ugvirgvino mefe akaki wereTeli, martoobas rom ar aclidnen garsSemoxveuli Tayvanismcemlebi. raWa-leCxumSi akakis cnobili

The old Boulevard remembers the young Kutaisians who fervently read Melkisedek Abesadze’s ‘Amatory Poems, Written by Young Men to Women,’ published by the provincial publishing house of Kutaisi. It also remembers the old man who invariably sat on the same chair, opposite the ‘soboro,’ or the cathedral. This old man was Akaki Tsereteli, the uncrowned king of Georgia, who was rarely afforded the luxury of solitude by the admirers who always seemed to surround him. It was precisely on the Boulevard that Vasil Amashukeli, the first Georgian director of photography, filmed the beginning of Akaki’s famous journey to Racha-Lechkhumi. He ended the film with the return of Akaki and his admirers to the very same Boulevard. The Boulevard also remembers the ‘Inebriation by Lotto’ (in Akaki’s words) of aristocratic women, who eagerly engaged in gambling under the streetlights late into the evening, while hastily consuming various jams brought to them for dessert so as not be distracted from their favorite pastime for too long. The Boulevard also remembers the ‘Georgian Library,’ which was published by Kutaisian women, under Ekaterine Lortkipanidze’s editorship, which provided the Georgian public with translations of foreign progressive works. The Boulevard also remembers the inimitable declamation by Mamia Gurieli, the tragically fated poet, as well as the exceptional beauty of the Kutaisian young men and women who gathered for Mihaly Zichy’s tableaux vivants.

cisferyanwelebi: raJden gvetaZe, tician tabiZe, nino mayaSvili-tabiZe, kolau nadiraZe, valerian gafrindaSvili, 1927 weli THE BLUE HORNS: RAJDEN GVETADZE, TITSIAN TABIDZE, NINO MAKHASHVILI-TABIDZE, KOLAU NADIRADZE, VALERIAN GAPRINDASHVILI, 1927

mogzaurobis amsaxveli pirveli kadrebic swored bulvarSi gadaiRo pirvelma qarTvelma operatorma vasil amaSukelma da filmi poetisa da misi mxleblebis bulvarSive dabrunebiT daasrula. bulvars aseve axsovs „lotoTi daTroba“ (akakis sityvebia) aristokrati qalbatonebisa, Rameuli farnebis Suqze, Ramis 10-11 saaTzec ki, gaCaRebuli rom hqondaT azartuli TamaSi da Carozad morTmeul „vareniebs“ aCqarebiT Seeqceodnen, raTa umal mibrunebodnen sayvarel garTobas... da axsovs ekaterine lorTqifaniZis redaqtorobiT quTaisel qalTa mier gamocemuli „qarTuli biblioTekac“, ucxour progresul nawarmoebTa Targmanebs rom awvdida qarTul sazogadoebas. axsovs tragikuli bedis poetis _ mamia gurielis ganumeorebeli deklamaciac da mixai ziCis mier „vefxistyaosnis cocxali suraTebisaTvis“ Sekrebil quTaisel qal-vaJTa gasaocari silamazec. bulvarSi wlebis ganmavlobaSi Srialebda feraZis, gamreklovis, wulukiZis, RambaSiZis, kilaZisa Tu xelaZis tipografiebSi dabeWdili wignebis furclebic da quTaisSi gamocemuli aTeulobiT cincxali gazeTic, rom araferi vTqvaT sagangebod gamoweril „iveriasa“ Tu „droebaze“. aq xSirad gagrZelebula daviT miqelaZis (mevelis), elene yifianis (dimitri yifianis asulis), niko nikolaZis debis salonebSi dawyebuli literaturuli debatebi. sazogadoebas codniTa da gamorCeuli inteleqtiT aRafrTovanebda tartusa da laifcigis universitetebSi ganswavluli axalgazrda mecnieri da mwerali, filosofiis doqtori grigol robaqiZe, romlis leqciam fridrix nicSeze TviT akakis aTqmevina: `vnaxe is, rac mTelis Cemis sicocxlis ganmavlobaSi menatreboda: qarTveli inteligenti, TavisTavad moazre da ara saucxovo gramafoni“. bulvaris elita pirveli grZnobda galaktionis moaxloebasac da periodul presaSi dabeWdil mis leqsebs, did akakisTan erTad, imTaviTve maRal Sefasebas aZlevda. 1914 wels quTaisSi, tutku gvaramias stambaSi dabeWdili pirveli wigniT axalma mefem Semoabija bulvarSi. 1915-1916 wlebSi ki konservatoruli „baRiskide“ gagulisebuli ganixilavda „vincxa“ axalgazrda poetebis _ tite tabiZis, pavle iaSvilis, nikoloz nadiraZis, valerian gafrindaSvilis, aleqsandre (sandro) cirekiZisa da maTi megobrebis mier Camoyalibebuli, ucnaursaxelwodebiani simbolisturi skolis _ „cisferi yanwebis“ produqcias da gaocebuli iyo, „rafer“ uWerda mxars „am Tavxed bovSebs“ iseTi gemovnebiani mkiTxveli da Semfasebeli, rogoric `ufali kritikosi~ kita abaSiZe brZandeboda. am skolis erT-erTi fuZemdebeli, ori manifestis avtori tician tabiZe mogvianebiT ityvis: `quTaisi maSin warmogvedgina rodenbaxis mkvdar briuged... qalaqi

marcxnidan: giorgi CxeiZe, kokinia dgebuaZe, pipinia miqelaZe FROM LEFT TO RIGHT: GIORGI CHKHEIDZE, KOKINIA DGEBUADZE, PIPINIA MIKELADZE

Throughout the years, the rustling of pages from books printed with the typography of Peradze, Gamreklovi, Tsulukidze, Ghambashidze, Kiladze, and Kheladze, as well as of dozens of fresh newspapers printed in Kutaisi, not to mention the special subscriptions to ‘Iveria’ and ‘Droeba.’ Debates initiated at the literary salons of Davit Mikeladze-Meveli, Elene Kipiani (daughter of Dimitri Kipiani), and the sisters of Niko Nikoladze often continued here. Grigol Robakidze, PhD, a young scientist and writer who had studied in the universities of Tartu and Leipzig, often amazed the public with his knowledge and exceptional intellect here. It was his lecture on Nietzsche that made Akaki himself say: “I witnessed what I had missed my entire life: A Georgian intellectual and a free thinker, rather than a fantastic gramophone.” The Boulevard’s elite were the first to feel Galaktioni approaching, and from the very beginning held his poems, which were printed in the periodic press, in high esteem, together with the great Akaki. In 1914, in Kutaisi, with his first book published in Tutku Gvaramia’s publishing house, the new king stepped onto the Boulevard. In 1915-1916, the conservative ‘Edge of the Garden’ engaged in incensed discussions of the works of a symbolist school with the strange name ‘Tsisperi Qantsebi,’ (Blue Drinking Horns), which was

cnobili momRerali `daniela uria~ (daniela janaSvili) FAMOUSE SINGER DANIEL JANASHVILI

gaRatakebuli wvrili memamuleebisa, romelTac ukve karga xania gaeniavebinaT sakuTari mamulebi, qalaqi eSmakobaSi gawvrTnili xalxisa, oxunjebisa da usaqmo muqTaxorebisa _ iwvevda CvenSi meSCanobisadmi bohemur opoziciur ganwyobilebas da gvamxedrebda „sazogadoebrivi gemovnebis“ winaaRmdeg“. iqve, axlos mdebare ori didi kinoTeatris _ „monplezirisa“ da „radiumis“ mayurebeli bulvaris CrdilqveS msjelobda axali kinosuraTebis, maT Soris _ vasil amaSukelis mxatvrul-dokumenturi namuSevrebis Sesaxeb. xolo Teatraluri „baRiskide“ gacilebiT adreuli wlebidan da gacilebiT mkveTri emociebiT arCevda jer kote mesxisa da misi Teatris repertuars, mako safarova-abaSiZis, nato gabunia-cagarlis, nino CxeiZis, elisabed CerqeziSvilis, taso abaSiZis, vaso abaSiZis, kote yifianis rolebs; mere ki imiT amayobda, rogor „daartymevina cxviri“ quTaisSi sagastrolod Camosul ganTqmul Zmebs _ adelgeimebs maT warmodgenebs Soris sagangebod Casmuli speqtaklebiT („rui blaziT“ da „hamletiT“) lado mesxiSvilma. gacilebiT gvian, 1928-30 wlebSi, quTaisi da misi Teatraluri „baRiskide“ pirvelive speqtakliT daipyro kidev erTma gamorCeulma niWma _ kote marjaniSvilma. bulvaris erT-erTi Wadris qveS, ikribebodnen

founded by “some” young poets – Tite Tabidze, Pavle Iashvili, Nikoloz Nadiradze, Valerian Gaprindashvili, and Aleksandre (Sandro) Tsirekidze. The Boulevard Society was amazed by the fact that “these impudent youngsters” were supported by such as tasteful a reader and appraiser as the master critic Kita Abashidze. Titsian Tabidze, one of the founders of this school and the author of two manifestos, would later say: “At that time, we saw Kutaisi as Rodenbach’s Bruges-la-Morte... A city depleted by petty landowners who had already squandered their estates long ago; a city of people well versed in trickery; of jesters and idle freeloaders – it provoked us to a bohemian opposition to philistinism and set us against “public taste.” Nearby, the audiences of two large cinemas, the Monplaisir and the Radium, were discussing new films in the shade of the Boulevard. These films included Vasil Amashukeli’s documentary feature films. Much earlier, and with significantly more distinct emotions, the theatric ‘Edge of the Garden’ discussed the works of Kote Meskhi and his theatric repertoire, as well as the roles played by Mako Saparova-Abashidze, Nato GabuniaTsagareli, Nino Chkheidze, Elisabed Cherkezishvili, Taso Abashidze, Vaso Abashidze, and Kote Kipiani. The ‘Garden’s’ public was also proud of how Lado Meskhishvili bested the famous Adelheim brothers, who had come to Kutaisi on tour with their plays the Ruy Blas and Hamlet. Much later, in 1928-1930, Kutaisi and its theatrical ‘Edge of the Garden’ was taken by storm by the very first play of this distinguished talent, Kote Marjanishvili. The Marjanishvilis gathered beneath one of the Boulevard’s plane trees, and here, surrounded by Ushangi, Veriko, and other notable theatric figures, the great Kote could also often be found. Unfortunately, this particular historic plane tree was sacrificed during the reconstruction of the modern Opera House. Primarily, the Boulevard was an arena for the best performers of urban and folk songs. At the beginning of the previous century, distinguished noblemen and their friends refused to concede their supremacy: Bondo and Pipinia Mikeladze, Kokinia Dgebuadze, Niko Paghava, Kotatia Mumladze, Mina Bolkvadze, “Daniela Uria,” and others. Legend has it that when the Kutaisian public held a grand banquet for Vano Sarajishvili and Sandro

gvirilobis zeimis monawile quTaisuri sazogadoeba 1912 wlis 20 aprili (valerian lorTqifaniZis arqividan) SOCIETY OF KUTAISI PARTICIPATING IN “GVIRILOBA” CHAMOMILE DAY, APRIL 20, 1912. (FROM VALERIAN LORTKIPANIDZE’S ARCHIVE)

marjaniSvilelebi da aq, uSangis, verikos, sxva korifeTa garemocvaSi, xSirad idga Turme didi kotec. es istoriuli Wadari, samwuxarod, dRevandeli saopero Teatris gafarToeba-rekonstruqciis samuSaoebs Seewira. bulvari, upirvelesad, qalaquri da folkloruli simRerebis saukeTeso SemsrulebelTa asparezi iyo. gasuli saukunis damdegs aq pirvelobas aravis uTmobdnen keTilSobili Tavadebi da maTi megobrebi: bondo da pipinia miqelaZeebi, kokinia dgebuaZe, niko faRava, kotatia mumlaZe, mina bolqvaZe, `daniela uria~ da sxvebi. legendad SemorCa is ambavi, sagastrolod Camosul vano sarajiSvilsa da sandro inaSvils quTaisis sazogadoebam didi banketi rom gaumarTa da imerelma TavadiSvilebma sufrasTan Sesrulebuli brwyinvale „ceduri mravalJamieriT“ gaaognes gamoCenili momRerlebi. xalxSi yvebodnen: pirvels Turme daniela uria ambobda, xma caSi aswia da, manam ar wavida finalisken, sanam gasavaTebulma Tavadebma mis mier sami SeerTebuli TiTiT moTxovnili sami oqros Tumani Cumad ar daudes magidaze, meore dRes ki danielam isini am fuliTve aqeifao. bulvarSi xSirad gaismoda gimnazielTa mSvenieri simRerebic, jgufi-jgufs ejibreboda, Tumca badali ar hyoliaT Zmebs _ dimitri da biZina mWedliZeebs. axalgazrdoba umal wyvetda simReras, rogorc ki Tvals mohkravdnen qarTuli gimnaziidan wamosul da bulvaris gavliT Sinisken mimaval ioseb ocxels. ekrZalvodnen moxuc direqtors, xeebs efarebodnen. „baRiskidis“ sasimRero repertuars araerTxel dasdebia

Inashvili, who had come to Kutaisi on a performance tour, the distinguished singers were amazed by the brilliant rendition of the ’Tseduri Mravalzhamieri,’ which was performed during the feast by young noblemen from Imereti. People told a story whereby Daniela Uria, who was prima voce, raised his voice to the heavens and refused to conclude the song until the dazed noblemen quietly surrendered three golden ten-ruble coins, which he had requested by displaying three fingers joined together. On the next day, Daniela is reported to have held a feast for the nobles and paid for it with precisely those three gold coins. The delightful songs of high-school students could also often be heard on the Boulevard, where groups often challenged each other, though the Dimitri and Bidzina Mchedlidze brothers were peerless in this regard. The youth instantly stopped singing upon spotting Ioseb Otskheli, however, as the old headmaster walked home from school; they even hid behind the trees. Real stories have often served as the basis for the song repertoire of the ‘Edge of the Garden.’ For example, during the early 1900s, there appeared on the Kutaisian arena a new ‘pesni’ (song), which the carefree Imeretian youth of the time used to sing with enthusiasm: “Я уезжаю из Кутаиса, прощай, Алиса! Тащи ведро!” (“I’m leaving Kutaisi, good-bye Alisa! Fetch the bucket!”). The aforementioned Alisa turned out to be a beautiful chambermaid at a hotel in Kutaisi, with whom one young Imeretian nobleman on holiday from Saint Petersburg had instantly fallen in love, and whom he had later married. Unfortunately, this beauty had apparently had another “job” besides taking buckets of water from one hotel floor to the next, and the unlucky groom only found out about this upon catching her with one of her admirers under fairly suspicious circumstances. The aforementioned lines were the only thing that the heartbroken nobleman could utter before fleeing the hotel; and they

safuZvlad realuri istoriebi. magaliTad, gasuli saukunis aTiani wlebis `quTaisur arRanSi~ gaCenila erTi axali „pesni“, romelsac gatacebiT mReroda imereTis maSindeli dardimandi axalgazrdoba: `ia uezJaiu iz kutaisa, praSCai, alisa! taSCi vedro!..“ es alisa quTaisis satumroSi momuSave lamazi damlagebeli yofila, romelic peterburgidan ardadegebze Camosul vinme axalgazrda imerel Tavads danaxvisTanave Sehyvarebia da colobaze dauTanxmebia. samwuxarod, sarTulidan sarTulze wyliani vedroebis tarebis garda, am lamazmans sxva „samsaxuric“ hqonia sastumroSi da ubedur saqmros es mxolod maSin Seutyvia, erT-erT TayvanismcemelTan friad saeWvo viTarebaSi rom wauswria. gulmoklul Tavads sastumrodan gaqcevis win qalisTvis swored zemoTxsenebuli leqsi-amonakvnesi dautovebia, romelic swrafad gavrcelebula quTaisSi da simReradac uqceviaT. mxolod aseTi kiCi rodi ipyrobda quTaisis bulvars, aq SesaniSnavad sruldeboda klasikuri da folkloruli margalitebi, piruTvnelad fasdeboda adgilobriv Tu sagastrolod Camosul SemsrulebelTa xelovneba. Tavis droze Zvel bulvarSi gacxarebiT laparakobdnen iSxnelebis tkbilxmian gogonebzec, maTi skolis direqtorma kinaRam rom garicxa saswavleblidan Ramis koncertSi monawileobis gamo. aseve sensaciad iqca „quTeisis cirkSi“ skolis uCumrad gamosuli biWi _ kolia qvarianic, romelmac rusebis

were subsequently made into a song in Kutaisi. Such kitsch was far from being the only thing that conquered the Boulevard of Kutaisi. Classic and folk gems were performed brilliantly here, and the works of artists both local and on tour were given a frank assessment. At the time, people spoke fervently of the sweet-toned Ishkhneli girls, whom their school headmaster nearly expelled from the institution because they took part in a night concert. Another sensation was Kolia Kvariani, a boy who, while playing truant, managed to defeat the famous Russian wrestler ‘Chyornaya Maska,’ (Black Mask), at the Kutaisi circus. The rivalry between Kolia Kvariani and Zhorzhika Iashvili, who was famous for his legendary strength, was also well remembered at the ‘Edge of the Garden.’ This rivalry manifested itself in the form of the prized iron fence rail, which, when a beautiful lady passed through the Boulevard, one strongman would bend to one side with his fingers, only to have the other one bend it to the other side, making it straight again. Another interesting page in the Boulevard’s history was the celebration of ‘Gviriloba,’ (Chamomile Day), which was held in order to help those afflicted with tuberculosis, and which became a tradition after 1910. Charming Kutaisian ladies (including the striking-looking Sasha Chikovani), who were followed by the high-school student boys and girls with baskets full of chamomiles, would pin the flowers, which were purchased for charity, to the lapels of men in tailcoats and chokhas. And finally, let us recall the renowned Kutaisian sense of humor, the pithy jokes and witticisms that have always been characteristic of the Boulevard, and which were uttered by the likes of the masters Sergia

