3 (79) 2018

სარჩევი
3(79)2018 C O N T E N T S

qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mis da­ba­de­ba

The Birth of the Georgian Museum of Fine Arts

ერ­თი დღე მუ­ზე­უმ­ში 7 A DAY AT THE MUSEUM

სა­ნა­ხა­ვი კი მარ­თლაც ბევ­რია 8 THERE IS MUCH TO SEE, INDEED

სამ­კა­ლი ფრი­ად არს 26 THE HARVEST IS PLENTIFUL

ოდი­სევ­სის დაბ­რუ­ნე­ბა 34 THE RETURN OF ODYSSEUS

საჩუქარი, რომელსაც ველოდით 42 THE LONG-AWAITED PRESENT

დამფუძნებელი - მანანა შევარდნაძე FOUNDER - Manana Shevardnadze საორგანიზაციო ჯგუფი LOGISTICS GROUP
ელენე სეხნიაშვილი Elene Sekhniashvili
სარედაქციო ჯგუფი EDITORIAL STAFF
Rusudan Rukhadze / Editor ეკატერინე კეთილაძე Ekaterine Ketiladze
რუსუდან რუხაძე / რედაქტორი
mudmivi@neostudio.ge ირაკლი ბერიძე Irakli Beridze ნინო შიოშვილი Nino Shioshvili
სიუზენ ჩენონი Susanne Channon თათია გვეტაძე Tatia Gvetadze
www.neostudio.ge Ketevan Kiknadze
ქეთევან კიკნაძე გიორგი ბაბალაშვილი George Babalashvili
info@neostudio.ge
დიზაინერი - ირაკლი ჩხაიძე DESIGNER - Irakli Chkhaidze დავით ფავლენიშვილი David Pavlenishvili
/neostudio production
ყდის დიზაინი - ია ხატიაშვილი COVER DESIGN - Ia Khatiashvili გიორგი გელაშვილი George Gelashvili

გამოდის კვარტალში ერთხელ. Issued quarterly. დაიბეჭდა სტამბაში „ფავორიტი სტილი“,

გასაყიდად არ ვრცელდება. ტირაჟი 25 000. Not for sale. Circulation 25 000. თბილისი, საქართველო
ჟურნალში განთავსებული მასალის გამოყენება The materials published in the magazine cannot Printed by Favorite Style Print House in
შეიძლება მხოლოდ ნეოსტუდიის თანხმობით be used without the authorization of Neostudio Tbilisi, Georgia
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qar­Tu­li sax­vi­Ti xe­lov­ne­bis

mu­ze­u­mis da­ba­de­ba

The Birth of the Georgian Museum of Fine Arts

s A
eq­tem­bris bo­los xe­lov­ne­bis moy­va­ru­lebs di­ great pleasure awaits art fans at the end of
di si­a­mov­ne­ba eliT: Tbi­lis­Si axa­li kul­tu­ru­ September when a new cultural space, the
li siv­rce _ qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ Georgian Museum of Fine Arts, opens in
ze­u­mi ix­sne­ba. de­da­qa­la­qis es­Te­ti­ka­ze os­ta­tu­rad Tbilisi. The exterior skillfully matching the capital’s
mor­ge­bu­li eq­ste­ri­e­ri da su­per­Ta­na­med­ro­ve in­te­ aesthetics and a super modern interior may suffice
ri­e­ri _ ase Se­iZ­le­ba mok­led Se­no­bis vi­zu­a­lu­ri na­ as a brief description of the building’s visual aspect.
wi­lis da­xa­si­a­Te­ba. sa­ga­mo­fe­no dar­ba­zeb­Si, ro­mel­ The exhibition halls covering 7,000 m2 will display
Ta far­To­bi 7000 kvad­ra­tul metrs mo­i­cavs, eta­pob­ 3,500 works by almost 80 artists in series. The largest
ri­vad oT­xmo­cam­de av­to­ris 3500 na­mu­Se­va­ri iq­ne­ba private collection of contemporary Georgian artists

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war­mod­ge­ni­li. Ta­na­med­ro­ve qar­Tvel mxat­var­Ta put together over the years by Gia Jokhtaberidze, the
yve­la­ze di­di ker­Zo ko­leq­cia, ro­mel­sac wle­bia museum’s founder, is a retrospective of sorts covering
ag­ro­vebs mu­ze­u­mis dam­fuZ­ne­be­li gia jox­Ta­be­ri­Ze, the past 70 years, which is equally enticing for both art
bo­lo 70 wlis er­Tgva­ri ret­ros­peq­ti­vaa, er­Tna­ir ­ ad connoisseurs and appraisers.
sa­in­te­re­so xe­lov­ne­bis moy­va­rul­Ta da Sem­fa­se­bel­
TaT­vis. Generally, museums of contemporary art are in a way
measurements appraising the cultural advancement of
zo­ga­dad, Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­u­me­bi qvey­ a given country, even a luxury that many may not even
nis­Tvis kul­tu­ru­lo­bis Ta­vi­se­bu­ri sa­zo­mia, er­T­ be able to afford. This issue often draws the attention
gva­ri fu­fu­ne­bac, rom­lis uf­le­bac Tavs, Se­saZ­loa, of individual patrons, those enamored with art, such as
bev­rma ver mis­ces. xSirad am Te­miT ker­Zo pi­re­bi Guggenheim, the Rockefellers and Tretyakov years ago,
in­te­res­de­bi­an, xe­lov­ne­biT Sep­yro­bi­li ada­mi­a­ne­ through whose labors we today enjoy three prominent
bi, ro­gorc wle­bis win _ gu­gen­ha­i­mi, rok­fe­le­re­bi, museums of contemporary art.
tre­ti­a­ko­vi. Se­de­gad msof­li­os sa­mi cno­bi­li ker­Zo
xe­lov­ne­bis mu­ze­u­mi mi­vi­ReT. The word museum stands for a place dedicated to
the Muses in the Greek language. In contemporary
mu­ze­u­mi ber­Znu­lad „mu­za­Ta ta­Zars“ niS­navs. Ta­na­ museums, works inspired by the Muses, if not the Muses
med­ro­ve mu­ze­u­meb­Si mu­ze­bi ara, mag­ram ma­Ti STa­go­ themselves, certainly find abode. According to one
ne­biT Seq­mni­li na­mu­Sev­re­bi nam­dvi­lad bi­nad­ro­ben. of the definitions, a museum acquires, preserves and
erT-er­Ti gan­mar­te­biT, mu­ze­u­mi ga­naT­le­bis miz­niT exhibits examples of different art genres and directions
an vi­zu­a­lu­ri si­a­mov­ne­bis­Tvis iZens, ina­xavs, ik­v­ for the purpose of educating or giving visual pleasure.
levs da ga­mo­fens xe­lov­ne­bis sxva­das­xva Jan­ri­sa da
mi­mar­Tu­le­bis ni­mu­Sebs. What do we see in Georgia in this regard? Yes, we have
some remarkable artists, but so far there has been
ra vi­Ta­re­baa am mxriv sa­qar­Tve­lo­Si? mi­u­xe­da­ no quality facility where their excellent works could
vad imi­sa, rom araC­ve­u­leb­ri­vi mxat­vre­bi gvyavs,­ be enjoyed together. Neither Shalva Amiranashvili

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xa­ris­xi­an­ i siv­rce, sa­dac am yve­laf­ris nax­va Se­iZ­ Museum of Fine Arts nor Dimitri Shevardnadze National
le­ba, am drom­de ar ar­se­bob­da. arc Sal­va ami­ra­na­ Gallery was conceived at the time as an exhibition
S­vi­lis sa­xe­lo­bis xe­lov­ne­bis mu­ze­u­mi da arc di­ space proper. The current building of the Art Museum
mit­ri Se­var­dna­Zis sa­xe­lo­bis erov­nu­li ga­le­rea of Georgia (Shalva Amiranashvili Museum of Fine Arts)
Ta­vis dro­ze sa­ga­mo­fe­no siv­rced ar Ca­u­fiq­re­bi­aT. was commissioned by philanthropist and businessman
xe­lov­ne­bis mu­ze­u­mis dRe­van­de­li Se­no­ba qvel­moq­ Iakob Zubalashvili and built by Swiss architect
med­ma da biz­nes­men­ma ia­kob zu­ba­laS­vil­ma 1835 wels Bernardozzi in 1835, to house a hotel at first and then
Sve­i­ca­ri­el ar­qi­teq­tors, ber­nar­do­cis aa­ge­bi­na. aq a theological seminary. The building was allocated
jer sas­tum­ro, Sem­deg ki sa­su­li­e­ro se­mi­na­ria iyo to a museum in the late 1950s, after the post-war
gan­Tav­se­bu­li. Se­no­ba mu­ze­ums XX sa­u­ku­nis 50-ia­ne­ reconstruction in the Soviet Union. The building’s size
bis bo­los, sab­Wo­Ta xe­li­suf­le­bis pe­ri­od­Si re­kon­ and conditions, however, were nowhere near sufficient
struq­ci­is Sem­deg da­uT­mes, Tum­ca ar­se­bu­li ko­leq­ to exhibit the available collections at that time.
ci­e­bis ga­mo­sa­fe­nad arc siv­rce, arc pi­ro­be­bi ar iyo As for the National Gallery, it was built as a military
da­mak­ma­yo­fi­le­be­li. history museum in the late 1800s. The building was
rac Se­e­xe­ba erov­nul ga­le­re­as, is XIX sa­u­ku­nis bo­ remodeled into a museum in 1918, when the acclaimed
public figure and artist Dimitri Shevardnadze arranged
los aa­ges, ro­gorc sam­xed­ro is­to­ri­u­li mu­ze­u­mi.
a national gallery here to supply it with new collections.
ga­le­re­ad 1918 wli­dan ga­da­keT­da, ro­de­sac cno­bil­
The building’s current appearance dates to a few years
ma sazogado moRvawem da mxat­var­ma, di­mit­ri Se­var­
back when the old halls were renovated and new
dna­Zem aq su­ra­Te­bis erov­nu­li ga­le­rea mo­aw­yo da
ones added. Until then, however, the exhibits were
ko­leq­ci­e­biT Sev­se­bas mih­yo xe­li. Ta­na­med­ro­ve sa­xe
stored extremely poorly, with inadequate conditions,
Se­no­bam ram­de­ni­me wlis win Se­i­Zi­na, ro­de­sac ga­re­ moisture and fungi badly damaging numerous items,
mon­tda ar­se­bu­li da da­e­ma­ta axa­li dar­ba­ze­bi, ma­nam­ which motivated Gia Jokhtaberidze to build a new
de ki na­xa­tebs Za­li­an cud pi­ro­beb­Si ina­xav­dnen, rac exhibition space.

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fon­deb­ze sa­va­la­lod ai­sa­xa _ ara­sa­Ta­na­do ga­re­mom, The idea materialized step by step. In 2012, he
nes­tma da so­kom uam­ra­vi na­mu­Se­va­ri da­a­zi­an­ a. swo­ joined forces with GMT Group to purchase land and
red es vi­Ta­re­ba gax­da gia jox­Ta­be­ri­Zis­Tvis axa­li commenced to plan the building’s visual aspect in
sa­ga­mo­fe­no siv­rcis age­bis mo­ti­vi. cooperation with relevant specialists.
Ca­na­fiq­ri na­bij-na­bij xor­ci­el­de­bo­da. 2012 wels A year into cooperation with architects and construction
GMT jgu­fis­gan mi­wa Se­i­Zi­na da spe­ci­a­lis­teb­Tan engineers, the idea nurtured for years emerged as a
er­Tad Se­no­bis vi­zu­a­lu­ri na­wi­lis dap­ro­eq­te­bas tangible project. Construction launched on February 5,
Se­ud­ga. ar­qi­teq­to­reb­Tan da kon­struq­to­reb­Tan 2013 to last five years. Reinforced concrete and stone
er­Twli­a­ni mu­Sa­o­bis Sem­deg wle­bis na­fiq­ri kon­kre­ were used for construction and cladding, respectively.
tul pro­eq­tad iq­ca. mSe­neb­lo­ba 2013 wlis 5 Te­ber­ Using a combination of both stone and glass in the
vals da­iw­yo da xuT we­li­wads gag­rZel­da. mSe­neb­lo­ façade is indicative of the building’s modernity and
bis­Tvis rki­na-be­to­ni ga­mo­i­ye­nes, mo­sa­pir­ke­Teb­lad harmonizes with the architecture of the city’s main
_ qva. fa­sad­ze Su­Si­sa da qvis er­Tob­li­o­ba na­ge­bo­ avenue. Towering over the central entrance, the
bis Ta­na­med­ro­ve xa­si­aTs us­vams xazs da qa­la­qis eagle, as the museum’s symbol, is the first thing to
cen­tra­lu­ri gam­zi­ris ar­qi­teq­tu­ra­sac ex­mi­a­ne­ba. draw attention. Of course, the eagle was not selected
ar­wi­vi, ro­me­lic Se­no­bis cen­tra­lur na­wils am­Sve­ randomly and there is a history behind it. During
nebs da mu­ze­u­mis er­Tgva­ri sim­bo­loa, mo­men­ta­lu­ archeological digs in Vani, a pot was discovered
rad ip­yrobs mnax­ve­lis yu­rad­Re­bas. ra­sak­vir­ve­lia, containing several miniature sculptures of an eagle, 15-
Sem­Txve­viT ar Se­ur­Ce­vi­aT da Ta­vi­si is­to­ri­ac aqvs. 17 centimeters in height, dated to the 2nd-1st centuries
wle­bis win ar­qe­ol ­ o­gi­u­ri gaT­xre­bis Se­de­gad van­Si BC. What we see on the façade of the museum of
aR­mo­a­Ci­nes qva­bi, ro­mel­zec ar­wi­vis ram­de­ni­me mci­ contemporary art is a sculpture of an eagle combining
re, 15-17 sm. fi­gu­ra iyo da­mag­re­bu­li (Zv.w. II-I ss). is, all three and created by sculptors Davit Mindorashvili
ra­sac Ta­na­med­ro­ve sax­vi­Ti xe­lov­ne­bis mu­ze­u­mis and Eduard Shakhnazarov. This eagle, a mix of sorts
fa­sad­ze vxe­davT, am sa­mi fi­gu­ris mi­xed­viT Seq­mni­li combining the past and the present, welcomes visitors

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to the museum with open wings,

to enjoy the exceptional works of
art which, though created over
the past 70 years, have their roots
in a far more distant past.

The permanent exposition

occupies 31 halls on the
building’s 3rd, 4th and 5th floors
and 3 stairwells. The repository,
furnished with modern
technology and ideal for storing
artworks, covers 6000 m2. The
museum’s halls will feature
state-of-the-art equipment,
be it temperature control, air
conditioning, or lighting. The first
floor of the museum is occupied
by a 300 m2 hall where any artist
will be able to hold a week-
gia joxTaberiZe jibson xundaZis saxelosnoSi long exhibition and a 120-seat
GIA JOKHTABERIDZE AT JIBSON KHUNDADZE'S STUDIO
conference hall is also located
nearby. To date, it is the finest
frin­ve­lia. mi­si av­to­re­bi mo­qan­da­ke­e­bi _ da­viT min­do­raS­vi­li da edu­ exhibition space in Georgia which,
ard Sax­na­za­ro­vi ari­an. swo­red es ar­wi­vi _ war­su­li­sa da Ta­na­med­ro­ve­ under proper management, is
o­bis er­Tgva­ri na­za­vi _ epa­ti­Je­ba mnax­vels mu­ze­um­Si mxat­vro­bis im ga­ poised to become one of the
mor­Ce­u­li ni­mu­Se­bis sa­na­xa­vad, rom­le­bic bo­lo 70 wlis gan­mav­lo­ba­Si country’s calling cards and an
ki Se­iq­mna, mag­ram fes­ve­bi ga­ci­le­biT Rrmad, sa­u­ku­ne­e­bis miR­ma aqvT. important cultural hub.

mud­mi­vi eq­spo­zi­cia Se­no­bis me­sa­

me, me­oT­xe da me­xu­Te sar­Tu­leb­ze
31 dar­baz­Si da 3 kibis ujredSia
gan­Tav­se­bu­li. Ta­na­med­ro­ve teq­
no­lo­gi­iT aR­Wur­vi­li sa­ca­vi ki,
sa­dac ide­a­lu­ri pi­ro­be­bia na­mu­
Sev­re­bis Se­sa­na­xad, 6000 kv.m. su­
raTs itevs. dar­ba­ze­bi msof­li­os
uax­le­si miR­we­ve­bi­Taa aR­Wur­vi­
li, iq­ne­ba es tem­pe­ra­tu­ru­li re­
Ji­mi, kon­di­ci­re­bis sis­te­ma Tu
ga­na­Te­ba. pir­vel sar­Tul­ze 300
kv.m. far­To­bis dar­ba­zia, sa­dac
gar­kve­u­li pe­ri­o­diT ne­bis­mi­er ­ i
mxat­va­ri SeZ­lebs Ta­vi­si na­mu­
Sev­re­bis ga­mo­fe­nas. aq­vea 120-ka­
ci­a­ni sa­kon­fe­ren­cio dar­ba­zic.
dRes­dRe­o­biT es sa­u­ke­Te­so sa­
ga­mo­fe­no siv­rcea sa­qar­Tve­lo­
Si, ro­mel­sac swo­ri me­nej­men­tis
pi­ro­beb­Si yve­la­na­i­ri sa­fuZ­ve­li
aqvs iq­ces Cve­ni qvey­nis erT-erT
sa­vi­zi­to ba­ra­Tad da kul­tu­ris gia joxTaberiZe edmond kalandaZis saxelosnoSi
mniS­vne­lo­van ke­rad. GIA JOKHTABERIDZE AT EDMOND KALANDADZE'S STUDIO

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er­Ti dRe mu­ze­um­Si A Day at the Museum

