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Ketevan Shavgulidze

Prof. Ketevan (Keti) Shavgulidze (ქეთი შავგულიძე) is an art historian and a theorist, Ph.D, curator and lecturer. Over the years has led courses and lectures in contemporary art, history of theatre, avant-garde and contemporary scenography at various universities: Tbilisi State Academy of Arts, Tbilisi State University, Free University, Grigol Robakidze University, Gogi Alexi-Meskhishvili Design School. Author of numerous academic papers. Jury member and a participant of various local and international conferences and awards. Member of several international art organizations and associations. (OISTAT, ICOM etc.).Author of numerous academic papers. Jury member and a participant of various local and international conferences and awards. Member of several international art organizations and associations. (OISTAT, ICOM etc.).


Articles

25/04/2024

THE REPRESSED GEORGIAN AVANT-GARDE

In the 1920s, the way the scenography system functioned was determined by new “aesthetic discoveries”. The immediate connection between stage design and the processes taking place in the realm of fine arts contributed to the introduction of avant-garde.

25/04/2024

THEATRE IN A NONTHEATRICAL SPACE

In the 1960-70s the trends taking place in the realm of visual arts have become part of the theatrical life as well and resulted in attempts of the pioneers of an environmental theatre to launch a war against traditional differentiated performing spaces (stage vs. hall).

25/04/2024

THE INVISIBLE THREAD

Despite the fact that artworks are created in an artist’s studio, their new configuration is determined by the specific space that puts them on display. Lying on the border of the ability and impossibility of communicating with the environment, any attempt to establish a relationship between the piece and the space will have its own impact on the mutual transformation.

25/04/2024

MEMORY FRAGMENTS

The Alexander Chavchavadze House Museum in Tsinandali opened its current summer season with the exhibition “Memory Fragments,” where its curator Mariam Kakabadze united the works of Sergei Parajanov and Georgi (Gogi) Alexi-Meskhishvili in order to present two very important artists from a particular angle.

25/04/2024

POWER OF DREAMS

This year, Mariam Natroshvili and Detu Jincharadze will represent the Georgian National Pavilion with their savory, captivating, neo-surrealist work that was created through their unique visual language - "I Pity the Garden".

25/04/2024

THE SUN - WOMEN OF MODERNIST GEORGIAN THEATRE

The sun forms the foundation of words, names, and idioms, serving as the world's eye and a transcendental archetype of light. It symbolizes radiance, birth, and intuitive thought. Represented by various authors from different eras in Georgian culture, the sun is a symbol of fertility, hope, life, and love. It is also regarded as a symbol of Georgia itself. Referred to as the "visible face of the Lord," it signifies that a human is "part of the sun;" in other words a "part of the Lord." In this world, the sun is omnipresent.

25/04/2024

DAVID KAKABADZE'S FIRST EXPERIMENT IN SCENOGRAPHY

In the 1910-1920s, editing principles were introduced into almost all fields of art: painting, literature, theater… However, since editing is primarily associated with movies, these specific tools primarily used in film (screens, projectors) immediately enriched the works of innovative scenographers. The concept of editing was well-suited to the consciousness of a “new” audience who were loaded with diverse information and longed for a frequent change in the means and forms of artistic impact, visual and sound impressions. Mirroring the rapidly changing state of society that was occurring under the influence of technological advancement, the theater began actively implementing technological innovations.

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