ganTqmuli falavani „Cornaia maska“ daamarcxa. kolia qvarianisa da saarako Zalis patronis _ JorJika iaSvilis qiSpobac axsovs Zvel „baRiskides“, anu is sajildao rkinis meseri, bulvarSi romeliRac lamazi qalbatonis gavlisas erTi falavani TiTebiT aqeT rom gadmoRunavda da meore _ isev iqiT gadaRunavda da gaasworebda. bulvaris istoriaSi kidev erT saintereso furclad Sevida WleqianTa dasaxmareblad XX saukunis aTiani wlebidan tradiciad qceuli „gvirilobis“ dResaswauli. pirmSvenieri quTaTuri qalbatonebi (maT Soris _ iSviaTi garegnobis saSa Ciqovani), romelTac gimnazieli gogo-biWebi gvirilebiT savse kalaTebiT dahyvebodnen bulvarSi, saqvelmoqmedod SeZenil gvirilas sakinZeebSi umagrebdnen frakebsa da CoxebSi gamowyobil mamakacebs. dabolos _ saqveynod ganTqmuli quTaisuri iumori, fxiani sityva-oxunjobani gavixsenoT, bulvarisTvis rom mudam damaxasiaTebeli iyo da sergia erisTavisa Tu pipinia miqelaZis msgavsi didostatebi qmnidnen! maT kvaldakval Taobebi amdidrebdnen „baRiskidis“ folklorul saganZurs. Tu ara bulvarSi, maS, sad unda eTqva pipinia miqelaZes es cnobili fraza: `quTaisi unda gamovacxadoT nakrZalad, sadac saSvis gareSe Semosvlis ufleba mxolod darbaisel, zrdil, patriot qarTvelebs eqnebaTo~. ar dagvaviwydes, es is pipiniaa, visiTac friad moxiblula gabriel episkoposis dakrZalvaze quTaisSi Camosuli ilia WavWavaZe da Tavis dabadebis dReze miuwvevia saguramoSi, iq ki 24 wlis pipinias uTamadia mravalkacian sufrasTan... istoriul bulvars Tavisi tradiciuli Sinaarsi ar daukargavs _ mosaxleobis dasvenebis kerasTan erTad, igi dResac sazogadoebrivi azris safixvnoa, anu quTaisis ZvelTaZveli „parlamenti“ kvlav aqtiurad ganixilavs sazogadoebriv-politikur, kulturul, socialurekonomikur sakiTxebs, TviTmmarTvelobis problemebs, kerZo da saxelmwifo mniSvnelobis Temebs. kvlav iqmneba kvimati quTaisuri frazebi... axal „baRiskides“ jer kidev axsovs mklavze gadakidebuli lurji labadiT bulvaridan muzeumisken taatiT mimavali „saTaflieli mindia“ _ dinozavrebis nakvalevisa da TeTramiwis arqeologiuri Zeglebis aRmomCeni petre Wabukiani, ulamazesi meoba (oTar) sulaberiZe, monadiruli Tavgadasavlebis xatovnad mTxrobeli, moqandake valiko mizandari, quTaisidan mudam gausvleli da mis SuagulSi motriale ebraeli ilo fotografi, kidev mravali kolorituli quTaiseli, romelTac waruSleli nakvalevi datoves. „baRiskidis“ axali Taobis „ideologias“, mSobliuri qalaqisadmi siyvaruls _ rezo WeiSvilisa da rezo gabriaZis „quTaisuri“ Semoqmedebac ayalibebs.

Eristavi or Pipinia Mikeladze! In their footsteps, generations enriched the folk treasure of the ‘Edge of the Garden.’ Where, if not on the Boulevard, could Pipinia Mikeladze have uttered this famous phrase: “We should declare Kutaisi a reserve where dignified, polite, patriotic Georgians would be the only people allowed in without a permit.” We should not forget that this is the person who impressed Ilia Chavchavadze, who was visiting Kutaisi for Bishop Gabriel’s funeral, to such an extent that he invited him to his birthday in Saguramo, where the 24-year-old Pipinia led the populous feast as tamada (toastmaster). The historic Boulevard has not lost its traditional meaning. Besides being the venue of choice for the purpose of relaxation for residents, it remains a forum of public discourse to this day. In other words, Kutaisi’s ancient “Parliament” still hosts debates on social, political, cultural, scientific, and economic issues, problems of self-governance, and matters of private and public importance. Sharp and witty Kutaisian phrases are still being created here... The new ‘Edge of the Garden’ still remembers “Mindia of Sataplia” – Petre Chabukiani, the discoverer of the fossilized dinosaur tracks and of the Tetramitsa archaeological site, jogging through the Boulevard towards the museum with a blue cape draped over his arm; the handsome Meoba (Otar) Sulaberidze, the avid storyteller of hunting adventures; the sculptor Valiko Mizandari; the Jewish photographer Ilo, who never left Kutaisi and always loitered around its center, and many other remarkable Kutaisians who have left their imprint on the past. The “ideology” of the new generation of the ‘Edge of the Garden’ is further formed by the Kutaisian art of Reso Cheishvili and Rezo Gabriadze, along with their love for their native city.

samwuxarod, istoriul baRs, romelic sul raRac erT heqtarzea SemorCenili, iersaxes umaxinjebs ukanasknel periodSi Cadgmuli mdare xarisxis nagebobebi. problemaa msubuqi manqanebis parkirebac _ transporti uxeSadaa SemoWrili baRis saval bilikebze. sxvadasxva dros xelisuflebaSi mosul garkveul adamianTa madas rom gadaurCes, momavalSi TviTneburad rom aravin gadawyvitos aq raime `obieqtis~ Cadgma, gadakeTeba Tu gatana, mcenareuli safarisa da Zeglebis xelyofa, _ saWiroa, qalaqis sakrebulom sagangebo kanoni miiRos istoriul bulvarTan dakavSirebiT. ar dagvaviwydes: quTaisis bulvari _ es saamayo warsulis cocxali Zegli, didi saqalaqo kulturis nawilia! nanuli cxvediani

Unfortunately, the historic garden, which is located over a mere hectare of land, is being defaced by recently erected buildings which are of an inferior quality. Parking space is another problem â&#x20AC;&#x201C; the gardenâ&#x20AC;&#x2122;s pedestrian walkways are being increasingly invaded by vehicles. It is essential for the City Council to adopt appropriate legislation concerning the Boulevard, so that it may survive the appetites of certain people coming to power at various points in time, and so that no one can arbitrarily decide to construct any buildings here, or to modify or relocate anything that is already here, or to encroach upon the vegetation or any monuments that exist here. We must not forget that the Boulevard of Kutaisi is a living monument of a proud past, and a constituent part of great urban culture! By Nanuli Tskhvediani

l samuzeu u T r a mo q i fo ar M n u a i s q g e r um C o nd e u G C olle s sa or the cti f on ft i G

niko firosmanaSvilis cnobili namuSevari _ „arsenalis mTa RamiT“ samSobloSi dabrunda! 2015 wlis 1 ivniss, Christy’s-is auqcionze, is batonma biZina ivaniSvilma $1,486,100 SeiZina da saqarTvelos erovnul muzeums saCuqrad gadasca. A famous painting by Niko Pirosmani has been granted as a gift to the Georgian National Museum. “Arsenal Hill at Night “ was purchased by Georgia’s former Prime Minister, Bidzina Ivanishvili, at Christie’s on June 1st 2015 for $1,486,100.

me sizmrebs vxedav... sityva wigni, adamianis cnobierebaSi, konkretul obieqts warmosaxavs, damaxasiaTebeli zomiTa da formiT. is qaRaldisganaa damzadebuli, metwilad A5 zomisaa da magari yda aqvs. dRes ki, roca eleqtronuli wignebi popularuli xdeba, es warmodgena icvleba. eleqtronulma gamocemebma radikalurad Secvales wignis forma. metic, wigni kompiuterul „failad“ aqcies, romelsac materialuri garsi ara aqvs. eleqtronul wigns xelSi ver aiReb, ver Seexebi. mis wasakiTxad saWiroa specialuri eleqtronuli mowyobiloba. garegani formis garda icvleba informaciis gacvla-gamocvlis xerxebic. internetis ganviTarebam araxazovani Txrobis SesaZlebloba gaaCina. amis magaliTi vikipediaa. masSi SesaZlebelia ar mihyve avtors, an avtorTa jgufs, SemoTavazebul kiTxvismier scenars da Tavad airCio mocemuli teqstidan ra waikiTxo; bmulis saSualebiT SesaZlebelia erTi statiidan meoreze gadaxvide. dRes xSirad kamaToben _ Caanacvlebs Tu ara eleqtronuli wigni qaRaldze dabeWdil wigns? saubari, ZiriTadad, `samomavlo wignis~ formas exeba, magram cvlileba, albaT, gacilebiT ufro radikaluri iqneba. savaraudod, wigni `xval~ individze, mkiTxevlze iqneba morgebuli da mkiTxvelsa da avtors Soris saintereso, virtualur kontaqts daamyarebs. amis magaliTi `kibergalaktionia~ _ is Cvens sinamdvileSi, erT-erTi pirveli eqsperimenti da gamorCeuli qarTveli poetis pirveli „CeTbotia“.

Cybergalaktion The word book represents a specific object in our minds, with its characteristic size and shape. It is made of paper, usually of an A5 format, and has a hard cover. Nowadays, however, this perception is changing due to the advent of electronic books, or e-books. Electronic publications have radically changed the shape of books. Furthermore, they have made books into computer files which do not have a material shell. You cannot pick up an e-book; you cannot touch it. And you need a special electronic device to read it. In addition to the external shape, methods of exchanging information are also changing. The evolution of the Internet has created the possibility of nonlinear storytelling. Wikipedia is an example of this. On Wikipedia, you may follow an author, a group of authors, or a suggested reading scenario and you may decide to choose what you want to read from the given text. You can go from one article to another by clicking on a link. Today, it is often debated whether or not e-books will replace paperbased books. The discussion mainly concerns the form of “future books,” but the changes will probably be much more radical. Presumably, “tomorrow,” the book will be tailored to the individual, the reader, and will establish interesting, virtual communication between the reader and the author. ‘Cybergala’ is an example of this. In our reality, it is one of the first experiments. ‘Cybergalaktion’ is the chatbot of a distinguished Georgian poet.

What is a “bot?” A mechanical device that can perform various tasks independently from humans is called a robot. It has been created by humans, and it is being given tasks by humans, which the robot then proceeds to fulfill independently. The word “robot” was “created” in the first half of the 20th century by Karel Capek, a Czech writer. Subsequently another word – “bot” – was created from this one. This refers to computer programs that fulfill various tasks independently from humans. The lack of a material shell differentiates a bot from a robot. Bots are programs.

ra aris `boti~? meqanikur mowyobilobas, romelsac adamianisgan damoukideblad SeuZlia sxvadasxva amocanis Sesruleba, roboti hqvia. igi adamianis Seqmnilia da davalebebsac misgan iRebs, romelTac roboti ukve damoukideblad asrulebs. pirvelad sityva „roboti“, XX saukunis pirvel naxevarSi, Cexma mweralma, karel Capekma `dabada~. mogvianebiT, am sityvisgan kidev erTi axali sityva _ „boti“ gaCnda. ase aRniSnaven kompiuterul programebs, romlebic adamianisgan damoukideblad asruleben sxvadasxva davalebebs. botebs, robotebisgan gansxvavebiT, ara aqvT materialuri garsi _ isini programebia. ra aris CeTboti? botebis erT-erTi nairsaxeobaa CeTboti (ing. Chat saubari). CeTboti adamianTan mosaubre programaa da mas, adamianis msgavsad, SeuZlia dialogis warmarTva. alan turingis testi: 1956 wels, britanelma maTematikosma alan turingma oqsfordis akademiur JurnalSi MIND gamoqveynebul statiaSi „kompiuteri da goniereba“, Semdegi kiTxva dasva: „SesaZlebelia Tu ara gonieri manqanis Seqmna?“. statiaSi saintereso eqsperimenti aRwera, romelSic ori adiamiani da erTi kompiuteri monawileobda. eqsperimentis monawileni sxvadasxva oTaxSi isxdnen. erT-erTi cdispiri rigrigobiT usvamda kiTxvebs kompiutersa da adamians. turingi eqsperimentma Semdeg daskvnamde miiyvana: Tu ganirCeva, romeli pasuxi ekuTvnis adamians da romeli kompiuters, Cven SevZlebT ganvacxadoT, rom kompiuteris „inteleqti“ adamianisas gautolda. eqsperimentis dros mecnieri moiTxovda SekiTxvebs Soris Tanabari pauzis aucileblobas. imJamad kompiuteri neli iyo da amitom, erT-erT cdispirs advilad SeeZlo gamoecno, pasuxs vin agvianebda _ adamiani Tu kompiuteri. dRes kompiuters adamianze gacilebiT swrafad SeuZlia `azrovneba~, amitom aseTi eqsperimentis Catarebisas pauzis SenarCuneba axla ukve adamianis `sasargeblodaa~ aucilebeli. `eliza~: adamianis enobrivi anabeWdis, an xelovnuri inteleqtis Seqmnis gzaze SegviZlia ramdenime

What is a chatbot? A chatbot is a type of bot. It is a program that talks with humans, and is capable of conducting dialog like a human. The Alan Turing Test: In 1956, Alan Turing, a British mathematician, posed the following question in an article entitled ‘Computing Machinery and Intelligence,’ which was published in MIND, the Oxford academic journal: “Is it possible to create an intelligent machine?” An interesting experiment was described in the article, in which two people and one computer took part. The experiment’s participants sat in different rooms. One of the experiment’s participants posed questions in turn to the computer and a human. Turing drew the following conclusion from the experiment: If it is impossible to determine which responses belong to the human, and which to the computer, we can state that the computer’s intelligence is equal to that of the human. During the experiment, the scientist required there to be equal pauses between questions. At the time, computers were slow so one of the participants could easily have guessed if the answers belonged to the human or to the computer based on which answers were given with a delay. Today, a computer can “think” much faster than a human, so during such an experiment the pause now needs to be maintained “in favor” of the human.

etapi gamovyoT. am gzaze „elizas“ Seqmna erT-erTi mniSvnelovani nabijia. 1966 wels, ioseb vaizenbaumma adamianTan mosaubre programa _ „eliza“ Seqmna. mecnierma saxeli bernard Sous piesa „pigmalionidan“ isesxa. piesas filmi „Cemi mSvenieri ledi“ mohyva. siuJeturad profesori higinsi cdilobs ubralo meyvavile gogonas, eliza dulits, romelsac mdabio adamianis metyveleba da Sesabamisi qceva axasiaTebs, sazogadoebaSi qcevis normebi da swori gamoTqma-saubari aswavlos. vaizenbaumma programas sworad saubari àswavla~, magram igi literaturuli prototipisgan mainc gansxvavdeboda _ ìndividi~ ar iyo. eliza mosaubris teqstSi sakvanZo sityvaze dayrdnobiT warmarTavda saubars. magaliTad momxmarebels elizasTvis rom ekiTxa: „romeli musikaluri nawarmoebi mogwons?“ SeiZleba pasuxad mieRo: „da Tqven Tavad romels irCevT?~ `pari~: ganviTarebis Semdeg etapad SeiZleba `pari~ CaiTvalos, romelic 1972 wels fsiqiatrma kenet kolbim Seqmna. `pari~, èlizasgan~ gansxvavebiT, hiperindividualuri iyo. imdenad, rom mas paranoiduri SizofreniiT daavadebulsac adarebdnen. `paris~ testirebisTvis gamocdilma fsiqiatrebma turingis modificirebuli testi gamoiyenes. `parisa~ da realur pacientebs Soris Semdgari dialogis stenogramuli Canaweri 33 fsiqiatrisgan Semdgar jgufs gadasces, romelTac unda daesaxelebinaT pacientTagan romeli iyo realuri adamiani da romeli kompiuteruli programa. Sedegi moulodneli aRmoCnda. sworma pasuxma mxolod 48% Seadgina.

ELIZA: We can differentiate between a number of stages on the path to the creation of the linguistic signature of humans, or of artificial intelligence. The creation of ELIZA is one of the most important steps on this path. In 1966, Joseph Weizenbaum created ELIZA, a program that could talk with humans. The scientist borrowed the name from Bernard Shaw’s play ‘Pygmalion.’ The play was followed by the film My Fair Lady. According to the story, Professor Higgins tries to teach the norms of public conduct and correct speech to an ordinary flower girl, Eliza Doolittle, who is characterized by a lower mode of speech and the corresponding behavior. Weizenbaum “taught” the program to speak correctly but it was still different from its literary prototype in that it was not an “individual.” ELIZA conducted dialog based on keywords in the interlocutor’s text. For example, if a user were to ask ELIZA, “which musical work do you like?” the answer may have been “and which one do you prefer yourself?” PARRY: PARRY can be considered to have been the next stage in the development of the process, created by psychiatrist Kenneth Colby in 1972. In contrast to Eliza, PARRY was hyper-individualistic, to the extent that it was compared to a sufferer of paranoid schizophrenia. Experienced psychiatrists used a modified Turing Test for PARRY whereby a transcript of a dialog between PARRY and real patients was presented to a group of 33 psychiatrists, who had to determine who were real people, and which one was the computer program. The result was unexpected. Only 48% gave the correct answer. The Chinese Room: An experiment by the American scientist John Rogers Searle cast doubt on Turing’s opinions. Searle argued that the only way in which a computer can pass the Turing Test was by manipulating symbols unknown to it...

`Cinuri oTaxi~: 1980 wels amerikeli mecnieris jon rojers serlis eqsperimentma turingis mosazrebebi eWvqveS daayena. serli amtkicebda, rom turingis testis Cabareba kompiuters mxolod misTvis gauazrebeli simboloTa manipulirebiT SeeZlo... kibergalaktioni `kibergalaktioni~ pirveli qarTulenovani CeTbotia. am onlainservisis saSualebiT (romelic Semdeg vebmisamarTzea ganTavsebuli: www.cybergala.me) SesaZlebelia galaktion tabiZis enobriv aslTan saubari; is Semdegi saxiT warimarTeba _ momxmarebeli CeTis fanjaraSi krefs winadadebas, `kibergalaktioni~ ki mas Sesabamis pasuxs ubrunebs. `kibergalaktioni~ Semdegi principiT muSaobs: galaktion tabiZis leqsebi, dRiurebi da gamonaTqvamebi erT did monacemTa bazaSia ganTavsebuli. monacemTa baza oradaa dayofili _ sakvanZo sityvebi da `kibergalaktionis~ pasuxebi. rodesac momxmarebeli CeTis fanjaraSi raime winadadebas krefs, kompiuteruli programa am winadadebas sityvebad axarisxebs. Semdeg, TiToeul sityvas, sakvanZo sityvebis svetSi arsebul sityvebs udarebs. sabolood, momxmarebels sistema im pasuxs ubrunebs, romelic sakvanZo sityvaTa gaswvrivaa da maTi damTxvevis maqsimalur raodenobas afiqsirebs. `kibergalaktionis~ msgavsi CeTbotebi damatebiT SesaZlebloblobebs iZleva rogorc avtorebisTvis, aseve literaturis mkvlevarTaTvis.