Za­li­an miy­vars mu­ze­u­me­bi. ar max­sovs, ro­ I am crazy about museums. I do not remember when I realized
dis ga­vac­no­bi­e­re, rom es aris ad­gi­li, sa­ that they are places where one can travel through time with the
dac eq­spo­na­te­bis sa­Su­a­le­biT dro­Si mog­ help of exhibits. Museums are usually associated with antiquity,
za­u­ro­ba Se­iZ­le­ba. mu­ze­u­mi Zi­ri­Ta­dad siZ­ such as old buildings, a certain type of mysticism, a specific aura
ve­les­Tan aso­cir­de­ba _ Zvel Se­no­bas­Tan, and smell, but what one finds in the museum of contemporary art
er­Tgvar idu­ma­le­bas­Tan, spe­ci­fi­kur ga­re­ is something totally different. The classical-style exterior is just a
mo­sa da sun­Tan, Tum­ca is, rac saxviTi xe­ cover for an ultramodern interior with massive glass staircases and
lov­ne­bis mu­ze­um­Si dag­xvde­baT, am war­mod­ a similar elevator and communications.
ge­nis­gan sru­li­ad gan­sxvav­de­ba. kla­si­kur
stil­Si ga­daw­yve­ti­li eq­ste­ri­e­ri ul­tra­ I have toured many places like this, including day, night, individual
Ta­na­med­ro­ve in­te­ri­ers „ma­lavs“ _ ma­si­u­ri and other kinds of tours… It was my first time as a visitor to this
Su­Sis ki­be­eb
­ iT, ase­Ti­ve lif­tiT da ko­mu­ni­ yet unopened museum. A pleasant experience, I have to admit,
ka­ci­eb
­ iT. especially given its importance.

msgavs ad­gi­leb­Si bev­rna­i­ri tu­ri mqo­nia: Touring a museum is no easy task and I am not talking about
dRis, Ra­mis, in­di­vi­du­a­lu­ri... jer ar­gax­ running through exhibition halls. I mean adequately perceiving
snil mu­ze­um­Si stum­ris sta­tu­siT ki pir­ and taking in artists. Although I did my homework, what I saw
ve­lad aR­mov­Cndi. sa­si­a­mov­no gan­cdaa, ve­ exceeded all my expectations.
ra­fers it­yvi. miT uf­ro, mi­si mniS­vne­lo­bis
Communicating live with a painting leaves an exceptionally
gaT­va­lis­wi­ne­biT.
intense impression and this experience is doubly extreme when
mu­ze­u­mis daT­va­li­e­re­ba io­li saq­me ar gax­ dealing with a good painting. Seeing so many extraordinary
lavT. dar­ba­ze­bis Se­mor­be­nas ar vgu­lis­ pictures in one day is emotionally difficult. At some point, your
xmob _ mxat­vris sa­Ta­na­dod aR­qma­sa da ga­ senses go numb and your mind refuses to analyze what you see.
az­re­ba­zea sa­ub
­ a­ri. mi­u­xe­da­vad imi­sa, rom The next visit is characterized by a lesser degree of euphoria, which
am yve­laf­ris­Tvis wi­nas­war mo­vem­za­de, na­ enables you to contemplate the paintings differently. You realize
nax­ma yo­vel­gvar mo­lo­dins ga­da­a­War­ba. that, during your first visit, you overlooked the sizeable inscription
on Temo Japaridze’s work Incessant Journeyers and what you took
na­xat­Tan coc­xa­li ur­Ti­er­To­ba sak­ma­od for a blue square with yellow dots is in reality the star-studded
mZaf­ri STa­beW­di­le­baa, kar­gi na­xa­tis Sem­ sky at night, as seen by the artist in his childhood through the
Txve­va­Si es gan­cda or­mag­de­ba. erT dRe­Si bedroom window. But that’s the next stage… At first, you cannot
am­de­ni araC­ve­u­leb­ri­vi ti­los nax­va emo­ help exclaiming in excitement, with emotions making you smile
ci­u­ra­dac rTu­lia _ ra­Rac mo­men­tSi Seg­ from ear to ear and repeating Galaktion’s words by heart: “What
rZne­ba blag­vde­ba da go­ne­bac uars am­bobs a treasure we happen to have! How rich, how brave!” Except that,
na­na­xis ga­a­na­li­ze­ba­ze. me­o­re jer­ze ei­fo­ instead of a harmony of stones, you hear a symphony of colors,
ria nak­le­bia da na­xat­sac sxvag­va­rad aRiq­ which makes you happy being part of this culture, a culture with
vam. xvde­bi, rom pir­ve­li stum­ro­bi­sas Te­mo a past…
ja­fa­ri­Zis na­mu­Se­var­ze _ „mu­dam mi­ma­valT“
_ kar­ga moz­rdi­li war­we­ra ver Se­am­Cnie; ya­
ra­man qu­Ta­Te­la­Zis erT-erT ti­lo­ze ki,
Sen rom yvi­Tel­win­wkle­bi­a­ni lur­ji kvad­
ra­ti ge­go­na, Ra­me da var­skvla­ve­bi­a­ni ca
yo­fi­la ga­mo­sa­xu­li, ro­mel­sac mxat­va­ri
bav­Svo­ba­Si sa­Zi­ne­be­li oTa­xis fan­jre­bi­dan
xe­dav­da. es mom­dev­no eta­pia, pir­ve­lad ki
aR­frTo­va­ne­bis Se­Za­xi­lebs ver ika­veb, emo­
ci­e­bis­gan yu­re­bam­de Ri­mi­lad xar qce­u­li
da go­ne­ba­Si ga­lak­ti­o­nis fra­zas ime­o­reb:
„ra gan­Zi gvqo­nia, ra mxne, ra mdi­da­ri!“.
oRond qvis har­mo­ni­is nac­vlad fer­Ta sim­
fo­nia JRers da bed­ni­er ­ i xar, rom am kul­
tu­ris na­wils war­mo­ad­gen, kul­tu­ris, ro­
mel­sac war­su­li aqvs...

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sa­na­xa­vi ki mar­Tlac bev­ria There Is Much to See, Indeed

ra­sak­vir­ve­lia, am yve­laf­ris mo­po­ve­ba io­li ar Of course, it was not easy to put it all together. The family
yo­fi­la. gia jox­Ta­be­ri­Zis da ma­na­na Se­var­dna­Zi­s of Gia Jokhtaberidze and Manana Shevardnadze has been
oja­xu­ri wyvi­li qar­Tve­li mxat­vre­bis na­mu­Sev­ collecting works by Georgian artists for over 20 years.
rebs 20 we­li­wad­ze me­tia ag­ro­vebs. sax­vi­Ti xe­lov­ Besides their love of visual arts, they were also motivated
ne­bis siy­va­ru­lis gar­da sxva mi­ze­zic hqon­daT _ to preserve these treasures for Georgia. After having
sa­qar­Tve­los­Tvis Se­e­nar­Cu­ne­bi­naT es sim­did­re. decided to establish a museum, they spared no effort to
mas Sem­deg, rac mu­ze­u­mis da­ar­se­ba ga­daw­yda, cdi­ diversify their collection and enrich it with new pieces. Of
lob­dnen maq­si­ma­lu­rad ga­em­ra­val­fe­rov­ne­bi­naT course, there were heartbreaking failed negotiations as
ko­leq­cia, xe­lov­ne­bis me­ti ni­mu­Si Se­e­ma­te­bi­naT. well. Despite their strong desire, some works could not
ra Tqma un­da, iyo gu­lis­tke­nac, CaS­li­li mo­la­pa­ be purchased. Nonetheless, they eventually put together
ra­ke­be­bic. zo­gi­er­Ti mxat­vris na­mu­Sev­re­bis Se­ quite a collection.
Ze­na, sur­vi­lis mi­u­xe­da­vad, ver mo­xer­xda, Tum­ca
sa­bo­lo­od so­li­dur ko­leq­ci­as mo­u­ya­res Ta­vi. Only some of the 3,500 exhibits are displayed at the
museum. Needless to say, it is simply impossible to
3500-mde eq­spo­na­ti­dan dar­ba­zeb­Si mxo­lod na­ showcase them all, especially those by younger artists.
wi­lia war­mod­ge­ni­li. yve­laf­ris ga­mo­fe­na,­ However, expositions will change periodically and new

jibson xundaZe. peizaJi xnulebiT. 1982. tilo, zeTi. 95X110

JIBSON KHUNDADZE. LANDSCAPE OF FERTILE LAND. 1982. OIL ON CANVAS. 95X110

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apolon quTaTelaZe. Tamaris laSqroba. 1970. tilo, zeTi. 252X480

APOLON KUTATELADZE. KING TAMAR’S CAMPAIGN. 1970. OIL ON CANVAS. 252X480

bu­neb­ri­via, ver mo­xer­xda, gan­sa­kuT­re­biT, axal­ exhibits will be offered to the visitors. This will prove to be
gaz­rde­bis. Tum­ca pe­ri­o­du­lad eq­spo­zi­ci­e­bi Se­ somewhat intriguing, giving rise to expectations about
i­­c­vle­ba da axa­li eq­spo­na­te­bic Se­e­ma­te­ba. es gar­ what kind of surprise awaits the visitors in the updated
kve­ul in­tri­ga­sac qmnis da mo­lo­din­sac ba­debs _ exposition of the museum. At this point, however, let’s
ra si­urp­ri­zi dax­vde­ba ga­nax­le­bu­li dar­ba­zis sa­ enjoy what is on offer.
na­xa­vad mi­sul dam­Tva­li­e­re­bels. jer­je­ro­biT ki
imiT dav­tkbeT, ri­si xil­vac am etap­ze Seg­viZ­lia. The museum features the best works by Ketevan
Maghalashvili, Apollon Kutateladze, Ucha Japaridze,
sa­u­ke­Te­so na­mu­Sev­re­biT ari­an war­mod­ge­ni­li qe­ Mikheil Khvitia, Jibson Khundadze, Edmond Kalandadze,
Te­van ma­Ra­laS­vi­li, apo­lon qu­Ta­Te­la­Ze, uCa ja­ Alexandre Bandzeladze, Dimitri Eristavi, Temo Japaridze,
fa­ri­Ze, mi­xe­il xvi­tia, jib­son xun­da­Ze, ed­mond Levan Tsutskiridze, Duda Gabashvili, Zurab Nizharadze,
ka­lan­da­Ze, aleq­san­dre banZe­la­Ze, di­mit­ri eris­ Albert Dilbaryan, Lev Bayakhchev, Sergo Parajanov, Koki
Ta­vi, Te­mo ja­fa­ri­Ze, le­van cuc­qi­ri­Ze, du­da ga­ Makharadze and Radish Tordia. Equally interesting are the
baS­vi­li, zu­rab ni­Ja­ra­Ze, al­bert dil­ba­ri­a­ni, lev paintings by their succeeding generation, such as Gogi
ba­i­ax­Ce­vi, ser­go fa­ra­ja­no­vi, ko­ki ma­xa­ra­Ze, ra­diS Chagelishvili, Vladimer Kandelaki, Otar Chkhartishvili,
Tor­dia. Za­li­an sa­in­te­re­soa ma­Ti mom­dev­no Ta­o­ Gayane Khachaturian, Gia Gugushvili, Jemal Kukhalashvili,
ba _ go­gi Ca­ge­liS­vi­li, vla­di­mer kan­de­la­ki, oTar Shalva Matuashvili, Levan Laghidze, Karaman Kutateladze,
Cxar­tiS­vi­li, ga­i­a­ne xa­Ca­tu­ri­an­ i, gia gu­guS­vi­li, Levan Choghoshvili, Khuta Iremadze, Irakli Sutidze, Irakli
je­mal ku­xa­laS­vi­li, Sal­va ma­tu­aS­vi­li, le­van Parjiani and others. The list goes on. Among relatively
la­Ri­Ze, ya­ra­man qu­Ta­Te­la­Ze, le­van Wo­RoS­vi­li, younger artists, we should single out the pieces by Tato
xu­ta ire­ma­Ze, irak­li su­Ti­Ze, irak­li far­ji­an­ i... Akhalkatsishvili, Mikheil Eristavi, Ia Arsenishvili and Keti
yve­las ver Ca­mov­Tvli. Se­da­re­biT axal­gaz­rde­bi­ Davlianidze.
dan warmodgenilia ta­to axal­ka­ciS­vi­lis, mi­xe­il
eris­Ta­vis, ia ar­se­niS­vi­li­sa da qe­Ti dav­li­an­ i­Zis The expositions are arranged chronologically, which is
Se­moq­me­de­ba. why our advice is to start touring the museum from the
5th floor, a space dedicated to artists of elder generations.
eq­spo­zi­ci­e­bi qro­no­lo­gi­u­rad aris da­la­ge­bu­ Right after exiting the elevator, you will find yourselves in
li, ami­tom mu­ze­u­mis daT­va­li­e­re­bas me­xu­Te sar­ the halls featuring Temo Japaridze and Jibson Khundadze.
Tu­li­dan gir­CevT. es siv­rce Zi­ri­Ta­dad uf­ro­si The choice is yours. I went to Jibson Khundadze’s hall first.

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Temo jafariZe
TEMO JAPARIDZE

Ta­o­bis mxat­vrebs eT­mo­ba. lif­ti­dan ga­mos­vlis­ Jibson Khundadze is one of the exceptional artists of
Ta­na­ve Te­mo ja­fa­ri­Zi­sa da jib­son xun­da­Zis dar­ the past century. He was exhibited extensively and art
ba­zeb­Tan aR­moC­nde­biT. ro­mels air­CevT, Tqve­ni connoisseurs are quite familiar with his works. What you
ga­da­saw­yve­tia. me jib­son xun­da­ZiT da­viw­ye. will find at the museum is significant in a number of ways.
Besides the collection’s solid substance, the principle of
jib­son xun­da­Ze ga­su­li sa­u­ku­nis erT-er­Ti ga­ exposition arrangement also draws attention: the exhibits
mor­Ce­u­li mxat­va­ria. mi­si na­mu­Sev­re­bi xSi­rad are lined up in chronological order, making life so much
ifi­ne­bo­da da xe­lov­ne­bis moy­va­rul­ni kar­ga­dac easier for researchers, as it is crystal clear where a given
ic­no­ben. is, rac mu­ze­um­Si dag­xvde­baT, ram­de­ni­me artist started and where he ended up ultimately, what
Tval­saz­ri­si­Taa mniS­vne­lo­va­ni: ko­leq­ci­is so­ influenced him and how he overcame it, when exactly his
li­du­ro­bis gar­da sa­in­te­re­soa eq­spo­zi­ci­is age­ signature strokes, expressionism or energy appeared in his
bis prin­ci­pi, na­mu­Sev­re­bi Ses­ru­le­bis qro­no­lo­ paintings for the first time.
gi­as mis­devs, rac kvle­vis­Tvis mSve­ni­er ­ i Se­saZ­
leb­lo­baa. kar­gad Cans, sa­i­dan iw­yeb­da da ro­gor All this is equally exciting in terms of studying a given era.
vi­Tar­de­bo­da mxat­va­ri _ ra gav­le­ne­bi hqon­da, Jibson Khundadze’s oeuvre is a very good example of one’s
ro­gor da­aR­wia Ta­vi am yve­la­fers, ro­dis gaC­nda quest for one’s own aesthetics and uncompromisingness.
ti­lo­eb­ze ga­mor­Ce­u­li mo­nas­me­bi, mis­Tvis da­ma­xa­ The works by Jibson Khundadze and his associates gave
si­a­Te­be­li eq­spre­si­o­niz­mi da ener­ge­ti­ka. rise to a new wave in the 1970s-1980s, which made
contemporary Georgian painting even more interesting
es yve­la­fe­ri epo­qis ana­li­zis­Tvi­sac sa­in­te­re­ and diverse.
soa. jib­son xun­da­Zis Se­moq­me­de­ba sa­ku­Ta­ri es­Te­
ti­kis Zi­e­bi­sa da ukom­pro­mi­so­bis kar­gi ma­ga­li­ Temo Japaridze is another representative of the said wave
Tia. mi­si da mi­si Ta­na­mo­az­re­e­bis xe­lov­ne­ba gax­da of artists. I have rarely met so many different personalities in

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70-80-ia­neb­Si axa­li tal­Ris ago­re­bis sa­fuZ­ve­li, one man: bright and dark, a thinker, sensitive, full of energy
ro­mel­mac Ta­na­med­ro­ve qar­Tu­li mxat­vro­ba ki­ and refined. Temo Japaridze passed away a few years ago.
dev uf­ro sa­in­te­re­so da mra­val­fe­ro­va­ni ga­xa­da. He used to write poems and short stories. At a more or less
mature age, however, he decided to use the paintbrush to
am tal­Ris ki­dev er­Ti war­mo­mad­ge­ne­lia Te­mo ja­ say what he had to say. But word still played their part once
fa­ri­Ze. iS­vi­a­Tad Sem­xved­ria erT ada­mi­an­Si Tav­ in a while, finding refuge in one of his paintings, Incessant
moy­ri­li am­de­ni gan­sxva­ve­bu­li pi­rov­ne­ba: na­Te­ Journeyers, for example, which is adorned with the symbolic
li da bne­li, mo­az­rov­ne da mgrZno­bi­ar ­ e, ener­gi­ words of that time: “We did have wings, but we knew not
iT sav­se da ha­e­ro­va­ni. Te­mo ja­fa­ri­Ze ram­de­ni­me how to use them, so we walked on foot to the infinite
wlis win gar­da­ic­va­la. wer­da leq­sebs da moT­xro­ distance existing within ourselves to find the length to the
bebs, ra­Rac etap­ze ki ga­daw­yvi­ta saT­qme­li fun­ point of no return.” At some point, Temo Japaridze changed
ji­Tac eT­qva. zog­jer sit­yva ma­inc ga­eq­ce­o­da da his style and thematic repertoire, as clearly evidenced by
nav­sa­yu­dels ro­me­li­me na­mu­Se­var­Si po­u­lob­da. the exposition, as though familiarizing yourself with works
ase­Tia mi­si cno­bi­li ti­lo „mu­dam mi­ma­val­ni“, ro­ by several different persons. The artist’s incredible bas-
mel­sac im epo­qis­Tvis sim­bo­lu­ri sit­yve­bi am­Sve­ reliefs exhibited on the outer wall of the hall are something
nebs: „frTe­bi ki gvqon­da, mag­ram ar vi­co­diT ma­ else. Each is a fully developed character, a portrait with a
Ti ga­mo­ye­ne­ba, ami­tom fe­xiT miv­di­od
­ iT Cven­sa­ve concrete story. These works show best that their author is a
Tav­Si myof ga­nu­saz­Rvrel si­So­re­Si imis ga­sa­ge­ writer, too. They look at you and tell you their stories.
bad, Tu sad mi­va­bi­jeb­diT da­ub­ru­neb­lad.“
The same floor features Levan Tsutskiridze’s works, ones
droTa ganmavlobaSi Te­mo ja­fa­ri­Zis sti­li da that, at first glance, resemble old Georgian murals. From
Te­ma­ti­ka icvleboda. eq­spo­zi­ci­a­ze es yve­la­fe­ri the very outset, Levan Tsutskiridze’s artworks were linked
kar­gad Cans _ TiT­qos ram­de­ni­me sxva­das­xva pi­rov­ to literature, an area close to his heart. His innermost talent
ne­bis na­mu­Se­vars ec­no­bi. cal­ke am­ba­via mxat­vris for monumental art, however, transcended the size of a

