You might begin to familiarize yourself with Zura Apkhazi’s artwork at a show somewhere, but you are bound to have questions, which may only be answered by visiting his studio. As you view his pieces, characterized by customary elegance of exposition, at a gallery, their distinctive brutality, large format and accentuated textures will certainly remind you of German Neo-Expressionism—only at first glance.
Vardzia’s rock-hewn architectural ensemble is situated in historic Javakheti, South Georgia, on the left bank of the river Mtkvari. It served as fortification, as well as religious and habitation purposes, and has outstanding artistic and historical significance.
It all began in Georgia, in the 1980s. Luka Lasareishvili, representing the second most important wave in the history of Georgian abstract art, is now one of the most renowned contemporary Georgian artists residing abroad, known by the name of Luca Lazar.
The history of contemporary Georgian sculpture has its roots in the period around the turn of the 20th century, when Georgia began to reconnect with European cultural milieu after centuries of having been forcibly pulled away from it. It was at that time that pioneer Georgian sculptor Iakob Nikoladze (1876-1951) made his first appearance as an artist.
The triptych created for the enamelled image of the Supplicating Virgin, originally belonging to Khakhuli monastery in southwest Georgia, is one of the most brilliant “royal” icons created in medieval Georgia.
Koka Ramishvili is a Georgian artist, who lives in Geneva, works with different mediums and any of his projects is distinguished by reflexivity and exquisite quality. His art biography is very diverse: embraces artistic quests for general problems, as well as personal and intimate spaces.
In the light of the ongoing pandemic, visual arts have been more concerned with the idea of timelessness and exploration of underlying spatial concepts. As a result of inherent global changes, interrelation with art has taken a brand-new form, restricting presence of time and space in virtually everyone’s life.
Text and visual image are often interchangeable in the works of Karlo Kacharava, Georgian art critic, artist and poet (1964-1994). He inscribed notes on and inserted texts into his paintings.
With Pirosmanashvilis’s birth and death dates still remaining uncertain, his final resting place having been lost, and his biographies being largely based on enigmatic/equivocal memories, legends and assumptions, it now appears impossible to reconstruct the real story of the artist’s life. Such ambiguity imbues his image with certain mysticism, leaving his art as the only true evidence of his place among the pre-eminent painters of the twentieth century.
Architecture in developing countries is an excellent source for absurd content. Dehumanization of bureaucratic labyrinths and cynicism towards power in David Kukhalashvili’s expressive paintings seem to be intended for a new, animated version of The Trial by Kafka.
Georgian icon painting has a centuries long history. Although according to Georgian Church tradition the cult of icons in Georgia goes back to apostolic times, the earliest preserved painted icons are dated back to the late 10th – early 11th cc.
Vakho Bugadze is an artist who manages to strike a delicate balance between contrasting elements, combining brutal energy and sophisticated sensitivity to create a world free of tension in his works.
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.
Cities, Mamuka Tsetskhladze’s solo exhibition at the Museum of Modern Art in Tbilisi, recently came to an end. I was completely taken over by the mesmerizing brilliance of his show, which ended up staying with me for an extended period of time.
Distinguished by her way of thinking, strength of character, views and courage, Elene Akhvlediani, commonly called Elichka, was the very epitome of freedom. Throughout her life, she remained inspired by the town of her birth, Telavi.
Tbilisi Mural Fest is an annual festival of street art held in Tbilisi. For the second time now, prominent artists from Berlin and other European cities are transforming Georgia’s capital into a public exhibition space - turning buildings into art objects. A new collaboration with the Kutaisi International University - a massive educational space with many buildings - resulted in a new mural festival in Kutaisi. This year, six murals will be created in Kutaisi. Besik Maziashvili, the founder of the festival is planning to make the festival an annual event.
The depository for Rusudan Gachechiladze’s sculptures is located right in the yard of her house, in a small-size shed of the so-called “Italian yard”. Dusted shelves provoke associations of art-house movie-frames.
The exhibition was initially conceived as a “No Fair”, a non-commercial exhibition organized in parallel to Tbilisi Art Fair. Starting from this year, the project transforms its conceptual scale and will continue in a new format: each of the future shows will be curated by a different person at a new location. The 2020's show show opens with the title Know Thy Neighbor under curation of Irena Popiashvili.
St. Nicholas church, a cross-dome brick construction, was commissioned by Antoni Glonistavisdze, Archbishop of Tshkondidi and Mtsignobartukhutsesi (the chancellor) of Queen Tamar, in the early 13th c.
Tato Akhalkatsishvili’s painting is full of variability of themes and serendipity, although they are integrated in one great and long-term project, which is Tato Akhalkatsishvili’s landscape.
The existence of the Universe is originated from a garden, the Garden of Eden. Merab Abramishvili is a a creator of a garden. A garden is his desirable world, more precisely, archetype model of a garden – ‘A Garden of Eden’. His painting is totally linked with the ‘Paradise’ topos and dedicated to the pleasure while ‘being in’ the garden and the dangerous adventure while ‘being out’ of it.
Over the course of the past 8 years, since my return to Georgia in 2012, contemporary art scene in Tbilisi has transformed dramatically. And that is certainly not a product of state initiatives. I would say, these transformations have been initiated independently, by artists and curators, and what we observe today is a result of a grassroots movement of sorts.
Alexander (Shura) Bandzeladze- Georgian representative of Abstract Expressionism. In the early 1990s, Alexander Bandzeladze was the eldest of acting figures of Georgian Contemporary Art and one of the first artists, who, in the 1960s and 1970s, deliberately engaged himself in late modernism problems and further influenced on-going art processes in Georgia.
Pandemic by Tamuna Melikishvili is one of the finest artistic commentaries on the subject-matter that has defined the modern era. Stylized portraits of strangers and passers-by are inserted on a page of a 1906 architectural album featuring iconic models of Renaissance-style windows. These windows are used as frames for the faces gazing out from within personal space, separated from the outside world, revealing the overarching mood of quarantine through their interests and anticipation, notes of despair and the inevitable psychological tension.
Niko Pirosmani has remained in art history as the greatest Georgian artist of the modern era. His influence reaches artists worldwide. (In particular Pablo Picasso was intrigued by the work of Pirosmani, appreciating his unique style.) His art is mostly focused on surrounding people’s lives, nature as well as various animals. With his minimalistic technique he deeply expresses the emotional side of his work as he presents marvelous scenes with real and surreal elements. His unique artwork is inspired by the mix of creative freedom, reality and independence.