Cybergalaktion Cybergalaktion is the first Georgian-language chatbot. Through this online service (which can be accessed at: www.cybergala.me) it is possible to speak with Galaktion Tabidze’s linguistic copy. This can be done in the following way: The user types a sentence in the chat window, and Cybergalaktion provides the corresponding response. Cybergalaktion works according to the following principle: Galaktion Tabidze’s poems, diaries, and sayings have been entered into one large database. The database is divided into two parts: Keywords and Cybergalaktion’s responses. When the user types a sentence in the chat window, the computer program divides the sentence into words. Next, every word is compared to the words in the column of keywords. Finally, the system provides the user with the response that is next to the keywords in the database, and determines the maximum number of matches. Chatbots, like Cybergalaktion, provide additional opportunities for authors, as well as for scholars of literature.

სვანეთის მუზეუმის ახალი სიცოცხლე New life of Svaneti Museum საქართველოს ეროვნული მუზეუმის სვანეთის ისტორიისა და ეთნოგრაფიის მუზეუმში უახლესი სტანდარტებით აღჭურვილი მედიათეკა და საგანმანათლებლო ცენტრი გაიხსნა. თანამედროვე ინტერაქტიული სივრცე ხელს შეუწყობს სამეცნიერო კვლევასა და მომავალი თაობების აღზრდას. A Media Library and Educational Center were opened at the Georgian National Museum Svaneti Museum of History and Ethnography, both modern interactive spaces aiming to support scientific and research activities.

გრაკლიანის გორა Grakliani Hill კასპის მუნიციპალიტეტში, გრაკლიანის გორაზე, თბილისის სახელმწიფო უნივერსიტეტის არქეოლოგიური ექსპედიციის მიერ, აღმოჩენილ იქნა ძვ. წ. VII საუკუნით დათარიღებული სავარაუდო წარწერა. An unidentified piece of writing,7th century BC, was found by an archeological expedition from Tbilisi State University at Grakliani Hill, in Kaspi Municipality.

„yoveli xelovneba, yoveli eri iqmneba erovnul CarCoebSi. mxolod maSin aqvs mas fasi da gamarTleba... mxolod erovnul farglebSi aRmocenebul formas eZleva saerTaSoriso mniSvneloba... samzareuloSi daiwyeT Tu gindaT saqme, sadme kunWulSi, magram qarTulad, qarTuli sityviT, qarTuli azriT, qarTuli codniT da SegnebiT da qarTuli siyvaruliT...“ Salva qiqoZe, parizi, 18.VIII.1920. “All art, every nation, is created within a national framework. Only then does it have value and justification... Only the form that originates in a national framework attains international importance... Begin working in a kitchen or in some corner if you wish, but do it in a Georgian way, with Georgian words, with a Georgian idea, with Georgian knowledge and awareness, and with Georgian love...” Shalva Kikodze, Paris 18 August 1920

Salva qiqoZe Shalva Kikodze qarTuli kulturis moyvarulTaTvis kargadaa cnobili, rom Tbilisuri modernistuli mxatvroba, qarTuli xelovnebis erT-erTi yvelaze mniSvnelovani, RirSesaniSnavi saganZuria. Salva qiqoZe, romelsac 2014 wels 120 weli Seusruldeboda, Tbilisuri avangardis gamorCeuli warmomadgenelia. SemoqmedebiTi moRvaweobis aTiode wlis ganmavlobaSi man mravalferovani da mxatvrulad uaRresad Rirebuli nawarmoebebi Seqmna. sicocxlis ukanasknel wlebSi intensiurad muSaobda saqarTvelosa da ruseTSi, bolo weliwadnaxevari ki safrangeTSi... misi araerTi ferweruli tilo, grafikuli suraTi Tu Canaxati, karikatura, SarJi, wignis ilustracia, saTeatro mxatvrobis nimuSi, droSi gamovlili, dResac axali, Tanamedrovea...

Aficionados of Georgian culture are well aware that modernist painting of Tbilisi is one of the most important and noteworthy treasures of Georgian art. Shalva Kikodze, who would have been 120 years old in 2014, is one of the most distinguished representatives of Tbilisi avantgarde. Throughout roughly a decade of creative work he created diverse works of great artistic value. In the final years of his life he worked intensively in Georgia and Russia, and spent his last year-and-a-half in France. Many of his canvases, graphics, sketches, caricatures, cartoons, book illustrations, and theater decorations are new and contemporary even today, despite their age. Kikodze’s works represent a young artist’s search, a search that united all the young painters of the Society of Georgian Artists, founded by Dimitri Shevardnadze, Davit Kakabadze, Lado Gudiashvili, and others.

aWara, tilo, zeTi, 55X46, 1921 ADJARA, CANVAS, OIL, 55X46, 1921

sami mxatvari, tilo, zeTi, 96X101, 1920 THREE PAINTERS, CANVAS, OIL, 96X101, 1920

Salva qiqoZis nawarmoebebi axalgazrda xelovanis Ziebaa, Zieba romelic aerTianebdaT dimitri SevardnaZis mier daarsebul „qarTvel xelovanTa sazogadoebis“ axalgazrda mxatvrebs _ daviT kakabaZes, lado gudiaSvils da sxvebs. miuxedavad imisa, rom TiToeuli qarTveli modernistis Semoqmedeba mkveTrad individualuria da erTmaneTisgan gansxvavebuli _ TiToeul maTgans miaCnda, rom Tanadrouli qarTuli xelovneba unda yofiliyo

Even though the works of every Georgian modernist are strictly individual and completely different from those of the others, each and every such artist believed that his contemporary Georgian art should be contemporary and national, and that they should stretch the “invisible strings between Georgia and Europe.” “Shalva Kikodze began painting and speaking almost at the same time. He used to make pencil drawings of everything that could have made an impression on him, a child brought up in a patriarchal

Tanamedrove da erovnuli, da rom maT unda gaebaT „uxilavi Zafebi saqarTvelosa da evropas Soris“. „Salva qiqoZem xatva TiTqmis laparakTan erTad daiwyo. is fanqriT xatavda yvelafers, rasac SeeZlo STabeWdileba moexdina am patriarqalur garemoSi aRzdil bavSvze.“ _ igonebda mxatvris biZaSvili mwerali da kritikosi geronti qiqoZe. jer kidev Tbilisis saTavadaznauro gimnaziaSi swavlis dros, Salva qiqoZes, rogorc gansakuTrebiT niWier moswavles, samecadinod calke oTaxi gamouyves. swored gimnaziaSi naturidan dauxatavs ilia WavWavaZisa da akaki

atmosphere,” recalled Geronti Kikodze, the painter’s cousin and art critic. Even when he was studying at the Noblemen’s Gymnasium (high school) in Tbilisi, Kikodze was assigned a separate room for studying because he was an exceptionally talented pupil. It was at this high school that he painted graphic portraits of Ilia Chavchavadze and Akaki Tsereteli from life, and also translated and illustrated Arthur Conan Doyle’s Adventures of ‘Sherlock Holmes.’ He created 30 illustrations for the folk epic ‘Amiranis Leksi,’ which were collected and published by Petre Mirianashvili, and also illustrated Aleksandre Kazbegi’s ‘Khevisberi Gocha’and the folk legend ‘Eteriani.’ He continued studying book illustration in Moscow, at the School of

parizi. luqsemburgis baRi, tilo, zeTi, 108X104, 1920 PARIS. GARDEN OF LUXEMBOURG, CANVAS, OIL, 108X104, 1920

wereTlis grafikuli portretebi, aseve uTargmnia da dausuraTebia artur konan doilis „Serlok holmsis Tavgadasavali“; Seusrulebia 30 ilustracia petre mirianaSvilis mier Sekrebili da gamocemuli xalxuri eposis „amiranis leqsisa“, dausuraTxatebia aleqsandre yazbegis „xevisberi goCa“ da xalxuri Tqmuleba „eTeriani“. wignebis ilustrirebas igi moskovSic „ferweris, qandakebisa da xuroTmoZRvrebis samxatvro saswavlebelSi“ swavlisas ganagrZobda. 1917 wels Seasrula leo qiaCelis „natvris-Tvalis“ da `megobrebis~ ilustraciebi. 1914-1918 wlebSi axalgazrda Semoqmedi moskovis saTeatro JurnalSi „Рампа и Жизнь“ cnobili rusi mxatvrebis _ vrubelis, petrov-vodkinis, nivinis da miliutinis gverdiT „Chaliko”-s fsevdonimiT aqveynebda Teatris moRvaweTa megobrul SarJebsa da Canaxatebs. ardadegebze TbilisSi Camosuli Salva qiqoZe monawileobda „qarTvel xelovanTa sazogadoebis“ mier

veriko anjafariZe, qaRaldi, fanqari, tuSi, 34X30, 1917 VERIKO ANJAPARIDZE, PAPER, PENCIL, INDIAN INK, 34X30, 1917

niko firosmanaSvili, qaRaldi, fanqari, 5X6,1916 PORTRAIT OF NIKO PIROSMANASHVILI, PAPER, PENCIL, 5X6, 1916

Painting, Sculpture and Architecture. In 1917, he created the illustrations for Leo Kiacheli’s ‘Natvris-tvali’ and ‘Megobrebi.’ In 1914-1918, the young artist published friendly caricatures and sketches of famous Russian artists – Vrubel, Petrov-Vodkin, Nivin, and Milyutin in the Moscow theatric journal Рампа и Жизнь (Footlights and Life), under the pseudonym ‘Chaliko.’ When on holiday in Tbilisi, Kikodze participated in expeditions organized by the Society of Georgian Artists, which aimed at studying the country’s cultural heritage. In 1916, together with Iakob Nikoladze and Aleksandre Mrevlishvili, he painted two succinct, lively, and emotional graphic portraits of Niko Pirosmanashvili, who had been invited to a public assembly. By 1917, before his return to Georgia, Kikodze had already made caricatures and political cartoons of the Socialist-Democrat Convention and Georgian politicians Noe Zhordania, Irakli Tsereteli, Akaki Chkhenkeli, Noe Ramishvili, and others. From 1918 onwards, his humorous sketches were published in art newspapers ‘Teatri da Tskhovreba’ (Theater and Life), ‘Teatri da Musika’ (Theater and Music), and Искусство (Art), as well as in humorous newspapers and magazines ‘Eshmakis Matrakhi’ (The Devil’s Whip), ‘Lakhti’ (The Lash), and others. We can safely consider

qveynis kulturuli memkvidreobis Sesaswavlad mowyobil eqspediciebSi. 1916 wels, iakob nikolaZesa da aleqsandre mrevliSvilTan erTad daxata sazogadoebis krebaze mowveuli niko firosmanaSvilis ori sxarti, cocxali da emociuri grafikuli portreti. Salva qiqoZem, jer kidev 1917 wels, saqarTveloSi dabrunebamde Seasrula social-demokratTa yrilobisa da qarTveli politikosebis noe Jordanias, irakli wereTlis, akaki Cxenkelis, noe ramiSvilisa da sxvaTa SarJebi da politikuri karikaturebi. 1918 wlidan misi iumoristuli Canaxatebi qveyndeboda rogorc saxelovnebo _ „Teatri da cxovreba“, „Teatri da musika“, „Искусство“, aseve iumoristul Jurnal-gazeTebSi: „eSmakis maTraxi“, „laxti“ da sxv. Salva qiqoZe pirvel qarTvel karikaturistad unda miviCnioT. mxatvris gansakuTrebuli interesi Teatrisadmi misma uaxloesma megobarma, dam, msaxiobma aneta qiqoZem gaaRviva. Salva 1918 wels iwyebs mTavar mxatvrad muSaobas parizidan Camosul giorgi jabadaris saTeatro studiaSi, sadac aformebs ramdenime speqtakls: bries „sarwmunoeba“,

qaliSvilis portreti, qaRaldi, fanqari, 25X22, 1918 PORTRAIT OF A YOUNG GIRL, PAPER, PENCIL, 25X22, 1918

axalgazrda qali qudiT, qaRaldi, fanqari, 25X18, 1920 OUNG LADY WITH A HAT, PAPER, PENCIL, 25X18, 1920

musikosi s. kusevicki, SarJi, Jurn. „РАМПА И ЖИЗНЬ“, moskovi, 1916 CARICATURE OF THE MUSICIAN S. KUSEVITSKI, FROM THE MAGAZINE “RAMP AND LIFE” („РАМПА И ЖИЗНЬ“), MOSCOW, 1916

Shalva Kikodze to have been the first Georgian caricaturist. The painter’s special interest towards theater was stoked by his closest friend and sister, actress Aneta Kikodze. In 1918, Kikodze began working as the main painter at the theatrical studio of Giorgi Jabadari, who had

hauptmanis „hanele“, jakosis „viTa foTlebi“ da rostanis „TeTri vaxSami“. Salva qiqoZisTvis, misi megobrebis _ daviT kakabaZisa da lado gudiaSvilis msgavsad, gansakuTrebuli mniSvneloba 1919 wels didebis taZarSi qarTvel xelovanTa sazogadoebis mier mowyobil qarTvel mxatvarTa pirvel gamofenas hqonda. swored am gamofenam gadawyvita samive mxatvris parizSi gamgzavreba. parizamdeli nawarmoebebi aSkarad metyvelebs, rom miuxedavad axalgazrduli asakisa, mxatvari msoflmxedvelobiT, mxatvruli stiliTa da gemovnebiT sruliad Camoyalibebuli xelovania; rac, cxadia, niWisa da pirovnuli Tvisebebis garda, Tbilisurma modernistulma garemom da ruseTSi swavlis periodSi SeZenilma gamocdilebam ganapiroba. Salva qiqoZis ferweruli nawarmoebebis ZiriTadi da albaT, mainc yvelaze mniSvnelovani nawili parizSia Seqmnili... weliwadnaxevris ganmavlobaSi. safrangeTSi, misTvis uCveulo, ramdenadme miuRebel

dReoba (baxusi), tilo, zeTi, 88X88, 1920 FEAST (BACCHUS), CANVAS, OIL, 88X88, 1920

just arrived from Paris, where he decorated the stage for a number of plays: ‘False Gods’ by Brieux, ‘Hannele’ by Hauptmann, ‘Like Falling Leaves’ by Giacosa, and ‘The White Supper’ by Rostand. The first exhibition of the works of Georgian artists, held in 1919 at the Didebis Tadzari (Temple of Glory) by the Society of Georgian Artists, was especially important for Kikodze, as well as for his friends Davit Kakabadze and Lado Gudiashvili. It was precisely this exhibition that determined the three painters’ journey to Paris. His pre-Paris works clearly reveal that, despite his young age, the painter was a fully developed artist in terms of his world view,

aneta da gerasime qiqoZeebis portretebi, muyao, zeTi, 22X16.5, 1919

parizi, qalaqis xedi, muyao, zeTi, 31X41, 1920

PORTRAITS OF ANETA AND GERASIME KIKODZE, CARDBOARD, OIL, 22X16.5, 1919

PARIS, CITY VIEW, CARDBOARD, OIL, 31X41, 1920

mxatvarTa yavaxana parizSi, tilo, zeTi, 52X46, 1920 ARTISTS’ COFFEE HOUSE IN PARIS, CANVAS, OIL, 52X46, 1920

garemoSi moxvedram misi pirovnuli Tvisebebi gaamZafra _ Tvalis simaxvilem, gazviadebis grZnobam, melanqoliurma ganwyobam, ironiam, dramatizmma, erTgvarma martosulobam Tanmimdevrul eqspresionistad aqcia. parizul periodSi Salva qiqoZis, lado gudiaSvilisa da daviT kakabaZis nawarmoebebi „damoukidebelTa salonSi“ da „la likornis“ galereaSi gamoifina, sadac qarTvel mxatvarTa warmateba araerT imdroindel katalogSi, Jurnalsa Tu albomSi aisaxa. yuradsaRebia mxatvris epistolaruli memkvidreobac. parizidan ojaxis wevrebisTvis, megobrebisa Tu axloblebisTvis moweril metad saintereso werilebSi axalgazrda xelovani saubrobs miseul Sexedulebebze _ msoflio kulturis, xelovnebis momavlis, parizuli cxovrebis Sesaxeb. swored es werilebi gvamcnoben Tu raoden mniSvnelovani, masStaburi gegmebi hqonda mxatvars: TbilisSi Tanamedrove xelovnebis muzeumis Seqmna, evropasa da saqarTvelos Soris gacvliTi gamofenebis mowyoba da rac mTavaria, weliwadnaxevris naRvawis wardgena qarTuli sazogadoebisTvis.

niRabi, tilo, zeTi, 55X44, 1921 MASQUE, CANVAS, OIL, 55X44, 1921

pirveli Sexvedra, seriidan „tikinebis cxovreba“, tilo, zeTi, 56X46.5, 1920 FIRST ENCOUNTER, FROM THE SERIES ‘LIFE OF DOLLS” ‘CANVAS, OIL, 56X46.5, 1920

his style of painting, and his taste. Naturally, besides talent and personal characteristics, this was also determined by the modernist atmosphere in Tbilisi and the experience gained while studying in Russia. The biggest and probably most important part of Shalva Kikodze’s body of work was created in Paris: a year and a half in France, in an unfamiliar and, to a certain extent, unacceptable environment intensified his personal characteristics. Hi sharp eye, his sense of exaggeration, his melancholic disposition, his sense of irony, his dramatic nature, and a certain sense of loneliness, transformed him into an expressionist. During their Parisian period, the works of Shalva Kikodze, Lado Gudiashvili, and Davit Kakabadze were exhibited at the Salon des Indépendants, and La Licorne gallery, where the Georgian artists’ success was presented in numerous contemporary catalogues, journals, and albums. The artist’s epistolary heritage is also noteworthy. In highly interesting letters from Paris to his family members, friends and acquaintances, the young artist spoke of his views on global culture, on the future of art, and on life in Paris. It is precisely these letters that show us how important and grand the artist’s plans were – the creation of a contemporary art museum in Tbilisi, the establishment of exhibition exchanges between Georgia and Europe and, most importantly, the presentation of a year-and-a-half’s work to the Georgian public.