koki maxaraZe. indoeTi. 1982. tilo, zeTi. 90X108,5

KOKI MAKHARADZE. INDIA. 1982. OIL ON CANVAS. 90X108,5
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mi­er Ses­ru­le­bu­li araC­ve­u­leb­ri­vi ba­re­li­ book page and switched to muralism. Later he painted the walls
e­fe­bi, rom­le­bic dar­ba­zis ga­re ke­del­zea ga­ of the Tbilisi Sioni Cathedral and even painted monumental
mo­fe­ni­li. Ti­To­eu
­ ­li maT­ga­ni das­ru­le­bu­li religious works in the 1980s. The museum features his
per­so­na­Jia _ por­tre­ti kon­kre­tu­li is­to­ “traditional” artworks with characteristic pastel tones. By the
ri­iT. aq yve­la­ze kar­gad ig­rZno­ba, rom ma­Ti way, a closer look reveals that these are not plain pink and
av­to­ri mwe­ra­li­caa. gi­yu­re­ben da TiT­qos ra­ blue, as they are mixed here and there with the pale gold.
Rac am­bavs giy­ve­bi­an. These details make up the individualism of Levan Tsutskiridze’s
works and these intricacies go unnoticed in catalogues or print
ama­ve sar­Tul­zea ga­mo­fe­ni­li le­van cuc­ versions – intimate relations with the original are the only
qi­ri­Zis na­mu­Sev­re­bic, er­Ti Se­xed­viT Zvel solution here.
qar­Tul fres­kebs rom hgavs. le­van cuc­qi­
ri­Zis mxat­vro­ba im­Ta­viT­ve da­u­kav­Sir­da li­
te­ra­tu­ras. es sfe­ro mis­Tvis ax­lo­be­li iyo,
Tum­ca Si­na­ga­nad mo­nu­men­ta­lis­ti mxat­vris
ni­Wi wig­nis fur­cel­ze ver da­e­tia da ked­lis
mxat­vro­ba­Si ga­da­i­nac­vla. mog­vi­a­ne­biT Tbi­
li­sis si­o­nis taZ­ris ked­le­bi mo­xa­ta da 80-
ian wleb­Si re­li­gi­ur Te­ma­ze mo­nu­men­tu­ri
ti­lo­e­bic Seq­mna. mu­ze­um­Si mi­si „tra­di­ci­
u­li“ mxat­vro­baa war­mod­ge­ni­li _ da­ma­xa­si­
a­Te­be­li pas­te­lu­ri to­ne­biT. sxva­Ta So­ris,
ax­los mi­su­li aR­mo­a­Cen, rom es ar aris Cve­
u­leb­ri­vi var­dis­fe­ri da cis­fe­ri. Si­ga­da­Sig
mqrqa­li oq­ros­fe­ric ure­via. swo­red ase­Ti
mig­ne­be­bi ani­Webs le­van cuc­qi­ri­Zis na­mu­Sev­
rebs in­di­vi­du­a­lizms. am yve­la­fers ki verc
ka­ta­log­Si, verc prin­tze Se­ig­rZnob _ es mxo­
lod ori­gi­nal­Tan ur­Ti­er­To­bas mo­aqvs.

erT-erT dar­baz­Si di­di zo­mis pa­no ip­yrobs

yu­rad­Re­bas _ yvi­Tel fon­ze Ses­ru­le­bu­li
na­di­ro­bis Te­miT, rom­lis mo­na­wi­le ma­ma­ka­
ceb­Tan er­Tad qa­li­caa. es apo­lon qu­Ta­Te­la­
Zis cno­bi­li na­mu­Se­va­ria _ „Ta­mar me­fis na­
di­ro­ba,“ ro­me­lic mxat­var­ma 1971 wels, gar­
dac­va­le­bam­de co­ta xniT ad­re da­xa­ta. apo­
lon qu­Ta­Te­la­Ze, gar­da imi­sa, rom sam­xat­vro
aka­de­mi­is le­gen­da­ru­li req­to­ri iyo, Za­li­an
kar­gi mxat­va­ric gax­ldaT _ mra­val­fi­gu­ri­
a­ni kom­po­zi­ci­is ubad­lo os­ta­ti. usaz­Rvro
fan­ta­zia da ze­pi­ri xat­vis ga­sa­o­ca­ri ni­Wi
sa­Su­a­le­bas aZ­lev­da di­di zo­mis fer­we­ru­li
su­ra­Te­bi umok­les dro­Si Se­es­ru­le­bi­na. ga­
mo­fe­neb­ze mi­si na­xa­te­bi gan­sa­kuT­re­bul in­
te­ress iw­vev­da. „Ta­mar me­fis na­di­ro­bac“ maT
ric­xvSia.

apo­lon qu­Ta­Te­la­Zem ara­er­Ti sa­in­te­re­so

mxat­va­ri ga­zar­da. maT So­ris iyo ko­ki ma­xa­ra­
Ze. mas­wav­leb­lis msgav­sad, moR­va­we­o­ba mo­nu­
men­tu­ri mxat­vro­biT da­iw­yo. mi­si erT-er­Ti
ga­mor­Ce­u­li pa­no „mi­wa qar­Tu­li“ gax­ldaT, levan cucqiriZe. mayrioni. 2014.
ro­mel­mac Ta­vi­si Te­ma­ti­kiT, Ses­ru­le­bis tilo, tempera, zeTis pasteli, tuSi. 219X119
teq­ni­ki­Ta da gran­di­o­zu­lo­biT di­di aJi­o­ LEVAN TSUTSKIRIDZE. GROOMSMEN. 2014.
ta­Ji ga­mo­iw­via. xaz­gas­mu­li erov­nu­lo­ba da­ TEMPERA, OIL PASTEL, INDIAN INK ON CANVAS. 219X119

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yo­ve­li­ve qar­Tu­lis siy­va­ru­li soc­re­a­liz­mis In one of the halls, an enormous panel painting – a hunting
ze­o­bis epo­qa­Si co­ta sa­ris­ko gax­ldaT, Tum­ca scene against a yellow backdrop with one woman in the
mxat­va­ri ar epu­e­bo­da im­dro­in­del Car­Co­ebs da company of several men – draws the viewer’s attention.
rac Ta­vad mos­won­da, imas xa­tav­da. This is Apollon Kutateladze’s famous work titled “Queen
Tamar’s Hunt,” painted by the artist in 1971, shortly before
50-60-ia­ni wle­bis mxat­vre­bi­dan mniS­vne­lo­va­nia his death. Besides being a legendary rector of the Academy
ori sru­li­ad gan­sxva­ve­bu­li xe­lo­va­nis _ ed­mond of Fine Arts, Apollon Kutateladze was an excellent artist,
ka­lan­da­Zi­sa da zu­rab ni­Ja­ra­Zis Se­moq­me­de­ba, ro­ an unrivaled master of multiple figure compositions. His
mel­Ta dar­ba­ze­bi mu­ze­um­Si gver­dig­ver­daa. Tu boundless imagination and talent for verbal painting
ed­mond ka­lan­da­Zes­Tan fe­re­bis afeT­qe­ba, sa­o­ca­ enabled him to complete monumental oil paintings in the
ri sim­su­ye, qar­Tu­li tem­pe­ra­men­ti da xa­si­a­Ti ga­ shortest possible time. His works, including “Queen Tamar’s
fo­ri­a­qebT, zu­rab ni­Ja­ra­Zes­Tan Se­da­re­biT mSvi­ Hunt,” attracted special interest at different exhibitions.
di da ga­wo­nas­wo­re­bu­li ga­re­mo gxvde­baT. sxva­Ta
So­ris, dar­ba­zeb­Si mxat­vre­bi gar­kve­ul­wi­lad Apollon Kutateladze has raised numerous interesting
ener­ge­ti­ku­li Tval­saz­ri­si­Tac ari­an ga­da­na­wi­ artists, including Koki Makharadze who, like his teacher,
le­bul­ni _ Se­da­re­biT dat­vir­Tul, emo­ci­u­rad started his career as a monumental painter. “The Land of
aq­ti­ur av­tors uf­ro mSvi­di xe­lo­va­ni moh­yve­ba, Georgia” is one of his most exceptional panel paintings
rac „amo­sun­Tqvis“ sa­Su­a­le­bas iZ­le­va. that caused quite a stir with its theme, artistic technique
and grandeur. Its unrestrained national character and
saw­yis etap­ze ed­mond ka­lan­da­Ze­s bev­ri sir­ love of everything Georgian was pretty risky in the era of
Tu­le Sex­vda. aq­ti­ur da ener­gi­ul, in­te­leq­ socialist realism, but the artist did not worry much about
tu­al da meb­rZo­li xa­si­a­Tis axal­gaz­rdas mud­ the limitations enforced at that time and painted what he
mi­vad kon­fliq­ti hqon­da sam­xat­vro aka­de­mi­is­ pleased.

edmond kalandaZe. zvinebi. 2004. tilo, zeTi. 50X70

EDMOND KALANDADZE. HAYSTACKS. 2004. OIL ON CANVAS. 50X70

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xel­mZRva­ne­lo­bas­Tan. „for­ma­lis­tu­ri Zi­e­be­bis“ ga­mo ma­s

ar aRi­a­reb­dnen, Tum­ca mog­vi­a­ne­biT vi­Ta­re­ba Se­ic­va­la.
1955 wels su­ra­Te­bis ga­le­re­a­Si mow­yo­bil ga­mo­fe­na­ze
mxat­var­ma ram­de­ni­me na­mu­Se­va­ri war­mo­ad­gi­na, rom­le­bic
fe­ris ga­mor­Ce­u­li JRe­ra­do­biT aS­ka­rad gan­sxvav­de­bo­da
sxve­bis­gan. amis ar­Sem­Cne­va, ub­ra­lod, Se­uZ­le­be­li iyo.
„Cven­Tan mov­le­naa“ _ ase ga­mo­xa­ta mxat­vris mi­marT Ta­vi­
si da­mo­ki­de­bu­le­ba re­ne Smer­lin­gma.

zu­rab ni­Ja­ra­Ze 60-ia­nel­Ta erT-er­Ti ga­mor­Ce­u­li war­

mo­mad­ge­ne­lia _ WeS­ma­ri­ti fer­mwe­ri, rom­lis­Tvi­sac upi­
ra­te­sia kom­po­zi­cia, fe­ri, emo­cia. Se­moq­me­de­bi­Ti gzis
da­saw­yis­Si po­e­zi­iT ga­ta­ce­bu­li mxat­vris na­mu­Sev­reb­Si
po­e­tu­ro­ba da li­riz­mi Warbobs. mom­dev­no wleb­Si ki mis
ti­lo­eb­Si me­ti kon­kre­ti­ka da dax­ve­wi­lo­ba Se­mo­dis. Za­
li­an far­To da mra­val­fe­ro­va­nia mis SemoqmedebaSi por­
tre­tu­li Jan­ri da Jan­ru­li sce­ne­bi.

qeTevan maRalaSvili.
Tina maRalaSvilis portreti.
1950. tilo, zeTi. 50X39
KETEVAN MAGALASHVILI.
PORTRAIT OF TINA MAGALASHVILI.
1950. OIL ON CANVAS. 50X39

Among the artists active in the 1950s-1960s,

the works by Edmond Kalandadze and
Zurab Nizharadze, two drastically different
painters, are of special interest. Although
their halls are located next to each other,
Edmond Kalandadze offers a firework of
colors, incredible richness and inebriating
Georgian temper and character whereas
Zurab Nizharadze portrays a much calmer
and more balanced environment. By the way,
energy vibes are yet another category for
arranging the works of different artists in the
museum’s halls. For example, more vibrant,
emotionally active painters are followed by
calmer counterparts, which allows the viewer
to take a breather, so to speak.

Like many of the artists Edmond Kalandadze

encountered many obstacles at the initial
stage of his career. He, active and energetic,
an intellectual and a fighter, was in constant
zurab niJaraZe. maimuni buStebiT. 1977. tilo, zeTi. 80X60 conflict with the management of the Academy
ZURAB NIZHARADZE. MONKEY WITH BALLOONS. 1977. OIL ON CANVAS. 80X60 of Fine Arts. He was, like many others, rejected

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oTar CxartiSvili. saidumlo seroba. 1983. Sereuli masala. 154X218

OTAR CHKHARTISHVILI. THE LAST SUPPER. 1983. MIXED MATERIAL. 154X218

fe­ri­sa da gan­wyo­bis mxat­va­ria ra­diS Tor­dia, for “formalist search”. But things changed later, when the
ga­su­li sa­u­ku­nis 60-ia­ni wle­bis erT-er­Ti mniS­ artist, in 1955, presented several of his works at a Paintings
vne­lo­va­ni fi­gu­ra. mxat­vro­ba­Si mis­Tvis fe­ri Gallery exhibition, which clearly differed from the other
yvelafris mTqmelia. „war­mo­id­gi­neT sam­ya­ro fe­ exhibits thanks to their exceptional expressiveness of
ris, fe­ra­dov­ne­bis ga­re­Se, mxo­lod Sav-TeT­ri: colors – it was impossible to ignore. “We’re witnessing
ro­go­ri ubad­ru­ki iq­ne­bo­da ada­mi­an­Ta yo­fa aseT a true phenomenon,” Rene Schmerling expressed
usa­xur bu­ne­ba­Si“, _ am­bobs Ta­vi­si al­bo­mis Se­sa­ her attitude toward the artist. Zurab Nizharadze is a
val­Si. mis na­mu­Sev­reb­Sic fe­ris mu­si­ka ig­rZno­ba, distinguished representative of the 1960s generation. A
fe­re­biT gad­mo­ce­mu­li Si­na­ga­ni me­lo­dia, ro­me­ natural-born oil painter he prioritized composition, color
lic gam­Svi­debs da har­mo­ni­iT gav­sebs. and emotion. The works of the artist, who was seriously
into poetry at the beginning of his career, show clear signs
far­To sa­zo­ga­do­eb ­ is­Tvis Se­da­re­biT uc­no­bi xe­ of fine versification and lyricism. In later years, precision
lo­va­ni min­da war­mo­gid­gi­noT, rom­lis bi­og­ra­fi­ and refinement take over in his paintings. His portraits and
am da Se­moq­me­de­bam Za­li­an da­ma­in­te­re­sa. la­pa­ra­ genre scenes are very extensive and diverse.
kia oTar Cxar­tiS­vil­ze, mxat­var­ze, rom­lis Se­
moq­me­de­ba sru­li­ad amo­var­dni­li iyo ma­Sin­de­li Color and mood are the calling cards of Radish Tordia, one of
re­a­lo­bi­dan. the most prominent figures in the 1960s. Color is the most
essential in his artistry, the greatest phenomenon in the
oTar Cxar­tiS­vi­li qar­Tu­li an­der­gra­un­dis universe. “Imagine the universe without color, a colorless
mniS­vne­lo­va­ni fi­gu­raa. mxat­va­ri, ro­me­lic ver­ universe, just black and white – how miserable human life

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egu­e­bo­da ko­mu­nis­te­bis mi­er mo­go­nil cru re­

a­lizms, Ta­vi­si xe­lov­ne­biT cdi­lob­da am yve­
laf­ris gap­ro­tes­te­bas. gan­sa­kuT­re­biT sa­in­
te­re­soa ko­la­Jis mi­mar­Tu­le­ba, sa­dac yve­la­
ze kar­gad ga­moC­nda mi­si non­kon­for­mis­tu­li
gan­wyo­be­bi, ko­mu­nis­tu­ri at­ri­bu­ti­ki­sa da sa­
xel­mwi­fo sim­bo­li­kis iro­ni­ze­bis mcde­lo­ba,
er­Tgva­ri Se­moq­me­de­bi­Ti Jon­gli­o­ro­ba im yve­
laf­riT, rac siw­min­ded iT­vle­bo­da sab­Wo­Ta
sis­te­mis­Tvis. amis ga­mo „an­ti­sab­Wo­Ta ele­men­
tad“ mi­iC­nev­dnen da kar­ga xans ar aRi­a­reb­dnen,
Tum­ca amas xe­li ar Se­uS­lia mi­si saq­mi­a­no­bis­
Tvis. war­mo­ud­ge­ne­lia na­xo da da­ga­viw­ydes
Se­re­u­li teq­ni­kiT Ses­ru­le­bu­li „sa­i­dum­lo
se­ro­ba,“ ro­mel­zec ni­Ra­ba­fa­re­bu­li mac­xo­va­
ri da air­wi­naR­mor­ge­bu­li mo­ci­qu­le­bia ga­mo­
sa­xu­li. es na­mu­Se­va­ri, ro­me­lic 1983 wel­saa
Ses­ru­le­bu­li da bev­rna­i­rad Se­iZ­le­ba ga­vi­az­
roT, erT-er­Ti ga­mor­Ce­u­lia mxat­vris Se­moq­
me­de­ba­Si.

albert dilbariani. avtoportreti. 2002.

tilo, zeTi. 59,5X49,5
ALBERT DILBARYAN. SELF PORTRAIT. 2002.
OIL ON CANVAS. 59,5X49,5

would be amid such a characterless environment,” Tordia

writes in the introduction to his picture book. The music
of color, inner melodies expressed through color, soothing
and harmonizing, are also felt in his works.

Allow me to present to you a relatively unknown artist

whose biography and works have caught my attention –
Otar Chkhartishvili, a painter whose oeuvre was totally out
of sync with the realities of that time.

Otar Chkartishvili was a considerable force in the Georgian

underground. The artist, unable to accept the false reality
made up by the communists, used his art to express his
protest. Especially enticing are his collage works that
best show his nonconformist attitude, attempts to ironize
communist attributes and state symbols and to defy
everything held sacred by the Soviet system. This is why
he was considered an “anti-Soviet element” unrecognized
for a long time. Yet he never let that stand between him
and his work. Once you see it, it is impossible to forget his
“Mystical Supper” using mixed technique and portraying
sergo farajanovi. suramis cixe. 1990.
asamblaJi. 75X54,5 the Savior with a mask and the apostles with gas masks.
SERGO PARAJANOV. SURAMI FORTRESS. 1990. Painted in 1983, this among the most significant works by
ASSEMBLAGE. 75 X 54,5 the artist can be interpreted in a number of ways.

