Nino Kipshidze’s artworks capture the eye with their extraordinary subtlety, resulting from the artist’s ability to channel the full pictorial potential of the fabrics used and add a peculiar touch of expressiveness to textile as a medium. Both figurative and abstract compositions follow the principles of easel painting, where appliqués and scraps of various textured and colored fabric resemble brush strokes against the velvet, silk or linen backgrounds. However, the ultimate source of this rush of emotion lies in the harmonious balance between the decorative tectonics of textile and the pictorial expressions of landscapes, still lives and figurative compositions.
The Church of the Savior of Mghvimevi, which dates from the 1270s, stands on a steep cliff face high above the road in a suburb of the city of Chiatura in Imereti. It is built in front of a natural cave, and is partly sheltered by a large overhanging steep ledge of rock (the name of the place derives from Mghvime, which means cave in Georgian). The site was artificially widened by means of a high platform built up against the rock.
Since the beginning of the 20th century, when fine art declared a battle against physical representations of the material world and the figurative image “vanished" from the art world for almost half a century, the line of artistic development was decisively shifted. In the 1960s, material origins returned auspiciously to art, but nonetheless having acquired new features or, to put it literally: materiality, the new figurative style or novelty formation and its widespread conceptualization.
The Last Supper by Giorgi Kobiashvili is symptomatic of this epoch. In the picture, electronic information in the form of a neon wire, similar to the graphic line of a cardiogram, is directly incorporated into the structure of the composition, and the history of iconography gives way to iconological interpretations. The easily recognizable iconographic model developed by Christian art has been rendered as a mere scheme.
Ivane Javakhishvili, the rector of Tbilisi University, had stated his viewpoint about such an evasive measure in mid-February, and Ekvtime Takaishvili, his friend and the university’s founder, echoed it: "If the treasure is not hidden, the Bolsheviks will steal everything; we know very well what they did to Georgian churches."
Pushkin Street house Nº 3 stands on Freedom Square, near the historic Kojori Gate, from where the nineteenth-century development of Tbilisi’s Garetubani District began.
The window is a standard feature of his compositions, not only of this one. In general, the window theme has a conceptual significance in his painting. The world seen from a window is associated with different moments from his biography, with landscapes, moving people or animals, and various items placed on the windowsill. They seem to function as memory repositories, and hold determinate stories.
Koka Tskhvediani: "painting for me is not subject to explanations. It has a strong spontaneous energy, which was characteristic of the Abstract Expressionists; although today abstraction has acquired other meanings. My career as an artist began in the 1990s, during the crisis period of post-Soviet Georgia.
Merab Surviladze loves producing contrasts in scales, perspectives, textures and volumes. This time the contrast is more ironic than in his other earlier works because the image of the well-known brand, whose laconic and colorful logo should radiate only positivity – giving the impression that life is enjoyable and creating a sense of stability – here appears "suspicious" and resembles a field of chaotic movements.
Lado Alexi-Meskhishvili is one of the most outstanding architects, whose creative work has left a significant mark on Georgia, particularly in Tbilisi. Alexi-Meskhishvili was destined to work during a very interesting time period. He obtained his architectural education in Georgia (1933-1939), at the then Faculty of Construction at the Georgian Polytechnical Institute named after Kirov.
Tao-Klarjeti is a general name that was coined in the academic language of the 19th century to define the medieval Georgian heritage, movable and immovable, related to the “Georgian Kingdom” or the “Kingdom of Kartvelians”. Their Kingdom included the provinces of Erusheti, Artaani, Samtskhe, Shavsheti, Tao, Kola, and Klarjeti, which mainly comprised the basin of the River Chorokhi (Çoruh) and the headwaters of the River Mtkvari (Kura). Today it corresponds to the provinces of Erzurum, Artvin, Ardahan, and partially Kars in north-eastern Turkiye.
The notion of locality is instrumental, since the piece is rooted in the context of the city of Tbilisi as a place inhabited by people whose lives are directly impacted and molded by changes in their surroundings that are brought on over time and informed by social, economic, and political factors. The site chosen for the piece echoes the continuous transformation the city has undergone resulting from the transient demands of society and commerce.
Ateni is located in Shida Kartli province, 15 km from the town of Gori. The church known as Sioni (i. e. Zion) stands on a giant artificial platform constructed atop a cliff at a bend in the Tana River gorge.
Levan Mindiashvili is a Georgian artist currently residing in New York. In his artistic research, existential issues are constantly related to specific locations, the peculiarities of cities, the language of architectural textures, and forms of self-expression among cultures and subcultures. His visual thinking mostly opts for the format of multimedia installations.
The building of the former Ministry of Automobile Roads of Georgia, which is currently the Bank of Georgia Headquarters, has weathered the test of people’s opinions and, most importantly, of time. Today, this building serves as an advertisement for Georgia on the world map of twentieth-century architecture.