udrood dakarguli megobris mosagoneblad, parizi, tilo, zeTi, 96X101, 1920 IN MEMORY OF A YOUNG DECEASED FRIEND, PARIS, CANVAS, OIL, 96X101, 1920

Salva gardacvalebamde ori TviT adre, rogorc Cans, Tanamedrove germanuli mxatvrobis ukeT gacnobis mizniT germaniaSi gaemgzavra, magram maleve ukurnebeli seniT daavadda da gardaicvala. 1921 wlis 7 noembers 27 wlis Salva qiqoZe fraiburgSi mcxovrebma qarTvelebma samares miabares. maia ciciSvili

Two months before his passing, Shalva travelled to Germany, presumably with the aim of getting better acquainted with contemporary German painting, but shortly afterwards he contracted a fatal disease and passed away. On 7 November 1921, the 27-year-old Shalva Kikodze was laid to rest by the Georgian residents of Freiburg. by Maia Tsitsishvili

mokled Teatralur festivalebze

Theatrical Festivals in Brief ramdenime welia saqarTvelo sxvadasxva saerTaSoriso Tu regionuli festivaliTaa datvirTuli. am talRam kulturisa da xelovnebis yvela dargi moicva da, rac mTavaria, Teatri _ sinTezuri xelovnebis yvelaze interaqtiuli da cocxali sfero. dRes, saqarTveloSi ramdenime, didi Tu mcire formatis, saerTaSoriso da regionuli Teatraluri festivali tardeba... 1997 wels reJisorma qeTi doliZem mixeil TumaniSvilis saxelobis xelovnebis saerTaSoriso festivali „saCuqari“ daaarsa, romelic 2008-12 wlebSi sxvadasxva mizeziT ver Catarda; 2009 wels dedaqalaqis meriam Tbilisis saerTaSoriso Teatralur festivals Cauyara safuZveli (direqtori _ ekaterine mazmiSvili); am festivalebis partniori da finansuri mxardamWeri

In recent years, Georgia has hosted many different international and regional festivals. This wave has encompassed all fields of culture and art and, most importantly, theatre – the most interactive and lively art form, born through synthesis. A number of large and small-scale international and regional theatre festivals take place in Georgia today... In 1997, director Keti Dolidze founded the international art festival Sachukari (GIFT), named in honor of Mikheil Tumanishvili. The festival was not held between 2008 and 2012 due to a number of reasons but in 2009 the Tbilisi City Hall laid the foundation for the Tbilisi International Festival of Theatre (director Ekaterine Mazmishvili) with the Ministry of Culture and Monument Protection as one of the festival’s partners and financial supporters. In 2012, the Kutaisi Theatre Society restored the regional festival Theatrical Imereti. In 2014, in Gori, the Comedy Festival was founded under director Soso Nemsadze’s leadership. Small format festivals are also held: ArdiFest and Sastiki Teatris Dgheebi (Days of Die-Hard Theatre involving theatrical readings of plays, the idea of which belongs to director Data Tavadze) by the Royal District Theatre. The Shota Rustaveli Theatre and Cinema State University, with support from the Kote Marjanishvili State Drama Theatre, has for many years celebrated March 27th, International Theatre Day, with the student Etude Festival. Three new festivals were added to the list of regional festivals of 2014-2015: The Batumi Monodrama Festival (with support from Batumi City Hall); the Poti International Festival of Regional Theatres, which is the brainchild of actress Nineli Chankvetadze, one of the founders of the Dghe (Day) foundation; and the Akhaltsikhe National Drama Festival. In 2014, the GIFT festival, which had returned to the Georgian festival scene, provided us with its usual exciting program of diversity, including exhibitions, musical evenings, and movie screenings. In just one autumn month last year, audiences in Tbilisi were able to enjoy 15 Georgian and foreign plays. Theatre lovers became acquainted with the works of Anne Bogart (USA), Rimas Tuminas (Lithuania), and Andrej Zoldak

saqarTvelos kulturisa da ZeglTa dacvis saministrocaa. 2012 wels quTaisis Teatralurma sazogadoebam regionuli festivali _ `Teatraluri imereTi~ aRadgina. 2014 wels gorSi, reJisor soso nemsaZis TaosnobiT, daarsda `komediis festivali~. aseve tardeba mcire formatis festivalebi: `samefo ubnis Teatris~ _ `ardifesti“ da `sastiki Teatris dReebi~ (piesebis Teatralizebuli kiTxva, idea reJisor daTa TavaZisa). Teatris saerTaSoriso dRes _ 27 marts, saqarTvelos SoTa rusTavelis Teatrisa da kinos saxelmwifo universiteti, kote marjaniSvilis saxelmwifo dramatuli Teatris TanadgomiT, ukve ramdenime welia studenturi `etiudebis festivaliT~ aRniSnavs. regionul festivalTa nusxas 2014-15 wlebSi sami axali festivali Seemata: baTumis `monopiesebis festivali~ (baTumis meriis mxardaWeriT); foTis `regionuli Teatrebis saerTaSoriso festivali~, romlis idea msaxiobs, fond `dRes~ erT-erT damfuZnebels _ nineli WankvetaZes ekuTvnis; da axalcixis erovnuli dramaturgiis festivali.

2014 wels saqarTvelos safestivalo sivrceSi dabrunebulma `saCuqarma~, Cveulebisamebr, mravalferovani programa SemogvTavaza. gaimarTa gamofenebi, musikaluri saRamoebi, kinoCvenebebi. gasuli wlis Semodgomaze, erTi Tvis ganmavlobaSi, Tbiliselma mayurebelma 15 qarTuli da ucxouri speqtakli ixila. Teatris moyvarulebi gaecnen en bogartis (aSS), rimas tuminasis (litva) da andre Joldakis (ukraina) Semoqmedebas. dimitri krimovi (ruseTi) da misi studia ki festivalis namdvil aRmoCenad iqca. SarSandeli `saCuqari~ maRali mxatvruli donis garda organizebiTac gamoirCeoda, rac festivalis damfuZneblis da direqtorTa sabWos wevris qeTi doliZis da safestivalo gundis damsaxurebaa.

(Ukraine). Dmitry Krymov (Russia) and his studio were a real discovery at the festival. Aside from the high artistic level, last year’s GIFT was also distinguished by its organization, which is the achievement of Keti Dolidze, the festival founder and member of its board of directors. The Tbilisi International Festival of Theatre, founded by Tbilisi City Hall and organized by Ekaterine Mazmishvili and the festival group, has worked in the following directions throughout the six years of its existence: the International Program; the New International Program; Georgian Showcase – the program of Georgian plays; master classes, training courses, and exhibitions; the Kulturuli Khidi (the Culture Bridge) – international meetings and symposia of theatre critics; special events; and the festival club New Market – Caucasus and Black Sea countries. The festival has hosted 97 different countries since the day of its establishment, including Iran, China, Germany, Great Britain, Austria, Poland, Lithuania, Russia, Estonia, Italy, Canada, Croatia, South Korea, Romania, Sweden, France, Latvia, the Netherlands, Oman, Turkey, Japan, Taiwan, Finland, Azerbaijan, and Turkey. The festival program of Georgian plays has allowed Georgian theatres to enter foreign markets. Numerous international projects have been planned and implemented over the six year period, and consequently the names of directors Levan Tsuladze, Davit Doiashvili, Avto Varsimashvili, Beso Kupreishvili, and Data Tavadze are now familiar in Europe. Through the festival, several regional theatres have been invited to various festivals, and a number of plays were also co-produced.

ramdenime regionuli Teatri miiwvies sxvadasxva festivalzec, aseve ganxorcielda koproduqciebic. mayurebels saSualeba mieca Seefasebina msoflioSi saxelganTqmuli reJisorebis: jorjo streleris, eimuntas nekroSiusis, rober lepaJis, filip Jantis, behruz garibpuris, maia kleCevskas, oskaras korSunovasis, silviu purkaretes, lin hvai-minis, amiT lahavisa da sxvaTa Zveli Tuaxali speqtaklebi. `Tbilisis saerTaSoriso

dedaqalaqis meriis daarsebuli `Tbilisis saerTaSoriso Teatraluri festivali~, ekaterine mazmiSvilisa da safestivalo gundis organizebiT, arsebobis eqvsi wlis ganmavlobaSi Semdegi mimarTulebebiT muSaobs: saerTaSoriso programa; saerTaSoriso programa `New~; qarTuli speqtaklebis programa _ Georgian Showcase; masterklasebi, treningebi da gamofenebi; Teatris kritikosTa saerTaSoriso simpoziumebi da Sexvedrebi _ `kulturuli xidi~; specialuri RonisZiebebi da festivalis klubi; `niu marketi~ _ kavkasia da Savi zRvis qveynebi... festivalma dRidan daarsebisa sxvadasxva qveynis 97 kompanias umaspinZla, maT Soris: iranis, CineTis, germaniis, didi britaneTis, avstriis, poloneTis, litvis, ruseTis, estoneTis, italiis, kanadis, xorvatiis, samxreT koreis, rumineTis, SvedeTis, safrangeTis, latviis, niderlandebis, omanis, TurqeTis, iaponiis, taivanis, fineTis, azerbaijanis, TurqeTis da sxv. festivalis qarTuli speqtaklebis programis saSualebiT saqarTveloSi moqmed Teatrebs ucxour bazarze gasvlis SesaZlebloba miecaT. eqvsi wlis ganmavlobaSi daigegma da Semdgom ganxorcielda araerTi saerTaSoriso proeqti _ reJisorebi: levan wulaZe, daviT doiaSvili, avTo varsimaSvili, beso kupreiSvili, daTa TavaZe _ dRes evropaSi nacnobi saxelebia. festivalis daxmarebiT,

Teatralurma festivalma~ daarsebisTanave moipova saerTaSoriso aRiareba, is 2011 wlidan evropis araformaluri Sexvedrebis (ITM) da evropis saerTaSoriso festivalebis asociaciis (EFA) sruluflebiani wevria. rogorc zeviT aRvniSneT, 2015 wlis ivlisSi, saTeatro festivalTa rukaze, kidev erTi, axali, `regionuli Teatrebis saerTaSoriso festivali~ gaCnda. foTSi Catarebulma festivalma _ sxvadasxva qveynis regionSi saTeatro procesebi gamoacocxla da Semoqmedebs ukeTesi speqtaklebis Seqmnis stimuli misca; farTo sazogadoebam sxvadasxva xelweris reJisorebi (gansakuTrebiT axalgazrda) gaicno. wels festivalis programaSi warmoadgines saqarTvelos yvela regionuli saxelmwifo profesiuli dramatuli Teatris, poloneTisa da italiis (stumris statusiT) Teatrebis 23 speqtakli; kulturisa da ZeglTa dacvis saministros xelSewyobiT, `regionuli Teatrebis saerTaSoriso festivalis~ dafuZneba, monawile dasebisTvis umniSvnelovanes forumad iqca da imedia, is yovelwliur tradiciad damkvidrdeba. maka vasaZe

Audiences were given the opportunity to appraise both old and new works by such world-renowned directors as Giorgio Strehler, Eimuntas Nekrošius, Robert Lepage, Philippe Genty, Behrouz Gharibpour, Maya Klechevska, Oskaras Koršunovas, Silviu Purcărete, Lin Hwai-min, and Amit Lahav. The Tbilisi International Festival of Theatre received international recognition soon after its establishment. Since 2011, the festival itself has been a full-fledged member of the Informal European Theatre Meeting (IETM) and the European Festival Association (EFA). As we mentioned above, in July 2015, the International Festival of Regional Theatres became another new addition to the map of international festivals. The festival, which took place in Poti, reinvigorated theatrical processes in various regions of the country and motivated authors to create better plays. The public became acquainted with various (especially, young) directors of diverse styles. This year, 23 plays by all regional state professional drama theatres, as well as Polish and Italian (guest) theatres, were represented in the festival’s program. The establishment of the International Festival of Regional Theatres, with support from the Ministry of Culture and Monument Protection, has become a very important forum for participating companies and it is hoped that it will become an annual tradition. by Maka Vasadze

arakomerciuli reklama

es vebgverdi unda naxoT!

maps.nekeri.net

kinos fasi The Value of Film bileTi 12 lari, simindis burbuSela 3, wveni 2 lari _ daaxloebiT amdeni Rirs saqarTveloSi kino. kidev ufro naklebia qarTuli kinosTvis gadaxdili safasuri, radgan adgilobriv filmebs aTjer naklebi mayurebeli hyavs, vidre yvelaze cud ucxours. metic, qarTul filmebs ufro meti ukmayofilo mayurebeli hyavs, radgan aq ver naxavT Tavbrudamxvev `eqSens~, gamaognebl masobriv scenebs, Zvirfasi avtomanqanebiT rbolas an seqss Camavali mzis fonze. es yvelaferi Zalian didi fuli Rirs, imaze meti, vidre saqarTveloSi filmwarmoebaze pasuxismgebel mTavar saxelmwifo struqturas arsebobis ganmavlobaSi Rirsebia. kino dabadebisTanave iqca gasayid produqtad, im wamidan, rodesac adamianebma rkinigzis sadgurSi orTqmavlis Semosvlis sanaxavad fuli gadaixades. mas Semdeg as weliwadze meti gavida, am drois ganmavlobaSi ki kinematografi ara mxolod xelovnebad iqca, aramed msoflio ekonomikis erT-erT fundamentur dargadac. is Soubiznesis yvelaze mZlavri segmentia da, rogorc Tavad es sityva gveubneba, sanaxaobasac moicavs da biznessac anu fuls. es ukanaskneli ki Tanamedrove qarTul kinematografs yvelze metad aklia, Tumca finansebis

12 Laris for a ticket, 3 for popcorn, 2 Laris for juice – this is approximately how much a film costs in Georgia. The price paid for Georgian films is even less since local films have ten times fewer viewers compared to the worst foreign ones. Furthermore, Georgian films have more unsatisfied viewers as here you cannot see exhilarating action, amazing large-scale scenes, expensive car chases, or sex scenes with the sun setting in the background. All of this costs really big money – more money than the main governmental department responsible for movie production in Georgia has had throughout its existence. Since their inception, films have become a salable product – since that fiest moment when people paid money to see the steam locomotive enter the station. Over one hundred years have passed since then and in this time cinematography became not only an art form but also one of the fundamental fields of the global economy. It is the strongest segment of show business, and, as the phrase itself tells us, it includes both spectacle and business, or money. The latter is what modern Georgian cinematography lacks most of all, though the lack of funding is just the tip of the iceberg and much greater problems hide underwater. In any case, films are still being made in Georgia, and they are of such a quality that not only are we not ashamed of sending them to international festivals but we are even proud of the prizes that they win there (naturally, here we are talking about noncommercial films, the ones that possess so-called cultural value). Look through the list of Georgian films that were made in recent years and you will see that practically all of them have at least two or three international awards. This is no small feat, particularly considering the filming conditions and the sacrifices that the authors had to make. Thus, when we ask whether or not it is worth making a film in Georgia, we should not discuss just the allocated budget; instead, we should view the entire path that should be taken in order to film it and prepare it for sale. This path often begins with participating in one competition and, in certain cases, continues with the investment of money from one’s own pocket. The only state organization supporting the film industry is the National Film Center at the Ministry of Culture. This organization, which was created in 2001 using the French Film Center as a model, is now a co-financer of a number of really good, international festival-winning projects (full-length feature films, as well as documentary, animated, and short films). It is precisely the Film Center that creates competition commissions and holds competitions.

SemTxveviTi paemnebi / 2013 / reJisori levan koRuaSvili BLIND DATES / 2013 / DIRECTOR LEVAN KOGUASHVIL

simcire mxolod aisbergis wveria, wylis qveS ki gacilebiT bevri problema imaleba. nebismier SemTxvevaSi, saqarTveloSi filmebs mainc iReben, Tanac iseTs, rom maTi saerTaSoriso kinofestivalebze gagzavnis ara Tu gvrcxvenia, aramed mopovebuli jildoebiTac vamayobT (cxadia, aq saubaria arakomerciul, e.w. kulturuli faseulobis mqone filmebze). gadaxedeT ukanasknel wlebSi gadaRebuli qarTuli filmebis nusxas da naxavT, rom praqtikulad yvela maTgans, sul mcire, ori-sami saerTaSoriso jildo mainc aqvs mopovebuli. es cota araa, miT ufro Tu maT gadasaRebad arsebul pirobebsa da avtorTa mier gaRebul msxverpls gaviTvaliswinebT. amrigad, rodesac vsvamT kiTxvas _ ra Rirs saqarTveloSi filmis gadaReba, aq mxolod misTvis gaweril biujetze ar unda visaubroT, aramed mis gadasaRebad da gasayidad gasamzadeblad gavlili mTeli gza unda ganvixiloT, romelic erT konkursSi monawileobiT iwyeba da, zog SemTxvevaSi, sakuTari jibidan amoRebuli fulis damatebiT grZeldeba.