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ide­o­lo­gi­u­ri Jan­ris qmni­le­be­bis gar­da, iyo fer­we­rac. oTar Cxar­ Besides ideological works, there
tiS­vi­li wle­bis gan­mav­lo­ba­Si xa­tav­da Ta­vi­si sax­lis ezos rus­Tav­Si. was also oil painting. For years,
xa­tav­da erT xeds we­li­wa­dis sxva­das­xva dros. es cik­li dRes mu­ze­ Otar Chkhartishvili painted
u­mis kuT­vni­le­baa, sa­dac kar­gad Cans is Se­moq­me­de­bi­Ti tran­sfor­ma­ pictures of his front yard in
cia re­a­liz­mi­dan ab­straq­ci­am­de, ro­mel­sac eta­pob­ri­vad ga­nic­di­da Rustavi, the same view in different
mxat­va­ri. aq­vea araC­ve­u­leb­ri­vi na­tur­mor­te­bi, maT So­ris, uka­nas­kne­ seasons of the year. This cycle,
li kom­po­zi­cia „TeT­ri bro­we­u­le­bi“ . which clearly shows the artist’s
gradual creative transformation
di­mit­ri eris­Ta­vi jer ki­dev 60-ia­neb­Si aRi­ar ­ es xe­lov­ne­bis moy­va­ru­ from realism to abstractionism,
leb­ma. amas xe­li ma­Sin­del­ma Jur­nal-ga­ze­Teb­mac Se­uw­yo, sa­dac mxat­ is owned today by the museum.
vris ax­lad Seq­mni­li na­mu­Sev­re­bi xSi­rad ibeW­de­bo­da. „ie­bis gam­yid­ His incredible still lifes, including
ve­li,“ „rus­Ta­ve­lis gam­zi­ri“ da „kla­so­ba­na“ is tri­a­daa, ri­Tac sa­zo­ “White Pomegranates”, his last
ga­do­e­bis siy­va­ru­li mo­i­po­va. mi­si STa­go­ne­bis wya­ro qu­Ca, Tbi­li­su­ri composition, are also found in the
ga­re­mo da ezo­e­bi iyo, sa­dac ma­Sin bev­ri sa­in­te­re­so ram xde­bo­da da
same hall.
rac mxat­var­ma Ta­vis na­mu­Sev­reb­Si asa­xa.
Dimitri Eristavi was hailed by art
connoisseurs as early as the 1960s,
not least thanks to the periodicals
of that time that published his
latest works in abundance. “Violet
Seller”, “Rustaveli Avenue” and
“Hopscotch” make up a triad that
won the heart of the public. The
author drew inspiration from
Tbilisi’s streets. environment and
courtyards, where so much was
happening subsequently to be
reflected in his drawings.

Dimitri Eristavi is a graphic artist, a

great master of this genre. “An oil
painter has a powerful weapon,
which is color. Color can create
a whole universe. We, graphic
artists, have no such powerful
weapon. We may incorporate
small stories, colorful plots and
thus create a scene,” Eristavi said in
one of his interviews. His drawings
are full of such exciting colorful
plots, including the vibrant and
sparkling piece called “Gypsy
Women” available for viewers next
to “Hopscotch”, an already praised
classic, in the same exhibition hall.

The 1960s mark the beginning

of the artistic career of another
interesting painter, Vladimer
Kandelaki. His extraordinary,
controversial character is clearly
visible in his paintings. At different
stages of his career, he turned to
vladimer kandelaki. banqos koSki-saxli. 1983. tilo, zeTi. 100X81 totally different themes, genres
VLADIMER KANDELAKI. CARD TOWER-HOUSE. 1983. OIL ON CANVAS. 100X81 and styles. On one hand, we see

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irakli farjiani. jvarcma. 1991. tilo, zeTi. 95X120

IRAKLI PARJIANI. CRUCIFIXION. 1991. OIL ON CANVAS. 95X120

di­mit­ri eris­Ta­vi gra­fi­ko­sia, am Jan­ris di­dos­ topical Georgian motifs and national themes. On the
ta­ti. „fer­mwers aqvs Zli­e­ri ia­ra­Ri _ fe­ri. fe­ other hand, there are pop-art pieces using the elements
riT Se­iZ­le­ba sam­ya­ros Seq­mna. Cven, gra­fi­ko­sebs of caricature and irony. We find Resurrection Sunday in an
ki ar gvaqvs ase­Ti Zli­e­ri ia­ra­Ri. Se­iZ­le­ba pa­ta­ra abandoned cemetery and gaudy peacocks, collages mixing
moT­xro­bac ga­vu­ri­oT, ko­lo­ri­tu­li si­u­Je­te­bic childhood memories and today’s problems. His works are a
da ga­mo­dis sce­na,“ _ am­bobs erT-erT in­ter­vi­u­Si. synthesis of plasticity and dynamism, reality and unreality.
swo­red ase­Ti ko­lo­ri­tu­li si­u­Je­te­bi­Taa sav­se The artist has lived and worked in the US since the 1990s,
mi­si na­xa­te­bi. maT So­ri­saa coc­xa­li da fe­ra­do­ though his works are periodically exhibited in Georgia,
va­ni „bo­Sa qa­le­bi,“ rom­lis nax­vac, uk­ve kla­si­kad too. The Georgian Museum of Fine Arts offers its visitors
qce­ul „kla­so­ba­nas­Tan“ er­Tad, sa­ga­mo­fe­no dar­ to make closer contact with the work of this diverse artist.
baz­Si Se­geZ­le­baT.
When Irakli Parjiani first appeared in he artistic arena in the
60-ia­neb­Si iw­ye­ba ki­dev er­Ti sa­in­te­re­so av­to­ 1970s, he immediately won the hearts of art aficionados.
ris, vla­di­mer kan­de­la­kis Se­moq­me­de­bi­Ti gzac. In his short life, this brilliant artist, whose death was so
ara­or­di­na­ru­li, wi­na­aR­mde­go­be­biT aR­sav­se mxat­ untimely, left an exceptional body of work and became
vris bu­ne­ba mis na­mu­Sev­reb­Sic kar­gad Cans. sru­ a legend in his own lifetime. Anyone could see with the
li­ad gan­sxva­ve­bu­lia Te­ma­ti­ka, Jan­re­bi da sti­ naked eye that his talent was far greater than any other’s.
lis­ti­ka, ro­mel­sac sxva­das­xva etap­ze mi­mar­Tavs His artistry is diverse in terms of both genre and theme. His
xe­lo­va­ni. er­Ti mxriv, aq­tu­a­lu­ri qar­Tu­li mo­ works are suffused with spirituality and eternal themes. No
ti­ve­bi, erov­nu­li Te­ma­ti­ka da me­o­re mxriv _ pop-­ one in contemporary Georgian art has delved into religious

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ar­tis stil­Si Ses­ru­le­bu­li na­mu­Sev­re­bi Sar­Ji­sa da

iro­ni­is ele­men­te­biT; aR­dgo­ma mi­to­ve­bul sa­saf­la­o­
ze da fe­ra­do­va­ni far­Sa­van­ge­bi; ko­la­Je­bi, sa­dac er­
Tma­neTs er­wymis bav­Svo­bis mo­go­ne­be­bi da Ta­na­med­ro­ve
prob­le­ma­ti­ka. mi­si na­xa­te­bi plas­ti­kis da di­na­mi­kis, re­
a­lo­bi­sa da ire­a­lo­bis er­Tgva­ri sin­Te­zia. 90-ia­ni wle­
bi­dan mxat­va­ri aSS-Si cxov­robs da moR­va­we­obs, Tum­ca
pe­ri­o­du­lad mi­si na­mu­Sev­re­bi sa­qar­Tve­lo­Sic ifi­ne­ba.
qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi sa­Su­a­le­bas aZ­
levs dam­Tva­li­e­re­bels ukeT ga­ec­nos am mra­val­fe­ro­va­
ni av­to­ris Se­moq­me­de­bas.

70-ia­neb­Si irak­li far­ji­an­ i ga­moC­nda as­pa­rez­ze da ma­

Sin­ve mi­ip­yro xe­lov­ne­bis moy­va­rul­Ta yu­rad­Re­ba. na­
ad­re­vad gar­dac­vlil­ma ge­ni­a­lur­ma mxat­var­ma, xan­mok­
le cxov­re­bis mi­u­xe­da­vad, araC­ve­u­leb­ri­vi Se­moq­me­de­ba
dag­vi­to­va da si­coc­xle­Si­ve iq­ca le­gen­dad. er­Ti Se­xed­
vi­Tac Can­da, rom es iyo ta­lan­ti, ro­me­lic ara­vis hgav­
da. mxat­vris Se­moq­me­de­ba Jan­rob­ri­va­dac da Te­ma­tu­ri
Tval­saz­ri­si­Tac mra­val­fe­ro­va­nia, su­li­e­re­bi­T sav­se
da ma­ra­di­u­li Te­me­biT ga­je­re­bu­li. re­li­gi­u­ri Te­ma­ti­
ka ase Rrmad da yov­lis­mom­cve­lad Ta­na­med­ro­ve qar­Tul
mxat­vro­ba­Si ara­vis da­u­mu­Sa­ve­bia _ sa­ku­Ta­ri xe­liT ga­ uCa jafariZe.
da­we­ra da da­a­su­ra­Ta io­a­nes, ma­Tes, lu­ka­sa da mar­ko­zis veriko anjafariZis portreti. 1956.
sa­xa­re­ba. gan­sa­kuT­re­bu­li teq­no­lo­gi­iT Ta­vad­ve am­ qaRaldi, fanqari. 36,5X26,5
za­deb­da sa­Re­ba­vebs, rom­li­Tac Sem­deg uni­ka­lur na­mu­ UCHA JAPARIDZE.
Sev­rebs qmni­da. 1991 wlis 23 de­kem­bers, ro­ca Tbi­lis­Si PORTRAIT OF VERIKO ANJAPARIDZE.
sa­mo­qa­la­qo omi mZvin­va­reb­da, rus­Ta­vel­ze ki „mxat­vris 1956. PENCIL ON PAPER. 36,5X26,5
sax­li“ iw­vo­da, 41 wlis asak­Si gar­da­ic­va­la Ta­na­med­
ro­ve­o­bis erT-er­Ti yve­la­ze me­lan­qo­li­u­ri qar­Tve­li­

elguja amaSukeli
ELGUJA AMASHUKELI

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irakli suTiZe
IRAKLI SUTIDZE

Se­moq­me­di. mi­si na­mu­Sev­re­bis mniS­vne­lo­va­ni na­wi­li topics so deeply or comprehensively. He personally

qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­um­Sia war­mod­ge­ni­li. copied and illustrated the Gospels of John, Matthew,
Luke and Mark. He mixed paints using his own
go­gi Ca­ge­liS­vi­lis dar­baz­Si am­be­bi­viT na­xa­te­bia, emo­
technique to create unique paintings. On December
ci­a­sac rom aR­Zravs da in­te­res­sac: zam­Tris mo­ti­ve­bi,
23, 1991, when Tbilisi’s civil war was in full swing and
yva­ve­bi, laJ­var­do­va­ni zRva, kek­lu­ci qal­ba­to­ne­bi...
the Artist’s House was burning on Rustaveli Avenue,
es Sem­Txve­vi­Ti ar aris _ mxat­vars ka­la­mic fun­ji­viT
one of the most melancholic Georgian artists of our
kar­gad uW­ris. 2015 wels mis­ma pro­za­ul­ma kre­bul­ma
time passed away at the tender age of 41. A bulk of his
„mxat­va­ri“ li­te­ra­tu­ru­li pre­mia „sa­ba“ da­im­sa­xu­ra.
yve­las ar Se­uZ­lia am­ba­vi fe­ri­Tac kar­gad moh­yves da works is represented today at the Georgian Museum
sit­yvi­Tac, ami­to­ma­caa mi­si eq­spo­zi­cia ase mim­zid­ve­li. of Fine Arts.

xat­va da we­ra TiT­qmis er­Tdro­u­lad da­iw­yo, Tum­ca The paintings in Gogi Chagelishvili’s hall are like
aRi­a­re­ba mxat­vro­bam mo­u­ta­na. amis mi­u­xe­da­vad, ka­la­mi stories that give rise to both emotions and interest:
xe­li­dan ar ga­ug­dia. oT­xi wlis win, ro­de­sac „mag­Ti­ winter motifs, ravens, azure sea and coquettes… It is
kom­ma“ mi­si wig­ni-al­bo­mi ga­mos­ca, Se­sa­va­li we­ri­li Ta­ no coincidence because the artist is equally good with
vad­ve da­we­ra, sa­dac bevr sa­in­te­re­so am­bavs ix­se­nebs. both the pen and the brush. In 2015, his collection of
prose “The Artist” was awarded the literary prize Saba.
ta­to axal­ka­ciS­vi­li erT-er­Tia im axal­gaz­rda Se­ Not everyone can tell a story in both color and word,
moq­med­Ta­gan, rom­lis na­mu­Sev­re­bi mu­ze­um­Sia war­mod­ which is why his exposition is so exciting.
ge­ni­li. in­di­vi­du­a­lu­ri sti­li­sa da xel­we­ris mqo­ne
xe­lo­van­ma ga­mo­Ce­nis­Ta­na­ve mi­ip­yro sa­zo­ga­do­eb
­ is He started painting and writing almost at the same
yu­rad­Re­ba. mi­si na­xa­te­bi msof­li­os sxva­das­xva kuT­ time, though it was painting that catapulted him to
xe­Si ifi­ne­ba, da­cu­lia ara­erT ker­Zo Tu sa­mu­ze­u­mo­ fame. Still, he never quit writing. In the foreword to his
ko­leq­ci­a­Si. mxat­vris Ses­ru­le­bis ma­ne­ra sru­li­ picture book published by MagtiCom four years ago,
ad ga­mor­Ce­u­lia. na­mu­Sev­reb­Si cxa­dad Cans mxat­vris­ he reminisced about a number of interesting events.

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gan­sxva­ve­bu­li az­rov­ne­ba, ra­sac Ta­vi­se­bu­ri pe­wi

Se­mo­aqvs sa­mu­ze­u­mo siv­rce­Si.

ga­mor­Ce­u­li au­ra aqvs irak­li su­Ti­Ze­sac, oRond

sul sxva mi­mar­Tu­le­biT. zRap­re­bi­dan gad­mo­su­
lebs hgva­nan mi­si per­so­na­Je­bi. rom ara uca­be­dad
ga­el­ve­bu­li „ku­kuS­ka“ ma­ta­re­be­li, ggo­nia, ara­
re­a­lur sam­ya­ro­Si aR­moC­ndi. ti­lo­eb­ze cxo­ve­le­
bis sim­rav­lis mi­u­xe­da­vad, Tavs ani­ma­list mxat­
vrad ar mi­iC­nevs. ar uy­vars Car­Co­e­biT az­rov­ne­ba.
iS­vi­aT
­ ad xa­tavs por­tre­tebs da ar uy­vars na­tu­
ris ga­mo­ye­ne­ba. uy­vars sa­xa­re­bis Te­ma­ti­ka, Tum­
ca aqac ori­gi­na­lu­ria: sa­xe­da­ri, ori Tev­zi, xu­Ti
pu­ri... es mi­si Tva­liT da­na­xu­li re­li­gi­u­ri mo­ti­
ve­bia, ro­mel­Ta nax­vas mxat­vris sxva ti­lo­eb­Tan
er­Tad sagamofeno darbazSi SeZ­lebT.

Zal­ze ni­San­dob­li­via mu­ze­um­Si ga­mo­fe­ni­li mxat­

va­ri qa­le­bis, gan­sa­kuT­re­biT uf­ro­si Ta­o­bis
war­mo­mad­ge­nel­Ta eq­spo­zi­cia. cal­ke dar­ba­zi
aqvs araC­ve­u­leb­riv por­tre­tists qe­Te­van ma­Ra­
laS­vils. mu­ze­um­Si ixi­lavT ana Sa­li­kaS­vi­lis,­
na­ta­lia fa­la­van­diS­vi­lis, ga­i­a­ne xa­Ca­tu­ri­an­ is
Se­moq­me­de­bas. axal Ta­o­ba­Si mxat­va­ri qa­le­bi sul

naTela ianqoSvili. maria baueris portreti.

1965. tilo, zeTi. 175X111
NATELA IANQOSHVILI. PORTRAIT OF MARIA BAUER.
1965. OIL ON CANVAS. 175X111

Tato Akhalkatsishvili is one of the younger artists exhibited

in the museum. With his individual style and signature
approach, he quickly drew public attention. His paintings
are featured throughout the world and preserved in
numerous private or museum collections. His artistic style
is absolutely extraordinary. His works are indicative of the
author’s different thinking, which enriches the museum’s
environment with special charm.

Irakli Sutidze also has an unmistakable aura about him,

though in a completely different way. His characters would
seem to have stepped out of fairytales and if it were not
eduard Saxnazarovi. kankani. 2014. tonirebuli for the kukushka train appearing out of nowhere and
TiTberi, movercxlili marmarilo. 73,5X37X45 motoring by, one would imagine being in a wonderland.
EDUARD SHAKHNAZAROV. CANCAN. 2014. DARKENED BRASS, Despite the numerous animals featured in his works, he
SILVER-PLATED MARBLE. 73,5X37X45 does not consider himself an animalist. He hates thinking

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uf­ro met­ni da ma­ma­ka­ceb­ze ara­nak­leb war­ma­te­bul­nic ari­an, inside the box. He rarely paints portraits
Tum­ca im epo­qa­Si, ro­de­sac mxat­vro­ba, mwer­lo­ba da zo­ga­dad, and hates working with art models. He
xe­lov­ne­bis in­te­leq­tu­a­lu­ri na­wi­li „Zli­e­ri sqe­sis“ saq­med mi­ loves Gospel themes, but even here he
iC­ne­o­da, nak­le­bad Can­dnen. ma­Ti kvle­va da po­pu­la­ri­za­cia mo­ is original: a donkey, two fish, five loaves
mav­lis saq­mea, ra­Sic aq war­mod­ge­ni­li na­mu­Sev­re­bic da­ex­ma­re­ba
of bread… This is how he perceives
xe­lov­ne­baT­mcod­ne­ebs.
religious motifs, which are displayed in
mu­ze­um­Si ki­dev er­Ti mniS­vne­lo­va­ni qa­li mxat­vris, na­Te­la ian­ one of the exhibition halls along with
qoS­vi­lis ram­de­ni­me ti­lo­sac ixi­lavT. „fi­ros­ma­nis su­li­er mem­ the artist’s other works.
kvid­res“ da „mo­mav­lis mxat­vars,“ ro­gorc mas uwo­de­ben, wels
da­ba­de­bi­dan 100 we­li Se­us­rul­de­bo­da. mar­Ta­lia, mi­si Se­moq­me­ The exposition of the works by
de­ba Se­da­re­biT mok­rZa­le­bu­la­daa war­mod­ge­ni­li, Tum­ca es mci­ women, especially those of elder
re­dic sak­ma­ri­sia mi­si si­di­a­dis Se­sag­rZno­bad. generations, is of utmost importance.
mTe­li dar­ba­zi eT­mo­ba ga­sa­o­car es­ma oni­ans. ga­mor­Ce­u­lia mi­si An individual hall has been allocated
eq­spo­zi­cia, ro­me­lic um­Zaf­re­si emo­ci­iT agav­sebT. da­bin­du­li to Ketevan Maghalashvili, an excellent
Sin­di­sa da qli­a­vis­fe­ri to­ne­bi, mis fer­Ta pa­lit­ras rom gan­ portraitist. The museum also features
saz­Rvravs, ula­ma­zes sa­na­xa­o­bas qmnis da mnax­vels Ses­vlis­Ta­na­ paintings by Ana Shalikashvili,
ve nus­xavs. Se­da­re­biT axa­li Ta­o­bi­dan war­mod­ge­ni­lia eka­te­ri­ne Natalia Palavandishvili and Gaiane
abu­la­Zis, ia ar­se­niS­vi­li­sa da qe­Ti dav­li­a­ni­Zis ti­lo­e­bi. Khachaturian. Younger female artists
ar Se­iZ­le­ba ar vax­se­noT le­gen­da­ru­li Tbi­li­se­li mxat­vre­bi are greater in number and they are
_ ser­go fa­ra­ja­no­vi, al­bert dil­ba­ri­a­ni da lev ba­i­ax­Ce­vi, ro­ just as successful as men. Back when
mel­Ta Se­moq­me­de­ba swo­red qar­Tu­li kul­tu­ri­Taa na­saz­rdo­ painting, writing and the intellectual
e­bi. mu­ze­um­Si da­cu­li ma­Ti na­mu­Sev­re­bi, mci­re­ric­xov­no­bis­ aspect of art were considered the job
mi­u­xe­da­vad, Zal­ze ko­lo­ri­tu­lia da kar­gad asa­xavs Ti­To­eu ­ ­lis of “the strong gender”, they were not
ori­gi­na­lur stils da in­di­vi­du­a­lo­bas. as visible, though. Researching and
promoting their lives and works has
yet to be carried out and the museum’s
exhibits will surely help art historians
and experts to this end.

The museum also displays several

paintings by yet another important
female artist, Natela Iankoshvili. Praised
as “Pirosmani’s spiritual heiress” and
“the artist of the future” she would
have turned 100 this year. Although
her exposition is relatively modest,
it is sufficient enough to prove her
greatness.

An entire hall is dedicated to the

amazing Esma Oniani. Her extraordinary
exposition conveys the most intense
emotions. Ripe dogwood and plum
tones, which define her color palette,
create the most mesmerizing and
enchanting sights. Among relatively
younger women artists exhibited in
the museum, we should single out
gaiane xaCaturiani. iluzionistis daxli. 1994. tilo, zeTi. 44X47,5 Ekaterine Abuladze, Ia Arsenishvili and
GAYANE KHACHATURIAN. MAGICIAN’S STAND. 1994. OIL ON CANVAS. 44X47,5 Keti Davlianidze.

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esma oniani. deda krepdeSinis kabiT. 1987. tilo, zeTi. 120X110

ESMA ONIANI. MOTHER IN A CREPE DE CHINE DRESS. 1987. OIL ON CANVAS. 120X110

mci­re­ric­xo­va­ni, mag­ram mniS­vne­lo­va­nia qan­da­ke­ We absolutely must remember Sergo Parajanov, Albert
bi­sa da skul­ptu­ris ko­leq­ci­ac. el­gu­ja ama­Su­ke­ Dilbaryan and Lev Bayakhchev, legendary Tbilisi painters
li da mi­si mo­nu­men­tu­ri na­mu­Sev­re­bi „qar­Tvlis whose works are nourished by Georgian culture. Their
de­da“ da vax­tang gor­gas­lis Zeg­li kar­ga xa­nia works preserved in the museum, though small in number,
Tbi­li­sis is­to­ri­is na­wi­lia. mu­ze­um­Si mi­si Se­moq­ are very colorful and best illustrate the original styles and
me­de­ba ram­de­ni­me Se­da­re­biT mom­cro skul­ptu­ri­ individuality of their creators.
Taa war­mod­ge­ni­li, ro­mel­Ta­gan ori _ hol­Si, da­
nar­Ce­ne­bi dar­baz­Sia. Equally small but nonetheless important is the collection
of statues and sculptures. Elguja Amashukeli and his
mu­ze­u­mis ho­li­dan iw­ye­ba da sa­ga­mo­fe­no siv­rce­Si
monumental works like Kartvlis Deda (The Mother of
grZel­de­ba ga­mor­Ce­u­li Ta­na­med­ro­ve xe­lo­va­nis,
ge­no za­qa­ra­i­as eq­spo­zi­ci­a. es aris araC­ve­u­leb­ri­ the Georgians) and the Statue of Vakhtang Gorgasali
vi ma­ga­li­Ti, ro­gor Se­iZ­le­ba for­mis „da­na­wev­re­ have long turned into parts of the history of Tbilisi. The
biT“ gad­mos­ce sag­nis ar­si da mTli­a­no­ba. museum showcases his relatively smaller sculptures, two
of which can be seen in the vestibule and the others in
Zal­ze efeq­tu­ria da­viT mo­na­var­di­saS­vi­lis rki­ the exhibition hall. Similarly, the exposition of exceptional
nis, tya­vi­sa da qso­vi­lis kom­bi­na­ci­iT dam­za­de­bu­li contemporary artist Geno Zakaraia starts in the vestibule

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and continues in the exhibition space. It is an

excellent example of conveying the essence and
wholeness of matter by “dismembering” its form.

Very effective are Davit Monavardisashvili’s

armchairs made with a combination of iron, leather
and fabric, of which I would personally single out
the “Jester” armchair. There is also “Judas” gazing into
infinity and holding thirty pieces of silver in an iron
sack. For years, Davit Monavardisashvili has worked
in the area of theatrical scenic painting, which
must explain his fascination with mixing different
materials. His exhibits reveal the artist’s original
vision, artistic intellect and top skills. The totally
different sculptures by Davit Mindorashvili and
Eduard Shakhnazarov enchant with the lyricism of
their content and refined forms. Their brass, copper
and marble figures of women are indicative of the
sculptors’ elegant technique and incredible style.

What I have just related is only a fraction of the

magical realm found in the museum. Alas, there is
no more time and space to talk about many other
important artists. By the way, it is intriguing and
motivating in a way – you never know whom or
what you may find in this unbelievable place. In a
nutshell, you are in for great delight, the delight of
the first visit and first discoveries. As for me, I know
ia arseniSvili. usaTauro. 2005. tilo, zeTi. 90X70
that I will be a frequent guest here.
IA ARSENISHVILI. UNTITLED. 2005. OIL ON CANVAS. 90X70

sa­var­Zle­bi, ro­mel­Ta­gan pi­ra­dad

me „mas­xa­ras“ ga­mo­var­Cev­di. aq­vea
„iu­dac“, usas­ru­lo­bis­ken mi­mar­Tu­
li mze­ri­Ta da rki­nis qi­sa­Si ga­mok­
ru­li oc­da­a­Ti ver­cxliT. da­viT
mo­na­var­di­saS­vi­li wle­bia Te­at­ris
mxat­vro­ba­Si mu­Sa­obs da sxva­das­xva
ma­sa­liT da­in­te­re­se­bac am Te­mas
ukav­Sir­de­ba. mis mi­er Se­s­ru­le­bu­
li eq­spo­na­te­bi ori­gi­na­lu­ri xed­
vis, mxat­vris in­te­leq­ti­sa da os­ta­
to­bis ma­ga­li­Tia.

sru­li­ad gan­sxva­ve­bu­lia da­viT

min­do­raS­vi­li­sa da edu­ard Sax­­
na­za­ro­vis skul­ptu­re­bi, rom­le­
bic Si­na­ar­sis li­ri­ku­lo­bi­Ta da
for­mis dax­ve­wi­lo­biT gvxib­lavs.­
TiT­be­ris, spi­len­Zi­sa da mar­ma­ri­
los­gan Ses­ru­le­bul qa­lis fi­gu­
reb­Si dax­ve­wi­li teq­ni­ka da sa­o­ca­
ri si­na­ti­fe ig­rZno­ba.

tato axalkaciSvili. „BORN IN…“ 2013. tilo, zeTi, kolaJi. 100X100

TATO AKHALKATSISHVILI. „BORN IN…“ 2013. COLLAGE, OIL ON CANVAS. 100 X 100
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3(79)2018 \\ THE WORLD OF CONSTANT CONNECTION

is, ris Se­sa­xe­bac aq gi­

am­beT, mu­ze­um­Si war­
mod­ge­ni­li „zRap­ris“
mxo­lod na­wi­lia. ki­dev
bevr mniS­vne­lo­van xe­
lo­van­ze sa­sa­ub­rod
dro da ad­gi­li aRar
dag­vrCa. sxva­Ta So­ris,
es er­Tgva­ri in­tri­ga­
caa da sti­mu­lic _ ki­
dev vin dag­xvde­baT da
vis aR­mo­a­CenT am ara­
C­ve­u­leb­riv ga­re­mo­Si.
er­Ti sit­yviT, Tqven win
di­di si­a­mov­ne­ba ge­lo­
de­baT _ pir­ve­li nax­vi­sa
da pir­ve­li aR­mo­Ce­ne­
bis, me ki, zus­tad vi­ci,
rom am siv­rcis xSi­ri
stu­ma­ri viq­ne­bi.

ekaterine abulaZe. antenis galaqtikebi _ NGC 4038 da NGC 4039

2013. muyao, akrili. 70X100
EKATERINE ABULADZE. THE ANTENNAE GALAXIES – NGC 4038 AND NGC 4039.
2013. ACRYLIC ON CARDBOARD. 70X100

daviT monavardisaSvili. masxara. 2007. rkina, feradi liToni, qsovili, tyavi. 120X85X80
DAVID MONAVARDISASHVILI. CLOWN. 2007. IRON, FERROUS METAL, FABRIC, LEATHER. 120X85X80
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sam­ka­li fri­ad ars The Harvest Is Plentiful

ro­gorc vva­ra­u­dob­di, eq­spo­zi­ci­is srul­yo­fi­lad As I expected, one day proved to be insufficient to
daT­va­li­e­re­bis­Tvis er­Ti dRe sak­ma­ri­si ar aR­moC­nda. view the whole exhibition. For my next visit, I joined
me­o­re jer­ze xe­lov­ne­baT­mcod­ne­e­bis jgufs Se­vu­er­
a group of experts in art studies who scrutinized all
Tdi, ro­mel­Tac di­di in­te­re­siT Se­mo­i­a­res sa­mi­ve sar­
Tu­li. tu­ris das­ru­le­bis Sem­deg STa­beW­di­le­beb­ze three floors with immense interest. After the tour, we
sa­sa­ub­rod Ta­na­med­ro­ve stil­Si ga­daw­yve­til, myud­ discussed our impressions in a modern-style, cozy
ro da ori­gi­na­lur TeTr ka­fe „mu­ze­ums“ ves­tum­reT. and original white café named Museum.

da­viT an­dri­a­Ze­ DAVID ANDRIADZE

fi­lo­so­fi­is mec­ni­e­re­ba­Ta doq­to­ri PhD in Philosophy

Ce­mi Ta­o­bis xe­lov­ne­baT­mcod­ne­e­bi „mxat­vris sax­lSi“ My generation of art historians and critics was raised
varT gaz­rdil­ni da vic­nobT am at­mos­fe­ros, Tum­ca in the Artist’s House and we are familiar with this
ba­na­lu­ri viq­ne­bi da vit­yvi, rom na­nax­ma yo­vel­gvar environment. Though it may sound very clichéd,
mo­lo­dins ga­da­a­War­ba. gia jox­Ta­be­ri­Zis sa­xe­li kar­ but I will still say that what I saw exceeded all my
ga xa­nia ga­nu­yo­fe­lia Ta­na­med­ro­ve qar­Tu­li mxat­vro­ expectations. Gia Jokhtaberidze’s name has long
bis­gan. man uk­ve ga­a­ke­Ta uzar­ma­za­ri saq­me _ iq­ne­ba es been inseparable from contemporary Georgian
mxat­var­Ta ka­ta­lo­ge­bi Tu sa­mu­ze­u­mo siv­rce. uam­ra­vi painting. He has already accomplished a great feat,
Ce­mi ko­le­ga Ca­mo­di­o­da sa­qar­Tve­lo­Si da ar gvqon­da be it the publication of artists’ picture books or
Se­saZ­leb­lo­ba, maT­Tvis Ta­na­med­ro­ve qar­Tu­li mxat­ the establishment of an exhibition space. Many of
vro­ba gveC­ve­ne­bi­na. yve­las sa­xe­los­no­Si xom ver ata­ my colleagues would come to visit and we had no
reb? ax­la ki gaC­nda mSve­ni­e­ri ad­gi­li, sa­dac qar­Tu­li opportunity to introduce them to contemporary
mxat­vro­bis sa­u­ke­Te­so ni­mu­Se­bia Tav­moy­ri­li da Ta­na­ Georgian painting. You cannot go visiting workshop
med­ro­ve mu­ze­u­mis moT­xov­neb­sac ak­ma­yo­fi­lebs. kar­ by workshop, can you? But now we have an excellent
gia, rom da­cu­lia is­to­riz­mis prin­ci­pi, war­mod­ge­ni­ place that brings together the best examples of
lia cno­bi­li mxat­vre­bis sa­i­mi­jo na­mu­Sev­re­bi da is na­ Georgian painting, one that meets every requirement
xa­te­bi, rac maT stils ga­na­pi­ro­bebs. gan­sa­kuT­re­biT, of a modern museum. It is commendable that the
80-ia­ne­bis xe­lo­va­nebs vgu­lis­xmob _ irak­li far­ji­ans, principle of chronology is observed and that the

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go­gi Ca­ge­liS­vils, le­van la­Ri­Zes, irak­li su­Ti­Zes... signature works defining the style of one artist or
dRes ma­Ti ti­lo­e­bi gab­ne­u­lia da sur­vi­lis mi­u­xe­da­ another are exhibited, especially when it comes to the
vad, ver­sad na­xav. aq ki sa­u­ke­Te­so eq­spo­na­te­bia da­ 1980s, I mean Irakli Parjiani, Gogi Chagelishvili, Levan
cu­li. Laghidze, Irakli Sutidze and others. Today their works
are scattered in different places and you cannot see
am siv­rces gan­vi­Ta­re­bis kar­gi per­speq­ti­va aqvs, them all no matter how hard you try. Here, on the other
mSve­ni­er­ i ba­zaa amis­Tvis. rac mTa­va­ria, ar­se­bobs hand, you can enjoy their best works under one roof.
fon­de­bi, rom­le­bic cvli­le­be­bis Se­saZ­leb­lo­bas
iZ­le­va. ko­leq­ci­e­bis ga­nax­le­bi­sa da ro­ta­ci­is prin­ This space has good development prospects. It has
ci­pi Zal­ze mniS­vne­lo­va­nia, rad­gan mu­ze­u­mi coc­xa­ a solid foundation and, most importantly, there are
li or­ga­niz­mi un­da iyos _ moZ­ra­vi, mo­bi­lu­ri, di­ archives allowing for replenishing. The principle of
na­mi­ku­ri. am ga­ge­biT Ta­na­med­ro­ve mu­ze­u­mi Te­atrs updating and rotating collections is very important
hgavs, sa­dac mud­mi­vad ic­vle­ba „de­ko­ra­ci­eb ­ i.“ because a museum must be like a living body, moving,
mobile and dynamic. In the same vein, a contemporary
mu­ze­u­mis erT-er­Ti mTa­va­ri fun­qcia kul­tu­ro­lo­ museum is like a theater that constantly changes sets.
gi­ur-sa­gan­ma­naT­leb­lo saq­mi­an­ o­bac aris, rac sxva­
das­xva sa­xis kvle­vas iT­va­lis­wi­nebs. er­Tia ga­mo­fi­ One of the key functions of a museum involves cultural
no, me­o­re _ Se­is­wav­lo da ga­a­a­na­li­zo eq­spo­na­te­bi. studies and educational activities with different types
amis wi­na­pi­ro­ba uk­ve ar­se­bobs im mSve­ni­er
­ i wig­ne­bis of research. Exhibiting a work is one thing, but studying
sa­xiT, ra­sac „mag­Ti“ wle­bia ga­mos­cems. kar­gia, Tu and analyzing exhibits is something different. The
mu­ze­ums eq­ne­ba Ta­vi­si pe­ri­o­du­li ga­mo­ce­ma, sa­dac excellent books published by Magti for years make up
am saq­mis spe­ci­a­lis­te­bi im­sje­le­ben da sa­zo­ga­do­e­ a perfect precondition for that. Preferably, the museum
bas kvle­ve­bis Se­de­gebs wa­rud­ge­nen. should have its own periodical to allow relevant
specialists hold discussions and present to the public
dar­wmu­ne­bu­li var, mu­ze­u­mi de­da­qa­la­qis stum­re­ their findings.
bis erT-er­Ti say­va­re­li ad­gi­li gax­de­ba, gan­sa­kuT­
re­biT, xe­lov­ne­bis dam­fa­seb­le­bis. sxva­Ta So­ris, I am convinced that the museum will become one of the
dRes mec stu­ma­ri­viT vi­ya­vi, rad­gan axa­li Tva­ most favorite sights of the capital’s guests, especially
liT da­vi­na­xe es yve­la­fe­ri. pos­tsab­Wo­Ta qvey­neb­Si those appreciating art. By the way, today I am a visitor,
msgav­si siv­rce­eb
­ i ar­se­bobs, mag­ram Cve­ni mu­ze­u­mi too, because I am taking a fresh look at it all. There
mas­Sta­biT da xa­ris­xiT ga­mo­ir­Ce­va. Ta­ma­mad vit­yvi, are similar facilities in the post-Soviet environment,
rom ev­ro­pu­li do­ni­saa. ra ni­Sas da­i­ka­vebs, Sem­dgom­ but our museum is still an exception in terms of its