Usually two, or at best three, films get financed as a result of the competition. The Film Center lacks the resources for more. At the same time, this organization does not have the right to provide more than 75% of a project’s budget. Nana Janelidze, National Film Center director: “A producer always knows approximately how much it will cost to make a movie, so he or she draws up a budget as appropriate and allocates the funding, which amounts to 75% at best, accordingly. Different methods exist in Belgium, for example, where the Film Center provides a single project with a lump sum of 500 thousand euros, regardless of the film’s budget. I think this is more convenient as the producer knows the funding that he or she will receive from the fund and is more motivated to secure the rest of the funding.” As a rule, the funds provided by the Film Center are not enough for filming and the producer must obtain the remaining money through other means. There is only one alternative for this in Georgia, though there are innumerable alternatives abroad. The alternative here is the Adjara Regional Film Fund. As Janelidze says, “The budget of this fund, which is independent from us, is increasing every year, the organization is becoming stronger, and they are implementing projects as well. The

Cemi sabnis nakeci / 2013 / reJisori zaza rusaZe A FOLD IN MY BLANKET / 2013 / DIRECTOR ZAZA RUSADZE

filmwarmoebis mxardamWeri erTaderTi saxelmwifo organizacia kulturis saministrosTan arsebuli erovnuli kinocentri gaxlavT. safrangeTis kinocentris modelis mixedviT 2001 wels Seqmnili organizacia dRes ukve ramdenime marTlac kargi da saerTaSoriso festivalze gamarjvebuli proeqtis Tanadamfinansebelia (rogorc srulmetraJiani mxatvruli, ise dokumenturi, animaciuri da moklemetraJiani). swored kinocentri qmnis sakonkurso komisiebs da atarebs konkursebs. rogorc wesi, mxatvruli filmis konkursis Sedegad ori, ukeTes SemTxvevaSi sami filmi finansdeba _ metis saSualeba kinocentrs ar gaaCnia. amavdroulad, am organizacias erTi proeqtis mTliani biujetis 75%-ze metis gacemis ufleba ar aqvs. nana janeliZe (erovnuli kinocentris direqtori): „produserma yovelTvis icis, daaxloebiT ra Tanxa daujdeba filmis gadaReba, amitom biujets Sesabamisad wers da Cven mier micemuli maqsimum 75%-ian dafinansebas amis mixedviT anawilebs. gansxvavebuli meTodebi aqvT, magaliTad, belgiaSi, romlis kinocentric erT proeqts yovelTvis moWril Tanxas _ 500 aTas evros aZlevs da ar aqvs mniSvneloba, Tu rogor biujetian films afinansebs. vfiqrob, es ufro mosaxerxebelia, radgan produserma icis, fondisgan konkretulad ra Tanxas miiRebs da danarCeni dafinansebis mobilizebas ufro motivirebulad axdens.“

good thing is that upon receiving funding from the Adjara fund, you are obligated to employ local specialists, including students. Furthermore, infrastructure is being gradually created which is an essential segment for the film industry. Having won in the National Film Center’s competition, many projects go on to obtain co-funding from the Adjara fund.” Generally, regional film funds are an accepted and well established practice in Europe. As a rule, the country’s government creates such organizations in the regions where industry, agriculture, and other economy-centric fields are less developed, or where the location itself is interesting (in terms of architecture, the landscape, etc.). This not only increases the importance of the region but it also ensures the employment of the local population. A film fund does not only mean money on its account, it also involves a well-organized stage, material and technical infrastructure, film specialists, and so forth. Precisely for this reason, Janelidze’s optimism is not shared by Tinatin Qajrishvili, a producer and director experienced in cooperating with European film funds, who thinks that the Adjarian government does not have a correct assessment of the regional fund, which is why it is unable to ensure its full and correct operation. Tinatin Qajrishvili: “The existence of the Adjarian Regional Fund is a very good thing, but this fact in itself is not enough. Every well-functioning regional film fund has a database of its local landscape, architecture, of every room, balcony, or little street, which is followed by a list of film specialists. In other words, a producer arriving there for filming should precisely know

rogorc wesi, kinocentris mier gacemuli Tanxa filmis gadasaRebad sakmarisi araa, danarCeni fuli produserma sxva gziT unda moipovos. amisTvis saqarTveloSi, praqtikulad, mxolod erTi, msoflioSi ki uamravi alternativa arsebobs. aq arsebuli alternativa 2012 wels daarsebuli aWaris regionuli kinofondia. rogorc nana janeliZe ambobs: „am fondis Cvengan damoukidebeli biujeti yovelwliurad izrdeba, organizacia nel-nela Zlierdeba da proeqtebsac axorcieleben. kargi is gaxlavT, rom aWaris fondidan dafinansebis miRebis SemTxvevaSi valdebuli xar daasaqmo adgilobrivi specialistebi, maT Soris studentebic. garda amisa, nel-nela yalibdeba infrastruqturac, rac filmwarmoebisTvis aucilebeli segmentia. erovnuli kinocentris konkursSi gamarjvebis Semdeg bevri proeqti Tanadafinansebas swored aWaris fondidan iRebs“. zogadad regionuli kinofondebi evropaSi miRebuli da kargad damkvidrebuli praqtikaa. rogorc wesi, qveynis mTavroba msgavs organizaciebs iseT regionebSi afuZnebs, sadac mrewveloba, soflis meurneoba da sxva ekonomikuri datvirTvis mqone dargebi naklebadaa ganviTarebuli an Tavad adgilia saintereso (arqiteqturiT, landSaftiT da sxva). es ara mxolod regionis mniSvnelobas zrdis, aramed adgilobrivi mosaxleobis nawilobriv dasaqmebasac uzrunvelyofs. kinofondi mxolod mis angariSze arsebul fuls ar gulisxmobs. is moicavs gamarTul pavilionebs, materialur-teqnikur bazas, kinospecialistebs da a.S. swored amitom ar iziarebs nana janeliZis optimizms evropul kinofondebTan muSaobis gamocdilebis mqone produseri da reJisori TinaTin yajriSvili, romelic fiqrobs, rom aWaris mTavroba regionuli fondis mniSvnelobas sworad ver afasebs, ris gamoc mis srulad da gamarTulad amuSavebas ver axerxebs. TinaTin yajriSvili: „aWaris regionuli fondis arseboba Zalian kargi faqtia, magram mxolod misi Seqmna ar kmara. yvela kargad gamarTul regionul kinofonds gaaCnia iq arsebuli landSaftis, arqiteqturis, yoveli oTaxis, aivnisa Tu patara quCis monacemTa baza, rasac kinospecialistebis nusxa mosdevs. anu aq gadaRebaze Casulma produserma zustad unda icodes, rasTan aqvs saqme, ra aklia da a.S. aWaris kinofondTan TanamSromlobis SemTxvevaSi ki erTaderTi, razec fuls xarjav, gadamRebi jgufis cxovreba da kvebaa, radgan sxvas verafers gTavazobs. ar gaaCnia baTumis Teatris msaxiobTa bazac ki. amrigad, rodesac ar ici, gadaRebaze Casuls ra dagxvdeba, Sesabamisad ar gagaCnia biujetis daxarjvis strategiac“. rogorc TinaTin yajriSvili ambobs, saqmes isic arTulebs, rom aWaris regionuli fondis moTxovniT gadasaRebi Tanxis naxevari ukve mopovebuli unda gqondes, dafinansebis misaRebad ki lamis „evrimaJis“ donis konkursis gavla giwevs. amas ebmis sabuRaltro

gaiRimeT / 2012 / reJisori rududan Wyonia KEEP SMILING / 2012 / DIRECTOR RUSUDAN CHKONIA

prezidenti / 2014 / reJisori mohsen maxmalbafi THE PRESIDENT / 2014 / DIRECTOR MOHSEN MAKHMALBAF

patarZlebi / 2014 / reJisori TinaTin yajriSvili THE BRIDES / 2014 / DIRECTOR TINATIN KAJRISHVILI

manqana romelic yvelafers gaaqrobs / 2012 / reJisori TinaTin gurCiani THE MACHINE WHICH MAKES EVERYTHING DISAPPEAR / 2012 / DIRECTOR TINATIN GURCHIANI

Tavsatexebi da dausrulebeli biurokratiuli safexurebis gavla, Tumca, faqtia isic, rom fondi mainc muSaobs, biujeti gaaCnia da, rac mTavaria, qveyanaSi erTaderT alternativas warmoadgens. mTavari roli ki kvlavac erovnuli kinocentrisaa. misi wliuri biujeti daaxloebiT imdenia, ramdensac kargad gamarTuli evropuli kinoTeatri wlis ganmavlobaSi popkornis gayidvidan iRebs _ 5 milion 200 aTasi lari, Tumca ramdenime Tvis win milioniT naklebi iyo. am Tanxis naxevari filmwarmoebaSi ixarjeba, milion larze meti ki srulmetraJiani mxatvruli filmebis proeqtebis dafinansebaSi. rogorc nana janeliZe ambobs, qveyanaSi postproduqciis studiebi rom gagvaCndes, am Tanxis didi nawili daizogeboda _ ferebis koreqciis, xmis miqsirebisa da sxva procedurebisTvis gadaRebuli masala evropaSi, yvelaze xSirad praRaSi miaqvT. gadavxedoT, ra Tanxa aqvs daxarjuli wlebis ganmavlobaSi erovnul kinocentrs filmwarmoebisTvis (Tanxa mocemulia evroSi): 2009 wels 550 aTasi, 2010 wels milion 57 aTasi, 2011 wels 744 aTasi, 2012 wels milion 80 aTasi, 2013 wels milion 70 aTasi, 2014 wels milion 71 aTasi, wels ki milion 430 aTasi evro. aqedan milion 500 aTasi lari srulmetraJiani mxatvruli filmebis proeqtebis dafinansebas moxmardeba. mimdinare wels erovnul kinocentrs dafinanseba milioni lariT gaezarda, rac udavod qarTuli filmebis SarSandeli

what he or she is dealing with, what may be lacking, etc. While working with the Adjarian Regional Fund, the only thing that you spend money on is the filming crew’s room and board, as it can offer nothing else. It does not even have a database of Batumi theater actors. Thus, when you do not even know what to expect when arriving there for filming, you correspondingly cannot have a budget expenditure strategy, either.” According to Tinatin Qajrishvili, matters are further complicated by a requirement by the Adjara Regional Fund whereby you should already have obtained half of the required funds, and in order to receive funding you must go through a competition almost of the same level of difficulty as Eurimages. This is further complicated by accounting mazes and unending bureaucratic steps. It is also true, however, that the fund is nonetheless working, it has a budget and, most importantly, it is the only alternative in the country. Nonetheless, the main role belongs to the National Film Center. Its annual budget is roughly the same as the amount of money made at a well-functioning European cinema by selling popcorn – 5 million 200 thousand Laris (though this sum was a million less a few months ago). Half of this sum is spent on film creation, while over a million Laris is used to finance full-length feature film projects. According to Janelidze, a large part of these funds would have been saved if only we had had postproduction studios in the country – materials filmed for color correction, sound mixing, and other procedures in being sent to Europe, usually to Prague. Let us review the funds that the Film Center has spent on film creation in recent years (in euros): 550 thousand in 2009, one million 57 thousand

me var beso / 2014 / reJisori laSa cqvitiniZe I AM BESO / 2014 / DIRECTOR LASHA TSKVITINIDZE

warmatebebis damsaxurebaa. milioni lari zRvaSi ki ara, okeaneSi Cavardnili wveTis tolfasia, magram faqtia isic, rom kinocentrs mciredi xelgaSlilobis saSualebac mieca. misi biujetidan wels TiTo proeqtisTvis yvelaze didi Tanxa gasces: 500 aTasi da 550 aTasi lari miiRes nana eqvTimiSvilma „Cemi bednieri ojaxis“ da dimitri mamuliam „feriscvalebis“ (saTauri pirobiTia) gadasaRebad. „es aris am droisTvis yvelaze didi Tanxa, rac kinocentrs gaucia, Tumca evropuli sazomiT Zalian cotaa. evropaSi erTi filmis gadaReba saSualod 4 milioni evro jdeba, Cven ki mTliani biujetic ki ar gvaqvs amdeni“, _ ambobs nana janeliZe. kinocentridan miRebuli pirveladi dafinanseba arsebiTia, radgan swored amis Semdeg SegiZlia mimarTo sxva fondebs da Tanadafinanseba moiTxovo _ es wesi moqmedebs yvela qveynis kinofondebSic. maTTvis mniSvnelovania, rom pirveli nabiji samSobloSi gqondes gadadgmuli, rac niSnavs, rom gaiare konkursi da moige mxolod imis gamo, rom marTlac faseuli proeqti gagaCnia. anu gamodis, rom realurad ucxour fuls isev ori-sami proeqti iRebs, rac jaWvuri reaqciis principiT sxva problemebs aCens. TinaTin yajriSvili: „srulmetraJiani mxatvruli filmis warmoebis dafinansebis konkursSi yovelwliurad 20-30 proeqti monawileobs, amrigad TiTqmis absoluturi umravlesoba TamaSgare poziciaSi rCeba, rac niSavs, rom Semdeg konkursamde reJisoric da produseric

in 2010, 744 thousand in 2011, one million 80 thousand in 2012, one million 70 thousand in 2013, one million 71 thousand in 2014, and one million 430 thousand this year. Of these funds, one million 500 thousand Euros were spent on funding full-length feature films. During the current year, the National Film Center’s funding has increased by one million Laris, which is undoubtedly due to the success of Georgian film success last year. One million Laris amounts to even less than the proverbial drop in the ocean but it is also true that the Film Center has been afforded the opportunity to be somewhat generous. This year, the largest sums have been allocated from its budget to individual projects: 500 thousand and 550 thousand Laris were allocated to Nana Ekvtimishvili and Dimitri Mamulia, for the filming of “My Happy Family” and “The Mrthamorphosis,” respectively. “This is the largest sum that has been provided by the Film Center, though it is very little on a European scale. In Europe, filming one movie costs an average of 4 million Euros, while our entire budget does not even amount to that much,” Janelidze said. The preliminary funding received from the Film Center is essential as precisely after this can one address other funds to request co-financing. Film Centers of all countries have the same rule. For them, it is important for you to have taken the first step in your home country, which means that you participated in a competition and you won because you really do have a valuable project. In other words, it appears that in reality foreign funding reaches the same two or three projects, which creates a different set of problems through a chain reaction. Tinatin Qajrishvili: “Every year, 20 to 30 projects participate in the

simindis kunZuli / 2014 / reJisori giorgi ovaSvili CORN ISLAND / 2014 / DIRECTOR GEORGE OVASHVILI

stagnaciur mdgomareobaSia. Tu produseri mTeli wlis ganmavlobaSi arafers akeTebs, rogorc profesionali kvdeba, erTi wlis Semdeg ki sruliad axal wesebTan da finansur labirinTebTan uwevs pirispir aRmoCena. swored amitom ar gvyavs profesionali produserebi, xolo vinc varT, saqmis keTeba da dafinansebis mopoveba xSirad sakuTari riskis fasad, xvewniT, nacnob-megobrebis CareviTa da sxva msgavsi gzebiT gviwevs“. rodesac TinaTin yajriSvili risks axsenebs, realur risks gulisxmobs. aseT pirobebSi filmis gadaReba fsonis dadebas ufro hgavs. arasdros gaqvs garantia, rom gagimarTlebs da kargi filmi gamova, romelsac saerTaSoriso festivalebzec waiReb da gaqiravebaSic daayeneb. erT-erTi bolo proeqti, romelzec TinaTin yajriSvilma imuSava, vano burdulis „gayinuli Sadrevnebis weliwadia“. am proqtma kinocentrisgan 400 aTas lariani dafinanseba miiRo, ucxoeli koproduserisgan ki 135 aTasi lari anu mTlianobaSi 535 aTasi Segrovda, Tumca Tu gaviTvaliswinebT, rom gadaRebebi 42 lokaciaze mimdinareobda da 80-ze meti msaxiobi monawileobda, xolo gadaRebis erTi dRe saSualod 10 aTasi lari jdeba,

competition for the funding of full-length feature films; therefore a large majority of projects are left outside the process, which means that both the director and the producer are inactive before the next competition. If a producer does nothing for an entire year, he or she dies as a professional, and is faced with completely different rules and financial mazes the following year. This is why we do not have professional producers, and those of us who are, are forced to do business and acquire funding often at personal risk, through pleading, involving friends and acquaintances, and by using similar means.” When Qajrishvili mentions risk, she means real risk. Filming a movie under such circumstances is rather similar to placing a bet. You never have a guarantee that you will be lucky and the film will turn out to be good, and that you will be able to take it to international festivals, and to rent it out. One of the last projects on which Qajrishvili worked is Vano Burduli’s ‘The Summer of Frozen Fountains.’ This project acquired 400 thousand Laris of funding from the Film Center and 135 thousand Laris from a foreign co-producer, so the funding comprised 535 thousand Laris in total. However, if we take into consideration that filming took place over 42 locations and involved over 80 actors, and that a single day of filming cost 10 thousand Laris on average, it

es Zalian mcire Tanxaa. aseTi biujeti mTel gadamReb jgufs aranormalur reJimSi muSaobas aiZulebs, scenis xelaxla gadaReba ki didi fufunebaa. erTi mxriv, es filmis saboloo xarisxzec aisaxeba, magram isic faqtia, rom nebismier sxva qveyanaSic ase muSaoben _ yovel wuTs Tavisi fasi aqvs, Tumca Cvengan gansxvavebiT iq drois sworad gadanawilebac SeuZliaT da misi dafasebac, iqauri normaluri dafinanseba ki ubralod simSvidisa da SemoqmedebiTi ganwyobis Seqmnis saSualebas gaZlevs. da SesaZloa, swored es aris mTavari... erovnuli kinocentri, aWaris kinofondi da ucxouri fondebi _ dRes qarTuli filmwarmoeba swored am sam segmentze dgas, Tumca aris dafinansebis miRebis kidev erTi, Tumca urTulesi da metad uxerxuli saSualeba _ es kerZo fulia. saqarTveloSi ar arsebobs kanoni qvelmoqmedebis Sesaxeb, Sesabamisad, im xelovnebis nimuSis SeqmnaSi, romelic did mogebas ver moitans, fulis Cadeba aravis surs. kerZo biznesi mxolod im kinoproeqtebis dafinansebas amjobinebs, romlebSic saukeTesod SeZlebs sakuTari saqmianobis an produqtis reklamirebas. vinaidan evropaSi e.w. `prodaqt pleismentis~ mkacrad dadgenili regulaciebi moqmedebs, romelime evropul kinofondTan TanamSromlobiT Seqmnil filmSi nayinisa Tu manqanis aSkara reklamas ver gaakeTeb. evropuli fuli ki yvela axal qarTul filmSi devs, Sesabamisad kinofondebis mier gacemuli da kerZo fulis Tanacxovreba imTaviTve gamoiricxeba. nana janeliZe: „garda imisa, rom jerjerobiT ar gagvaCnia kanoni qvelmoqmedebis Sesaxeb, kerZo investors is faqtoric aferxebs, rom qveyanaSi gamarTuli