givi vaSakiZe
GIVI VASHAKIDZE
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Temo jafariZe
TEMO JAPARIDZE

gan­vi­Ta­re­ba­zea da­mo­ki­de­bu­li. ra­sak­vir­ve­lia scope and quality. I can state with all assuredness that it
(da asec un­da iyos), yve­la av­to­ri Ta­na­ba­ri xa­ is a European-level museum. Its individual niche depends
ris­xis ar aris, mag­ram Za­li­an me­si­a­mov­na, rom sxva on its further development. Needless to say – and it is
Tva­liT da­vi­na­xe ed­mond ka­lan­da­Ze, irak­li far­ only natural – every artist cannot meet the same quality
ji­a­ni, go­gi Ca­ge­liS­vi­li... mo­u­lod­ne­lo­bis efeq­ requirements, but it is very rewarding to have been able
ti iyo _ mi­u­xe­da­vad imi­sa, rom TiT­qos Ti­To­eu ­ ­li to look at works by Edmond Kalandadze, Irakli Parjiani,
na­mu­Se­va­ri ici, did siv­rce­Si am yve­la­fers sxvag­ Gogi Chagelishvili and others from a different angle. There
va­rad aRiq­vam. mar­Ta­lia, eq­spo­zi­ci­e­bi od­nav ga­ was the element of surprise. Even though you seem to be
dat­vir­Tu­lia, Tum­ca, ama­sac mo­ev­le­ba. mTa­va­ri familiar with every exhibit, seeing them all together in
uk­ve ga­ke­Te­bu­lia _ mu­ze­u­mi ar­se­bobs. da­nar­Ce­ni one enormous space gives a different perception. Yes, the
nel-ne­la da­ix­ve­we­ba. vi­me­dov­neb, ki­dev uf­ro Se­ expositions are slightly overloaded, but that is solvable,
iv­se­ba da gam­did­rde­ba ar­se­bu­li ko­leq­ci­e­bi. pi­
too. What really matters has already been accomplished,
ra­dad me ram­de­ni­me kar­gi mxat­va­ri da­mak­lda. si­
because the museum is already there. The rest will be taken
a­mov­ne­biT vi­xi­lav­di ser­go qo­bu­la­Zes, aleq­san­
care of step by step. I hope that the existing collections will
dre baJ­be­uq-me­li­qovs, Ta­mar aba­ke­li­as, so­so ga­
be further updated and enriched. I, for one, missed a few
baS­vils, pet­re bli­ot­kins, va­len­tin Ser­pi­lovs.
good artists. I would be delighted to see works by Sergo
ime­di maqvs, ko­leq­cia sta­li­nu­ri, pos­tsta­li­
Kobuladze, Alexandre Bazhbeuk-Melikov, Tamar Abakelia,
nu­ri, soc­re­a­liz­mis xe­lov­ne­bi­Tac gam­did­rde­
ba, ra­Ta uf­ro sru­li su­ra­Ti vi­xi­loT. mu­ze­ums Soso Gabashvili, Petre Bliotkin and Valentin Sherpilov. I
da­am­Sve­neb­da sce­nog­ra­fi­i­sa da ga­mo­ye­ne­biT-de­ hope that the collection will be enriched with pieces from
ko­ra­ti­u­li xe­lov­ne­bis ni­mu­Se­bic. dar­wmu­ne­bu­li Stalinist, post-Stalinist and socialist realism arts as well, so
var, ar­se­bul ko­leq­ci­ebs mo­ma­val­Si ise­Ti Ta­na­ that we may see a fuller picture. Examples of scenography
med­ro­ve mi­mar­Tu­le­be­bic Se­e­ma­te­ba, ro­go­ri­caa and applied arts would also benefit the museum. I have
kon­cep­tu­a­liz­mi, pos­ta­van­gar­di, an­der­gra­un­di. no doubt that the existing collections will be rejuvenated
ase rom, sam­ka­li fri­ad ars. by such directions as conceptualism, post-avant-garde,
underground… Thus, the harvest is plenteous.
bo­los min­da vTqva, rom mxat­vris Se­moq­me­de­bis
da­bi­na­ve­bis ori for­ma ar­se­bobs _ wig­ni da mu­ze­ In conclusion, there are two forms to store an artist’s
u­mi, me­ti ar mo­u­go­nia ka­cob­ri­o­bas. gia jox­Ta­be­ oeuvre: a book and a museum. This is all humankind has
ri­Ze ori­ve saq­me­saa Se­Wi­de­bu­li. war­ma­te­bas vu­ invented. Gia Jokhtaberidze is fighting in both directions
sur­veb! and I wish him success.

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iri­ne abe­sa­Ze­ IRINE ABESADZE

xe­lov­ne­baT­mcod­ne­o­bis doq­to­ri PhD in Art Studies

sa­qar­Tve­los kul­tu­rul cxov­re­ba­Si me­tad mniS­vne­ The foundation has been laid for an extremely
lo­van mov­le­nas _ Ta­na­med­ro­ve sax­vi­Ti xe­lov­ne­bis mu­ important event in Georgia’s cultural life, the
ze­u­mis Seq­mnas Ca­e­ya­ra sa­fuZ­ve­li. sul ma­le qar­Tul establishment of the museum of contemporary
sa­zo­ga­do­e­bas da sa­qar­Tve­lo­Si Ca­mo­sul stum­rebs sa­ visual arts. Very soon, Georgian society and the
Su­a­le­ba eq­ne­baT Tva­li ga­a­dev­non bo­lo 70 wlis gan­mav­ country’s visitors will have an opportunity to
lo­ba­Si sax­vi­Ti xe­lov­ne­bis sxva­das­xva dar­gis gan­vi­Ta­ trace the development of different art branches
re­bis pro­ce­sebs. swo­red ama­ze oc­ne­bob­da sa­qar­Tve­ in the past 70 years. This was the dream of Dimitri
lo­Si sa­mu­ze­u­mo saq­mis fu­Zem­de­be­li di­mit­ri Se­var­ Shevardnadze, the founder of the museum
dna­Ze. „xal­xis mtrad“ Se­rac­xu­li kul­tur­tre­ge­ris am industry in Georgia. This initiative by this champion
wa­mow­ye­bas sab­Wo­Ta re­Ji­mis pi­ro­beb­Si ax­de­na ar ewe­ra, of culture who was labeled as “a public enemy”
dRes ki Ta­na­med­ro­ve sax­vi­Ti xe­lov­ne­bis mu­ze­u­mis dam­ was doomed to fail under Soviet rule. Today,
fuZ­neb­le­bis, ma­na­na Se­var­dna­Zis da gia jox­Ta­be­ri­Zis however, through the efforts of the founders of
Za­lis­xme­viT es saS­vi­liS­vi­lo saq­me re­a­lo­bad iq­ca. ma­ the museum of contemporary visual arts, Manana
Ti oja­xis ker­Zo ko­leq­cia, ro­me­lic 80-mde mxat­vris Shevardnadze and Gia Jokhtaberidze, this worthy
3 500 ar­te­faqts mo­i­cavs, Ta­na­med­ro­ve msof­lio stan­ cause has become a reality. Their family’s private
dar­te­bis gaT­va­lis­wi­ne­biT age­bul sa­mu­ze­u­mo siv­rce­ collection, which includes almost 3,500 exhibits by
Si gan­Tav­sda, sa­dac yve­la pi­ro­baa eq­spo­na­te­bis usaf­ 80 artists, is now exhibited in a museum meeting
rTxo ar­se­bo­bis­Tvis. da­sa­fa­se­be­lia, rom es mdi­da­ri global standards and ensuring all conditions
ker­Zo ko­leq­cia oTx ke­del­Si ki ar aris ga­mo­ke­ti­li, for safe storage. Commendably, this rich private
2018 wlis seq­tem­bri­dan Ri­aa ne­bis­mi­er ­ i dam­Tva­li­e­reb­ collection is not stuck inside four walls, but will be
lis­Tvis. am mxriv, ar Se­iZ­le­ba ar gag­vax­sen­des so­lo­ available for everyone to see in September 2018.
mon da pe­gi gu­gen­ha­i­me­bis an nor­ton da nen­si do­je­bis This invariably reminds one of the contemporary
ko­leq­cia zi­mer­lis Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­um­Si. art collection put together by Solomon and

geno zaqaraia
mSvidobiani troa. 2017
graniti, brinjao
128X58X103
GENO ZAKARAIA
PEACEFUL TROY. 2017
GRANITE, BRONZE
128X58X103

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di­di xa­nia droa, Cven­Si ar­se­bul ker­Zo ko­leq­ci­eb­Tan Peggy Guggenheims or the Norton and Nancy
wvdo­mis uf­le­ba sa­yo­vel­Tao gax­des. qar­Tul siv­rce­Si Dodge collection at Zimmerli Art Museum. It is
amis pir­ve­li sa­u­ke­Te­so ma­ga­li­Ti Ta­na­med­ro­ve sax­vi­Ti long overdue to make our private collections
xe­lov­ne­bis mu­ze­u­mis Seq­mnis ini­ci­at­ o­reb­ma mog­vces. accessible to all. The initiators of the museum
mi­sa­sal­me­be­lia, rom maT arc SSm pir­Ta uf­le­be­bi da­ of contemporary visual arts have given the first
viw­ye­bi­aT da sa­ga­mo­fe­no dar­baz­Si ga­da­ad­gi­le­bis­Tvis perfect example in this regard in our country. We
adap­ti­re­bu­li ga­re­mo Seq­mnes. also welcome the fact that they took into account
the needs of persons with limited abilities by
eq­spo­zi­ci­is daT­va­li­e­re­bi­sas yu­rad­Re­bas iq­cevs is ga­ adopting the facility for their movement.
re­mo­e­ba, rom rCe­u­li qar­Tve­li mxat­vre­bi er­Ti an ori
na­war­mo­eb­ iT ki ar ari­an war­mod­ge­nil­ni, Ti­To­eu­ ­lis Se­ One striking detail of the exposition is that entire
moq­me­de­bas mTe­li dar­ba­zi an dar­ba­zis ke­de­li uWi­ravs. halls or walls are dedicated to renowned Georgian
Cven Tval­win sxva­das­xva Ta­o­bis, Zi­ri­Ta­dad 50-80-ia­ni artists, instead of displaying just a handful of their
wle­bis qar­Tu­li sax­vi­Ti xe­lov­ne­bis far­To pa­no­ra­ma works. We are becoming witnesses of a panoramic
Ca­iv­lis, rac sa­Su­a­le­bas gvaZ­levs, Tva­li mi­va­dev­noT view of the Georgian visual arts of the 1950s-1980s,
ama Tu im mxat­vris Se­moq­me­de­biT evo­lu­ci­as. amas­Tan, able to trace the evolution of one artist or another
is ten­den­ci­eb ­ ic da­vi­na­xoT, ra­Sic iw­rTo­bo­da qar­Tu­li and also to see the trends that forged Soviet
sab­Wo­Ta mo­der­niz­mi Tu pos­tmo­der­nis­tu­li mxat­vru­li Georgian modernism or postmodernism. It is
Zi­e­be­bi. mniS­vne­lo­va­nia isic, rom eq­spo­zi­ci­a­Si xe­lo­ equally significant that the exposition maintains
van­Ta gen­de­ru­li ba­lan­sic da­cu­lia. gender balance.
dRes­dRe­o­biT qvey­nis eko­no­mi­ku­ri vi­Ta­re­bis gaT­va­ Given the current economic situation in the
lis­wi­ne­biT, mxat­vre­bi­sa da zo­ga­dad, Se­moq­me­di ada­mi­a­ country, it is vitally important to artists and
ne­bis­Tvis sa­si­coc­xlod au­ci­le­be­lia im ti­pis ma­te­ri­a­ creative people in general to be able to count on
lu­ri da mo­ra­lu­ri mxar­da­We­ra, ra­sac qar­Tu­li sax­vi­Ti this type of material and moral support, which
xe­lov­ne­bis mu­ze­u­mis mes­ve­ur­Ta kul­tu­ru­li po­li­ti­ka is part of the policy pursued by the patrons of
iT­va­lis­wi­nebs. po­li­ti­ka, ro­me­lic mi­mar­Tu­lia ma­Ti Georgian Museum of Fine Arts, a policy that seeks
xel­Sew­yo­bi­sa da po­pu­la­ri­za­ci­is­ken. to foster and promote.

eduard Saxnazarovi
EDUARD SHAKHNAZAROV
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sam­son le­Ja­va­ SAMSON LEZHAVA

xe­lov­ne­baT­mcod­ne­o­bis doq­to­ri PhD in Art Studies

si­ax­le ara­vis­Tvi­saa, rom kul­tu­ris ga­re­Se eris It is common knowledge that, without culture, a
cno­bi­e­re­ba kvde­ba. kul­tu­ris gan­vi­Ta­re­ba­ze zrun­ nation’s self–consciousness dies out. Ensuring the
va sa­xel­mwi­fos pre­ro­ga­ti­vaa, Tum­ca dRes­dRe­o­biT development of culture falls within the purview of
am mi­mar­Tu­le­biT bev­ri ara­fe­ri keT­de­ba. Ta­na­med­ the state, but not much is being done in this direction
ro­ve xe­lov­ne­bis mu­ze­u­mis gax­sniT gia jox­Ta­be­ri­ nowadays. By opening a museum of contemporary
Zem gar­kve­ul­wi­lad sa­xel­mwi­fos fun­qcia it­vir­Ta art, Gia Jokhtaberidze, in a way, assumed the state’s
_ mxat­vro­ba­Si bevr ra­mes upat­ro­na da yve­las­Tvis function, becoming a patron of painting and making
xel­mi­saw­vdo­mi ga­xa­da. erov­nul mu­ze­um­Si dRes mxo­ it available to all. The National Museum currently
lod fi­ros­ma­ni, ka­ka­ba­Ze da gu­di­aS­vi­lia war­mod­ge­ displays only Pirosmani, Kakabadze and Gudiashvili.
ni­li. maT Sem­deg qar­Tul sax­viT xe­lov­ne­ba­Si bev­ri But much, unseen until recently, happened after them
ram mox­da, ra­sac ver­sad na­xavT. Ta­vis dro­ze am fun­ in Georgian visual arts. Back in the day, this role was
qci­as „mxat­vris sax­li“ as­ru­leb­da, ro­me­lic, sam­wu­ fulfilled by the Artist’s House which was destroyed,
xa­rod, ga­nad­gur­da. dRes gveZ­le­va Se­saZ­leb­lo­ba unfortunately. Today, we have an opportunity to see
Tval­naT­liv da­vi­na­xoT da Se­va­fa­soT bo­lo aT­wle­ for ourselves and evaluate the relevant processes that
u­leb­Si mim­di­na­re pro­ce­se­bi. have taken place over the past few decades.

yaraman quTaTelaZe
KARAMAN KUTATELADZE

qar­Tul sax­viT xe­lov­ne­bas Za­li­an di­di po­ten­ci­a­li Georgian visual arts have enormous potential. I am
aqvs. su­bi­eq­tu­ri ar viq­ne­bi, Tu vit­yvi, rom ev­ro­pu­ not being biased when I say that we have European–
li do­nis mxat­vre­bi gvyavs. is, rac mu­ze­um­Si vna­xe, level artists. What I saw in the museum is simply
araC­ve­u­leb­ri­via _ in­te­ri­er
­ iT daw­ye­bu­li ko­leq­ci­ spellbinding, from the interior to the collections. It is
e­bis CaT­vliT. er­Ti Se­xed­vi­Tac Cans, rom uzar­ma­za­ obvious that much effort has been invested.
ri Sro­maa Ca­de­bu­li.
This facility is also very important for educational
Za­li­an mniS­vne­lo­va­nia es siv­rce sa­gan­ma­naT­leb­ purposes, for both local residents and foreign visitors
lo Tval­saz­ri­si­Tac, ro­gorc ad­gi­lob­ri­vi, ase­ve­ alike. The museum’s guests will learn a lot about our

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mixeil erisTavi
MIKHEIL ERISTAVI

uc­xo­e­li stum­re­bis­Tvis. aq mo­su­li dam­Tva­li­e­re­be­ painting and culture in general, especially when
li bevr ra­mes Se­it­yobs Cve­ni mxat­vro­bi­sa da, zo­ga­dad, it comes to youth, because this museum is an
kul­tu­ris Se­sa­xeb. gan­sa­kuT­re­biT axal­gaz­rdo­bas vgu­ excellent opportunity for them to familiarize
lis­xmob _ maT­Tvis es mu­ze­u­mi Ta­na­med­ro­ve sax­viT xe­ themselves with contemporary visual arts.
lov­ne­bas­Tan zi­a­re­bis mSve­ni­er
­ i sa­Su­a­le­baa.
I absolutely must single out the independent
au­ci­leb­lad un­da aR­vniS­no da­mo­u­ki­de­be­li sa­ga­mo­fe­ exhibition space that, given its infrastructure and
no siv­rce, ro­me­lic, ar­se­bu­li in­fras­truq­tu­ris gaT­ scope, will surely become one of the most favorite
va­lis­wi­ne­biT, uTu­od gax­de­ba mxat­vre­bis erT-er­Ti venues frequented by artists. The museum’s
say­va­re­li ad­gi­li. mu­ze­u­mis in­te­ri­er­ ic mSve­niv­ra­daa interior is equally fascinating, meeting all modern
mow­yo­bi­li _ Ta­na­med­ro­ve stan­dar­te­bis Se­sa­ba­mi­sad, standards and unmatched throughout Georgia.
All this is a giant step toward the development of
rom­lis msgav­sic sa­qar­Tve­lo­Si ar me­gu­le­ba. es yve­la­
promotion of painting in Georgia. It is advisable
fe­ri Za­li­an di­di na­bi­jia mxat­vro­bis gan­vi­Ta­re­bi­sa da
to establish a professional panel to assist the
po­pu­la­ri­za­ci­is­Tvis. kar­gi iq­ne­ba, Se­iq­mnas pro­fe­si­o­
founders in the proper implementation of the
nal­Ta sab­Wo, ro­me­lic mu­ze­u­mis dam­fuZ­ne­bels swo­ri
museum’s policy. Importantly, the museum
sa­mu­ze­u­mo po­li­ti­kis war­mar­Tva­Si da­ex­ma­re­ba. mniS­vne­ must turn into a place full of life, carrying out
lo­va­nia, mu­ze­u­mi iq­ces coc­xal siv­rced _ imar­Te­bo­des educational projects, facilitating seminars and
sa­gan­ma­naT­leb­lo pro­eq­te­bi, se­mi­na­re­bi, kon­fe­ren­ci­ conferences, updating the collections and offering
e­bi; ax­lde­bo­des ko­leq­ci­e­bi, aq mo­sul dam­Tva­li­e­re­ differing activities to the museum’s guests. I hope
bels sTa­va­zob­dnen sxva­das­xva aq­ti­vo­bas. vi­me­dov­neb, that it will all come true and my hope is sustained
es yve­la­fe­ri asec iq­ne­ba. amis Tqmis sa­fuZ­vels maZ­levs by the incredible initial conditions the museum of
is araC­ve­u­leb­ri­vi sas­tar­to pi­ro­be­bi, rac Ta­na­med­ro­ contemporary art has ahead of its opening and
ve xe­lov­ne­bis mu­ze­ums gax­snis mo­men­tis­Tvis aqvs da ris further building on these conditions is what we,
gan­vi­Ta­re­ba­sac Cven, xe­lov­ne­baT­mcod­ne­e­bi vu­sur­vebT. art historians and experts, would love to see.