mandarinebi / 2013 / reJisori zaza uruSaZe TANGERINES / 2013 / DIRECTOR ZAZA URUSHADZE

becomes evident that this is a very small sum. A budget like this forces the entire filming crew to work in abnormal conditions, and re-shooting a scene is a great luxury. On the one hand, this affects the final quality of the film but it is also true that they work like this in any other country – every minute has its cost, though in contrast to our situation, there they know how to manage as well as to value time properly. The appropriate funding there merely makes it possible to create and maintain a tranquil atmosphere and a creative attitude. And, it is quite possible that this is the main thing... The National Film Center, the Adjarian Film Fund, and foreign funds – today the Georgian film industry relies on these three segments, though there is one more, very complicated and uncomfortable method of acquiring financing: private funding. No law on charity exists in Georgia and, correspondingly, no one wants to invest money in a work of art that

kreditis limiti / 2014 / reJisori nuca/salome aleqsi-mesxiSvili LINE OF CREDIT / 2014 / DIRECTOR SALOME ALEXI

sadistribucio qseli ar arsebobs, gvaqvs TiTo-orola kinodarbazi _ es ki mogebis garantias veravis miscems. sasicocxlod mniSvnelovania, rom sadistribucio instituti amuSavdes, gaixsnas meti kinodarbazi, mayureblis raodenobam moimatos da mxolod amis Semdeg gaxdeba SesaZlebeli biznesseqtoris daintereseba“. nana janeliZe qveyanaSi kinokulturis yvelaze rTul detalze amaxvilebs yuradRebas _ sul sami didi da TiTqmis amdenive patara ekrani gvaqvs, rac avtomaturad mcirericxovan mayurebelsa da kidev ufro nakleb Semosavals niSnavs. am sakiTxze saubrisas TinaTin yajriSvili ar malavs, rom misi „patarZlebis“ gadasaRebad erovnuli kinocentris mier micemuli 150 aTasi lari da safrangeTis kinocentris 100 aTasi evro daixarja, qarTuli gaqiravebidan ki mxolod 5 aTasi lari miiRo anu saqarTveloSi „patarZlebi“ daaxloebiT imdenma mayurebelma naxa, ramdenic erT darbazSi eteva. TinaTin yajriSvili: „kerZo piri naklebadaa dianteresebuli kulturaSi fulis CadebiT, Tu Tavadac ar miiRebs garkveul mogebas. maTTan urTierTobis sakmaod didi gamocdileba maqvs da es imdenad damamcirebeli procesia, rom verc aRwer. pirdapir geubnebian, rom maT mier warmoebuli produqti mTel kadrSi unda Candes, an Tu konkretul segmentze gaTvlil produqts awarmoeben, maSin mzad unda iyo, rom scenaris gadawerasac mogTxoven da personaJebsac Segacvlevineben, sanacvlod ki SeiZleba mxolod 5 aTasi

uxilavi sivrceebi / 2014 / reJisori dea kulumbegaSvili INVISIBLE SPACES / 2014 / DIRECTOR DEA KULUMBEGASHVILI

will not make a huge profit. Private businesses always prefer to finance film projects where they will best be able to advertise their own activities or products. Since there are strict regulations on product placement in Europe, you will not be able to overtly advertise a certain brand of ice cream, or a car, while working with one of the European film funds. And since European money is being invested in every new Georgian film, the coexistence of funding provided by film funds and private money is out of the question from the outset. Nana Janelidze: “Apart from the fact that we do not yet have a law on charity, private investors are also being scared away by the absence of a distribution network in the country. We have one or two movie theaters, and these can hardly guarantee profit to anyone. It is essential to have a working distribution infrastructure – to open more movie theaters, to have an increased number of viewers, and only after this will it become possible to interest the business sector.” Janelidze stressed the most complicated detail of the country’s cinema culture: we only have three big screens, and roughly the same number of small screens. This automatically implies few viewers and even less income. While discussing this topic, Tinatin Qajrishvili does not hide that while the National Film Center provided 150 thousand Laris and the French Film Center provided 100 thousand Euros for the filming of her movie ‘Brides,’ the revenue from rental in Georgia amounted to only 5 thousand Laris, in other words, ‘Brides’ was seen by roughly the number of moviegoers that would fit into one movie theater. Qajrishvili: Private entities are not very interested in investing in culture unless they stand to receive a certain profit from it as well. I have a lot of experience in dealing with them and this is such a degrading process

grZeli naTeli dReebi / 2013 / reJisorebi nana eqvTimiSvili, simon grosi IN BLOOM / 2013 / DIRECTORS NANA EKVTIMISHVILI, SIMON GROSS

lari SemogTavazon. amas emateba isic, rom kerZo damfinansebels veranair garantias ver aZlev. ar ici, filmi warmatebuli iqneba Tu ara. garda amisa, ar gvaqvs marketingisa da distribuciis qseli, romelic fulis Cadebis process ufro gaaadvilebda da investors imis gancdas mainc miscemda, rom films vinme ucxoeTSi gaitans da gayidis. am mimarTulebiT ar arsebobs strategia da gegma arc saxelmwifos da arc sxva struqturis mxridan. kinocentri da sxva fondebi filmis gadasaReb fuls maZleven, magram mis gayidvaze ukve Tavad unda vizruno da afiSis dabeWdvis donezec Tavad davixarjo, radgan im produqtis gayidva, romelsac ar aqvs saTanado reklama, Zalian rTulia. amitomac ar hyavs kinocentris mier dafinansebul produqts bevri mayurebeli. metic _ zustad ise, rogorc 90-ian wlebSi, dResac mekiTxebian xolme, saerTod viRebT Tu ara filmebs“. Zalian ar gvinda, es werili 90-iani wlebis xsenebiT davasruloT, magram faqtia: evropul kinofondebTan TanamSromlobis, warmatebuli koproduqciebis gadaRebis, saerTaSoriso kinofestivalebSi monawileobis, prizebis mopovebisa da „oskarTan“ miaxlovebis miuxedavad, qarTuli kino jer kidev erTeuli warmatebebis xarjze arsebobs. prizebis brwyinvalebis miRma ki gapartaxebuli kinostudia, funqcia warTmeuli kinoTeatrebi, praqtikis uqonlobis gamo miviwyebuli specialistebi, dausaqmebeli profesionalebi da uamravi ganuxorcielebli proeqti rCeba. amrigad, kinos fasi saqarTveloSi kvlavac 12 lariani bileTi, 3 larad nayidi simindis burbuSela da ufro iafi wvenia. ia vekua

that it is difficult to describe. They tell you candidly that their product must be visible in the entire shot, and if they are producing something that is aimed at a specific segment, you should be ready for them to ask you to rewrite the script and to even change the characters, and in return they may offer to give you only 5 thousand Laris. Furthermore, you cannot give a private sponsor any guarantees. You do not know whether or not the film will be successful. Apart from that, we do not have a marketing and distribution network, which would simplify investment and would at least give the investor the feeling that someone will sell the movie abroad. Neither the government nor any other structure has a strategy or plan in this regard. The Film Center and the other funds provide me with the money to film a movie but it then falls upon me to take care of its sale and even of the printing of promotional posters, as it extremely difficult to sell a product that has not been appropriately advertised. This is why products financed by the Film Center do not have many viewers. Furthermore, just like in the 1990s, even nowadays I am being asked whether or not we are making films at all.” We really would not like to finish this paper by mentioning the 1990s but it is nonetheless true that despite cooperating with European Film Funds, filming successful joint products, participating in international film festivals, winning awards, and getting closer to The Oscars, Georgian film still exists due to only a handful of successes. Looking beyond the brilliance of the awards, we see the dilapidated film studio, the defunct movie theaters, the specialists that have been forgotten due to a lack of practice, the unemployed professionals, and a myriad of failed projects. Thus, the price of a film in Georgia remains a 12-Lari ticket, a 3-Lari bag of popcorn, and juice for even less. by Ia Vekua

praRis kvadrienale praRis kvadrienale (PQ) scenografiasa da Teatralur arqiteqturaSi msoflio masStabis saerTaSoriso gamofenakonkursia, romelic CexeTis dedaqalaqSi 1967 wlidan imarTeba. wels, 18-28 ivniss, PQ15 64 nacionalur pavilions da 500-ze met RonisZiebas _ seminarebs, leqciebsa da masterklasebs maspinZlobda, romelic praRis centrSi 100ze met lokaciaze gaiSala. gamofenebi moewyo Zveli qalaqis mitovebul saxlSi, barokos stilis sasaxleSi, goTur taZarSi, galereebsa da gvirabebSi. PQ15-is Tema iyo musika, politika, bunebrivi garemo... praRis kvadrienale scenografiasa da Teatris sivrceSi arqiteqturuli namuSevrebis uaxles tendenciebs warmoaCens. is mTlianad moicavs scenografiis yvela Semadgenel elements _ saSemsruleblo xelovnebas, kostiums, ganaTebas, xmis dizains, scenografiuli sivrcis proeqtirebas da Teatris arqiteqturas. aTwleulebis ganmavlobaSi praRis kvadrienalem ideuri evolucia ganicada, gadaejaWva Tanamedrove xelovnebaSi arsebul mimdinareobebs da stilTa mravalferovnebas. Tanamedrove scenografiis ganviTarebaze didi gavlena gasuli saukunis 60-ian wlebSi postmodernistul

The Prague Quadrennial (PQ) is a global international exhibition and competition of scenography and theatre architecture that has taken place in the capital city of the Czech Republic since 1967. This year, between the 18th and the 28th of June, PQ15 hosted 64 national pavilions and over 500 events – seminars, lectures, and master classes, spread over 100 venues in Prague city center. Exhibitions were held in an abandoned house in the old town, in a baroque-style palace, in a gothic temple, in galleries, and in tunnels. The PQ15’s topics were music, politics and the environment. The Prague Quadrennial presents the newest trends in scenography and architectural works within the theater. It completely encompasses all elements that comprise scenography – performance arts, costumes, lighting, sound design, the design of scenographic spaces, and theater architecture. Throughout the decades, the idea of the Prague Quadrennial underwent evolution and became entwined with the movements and diverse styles of modern art. The concept of “painter’s theatre,” where the painter is one of the creators of the theatre production, and which appeared in the postmodernist theatre of the 1960s, has had great influence on the development of modern scenography. According to the principles of postdramatic theatre, the narrative is rejected and scenography no longer

nuca xidaSeli NUTSA KHIDASHELI

TeatrSi warmoSobilma `mxatvris Teatris~ cnebam iTamaSa, romelSic mxatvari Teatraluri warmodgenis erT-erTi Semqmnelia. postdramaturgiuli Teatris principebiT narativi uaryofilia da scenografia dramaturgiuli masalis ilustrirebas aRar warmoadgens. sadReisod scena xelovnebis sxvadasxva formebis gadakveTis sivrced iqca _ performansi, musika, mimodrama, Tanamderove qoreografia, sacirko da Tojinuri Teatris elementebi, multimedia, aqciebi... xelovnebis formaTa aseT mravalferovnebaSi Znelia gamoyo erTiani stili.

represents the illustration of the dramatic material. Nowadays, the stage has become an intersection of various art forms – performance, music, mimodrama, contemporary choreography, elements from circus and puppet theatre, multimedia, acts... It is difficult to distinguish one single style from such diversity. Contemporary theatre is developing in various directions; this, naturally, is originating from the essence of theatre and its traditions. Because of this, special attention was paid to the national pavilions at the Prague Quadrennial. During the Soviet period, Georgian scenographers were often successful at the Prague Quadrennial. In 1979, Teimuraz Ninua’s costumes for a play (which was never staged) were awarded a gold medal. After the dissolution of the empire, Georgians resumed cooperation with the Prague Quadrennial only in 2003. In 2007, Georgia was represented at the student section of the Prague Quadrennial with the project Auditorium N 15 – Always at the Edge, which was implemented by Young Theatre Artists’ Union, or YTA Union, named in honor of Giorgi Gunia.

pavilionis dizaini: manana gunia, videoarti: TaTia sxirtlaZe PAVILLION DESIGNER: MANANA GUNIA, VIDEOART: TATIA SKHIRTLADZE

In 2011, Georgia went to the PQ11 with an extended student and national pavilion, in which Giorgi Aleksi-Meskhishvili’s personal exhibition was held. An important thing happened at PQ11 – the YTA Union joined the International Organization of Scenographers, Theatre Architects, and Technicians (OISTAT). This year in Prague, the Georgian national pavilion presented an exposition entitled The Voice of Women to viewers. The share of creative women has greatly increased in Georgian scenography in the last decade. This has been determined by the increase in gender and social activism in the country. Furthermore, culturological and aesthetic novelties were also evident. During the Soviet period, scenography had a kind of a “free space” charm that distinguished it from other fields of visual arts, which were strictly regulated under socialism. The social, economic, and political crisis of the 1990s created experimental explorations characteristic of a transitional period. The crisis affected the theatre as well, particularly scenography. Novel forms of expression of modern art entered the liberated creative space. Transition and renewal began in Georgian scenography back in the 1960s. The search for new form, initiated by artists belonging to an older generation, created completely novel trends in Georgian scenography at the beginning of the 21st century. In this regard, the

nino surgulaZe NINO SURGULADZE

Tanamedrove Teatri sxvadasxva mimarTulebiT viTardeba, rac, TavisTavad, Teatris arsidan da tradiciidan momdinareobs. amitom praRis kvadrienaleze yuradReba, gansakuTrebulad, nacionalur pavilionebs daeTmo. sabWoTa periodSi praRis kvadrienaleze qarTvel scenografebs araerTgzis miuRweviaT warmatebisTvis. 1979 wels oqros medliT dajildovda Teimuraz ninuas kostiumebi ganuxorcielebeli speqtaklisTvis. imperiis daSlis Semdeg praRis kvadrienalesTan qarTvelebis TanamSromloba mxolod 2003 wels aRdga. 2007 wels praRis kvadrienalze saqarTvelo studentur seqciaSi, proeqtiT „auditoria N15 _ mudmivad zRvarze“ wardga, romelic giorgi gunias saxelobis Teatris xelovanTa axalgazrdulma kavSirma _ YTA union ganaxorciela. 2011 wels saqarTvelo PQ11-s gafarToebuli studenturi da erovnuli pavilionebiT estumra; sadac giorgi aleqsimesxiSvilis personaluri gamofena moewyo. PQ11-ze CvenTvis mniSvnelovani faqti dafiqsirda _ scenografebis, Teatris arqiteqtorebisa da teqnologebis saerTaSoriso organizaciaSi (OISTAT) Teatris xelovanTa axalgazrduli kavSiri YTA union gaerTianda.

ana kalatoziSvili ANNA KALATOZISHVILI

nino kitia NINO KITIA

manana gunia MANANA GUNIA

wels, praRaSi, saqarTvelos nacionalurma pavilionma damTvalierebels eqspozicia „qalis xma“ gaacno. ukanasknel aTwleulSi qarTul scenografiaSi qal SemoqmedTa xvedriTi wili mkveTrad gaizarda, rac qveyanaSi genderuli da socialuri aqtivobis zrdiTaa ganpirobebuli. amas garda, gamoikveTa kulturologiuri da esTetikuri saixleebic. sabWoTa periodSi scenografias, garkveulwilad, „Tavisufali sivrcis“ xibli hqonda, romelic ganasxvavebda mas socrealizmis pirobebSi reglamentirebuli vizualuri xelovnebis sxva dargebisgan. XX saukunis 90-ni wlebis socilurekonomikurma da politikurma krizisma gardamavali xanisTvis damaxasiaTebeli eqsperimentuli Ziebani warmoSva. krizisi Teatrsac Seexo, metadre, scenografias. gaTavisuflebul SemoqmedebiT sivrceSi Tanamedrove xelovnebis axali gamomsaxvelobiTi formebi SemoiWra. qarTul scenografiaSi ganaxleba jer kidev 1960-iani wlebidan daiwyo; ufrosi Taobis mxatvrebis mier

anano mosiZe ANANO MOSIDZE

nino CubiniSvili NINO CHUBINISHVILI

manana gunia MANANA GUNIA

dawyebuli axali formebis Ziebam XXI saukunis dasawyisSi qarTul scenografiaSi axali tendenciebi gaaCina. am TvalsazrisiT gansakuTrebiT sainteresoa qali scenografebis SemoqmedebiTi „eqsperimentebi“ qarTul TeatrSi. proeqti „qalis xma“ ar efuZneba Tanamedrove qarTul scenografiaSi oden genderul procesebs. is tipologiuri maxasiaTeblebiT, mxatvruli TaviseburebebiT, krizisul periodSi sakuTari identobisa da TviTdamkvidrebis „xmad“ Cagvesmis. swored es aRmoCnda gamaerTianebeli 12 qali scenografis namuSevrebisa erT koncefciaSi. PQ15-is sami Temidan _ musika, politika, bunebrivi garemo _ qarTuli nacionaluri pavilioni daefuZna ors _ politikas da musikas. am TvalsazrisiT proeqtis kuratorebma (saqarTvelos erovnuli pavilionis kuratori nino gunia-kuznecova da koncefciis avtori, Tanakuratori Tamar bokuCava) yuradReba saqarTvelos erovnuli pavilionis saeqspozicio sivrceze gaamaxviles. amisTvis XVIII saukunis barokos stilis garandiozul sasaxleSi SeirCa mcire zomis oTaxi _ patara sivrce, sami gasasvleliT, romelic saqarTvelos geopolitikuri sivrcis metafora iyo. damTvalierebels, sxva, mezobel pavilionebSi mosaxvedrad Cvens pavilionSi unda gaevlo

creative experiments of women scenographers in Georgian theatre are particularly interesting. The project entitled The Voices of Women is not based on genderrelated processes ongoing in Georgian scenography. With its typological characteristics and artistic idiosyncrasies, it reaches us as a voice of the assertion of personal identity and self. Precisely this proved to be the factor unifying the works of 12 women scenographers in one concept. Out of the PQ15’s three topics – music, politics, and the environment, the Georgian national pavilion is based on two – politics and music. In this sense, the project’s curators (the curator of the Georgian national pavilion is Nino Gunia-Kuznetsova, and the author of the concept and co-curator is Tamar Bokuchava) focused on the expositional space of the Georgian national pavilion. For this, a small room was selected in a grand 18th century baroque palace –the space was small and had three exits, which was a metaphor for Georgian geopolitical space. Viewers had to go through the Georgian pavilion in order to reach the others – the idea of Georgia as a crossroads was painter Manana Gunia’s design-related decision; and the exposition itself was an imitation of a black box. The curatorial concept focused on the use of modern technologies at the exposition. Screens mounted on black panels showed video excerpts instead of sketches, through which the viewers could hear, and see with their own eyes, the decorations and costumes made by painters for various plays. On the opposite side a work of video art, created specifically for the pavilion by painter Khatia Skhirtladze, was shown on an LED wall. The exposition unified 6 items – 5 costumes and one doll from Robert Sturua’s play Daughters. In the works of the painters Nino Chubinishvili, Ekaterine Sologhashvili, Manana Gunia, Ana Ninua, Anano Mosidze, Ana Kalatozishvili, Nino Kitia, Nino Surguladze, Nutsa Khidasheli, Nino Chitaishvili, Teo Kukhianidze,