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na­na Ser­va­Si­Ze­ NANA SHERVASHIDZE

xe­lov­ne­baT­mcod­ne­o­bis doq­to­ri PhD in Art Studies

qar­Tul si­nam­dvi­le­Si msgav­si siv­rce­e­bi Spaces like this are quite problematic in Georgia, especially when it
di­di prob­le­maa, miT uf­ro _ Ta­na­med­ro­ comes to contemporary art. The creation of a museum of this level
ve xe­lov­ne­bis mi­mar­Tu­le­biT. am do­nis is a phenomenal event not only for art aficionados but also for all of
mu­ze­u­mis Seq­mna mxo­lod xe­lov­ne­bis mo­ Georgia. A country without a museum of contemporary art cannot
y­va­ru­le­bis­Tvis ki ara, mov­le­naa zo­ga­ succeed. Museums of this type have been operating in Armenia and
dad sa­qar­Tve­los­Tvis. qve­ya­na, ro­mel­ Azerbaijan, to say nothing of Europe. Today, we are joining this list.
sac ara aqvs Ta­na­med­ro­ve xe­lov­ne­bis Everyone interested in visual arts will be able to contemplate the
mu­ze­u­mi, war­ma­te­bu­lad ver Ca­iT­vle­ba. works of Georgian artists, become one with this culture, discover
ev­ro­pa­ze aRa­ra­fers vam­bob _ am­gva­ri and appreciate his or her roots and heritage, or just enjoy the beauty.
mu­ze­u­me­bi ram­de­ni­me we­lia som­xeT­sa da
azer­ba­i­jan­Sic ar­se­bobs. ami­e­ri­dan am I believe that, in a way, the museum will help mitigate the aggressive
Ca­mo­naT­vals Cvenc vu­er­Tde­biT. yve­las, vibe overwhelming our youth. It is impossible to see this beauty and
vi­sac sax­vi­Ti xe­lov­ne­ba ain­te­re­sebs, Se­ not to assuage your negative energy. The museum brings together
saZ­leb­lo­ba eq­ne­ba da­aT­va­li­e­ros qar­ excellent works. I have rarely seen a collection assembled with so
Tve­li mxat­vre­bis na­mu­Sev­re­bi, ezi­a­ros much effort, attention and thoughtfulness. This exposition has
am kul­tu­ras, ga­ac­no­bi­e­ros vin aris da enabled me to rediscover works by a number of artists. Some I saw
ri­si mem­kvid­rea, an­da, ub­ra­lod, dat­kbes from a brand new angle and this is another important aspect of the
mSve­ni­er
­ e­biT. museum’s role. Presently, experts in art studies and researchers are
unable to view paintings by many different artists, especially ones
vfiq­rob, mu­ze­u­mi gar­kve­ul­wi­lad im active after the 1950s. Archives have been shut down for years, but
ag­re­si­u­li mux­tis da­ba­lan­se­ba­sac Se­ here you have everything right before your eyes. Add to that an
uw­yobs xels, ro­me­lic War­ba­daa Cvens excellent working environment, which we, experts in art studies,
axal­gaz­rdeb­Si. war­mo­ud­ge­ne­lia na­xo miss so badly. This museum reaffirms that culture is Georgia’s most
es si­la­ma­ze da uar­yo­fi­Ti ener­gi­is­gan valuable capital and we can proudly present it to the whole world.
ar da­i­ca­lo. Za­li­an kar­gi na­mu­Sev­re­bia
Tav­moy­ri­li. ase­Ti ru­du­ne­biT, yu­rad­ I would like to thank Gia Jokhtaberidze for what he has done, from
Re­biT, ga­az­re­bu­lad Ser­Ce­u­li ko­leq­ the picture books featuring different artists to the establishment of
cia iS­vi­aT ­ ad mi­na­xavs. eq­spo­zi­ci­e­bis the museum. Georgia’s cultural policy has not seen such a carefully
daT­va­li­e­re­bi­sas xe­lax­la aR­mo­va­Ci­ne planned and prudently implemented project in a long time.
ara­er­Ti mxat­vris na­mu­Se­va­ri. zo­gi sul
sxvag­va­rad da­vi­na­xe. mu­ze­u­mis ro­li am
mxri­vac mniS­vne­lo­va­nia. dRes­dRe­o­biT
xe­lov­ne­baT­mcod­ne­ebs da mkvlev­rebs ara
aqvT Se­saZ­leb­lo­ba, da­aT­va­li­e­ron ama
Tu im mxat­vris, gan­sa­kuT­re­biT, 50-ia­ne­
bis Sem­dgo­mi pe­ri­o­dis na­xa­te­bi. fon­de­
bi wle­bis gan­mav­lo­ba­Si da­xu­ru­lia, aq ki
yve­la­fe­ri xe­lis­gul­ze devs, Ta­nac mSve­
ni­e­ri ga­re­moa mu­Sa­o­bis­Tvis, ra­sac di­di
xa­nia xe­lov­ne­baT­mcod­ne­e­bi mok­le­bul­ni
varT. es mu­ze­u­mi ki­dev er­Txel adas­tu­
rebs, rom yve­la­ze mniS­vne­lo­va­ni ka­pi­ta­
li, rac sa­qar­Tve­los aqvs da ri­Tac ama­
yad war­mo­va­CenT Cvens iden­to­bas msof­
li­o­Si _ swo­red kul­tu­raa.

min­da, mad­lo­ba ga­da­vu­xa­do gia jox­Ta­

be­ri­Zes imis­Tvis, rac ga­a­ke­Ta _ qar­Tve­
li mxat­vre­bis ka­ta­lo­ge­bi­dan daw­ye­bu­
li mu­ze­u­mis CaT­vliT. ase­Ti ga­az­re­bu­li
pro­eq­ti qar­Tu­li kul­tu­ris po­li­ti­ka­
Si kar­ga xa­nia ar gan­xor­ci­e­le­bu­la.

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odi­sev­sis dab­ru­ne­ba The Return of Odysseus

xe­lov­ne­baT­mcod­ne­e­bis az­ri sa­yu­rad­Re­boa, Tum­ca The opinions of experts in art studies are noteworthy,
ara­nak­leb mniS­vne­lo­va­nia, ras fiq­ro­ben mxat­vre­ but it is equally important to hear what artists
bi, ro­mel­Ta Se­moq­me­de­bis war­mo­sa­Ce­na­dac aSen­da themselves have to say – after all, the museum was built
es mu­ze­u­mi. to showcase their works.

ra­diS Tor­dia RADISH TORDIA

Cven­Tvis, mxat­vre­bis­Tvis, di­di tki­vi­li iyo sa­ As artists, we have been pained much by the absence
qar­Tve­lo­Si ase­Ti mu­ze­u­mis arar­se­bo­ba. uc­xo­e­li of a museum of this kind. A museum of contemporary
stum­re­bi da xe­lov­ne­baT­mcod­ne­e­bi pir­vel rig­Si, art is what foreign visitors and experts in art studies
Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­ums kiT­xu­lob­dnen. want to see first. Years ago, the Artist’s House used to
wle­bis win swo­red am ad­gil­ze id­ga „mxat­vris sax­ operate on this spot, but it was more of an exhibition
li“, mag­ram uf­ro sa­ga­mo­fe­no fun­qcia hqon­da _ es space, not a museum. I often visited the construction
ar iyo mu­ze­u­mi. mSe­neb­lo­bis pro­ces­Si xSi­rad miv­ site, just standing there and contemplating, dreaming
di­o­di, vi­de­qi da vu­yu­reb­di. vnat­rob­di, ne­tav das­ to live to see it open. I am happy that this day in my life
ru­le­bas mo­ves­wro-meT­qi. bed­ni­er ­ i var, rom es dRe has finally come.
dad­ga Cems cxov­re­ba­Si.
Gia Jokhtaberidze has preserved paintings by many
gia jox­Ta­be­ri­Zem bev­ri kar­gi mxat­vris na­xa­ti Se­ good artists for future generations, and he has saved
mo­u­na­xa mo­ma­val Ta­o­bebs, bev­ric _ ga­nad­gu­re­bas many others from destruction. The opening of the
ga­da­ar­Ci­na. mu­ze­u­mis gax­sna am yve­laf­ris dag­vir­ museum is his crowning achievement. We have known
gvi­ne­baa. Cven di­di xnis ur­Ti­er­To­ba gvaqvs. wle­bis each other for a long time. He came to my workshop
win mo­vi­da Cems sa­xe­los­no­Si, na­mu­Sev­re­bi da­aT­va­ years ago, saw my works, and took many for the
li­e­ra da mu­ze­u­mis­Tvis bev­ri ram wa­i­Ro. al­bo­mis museum. He even offered to publish a picture book. I
ga­ke­Te­bac Se­mom­Ta­va­za. am­de­ni na­xa­tis Se­Ze­nis Sem­ did not realize he could afford publishing a book after
deg wig­nis ga­mo­ce­ma­sac Tu mo­a­xer­xeb­da, aRar me­ buying so many of my paintings. Yet, next day, he came
go­na, mag­ram me­o­re dRes­ve mo­iy­va­na fo­tog­ra­fi, xe­ in the company of a photographer and an expert in art
lov­ne­baT­mcod­ne da araC­ve­u­leb­ri­vi wig­ni ga­mos­ca. studies, and then published an excellent book. I had
ori sa­nuk­va­ri oc­ne­ba mqon­da cxov­re­ba­Si _ al­bo­mi two lifetime dreams, a picture book and a museum,
da mu­ze­u­mi. gia jox­Ta­be­ri­Zem ori­ve amis­ru­la. mar­ and Gia Jokhtaberidze made them both come true, not
to me ki ara, bevr mxat­vars. arc ki vi­ci, mad­lo­ba just for me, but for many other artists. I am at a loss for
ro­gor ga­da­vu­xa­do. words to thank him.

radiS Tordia. mamlebi. 2009. tilo, zeTi. 70X90

RADISH TORDIA. ROOSTERS. 2009. OIL ON CANVAS. 70X90
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dimitri erisTavi. boSa qalebi. 1983. qaRaldi, akvareli. 48X56

DIMITRI ERISTAVI. GYPSY WOMEN. 1983. WATERCOLOR ON PAPER. 48X56

di­mit­ri eris­Ta­vi DIMITRI ERISTAVI

sa­qar­Tve­los po­e­te­bis qve­ya­nas eZa­xi­an, mag­ram mxat­ Georgia is called the land of poets, but we have
vre­bis qve­ya­nac aR­mov­CndiT. am mu­ze­um­ma, rom­lis proved to be a land of many artists, too. This long-
gax­sna­sac uam­ra­vi ada­mi­a­ni elo­da, dag­va­nax­va, ra sim­ awaited museum has showed us the riches we
did­res vflobT. possess.

wle­bis win saf­ran­geT­Si films vi­Reb­diT oTar io­ Years ago, we were making a movie together with
se­li­an­Tan er­Tad da Ta­vi­su­fal dros sul luv­rSi Otar Ioseliani in Paris, and I spent all my free time in
vi­ya­vi. min­da giT­xraT, Cvenc ara­nak­le­bi mxat­vre­bi the Louvre. I assure you that our painters are just as
gvyavs, rac ki­dev uf­ro kar­gad ga­moC­nda am ga­re­mo­Si. good, as evidenced even clearer in this museum. I like
Za­li­an mo­me­wo­na mu­ze­u­mis in­te­ri­er
­ i. Se­no­bac la­ma­zi the museum’s interior very much. The building is also
da Ta­na­med­ro­vea. mniS­vne­lo­va­nia isic, rom te­ri­to­ beautiful and modern. Importantly, it occupies the
ri­u­lad isev „mxat­vris sax­lis“ ad­gil­zea, ro­me­lic spot where the Artist’s House used to be and fell victim
wle­bis win Tbi­li­sis tra­gi­kul mov­le­nebs Se­e­wi­ra. to Tbilisi’s tragic events years ago. I am happy because
bed­ni­er­ i var, rom Ce­mi na­mu­Sev­re­bi swo­red am mu­ze­um­ my works will take up residence in this museum. I
Si da­i­debs bi­nas. Za­li­an mi­Wirs xol­me Ti­To­eu ­ l­Tan always find it hard parting with my paintings. I was
gan­So­re­ba. sa­oc­rad vRe­lav­di, ro­de­sac gia jox­Ta­be­ extremely anxious when Gia Jokhtaberidze came to
ri­Ze na­xa­te­bis wa­sa­Re­bad mo­di­o­da, mag­ram mu­ze­um­Si transport the paintings. Visiting the museum calmed
stum­ro­bam da­mam­Svi­da. vna­xe, ra araC­ve­u­leb­riv siv­ me down, though. I saw the incredible environment
rce­Si aR­moC­nda es yve­la­fe­ri. ax­la je­ri dam­Tva­li­e­ prepared for my works. Now it is up to the museum’s
re­bel­zea _ un­da ia­ron am Se­sa­niS­nav ga­re­mo­Si da dat­ visitors who should come to this excellent facility and
kbnen araC­vu­leb­ri­vi qar­Tu­li mxat­vro­biT. enjoy incredible Georgian paintings.

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le­van Wo­RoS­vi­li LEVAN CHOGHOSHVILI

qar­Tvel mxat­vrebs ase­Ti siv­rce Za­li­an gvak­lda. ro­ We, the Georgian artists, very much lacked a place
gor Se­iZ­le­ba XXI sa­u­ku­ne­Si kul­tu­rul ers ar hqon­des like this. How can a cultured nation not have a
Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­u­mi? mi­u­xe­da­vad imi­sa, museum of contemporary art in the 21st century?
rom Cven­Tan ga­mo­fe­nis mow­yo­ba ad­vi­lia, bo­lo dros Even though organizing an exhibition is easy in
am mi­mar­Tu­le­biT pro­ce­se­bi ga­i­yi­na. ime­di maqvs, mu­ Georgia, relevant processes in this direction seem
ze­u­mis gax­sna vi­Ta­re­bas sa­si­ke­Tod Sec­vlis. gaC­nda to have stagnated lately. I hope that the opening
ad­gi­li, sa­dac mud­miv­moq­me­d­Tan er­Tad moZ­ra­vi ga­mo­ of this museum will make a difference, serving as
fe­ne­bic ga­i­mar­Te­ba, mxat­vre­bi er­Tma­neTs Sex­vde­bi­an, a place where, along with permanent exhibitions,
STa­beW­di­le­bebs ga­u­zi­a­re­ben, si­ax­le­ebs Se­it­yo­ben. sa­ temporary expositions will be held, where artists will
er­Tod, Ta­na­med­ro­ve qar­Tul mxat­vro­ba­Si kar­ga xa­nia meet to share impressions and news. Generally, the
rTu­li vi­Ta­re­baa. xe­lo­va­nebs mxar­da­We­ra sWir­de­baT. situation with contemporary Georgian art has been
ga­Wir­ve­bis ga­mo Se­iZ­le­ba qvey­ni­dan bev­ri kar­gi eq­spo­ very challenging for quite some time. Artists need
na­ti ga­su­li­yo. am mu­ze­u­mis gax­sniT gia jox­Ta­be­ri­Zem support. Because of need, many good examples
saS­vi­liS­vi­lo saq­me ga­a­ke­Ta _ ara­er­Ti ni­Wi­e­ri mxat­ could be exported abroad. By opening this museum,
vris na­mu­Se­va­ri ga­da­ar­Ci­na. mniS­vne­lo­va­nia, rom es Gia Jokhtaberidze has accomplished a great feat for
pro­eq­ti ko­mer­ci­u­li miz­ne­biT ar gan­xor­ci­el ­ e­bu­la _ generations to come in that he has saved works by
qar­Tu­li mxat­vro­bis ga­da­sar­Ce­nad ga­keT­da. kar­gi iq­ many talented artists. Importantly, this project is not
ne­ba, Tu ar­se­bu­li ko­leq­cia sa­mo­mav­lod ki­dev uf­ro commercial; its goal is to save Georgian painting.
gam­did­re­ba, ro­gorc Se­da­re­biT Zve­li, ase­ve axa­li av­ Hopefully, the collection will grow further to include
to­re­bi­Tac. both relatively older and younger artists.

levan WoRoSvili. aragvis erisTav zurabis mkvleloba mefe Teimurazis mier. 2017.
muyao, kiris grunti, tempera, marmarilo, webo. 119X170
LEVAN CHOGOSHVILI. MURDER OF ZURAB ERISTAVI OF ARAGVI BY KING TEIMURAZ. 2017.
TEMPERA, LIME GROUND, MARBLE, GLUE ON CARDBOARD. 119X170
36 www.magticom.ge
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Temo gocaZe
TEMO GOTSADZE

Te­mo go­ca­Ze TEMO GOTSADZE

Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­u­mi ise­Ti­ve mas­Sta­bis The museum of contemporary art is an event as big
mov­le­naa, ro­gorc Ta­vis dro­ze _ sa­o­pe­ro Te­at­ris as the opening of the Opera House back in the day. It
gax­sna. war­mo­ud­gen­lad di­di mniS­vne­lo­bis faq­tia, is unimaginably big, given that Georgia did not have
imis gaT­va­lis­wi­ne­biT, rom mTe­li XX sa­u­ku­nis man­ a museum of this kind throughout the 20th century,
Zil­ze da XXI sa­u­ku­ne­Sic sa­qar­Tve­los ar hqo­nia ase­ and even in the 21st century. Gia Jokhtaberidze has
Ti mu­ze­u­mi. pe­ri­o­du­lad iyo gar­kve­u­li mcde­lo­ accomplished what the state has failed to do for
be­bi, imar­Te­bo­da mas­Sta­bu­ri ga­mo­fe­ne­bic, mag­ram years. He brought together contemporary Georgian
er­Tia ga­mo­fe­na, me­o­re _ mu­ze­u­mi, sa­dac es yve­la­fe­
painting and put it under one roof. There have been
ri mud­mi­vad da­i­debs bi­nas. dRes Ce­mi da bev­ri sxva
periodical attempts, with large-scale exhibitions
xe­lo­va­nis oc­ne­ba as­rul­da _ ada­mi­a­ne­bi na­xa­ven, ras
facilitated, but an exhibition is one thing and a
war­mo­ad­gens Ta­na­med­ro­ve qar­Tu­li sax­vi­Ti xe­lov­
museum is something very different, a place where it
ne­ba. mas­Sta­bu­ri sa­mu­Sao eliT ar­tkri­ti­ko­sebs da
xe­lov­ne­baT­mcod­ne­ebs, mxat­vre­bis­Tvis ki er­Tgva­ri all will be preserved permanently. Today my and many
sti­mu­lia Sem­dgo­mi gan­vi­Ta­re­bis­Tvis. ar Se­miZ­lia other artists’ dreams have come true, because people
ar vax­se­no ada­mi­an­ i, ro­mel­mac am saq­mes Za­li­an di­di will be able to see what contemporary Georgian art is
re­sur­se­bi, dro da ener­gia Se­a­lia daw­ye­bu­li qar­Tve­ about. Art critics and experts in art studies have much
li mxat­vre­bis araC­ve­u­leb­ri­vi al­bo­me­bis ga­mo­ce­mi­ work ahead, while artists will be motivated to develop
dan mu­ze­u­mis CaT­vliT. gia jox­Ta­be­ri­Zem mo­a­xer­xa further. I absolutely must mention the man who has
is, rac wle­bis gan­mav­lo­ba­Si ver SeZ­lo sa­xel­mwi­fom invested so many resources, time, and energy into this
_ erT siv­rce­Si ga­a­er­Ti­a­na Ta­na­med­ro­ve qar­Tu­li cause, from publishing picture books to building this
mxat­vro­ba. mad­lo­ba mas am yve­laf­ris­Tvis. museum. I am thankful to Gia Jokhtaberidze for it all.