Teo kuxianiZe TEO KUKHIANIDZE

Tamar oxikiani

ekaterine soloRaSvili

TAMAR OKHIKYAN

EKATERINE SOOLGHASHVILI

nino CitaiSvili

and Tamar Okhikiani, a yearning towards scenographic spectacle, fluctuating between the glamorous and the grotesque, is becoming more and more pronounced. The Prague Quadrennial revealed the trends of modern art that show a completely novel approach to scenographic space modeling using innovative technologies. It is increasingly focused on interacting with the audience, on creating a direct link between the participant and the perceiver, which facilitates the activation of action. Special attention was paid to the student section at the PQ15, which allowed the young people to create a future theatre space of a completely novel form. A project by the students of the Tbilisi Academy of Arts, entitled WAITING FOR..., was exhibited at Franz Kafkaâ&#x20AC;&#x2122;s house. Red velvet chairs from a theatre installed at a Soviet-period bus

NINO CHITAISHVILI

ana ninua ANNA NINUA

_ saqarTvelos gzajvaredinis, gzagasayaris idea mxatvar manana gunias dizaineruli gadawyveta iyo, eqspozicia ki `Savi yuTis~ imitacias warmoadgenda. kuratoruli koncefcia eqspoziciaSi Tanamedrove teqnologiebis gamoyenebaze iyo orientirebuli. Sav panelebSi Casmul ekranebze, eskizebis nacvlad, speqtaklebis videoamonaridebiT mayurebels SeeZlo moesmina da sakuTari TvaliT exila mxatvrebis mier sxvadasxva speqtaklisTvis Seqmnili dekoracia da kostiumebi. maT sapirispirod, specialurad pavilionisTvis, `leT kedelze~ mxatvar TaTia sxirtlaZis mier Seqmnili videoarti iyo warmodgenili. eqspozicia aerTianebda 6 obieqts _ 5 kostiums da erT Tojinas robert sturuas speqtaklidan „asulni“. mxatvrebis nino CubiniSvilis, ekaterine soloRaSvilis, manana gunias, ana ninuas, anano mosiZis, ana kalatoziSvilis, nino kitias, nino surgulaZis, nuca xidaSelis, nino CitaiSvilis, Teo kuxianiZis, Tamar oxikianis SemoqmedebaSi sul ufro metad ikveTeba scenografiuli sanaxaobisken swrafva, romelic glamursa da grotesks Soris meryeobs. praRis kvadrienalem gamoavlina, Tanamdrove xelovnebis tendenciebi, romelic inovaciuri teqnilogiebis gamoyenebiT, sruliad axlebur midgomas avlens scenografiuli sivrcis modelirebaSi. is sul ufro metadaa mimarTuli mayurebelTan interaqciaze, monawilesa da aRmqmels Soris uSualo kavSiris Seqmnaze, rac moqmedebis gaaqtiurebas uwyobs xels. PQ15-ze gansakuTrebuli yuradReba studentur seqcias daeTmo, romelmac axalgazrdebs saSualeba misca SeeqmnaT sruliad axali formis, momavlis Teatris sivrce. Tbilisis samxatvro akademiis studentebis proeqti „molodini _ WAITING FOR...“, franc kafkas saxlSi iyo gamofenili. sabWoTadroindeli avtobusis gaCerebis konstruqciaSi (proeqtis kuratori qeTevan SavguliZe) damontaJebuli saTeatro wiTeli xaverdis skamebi, kedlebze amokawruli sxvadasxva piesebidan amonaridebi

station construct (project curator Ketevan Shavgulidze), excerpts from various plays scratched into the walls, and television sets showing documentary footage from the 1992-93 war in Abkhazia and the 2008 war created an atmosphere of endurance and expectation. A theatrical map unfurled in front of the “bus stop” represented a gigantic stage, as well as a geopolitical map. Viewers received tickets that had “WAITING FOR...” written on them, and they themselves had to finish the thought and to write what were they waiting for in the future. With this, the viewer became an active participant of the act. This performance became a unifying concept of the past and the future, of theatre and real life... The Prague Quadrennial showed us that the works exhibited at the Georgian national exposition and in the student section echo the international trends that appear in the architecture of modern scenography and theatre space.

da CamontaJebuli televizorebi, 1992-93 wlebis afxazeTisa da 2008 wlis omis dokumenturi kadrebiT Tmenis, molodinis ganwyobas qmnida. „gaCerebis“ win gaSlili Teatraluri ruka gigantur scenas da geopolitikur rukasc warmoadegnda. damTvalierebels xvdeboda „bileTebi“ warweriT „WAITING FOR...“ maT unda gaegrZelebinaT azri da daeweraT Tu ras elian momavalSi. amiT mnaxveli aqciis aqtiuri monawile xdeboda. es performansi warsulisa da momavlis, Teatrisa da realuri cxovrebis Semkvrel konceptad iqca... praRis kvadrienalem dagvarwmuna _ saqarTvelos nacionaluri eqspozicia da studentur seqciaze gamofenili namuSevrebi im saerTaSoriso tendenciebs exmianeba, romelic Tanamedrove scenografiasa da Teatris sivrcis arqiteqturaSi Cndeba. PQ15-Si Cveni monawileoba saqarTvelos kulturisa da ZeglTa dacvis saministros sruli mxardaWeriT ganxorcielda. praRis kvadrienales msgavs masStabur forumebze saqarTvelos monawileoba Cveni qveynis msoflio kulturul sivrceSi integraciis winapirobaa; saxelmwifos mxardaWera ki kulturis politikis saSuri nabiji.

Georgian participation in the PQ15 took place with full support from the Ministry of Culture and Monument Protection of Georgia. Georgia’s participation in large-scale forums, such as the Prague Quadrennial, is a prerequisite for our country’s integration into global cultural space; and state support is a significant step forward in cultural policy.

დაწყებულია მასშტაბური სარეაბილიტაციო სამუშაოები კულტურული მემკვიდრეობის დაცვის სფეროში

ჩაჟაში Chajashi

ვარძია Vardzia

Large rehabilitation projects for safeguarding the cultural heritage of Georgia were started

დართლო Dartlo

ნოქალაქევი Nokalakevi

მუცო Mutso

saqarTvelo veneciis saerTaSoriso bienaleze Georgia at the Venice International Biennale or weliwadSi erTxel umSvenieresi venecia Tanamedrove xelovnebis centrad gardaiqmneba xolme. ivnisidan noembris bolomde aq, saerTaSoriso bienaleze, xelovnebis moyvarulni da Tavad xelovanebi iyrian Tavs. wels veneciis bienale daarsebidan 120 wlis iubiles aRniSnavs. misi Seqmnis idea imJamindel qalaqis Tavs, rikardo selvatikos ekuTvnis. mas daJinebiT surda kafe `florianSi~ xelovanTa xSiri TavSeyra prestiJul saerTaSoriso gamofenad eqcia. 1893 wlis 19 aprils qalaqis sabWom gadawyvita momdevno wlis gamofena mefe umbertosa da dedofal margaritas vercxlis

Once every two years, the beautiful city of Venice transforms into a center of modern art. From June to the end of November art lovers, as well as artists themselves, gather here. This year, the Venice Biennale is celebrating the 120th anniversary of its establishment. Its creation was the idea of Riccardo Selvatico, who was the head of the city at the time. He fervently desired to transform the frequent gathering of artists at the CaffĂŠ Florian into a prestigious international exhibition. On 19 April 1893, the City Council decided to hold an exhibition the following year in celebration of the silver wedding of King Umberto and Queen Margherita. However, this ended up taking place two years later, on 30 April 1895, and painters from 16 countries

qorwinebis aRsaniSnavad gaemarTaT. Tumca, es mxolod ori wlis Semdeg, 1895 wlis 30 aprils moxerxda da masSi 16 qveynidan Camosulma mxatvrebma miiRes monawileoba. Tavdapirvelad saxelwodeba amgvari gaxldaT _ `qalaq veneciis saerTaSoriso samxatvro gamofena~. RonisZieba or weliwadSi erTxel imarTeboda, amitom mas `veneciis bienale~ ewoda. pirvelive gamofenas damTvalierebelTa didi raodenoba ewvia. imxanad erovnuli pavilioni aravis hqonda, is mxolod daarsebidan 12 wlis Semdeg gaCnda. dRes ki venecia 95-mde qveynis pavilions iTvlis. XX saukunis 30-ian wlebSi bienales farglebSi musikis, Teatrisa da kinos saerTaSoriso festivalebic daarsda. 1975 wlidan ki arqiteqturul bienales Caeyara safuZveli. bienales yovel wels axali Tema aqvs, romelsac mTavari kuratori acxadebs. wesisamebr, organizatorebi, mTavari kuratoris Tanamdebobas msoflioSi aRiarebul xelovanebs sTavazoben. es metad mniSvnelovani Tanamdebobaa, vinaidan swored kuratori gansazRvravs konkretuli bienales saxelovnebo tendenciebs, politikasa da aminds. wlevandel, 56-e bienales mTavarma kuratorma, okui envezorma, amgvari Tema SeurCia _ `momavalis

participated in it. At first, the event was called The International Painting Exhibition of the City of Venice. It took place once every two years, and because of this it was then renamed the Venice Biennale. Even the first exhibition had a large number of visitors. At the time, nobody had a national pavilion – these only appeared 12 years after establishment. Today, Venice has pavilions from around 95 countries. In the 1930s, international music, theatre, and film festivals were also founded within the framework of the Biennale. The Architectural Biennale originated in 1975. The Biennale has a new theme every year, determined by the Chief Curator. According to the rules, organizers offer the position of Chief Curator to world-renowned artists. This is an exceedingly important position as it is precisely the curators who determine the Biennale’s artistic trends, policy, and atmosphere. Okwui Enwezor, this year’s Chief Curator, chose the following theme for the current, 56th Biennale: All The World’s Futures. Works presented within the framework of this theme reflect the problems and latest trends of modern art. Georgians, mainly architects, first appeared at the Venice International Biennale in the 90s. However, these were individual endeavors, rather than projects organized and funded by the state. Officially, the Georgian Union of Architects first appeared in Venice in 2006, at the 10th International Biennale of Architecture. Architectural retrospection and urban planning processes were chosen as the topic

samyaros mravalferovneba~. swored am Temis farglebSi warmodgenilma namuSevrebma asaxes Tanamedrove xelovnebis problemebi da uaxlesi tendenciebi. qarTvelebi veneciis saerTaSoriso bienaleze jer kidev 90-ian wlebSi gamoCndnen, ZiriTadad arqiteqtorebi. Tumca, es individualuri xasiaTis gasvlebi iyo da ara saxelmwifos mier dafinansebulorganizebuli proeqtebi. oficialurad, saqarTvelos arqiteqtorTa kavSiri veneciaSi pirvelad 2006 wels, arqiteqturis me-10 saerTaSoriso bienaleze wardga. erovnuli gamofenis Temad arqiteqturuli retrospeqcia da qalaqgegmarebiTi procesebi airCies. 2008 wlis Tema _ ruseT-saqarTvelos omma ganapiroba. am bienalesTvis sul sxvagvari proeqti iyo SerCeuli, magram arqiteqtorebma gadawyvites agvistos movlenebisTvis gverdi ar aevloT da pavilionSi omis sisastikis amsaxveli didi zomis banerebi gamofines. amas mohyva 2010 wlis `dialogi arqiteqturis Sesaxeb _ dialogi garemosTan~ da 2012 wels `kulturuli identoba da inovacia qalaqis konteqstSi~. samwuxarod, sxvadasxva mizeziT, saqarTvelom 2014 wels me-14 bienaleze monawileoba ver miiRo. momdevno arqiteqturuli bienale 2016 wlis Semodgomaze gaimarTeba da imedia, rom Cveni qveyana veneciaSi kvlav Rirseulad warmoaCens Tavs. damoukidebeli pavilioniT saqarTvelo 2007 wels, veneciis rigiT 52-e `art-bienaleze~ wardga _ kulturis

for the national exhibition. The theme for 2008 was determined by the Russian-Georgian war. A completely different project had been selected for this Biennale but the architects decided not to sidestep the events of August 2008 and exhibited large banners depicting the horrors of war at the pavilion. This was followed in 2010 by Dialogues on Architecture – A Dialogue with the Environment, and by Cultural Identity and Innovation Within an Urban Context in 2012. Unfortunately, various reasons prevented Georgia from participating in the 14th Biennale in 2014. The next Biennale of Architecture will take place in the fall of 2016; hopefully Georgia will distinguish itself once again in Venice. In 2007, at the 52nd Biennale of Art in Venice, Georgia appeared with an independent pavilion. The Ministry of Culture selected the works of three painters of vastly different aesthetics, perspectives, and media of expression: Sopio Tabatadze, Tamar Kvesitadze, and Eter Chkadua. The topic of the Biennale was Think With the Senses – Feel With the Mind, and Georgian artists exhibited corresponding works. It was precisely here that Kvesitadze’s moving statue ‘Woman and Man’ first appeared. In 2011, the artist represented Georgia at the Biennale for a second time. Particularly interesting were the two video works by Koka Ramishvili, entitled ‘Change and The Black Sea,’ which were presented at the 53rd Biennale in 2009. The Biennale of Art in 2013 was particularly important for Georgia, as our country’s project, the ‘Kamikadze Loggia,’ was particularly distinctive and memorable. At the 55th Biennale, Georgia was represented by Gio Sumbadze, the Bouillon Group, Nikoloz Lutidze, Tea Jorjadze, and Gela Patashuri, as well as Ei Arakawa and Sergei Cherepnin.

saministrom sruliad gansxvavebuli esTetikis, xedvisa da gamomsaxvelobiTi saSualebebis mqone sami mxatvris _ sofio tabataZis, Tamar kvesitaZisa da eTer Wkaduas namuSevrebi SearCia. ìfiqre grZnobiT da igrZeni gonebiT~ _ aseTi gaxldaT bienales Tema da qarTvelma xelovanebmac Sesabamisi namuSevrebi gamofines. swored aq gamoCnda pirvelad Tamar kvesitaZis moZravi qandakeba `qali da mamakaci~. 2011 wels xelovanma saqarTvelo bienaleze xelmeored waradgina. metad saintereso iyo 2009 wels 53-e bienaleze warmodgenili koka ramiSvilis ori videonamuSevari `Change~ da `Savi zRva~. saqarTvelosTvis gansakuTrebuli mniSvneloba hqonda 2013 wlis àrt-bienales~, vinaidan Cveni qveyana gamorCeuli da dasamaxsovrebeli proeqtiT _ `kamikaZe lojiiT~ wardga. 55-e bienaleze saqarTvelo gio sumbaZem, jgufma `bulionma~, nikoloz lutiZem, Tea jorjaZem da gela pataSurma, aseve ei arakavam da sergei Cerepninma waradgines. gio sumbaZem àrsenales~ Senobas erTgvari xis `parazituli miSeneba~ daumata, romelic saqarTveloSi, 90-ian wlebSi, sacxovrebel korpusebze lojiebis TviTneburad miSenebis tendencias asaxavda. saxelwodeba `kamikaZe~ ki qarTvelTa romantiul-TviTmkvleli xasiaTisa da Cveneburi gvarebis daboloeba `Ze~-s erTgvari kombinacia-miniSneba iyo. wels saqarTvelom veneciaSi proeqti `mcocavi sazRvari~ warmoadgina (avtorebi: rusudan xizaniSvili, irakli bluiSvili, dimitri CikvaiZe, jozef sabia, ia liparteliani, nia mgalobliSvili, sofio SevardnaZe; komisari ana riaboSenko, kuratori nia mgalobliSvili). proeqti sxvadasxva saknisgan Semdgar, sistemur jaWvs warmoadgenda, 6 zonad iyofoda da erTmaneTs derefnebiT ukavSirdeboda. pirvel sakanSi warmodgenili iyo okupirebul teritoriaze, sofel dvanSi gadaRebuli fotosuraTebis fotokolaJi. mas mohyveboda dabzaruli, damsxvreuli sarke, rasac Taroze Semowyobili minis qilaTa mwkrivi mosdevda _ rogorc `dakonservebuli~ gonebis, daxSuli cnobierebisa da sazRvrebis simbolo... wlevandel bienaleze, garda `mcocavi sazRvarisa~, ilia zautaSvilis multimediuri proeqti `sazogadoebrivi azric~ waradgines, romelic oficialuris paraleluri programis farglebSi wardgenil saerTaSoriso gamofena _ `naxtomi SeucnobadSi~ monawileobda. veneciis bienale Tanamedrove xelovnebis erTerTi yvelaze xandazmuli da, amave dros, masStaburi, popularuli da prestiJuli gamofenaa. masSi monawileobis miReba udaod mniSvnelovani da sapasuxismgeblo movlenaa nebismieri xelovanisTvis. ana mirianaSvili

Gio Sumbadze affixed a certain wooden “parasitic attached construction” to the Arsenali building that depicted the common trend of arbitrarily attaching loggias to residential apartment blocks in the 1990s in Georgia. The title ‘Kamikadze’ was a combination of the romantic-suicidal nature of Georgians and the –dze suffix, which is a common ending of Georgian family names. This year, in Venice, Georgia presented a project entitled ‘The Crawling Border’ (authors Rusudan Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Jozeph Sabia, Ia Liparteliani, Nia Mgaloblishvili, Sopio Shevardnadze; commissioner Ana Riaboshenko; curator Nia Mgaloblishvili). The project comprised a systemic chain consisting of various chambers; it was divided into 6 zones and was interconnected with hallways. A collage of photographs taken at the village of Dvani, in the occupied territory, was presented in the first chamber. It was followed by a cracked, shattered mirror, which in turn was followed by a row of glass jars on a shelf, symbolizing an obstinate mind, a closed-off consciousness and borders. Apart from the ‘Crawling Border,’ Ilia Zautashvili’s multimedia project ‘Public Opinion’ was also presented at this year’s Biennale. The latter work also participated in the international exhibition Jump into the Unknown, which was presented within the framework of the official parallel program. The Venice Biennale is one of the oldest and the most comprehensive, popular, and prestigious exhibitions of modern art, and participating in it is undoubtedly an important event and a great responsibility for any artist. by Ana Mirianashvili

feradi

Savi zRvis jazfestivali zafxulis umTavresi musikaluri dResaswauli da feradi akordebis Sexvedris adgilia, romelsac sruli ufleba aqvs iyos naklebad akademiuri, odnav TavaSvebuli da zogjer ukontroloc _ zustad iseTi, rogoric jorj klintonis samsaaTiani `sigiJe~ an snup dogis Jump Around iyo. msmeneli am dResaswaulisTvis mzadebas afiSis gaCenisTanave iwyebs da yvelaze amaRelvebeli swored es molodinia. festivalis vebgverdze informacia etapobrivad axldeba, yoveli ganaxlebisas ki im musikosis saxels eli, romlis cocxal koncertze daswrebazec ocnebob... da scenaze xan markus milers xedav, xan meisi greis, buTsi kolinzs, hiu masakelas, maseo parkers, kosmosSi gaWril el jeros Tu axalgazrda beqa goCiaSvils. wlidan wlamde lainapis gacnobis procesi sul ufro xmauriani, mouTokavi da emociuri xdeba, aba sxvanairad rogor unda miiRo is faqti, rom festivals TviT jorj klintoni xsnis da, arc meti, arc naklebi snup dogi xuravs. snupma ki marTlac daxura... Tumca Tavidan mivyveT.

The Black Sea Jazz Festival is the most important celebration of the summer and the place where colorful chords come together. It is therefore well within its rights to be slightly less academic, somewhat unrestrained, sometimes even uncontrollable – just like George Clinton’s three-hour madness and Snoop Dogg’s Jump Around were. Listeners begin preparing for this celebration as soon as the posters appear, and it is precisely this expectation that is the most exciting. The information on the festival’s webpage is updated step by step, and after every update you hope for the name of the musician whose live concert you have always dreamed of attending... And when you look to the stage you might see Marcus Miller, or Macy Gray, or Bootsy Collins, or Hugh Masekela, or Maceo Parker, or Al Jarreau, or the young Beka Gochiashvili. Year after year, finding out the festival’s lineup is becoming an increasingly loud, unrestrained, and emotional process – how else can you deal with the fact that George Clinton himself will open the festival and that none other than Snoop Dogg will close it? And Snoop definitely did close it like no other... Though let’s start at the beginning.

SarSandeli festivalis hedlaineri ucnaurad gamorCeuli buTsi kolinzi gaxldaT, jeims braunis Zmakaci, romelic varskvlavebiT moWedili cidan gvewvia da mravlis mnaxveli baTumi sul sxva realobaSi gadaisrola. wlevandelis mTavari varskvlavi ki maTi kbila, fankis erT-erT mamad Seracxuli da buTsize aranakleb „SeSlili“ jorj klintoni da misi jgufi „parlament fankadeliki“ iyo. SeiZleba iTqvas, rom misi stumrobiT magiuri fanksamkuTxedi Seikra, Tumca jorj klintonma mainc SeZlo am samkuTxedis TavSi moqceva, radgan baTumSi sruliad warmoudgeneli

The headliner of last year’s festival was the remarkably distinctive Bootsy Collins, James Brown’s friend, who came to us from the starstudded sky and transported Batumi, which has seen a lot in its day, to a whole new dimension. The biggest star of this year was George Clinton and his group Parliament Funkadelic, who has been hailed as one of the fathers of funk and who is no less “crazy” than Bootsy. It can be said that their visit completed a magical funk triangle, though George Clinton nonetheless managed to be at the apex of this triangle as he came to Batumi with an unbelievable program, a seemingly endless supply of energy, and in the company of musicians eager to enchant the audience. And expect this we did not, for Mr. Clinton is no youngster– he turned 74 the day before the concert, which means that he definitely had the right to spend more time backstage; but what actually happened was the opposite – the central character refused to give up the evening, and managed to take the stage without eclipsing the band members. On the contrary, the new generation of Parliament Funkadelic gave the audience their all, dissolving into rhythms of punk, soul, hip-hop, and R&B which flowed from the stage and spread among the listeners in little streams. And this process lasted a whole three hours, which is unprecedented at the Black Sea Jazz Festival.

programiT, msmenelis mosanusxad dageSili musikosebiTa da ulevi energiis maragiT Camovida. arada, msgavsi molodini namdvilad ar gvqonia: batoni klintoni patara biWi aRar gaxlavT, 74 wlisa koncertis wina dRes gaxda, rac niSnavs, rom kulisebSi meti dros gatarebis sruli ufleba aqvs; magram piriqiT xdeba _ saRamos mTavari gmiri bolomde ar Tmobs da Tanac ise, rom arc jgufis wevrebs Crdilavs. piqiriT, „parlament fankadelikis“ axali Taoba Cvens winaSe sruli datvirTviT ixarjeba, fankis, soulis, hip-hopisa da ar’en’bis ritmebad iSleba, scenidan iRvreba da msmenelSi patara nakadulebad nawildeba. es procesi ki sruli sami saaTis ganmavlobaSi gagrZelda, rac Savi zRvis jazfestivals aqamde ar axsovs. fankis prezidenti klintoni baTumSi ocamde musikosTan erTad Camovida. aman musikaluri anturaJis mxriv koncerti Seudareblad aqcia, rac sakmarisi aRmoCnda, raTa maTTvis Cveni musikaluri okupaciis sruli ufleba migveca. es ufleba ki klintonma da kompaniam saukeTesod gamoiyenes. kargia, rom aseTi didi karieris mqone musikosi mxolod konkretuli Janris erTguli ar rCeba da sakuTar musikas drois Sesabamisad aviTarebs. cota Znelad warmosadgenia, rom Tanamedrove msmeneli mxolod 60-iani wlebis klasikuri fankiT iseve moxibluliyo, rogorc „parlament fankadelikis“ mier SemoTavazebuli mravalferovani repertuariT. swored amgvari Tavisebureba, daculi Janrobrivi balansi da musikosebis Tavganwirva aRmoCnda is motivatori, romelmac ivlisis xvatSi sami saaTis ganmavlobaSi ar mogvawyina. bolos es saRamoc damTavrda, musikiT `danayrebulma~ msmenelma kortebi datova, muSebma ki scenis gamagreba daiwyes, radgan meore dRisTvis baTumSi qariSxali da Stormi erTdroulad iyo gamocxadebuli!

The President of Funk, George Clinton, arrived in Batumi together with almost twenty musicians. This rendered the concert unparalleled in terms of musical entourage, which turned out to have been enough for us to allow them the right to complete musical domination. And Clinton and company used this right splendidly. It is great that a musician of such a grand career does not remain bound to one single genre and develops his music over time. It would have been difficult to imagine the contemporary listener to have been as impressed with funk from the 60s as he was with the diverse repertoire presented by Parliament Funkadelic. Precisely this peculiarity, along with a balanced use of genres and the complete selflessness of the musicians, turned out to have been the motivating force that did not allow us to tire for a full three hours of July heat. Eventually, this evening came to a close, leaving the audience to float out of the tennis courts (which is where the events took place) satiated with music while the stagehands began reinforcing the stage for the next day as a hurricane, a storm, and a tsunami were expected in Batumi!

es Most Soulful Singer-ad wodebuli, ulamazesi, uZlieresi xmisa da warmoudgeneli energiis mqone liv uarfildia. man jer kidev koncertamde gagvando, rom win dauviwyari Sou gveloda: „xom xedavT, fexze ar macvia, es imas niSnavs, rom erTi wamiTac ar vapireb gaCerebas da, darwmunebuli

The next evening brought the lovely Liv Warfield, with a most powerful voice and incredible energy, and who has been named the Most Soulful Singer. Even before the concert, she let us know that we were in for an unforgettable ride: “Do you see what I’m wearing on my feet? This means that I’m not planning to stop for a second and I’m sure you’ll dance all night, too. I’ll give you such a concert that you will definitely invite me again in future!” Liv Warfield is a student of Prince, being trained and counseled by the legendary musician, and from whom she learned not only music, but also the ways of communicating with listeners, and how to put on a show. It is precisely because of this that the singer, who was less famous and a relative newcomer compared to the other participants of the festival, earned the status of one of the best and most unforgettable performers of the Black Sea Jazz Festival. She brought her 2014 album ‘The Unexpected’ to Batumi. The wonderful mixture of soul, R&B, and pop unfurled with tremendous energy through the singer’s commanding voice. This was further enhanced by the show, which was supported by the members of Prince’s new band New Power Generation and an absolutely amazing backing vocalist, and which was almost entirely built around improvisation and the listeners’ wishes. It united Warfield’s following compositions: the melodic ‘Why Do You Lie; Fly,’ which flowed through the bass chords; the rhythmic ‘Catch Me If You Can,’ the explosive ‘Blackbird;’ and everything else that made us want to dance non-stop!.

var, Tqvenc mTeli saRamos ganmavlobaSi icekvebT. iseT koncerts SemogTavazebT, rom momavalSic aucileblad momiwvevT“. liv uarfildi princis mowafe gaxlavT, am legendaruli musikosis mieraa gawvrTnili da darigebuli, misgan aqvs naswavli ara mxolod musika, aramed msmenelTan urTierToba da sanaxaobis dadgma. swored aman ganapiroba, rom jazfestivalis danarCen monawileebTan SedarebiT axalbeda da naklebad cnobilma momReralma Savi zRvis jazfestivalis erT-erTi saukeTeso da dauviwyari monawilis statusi daimsaxura. man baTumSi 2014 wlis albomi The Unexpected Camoitana. soulis, ar’en’bisa da popis SesaniSnavi miqsi momRerlis Zlier xmaSi warmoudgeneli energiiT iSleboda. amas emateboda princis bend New Power Generation-is wevrebisa da gamaognebeli beqvokalistis xmaSewyobili, umetesad improvizaciasa da msmenelis survils misadagebuli Sou, romelic uarfildis saukeTeso kompoziciebs aerTianebda: melodiur Why Do You Lie?-s, basis akordebidan gadmoRvril Fly-s, ritmul Catch Me If You Can-s, lavad amoxeTqil Blackbird-sa da yvelafers imas, rac dausruleblad cekvas gvandomebda!

festivalis mesame dRe SedarebiT mSvidi da akademiuri gaxldaT, Tumca mxolod liv uarfildTan SedarebiT _ Tavisi wili foierverki liza stensfildmac mogvarTva. am erTi SexedviT mSvidma da britanulad TavSekavebulma qalbatonma scenaze gamosvlisTanave SeZlo msmenelis monusxva, raSic scenaze gatarebuli wlebisa da gamocdilebisgan momzadebuli koqteili daexmara. liza stensfildis mTavari iaraRi swored is aRmoCnda, rac msmenelmac saukeTesod gamoiyena da sayvarel momReralTan erTad Seasrula hitebi All Around the World, Change da Real Thing. The third day of the festival was relatively calm and academic, though only if we compare it to Liv Warfield – yet Lisa Stansfield set off her own share of fireworks as well. The lady, who may at first glance seem to be calm and reserved in a British manner, managed to enchant the audience as soon as she stepped onto the stage. This was helped by the cocktail of experience and years spent in the spotlight. Lisa Stansfield’s main weapon was that which the audience also managed to use well, by singing the hits ‘All Around the World’ and ‘Change Da Real Thing’ together with their favorite singer.

...1999 wels gamosuli Dr. Dre-s singli Next Episode hip-hopis oqros xanis erT-erTi saukeTeso simReraa. misi intros TiTqos SeumCneveli akordebi arasdros gaviwydeba, radgan swored maT dasrulebas mohyveba kompoziciis mTavari, unikaluri Tema. axla ki warmoidgineT, orsaaTiani lodinis Semdeg rogor gamodis scenaze snup dogi da koncerts am TemiT iwyebs. es saukeTeso Tizeria, imis zusti anonsia, Tu ra gvelis win, amitom sxva araferi dagvrCenia garda imisa, rom sami dRis ganmavlobaSi gamowuruli organizmi gadavtvirToT da snups ganaxlebuli energiiT mivesalmoT. am koncertis yvela bileTi festivalis dawyebamde didi xniT adre gaiyida, kortebze ki eqvsi aTasze meti msmeneli Segrovda, rac festivalis istoriaSi sarekordo maCvenebelia. sxvanairad warmoudgenelic iyo _ snupi repis legendaa, amitom mis mier Catarebuli Tundac erTsaaTiani koncerti ukve movlenaa. Next Episode mxolod dasawyisi, Savi zRvis jazfestivalis istoriaSi yvelaze `giJuri~ saRamos Sesavali aRmoCnda, romelsac erTmaneTis kvaldakval mihyva Who Am I (Whats My Name), P.I.M.P., Young Wild & Free, Jump Around, California Girls, Let’s Get High da 2 Of Amerikaz Most Wanted _ kompozicia, romelsac snupi 2Pac-Tan erTad asrulebda. es ukanaskneli megobris xsovnisadmi pativis migebaa da Cvenc gvTxovs gavixsenoT adamiani, romelmac afroamerikelTa musika kriminaluri getoebidan gamoitana da repi xelovnebas gauTanabra. koncerti grZeldeba, temperatura ki nel-nela saxifaTo niSnuls aRwevs. ivlisis sicxisgan aduRebul haers scenidan gadmoRvrili oxSivari emateba, amitom raRac saswauliT wamosul wvimas didi xnis ganmavlobaSi ver vgrZnobT _ wveTebi haerSive orTqldeba da Cvenamde

...’Next Episode,’ Dr. Dre’s single from 1999, is one of the best songs from the golden age of hip-hop. The seemingly unnoticeable chords from its intro are unforgettable, as it is precisely these which precede the main, unique theme of the composition. Now imagine how, after two hours of waiting, Snoop Dogg comes on stage and begins the concert with this theme. This was the ultimate teaser, a precise preview of what was about to come, which is why we had no choice but to restart our exhausted bodies and to welcome Snoop with renewed energy. Every ticket to this concert was sold out long before the festival began, and over six thousand people gathered on the courts, which is a record number in the festival’s history. It could not have been otherwise – Snoop is a rap legend, and consequently even an hour-long concert would have been a phenomenon. ‘Next Episode’ proved to be only the beginning, an introduction to the craziest night in the history of the Black Sea Jazz Festival, which was followed by ‘Who Am I’ (What’s My Name), ‘P.I.M.P.,’ ‘Young Wild & Free,’ ‘Jump Around,’ ‘California Girls,’ ‘Let’s Get High,’ and ‘2 Of Amerikaz Most Wanted’ – a composition that Snoop used to perform together with 2Pac. This latter work is a tribute to the memory of a friend, and we too were asked to remember this person who helped African American music emerge from criminal ghettos, and who put rap on par with art. The concert went on, and the temperature slowly approached the critical mark. The air boiling in the July heat, together with the steam emanating from the stage, prevented us from feeling the seemingly miraculous rain for quite a while as the raindrops evaporated before reaching us; but soon the rain intensified... The rain changed everything, including Snoop, who slowly but gradually approached the end of the concert and, because of this, tried to perform as many hits as possible. “Most of all, it is the energy coming from the audience that makes me happy, I love it when people like my music and know the lyrics. You were very good, the second I came out on the stage I knew that we

ver aRwevs, Tumca cota xanSi Zlierdeba... wvima yvelafers cvlis, maT Soris snupsac, romelic nel-nela koncertis dasasrulisken midis, amitom, cdilobs, rac SeiZleba, meti hitis Sesruleba moaswros. „yvelaze metad msmenelisgan wamosuli energia maxarebs, miyvars, rodesac adamianebs Cemi musika moswonT da teqstic ician. Tqven Zalian kargebi iyaviT, scenaze gamosvlisTanave mivxvdi, rom magrad gaverTobodiT“, _ gvetyvis mogvianebiT snupi da mwvane kvamlSi gaxveuli swored iq gauCinardeba, saidanac erTi saaTiT adre gamoCnda... ai, ase daxura snupma. Tumca Savi zRvis wlevandeli jazfestivali amiT ar dasrulebula _ tradiciulad mis afiSaSi qarTveli musikosis saxelic ikiTxeboda. es Cveni festivalebis araerTgzis monawile, msoflio jazis erT-erTi gamorCeuli axalgazrda warmomadgeneli giorgi miqaZe, misi bendi NYC Goove Aliens da DJ Raydar Ellis-gaxldaT, romlebic oTxi dRis ganmavlobaSi jorj klintonis, liv uarfildis, liza stensfildisa da snup dogis musikiT gabruebul msmenels musikis morig ulufas awvdidnen.

would have a lot of fun,” – said Snoop and, shrouded in green smoke, disappeared from the same spot in which he had appeared an hour before... So this is how Snoop closed the festival. However, this year’s Black Sea Jazz Festival did not end with this – as, per tradition, a Georgian name was to be found on its poster as well. This was a recurring participant of our festivals, one of the most distinguished young representatives of global jazz, Giorgi Mikadze, along with his band NYC Groove Aliens, and DJ Rayader Ellis. They provided the listeners, who were dazed by four days of music from George Clinton, Liv Warfield, Lisa Stansfield, and Snoop Dogg, with another welcome serving of music.

saqarTvelos mTavrobis dadgenileba N362

2015 wlis

23 ivlisi

q. Tbilisi

literaturis dargSi vaJa-fSavelas saxelobis

ikiTxeT

premier-ministri irakli RaribaSvili

arakomerciuli reklama

gamoqveynebisTanave.

kultura plus / CULTURE PLUS 1(1)2015

www.culture.gov.ge

vaJa-fSavelas saxelobis saxelmwifo premia