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je­mal ku­xa­laS­vi­li JEMAL KUKHALASHVILI

Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­u­mi jer ki­dev sab­ A museum of contemporary art has worried and pained
Wo­Ta pe­ri­o­di­dan iyo qar­Tve­li mxat­vre­bis di­di artists greatly since the Soviet period. With the help of
sev­da da tki­vi­li. gia jox­Ta­be­ri­Zis dax­ma­re­biT es Gia Jokhtaberidze, this dream of ours has come true.
nat­vra ag­vis­rul­da. sa­gu­lis­xmoa, rom mxat­vro­ Notably, it was done out of love for painting, selflessly
bis siy­va­ru­liT, uan­ga­rod ga­keT­da es yve­la­fe­ri. and unconditionally. I am convinced that the city has
dar­wmu­ne­bu­li var, qa­laqs araC­ve­u­leb­ri­vi kul­ just acquired an incredible cultural and educational
tu­rul-sa­gan­ma­naT­leb­lo ke­ra Se­e­ma­te­ba _ er­Tna­ hub equally important to artists of all generations. What
i­rad mniS­vne­lo­va­ni yve­la Ta­o­bis Se­moq­me­dis­Tvis. matters most is that youth will return to art, and this is
rac mTa­va­ria, axal­gaz­rde­bi un­da mi­ub­run­dnen what the salvation of the soul, the triumph of the soul, is
xe­lov­ne­bas, swo­red ama­Sia su­lis xsna, su­lis dRe­ about. People line up to visit different famous museums
sas­wa­u­li. msof­li­os sxva­das­xva cno­bil mu­ze­um­Si
throughout the world, but here our exhibition visitors
ri­ge­bi dgas, Cven­Tan ki ga­mo­fe­neb­ze kan­ti­kun­tad
are few and far between despite the fact that our artists
da­dis mnax­ve­li. ara­da, ara­nak­le­bi xe­lo­va­ne­bi
are just as good.
gvyavs.
Overcoming the challenges of the 1990s and remaining
ga­su­li sa­u­ku­nis 90-ia­ne­bis sir­Tu­le­Ta ga­da­lax­
va, fun­ji­sa da sa­Re­ba­vis er­Tgu­le­ba Za­li­an mZi­me loyal to the brush and paint proved to be very difficult
aR­moC­nda Ce­mi Ta­o­bis­Tvis. Tve­o­biT mom­za­de­bul for my generation. Exhibitions would be prepared for
ga­mo­fe­nas asi­o­de ka­ci Tu na­xav­da ori kvi­ris gan­ months in advance to be visited only by a hundred or
mav­lo­ba­Si. aq sxva siv­rcea, sxva ga­qa­ne­ba, sxva mas­ so people within two whole weeks. Here, however, we
Sta­bi. mu­ze­um­Si war­mod­ge­ni­li xe­lo­va­ni mud­mi­vad have a different kind of space, a different scope. Artists
yu­rad­Re­bis cen­trSia, rac er­Tgva­ri sti­mu­lia exhibited in the museum are constantly in the spotlight,
gan­vi­Ta­re­bis­Tvis. which is an additional motivation for development.

mu­ze­u­mis gax­sniT uam­rav dam­Tva­li­e­re­bels mo­ By opening this museum, we will attract scores of
vi­zi­davT _ uc­xo­el­sac da qar­Tvel­sac. sa­a­mi­sod visitors, both foreigners and Georgians. All necessary
yve­la pi­ro­baa Seq­mni­li. mje­ra, Ta­na­med­ro­ve xe­ conditions are in place. I believe that the museum of
lov­ne­bis mu­ze­u­mi gax­de­ba qar­Tve­li mxat­vre­bis contemporary art will become Georgian painting’s
sa­vi­zi­to ba­ra­Ti msof­li­o­Si. calling card worldwide.

jemal kuxalaSvili. kinogadaRebisas. 1977. tilo, zeTi. 95X127

JEMAL KUKHALASHVILI. WHILE SHOOTING A MOVIE. 1977. OIL ON CANVAS. 95X127
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gia guguSvili. seriidan „mTvaris faza“. 2016. tilo, zeTi. 145X190

GIA GUGUSHVILI. FROM THE “LUNAR PHASE” SERIES. 2016. OIL ON CANVAS. 145X190

gia gu­guS­vi­li GIA GUGUSHVILI

Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­u­mi niS­navs, rom eri A museum of contemporary art is indicative of a
kul­tu­ru­lia. mxo­lod war­su­li tra­di­ci­eb ­ iT cxov­ cultured nation. Dwelling only on the traditions of
re­ba ara­fers gvar­gebs, mo­mav­lis­ke­nac un­da ga­vi­ old will do us no good. We must look ahead into the
xe­doT. mniS­vne­lo­va­nia, rom es yve­la­fe­ri dRes da future. Importantly, all this is being done today by the
im ada­mi­an­ is mi­er ga­keT­da, vi­si droc iyo kos­mos­Si. one who is ready to fly into outer space. My words may
Se­iZ­le­ba Ce­mi naT­qva­mi fan­tas­ma­go­ri­u­lad mo­geC­ sound phantasmagoric to many, but truth be told,
ve­noT, mag­ram asea. bev­rma ifiq­ra, bev­rma mo­i­wa­di­na, many have thought about it, many have wanted to do
mag­ram er­Tma ga­a­ke­Ta _ Ta­vis gun­dTan er­Tad. it, but he is the one who has actually done it, together
with his team.
Za­li­an mniS­vne­lo­va­nia am mu­ze­u­mis ar­se­bo­ba sa­qar­
Tve­los­Tvis. mi­si erT-er­Ti um­Tav­re­si fun­qci­aa The existence of this museum is very important to
far­Tod ga­Sa­los ar­se­bu­li speq­tri da mTel msof­ Georgia. One of its key functions is to expand the
li­os aC­ve­nos, ra xde­ba am wu­Tas sa­qar­Tve­lo­Si, ri­ existing spectrum and show the whole world what
Ti cxov­robs es eri, ra tra­di­ci­e­bi aqvs da ras un­da is happening in Georgia this very moment, what the
ve­lo­doT mis­gan mo­ma­val­Si. mu­ze­u­mis dam­sa­xu­re­ba nation lives and breathes, what traditions it holds, and
iq­ne­ba isic, rom xal­xi Se­da­re­biT uc­nob, Tum­ca Za­ what we should expect from it in the future. Another
li­an karg mxat­vrebs ga­ic­nobs. bed­ni­e­ri var, rom aq merit of the museum will lie in introducing relatively
war­mod­ge­nil av­tor­Ta So­ris aR­mov­Cndi. unknown but nonetheless good artists. I am happy to
be among those exhibited here.
ra Se­iZ­le­ba iyos mxat­vris yve­la­ze sa­nuk­va­ri oc­
ne­ba? ra­sak­vir­ve­lia, mu­ze­u­mi. or­ma­gad sa­si­xa­ru­ What is an artist’s most cherished dream? Of course,
loa, Tu mu­ze­u­mi Ta­na­med­ro­vea da mTe­li msof­li­os a museum. It is doubly rewarding if the museum is
Tval­sa­wi­er­Si eq­ce­va. mad­lo­ba amis­Tvis gia jox­Ta­ contemporary, in the spotlight of the whole world. I am
be­ri­Zes. thankful to Gia Jokhtaberidze for that.

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go­gi Ca­ge­liS­vi­li GOGI CHAGELISHVILI

sa­qar­Tve­lo­Si dRem­de ar gvqo­nia spe­ci­a­lu­rad mu­ So far, we have not had a building allocated specifically
ze­u­mis­Tvis gan­kuT­vni­li Se­no­ba, Tu ar Cav­TvliT for a museum in Georgia, except for the small museum
fi­ros­ma­nis pa­ta­ra mu­ze­ums mir­za­an­Si. gia jox­Ta­be­ of Pirosmani in Mirzaani. Gia Jokhtaberidze has
ri­Zem Za­li­an di­di saq­me ga­a­ke­Ta. jer er­Ti, da­kar­ accomplished a great deed. Firstly, he saved from loss
gvas da ga­nad­gu­re­bas ga­da­ar­Ci­na ara­er­Ti mxat­vris and destruction works by numerous artists. Secondly,
na­mu­Se­va­ri. me­o­rec, es yve­la­fe­ri Se­ag­ro­va da am he collected these paintings and placed them in this
araC­ve­u­leb­riv mu­ze­um­Si mo­u­ya­ra Ta­vi. Tbi­lis­Si incredible museum. A good exhibition hall has always
yo­vel­Tvis prob­le­ma iyo kar­gi sa­ga­mo­fe­no dar­ been a pain in the neck in Tbilisi. In addition, you
ba­zi. gar­da ami­sa, ver ga­mo­fen­di imas, rac Sen­Tvis could not showcase what you considered important.
iyo mniS­vne­lo­va­ni. sa­bed­ni­e­rod, dRes es sa­kiT­xi Fortunately, today this issue is pressing no more. I am
aq­tu­a­lu­ri aRar aris. dar­wmu­ne­bu­li var, mu­ze­u­mi sure that the museum will be one of the finest places
iq­ne­ba erT-er­Ti sa­u­ke­Te­so ad­gi­li xe­lov­ne­bis moy­ favored by art connoisseurs, where performances and
va­rul­TaT­vis, sa­dac ga­mo­fe­neb­Tan er­Tad per­for­ video art shows will be held alongside exhibitions, and
man­se­bi, vi­de­oa­ r­te­bic mo­ew­yo­ba da gaC­nde­ba kar­gi where a favorable environment for development will be
siv­rce gan­vi­Ta­re­bis­Tvis. ensured.

Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­u­mi mSve­ni­er

­ i sa­Su­a­ The museum of contemporary art is an excellent
le­baa imis sa­na­xa­vad, ra xde­bo­da im avad­sax­se­ne­be­li opportunity to see what was happening throughout
70 wlis gan­mav­lo­ba­Si. ro­gor mu­Sa­ob­dnen „rki­nis those infamous 70 years, how artists worked on this side
far­dis“ miR­ma mxat­vre­bi. ra mim­di­na­re­o­be­bi ar­ of the Iron Curtain, what directions were pursued, what
se­bob­da, ras krZa­lav­den, ra ifi­ne­bo­da da a.S. iyo was prohibited, what was exhibited, and so on. There
gar­kve­u­li Sez­Rud­ve­bi, iy­vnen soc­re­a­lis­ti mxat­ were restrictions, and there were socialist realism artists
vre­bic _ mkvle­var­TaT­vis dRes ma­Ti Se­moq­me­de­bac whose works remain relevant to researchers even today.
sa­in­te­re­soa.
Contemporary art develops in a number of different
Ta­na­med­ro­ve xe­lov­ne­ba sxva­das­xva mi­mar­Tu­le­biT directions. Performances have become more frequent
vi­Tar­de­ba, mxat­vro­ba­Si mom­rav­lda per­for­man­se­bi, in painting, but many things are misunderstood in
Tum­ca Cven­Tan bev­ri ram aras­wo­rad es­miT an e.w. „me­ our country, or imported “secondhand”. Among other
o­ra­di sa­xiT“ Ca­mo­aqvT. mu­ze­u­mi imi­Tac aris sa­in­ things, the museum is also interesting in that it displays
te­re­so, rom Ri­re­bu­li mxat­vro­baa war­mod­ge­ni­li. valuable painting. Some may like it very much, some
zogs me­tad mo­e­wo­ne­ba, zogs _ nak­le­bad, mag­ram mTa­ not as much, but what matters is that everything here is
va­ria, rom es yve­la­fe­ri xa­ris­xi­a­nia da nam­dvi­li. high quality and genuine.

gogi CageliSvili. Savi frinveli saRamos. 2002. tilo, zeTi. 60X73

GOGI CHAGELISHVILI. BLACK BIRD IN THE EVENING. 2002. OIL ON CANVAS. 60X73
40 www.magticom.ge
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Sal­va ma­tu­aS­vi­li SHALVA MATUASHVILI

bed­ni­er­ i var, rom mo­ves­wa­ri am I am happy to have lived to see this historic event, the opening of a museum of
is­to­ri­ul mo­ments _ sa­qar­Tve­ contemporary art in Georgia. I am enamored with both its concept and large–
lo­Si Ta­na­med­ro­ve xe­lov­ne­bis scale implementation. I believe that it will prove to be exceptional worldwide,
mu­ze­u­mis gax­snas. aR­frTo­va­ne­ not just regionally. It is not only my personal opinion. Many of those involved in
bu­li var ide­i­Tac da mi­si mas­ the area of art agree with it. It is a great honor for an artist to be exhibited in a
Sta­bu­ri gan­xor­ci­el­ e­bi­Tac. museum like this. I felt it especially intensely as I participated in the arrangement
mje­ra, pro­eq­ti ara mxolod of my own exposition. It was an incredible experience to look at your own works
from a totally different view.
re­gi­o­nuli, aramed msof­lio
mas­Sta­biTac ga­mor­Ce­u­li iq­ Years ago, the Artist’s House used to be where the museum is today. It had an
ne­ba. es mxo­lod Ce­mi az­ri ar artistic workshop where I worked at first and then assumed leadership. The best
gax­lavT, xe­lov­ne­bis sfe­ro­ time of my life is associated with this territory, which is why the establishment
Si moR­va­we ara­er­Ti ada­mi­a­nis of the museum is doubly important to me. I am happy that my works have
po­zi­ci­aa. Za­li­an di­di pa­ti­via ended up in this incredible environment. It feels like coming home.
mxat­vris­Tvis am mu­ze­u­mis ked­
leb­Si dam­kvid­re­ba. es mo­men­ti
ki­dev uf­ro me­tad ma­Sin Se­vig­
rZe­ni, ro­de­sac Ce­mi­ve eq­spo­zi­
ci­is aw­yo­ba­Si mi­vi­Re mo­na­wi­le­
o­ba. sa­o­ca­ri gan­cda iyo, sul
sxva Tva­liT Sev­xe­de sa­ku­Tar
Se­moq­me­de­bas.

wle­bis win mu­ze­u­mis ad­gi­las

„mxat­vris sax­li“ id­ga. iq iyo
Se­moq­me­de­bi­Ti sa­xe­los­no, sa­
dac jer vmu­Sa­ob­di, Sem­deg _
vxel­mZRva­ne­lob­di. cxov­re­bis
sa­uk­ e­Te­so pe­ri­o­di ma­kav­Si­
rebs am te­ri­to­ri­as­Tan, ami­
tom mu­ze­u­mis gax­sna or­ma­gad
mniS­vne­lo­va­nia Cem­Tvis. bed­ni­
e­ri var, rom Cem­ma na­mu­Sev­reb­
ma swo­red aq, am araC­ve­u­leb­
riv ga­re­mo­Si da­i­do bi­na. ise­Ti
Seg­rZne­ba maqvs, TiT­qos sax­lSi Salva matuaSvili. pastorali. 2008. muyao, guaSi. 80X90
dav­brun­di. SHALVA MATUASHVILI. PASTORAL. 2008. GOUACHE ON CARDBOARD. 80X90

*** ***
is, rom mxat­vre­bi mu­ze­u­mis gax­sniT bed­ni­er­ni ari­an, That the artists rejoice at the opening of the museum
bu­neb­ri­via, rad­gan es siv­rce Ti­To­eu ­ ­lis­Tvis axa­ only makes sense because this space is a new
li cxov­re­bis da­saw­yi­sia. Tum­ca maT sit­yveb­Si ki­dev beginning in everyone’s life. Their words without
er­Ti emo­ci­aa Tval­Si­sa­ce­mi _ Sin dab­ru­ne­bis gan­ exception, however, betray yet another emotion,
cda, ro­me­lic yve­la maT­gan­Tan sa­u­bar­Si vig­rZe­ni. es a sense of homecoming. In a way, it resembles
gan­cda ra­Ra­ciT odi­sev­sis dab­ru­ne­bas hgavs _ xan­ Odysseus’s return home, the end of exhausting
grZli­vi xe­ti­a­liT daR­li­lis da mSob­li­ur ked­leb­ wandering and finding rest in one’s own dwelling.
Si da­va­ne­bu­lis. xe­ti­a­lis xa­na das­rul­da. win sxva pe­ The era of sojourning is over. Now we have a new
ri­o­dia _ ma­ra­di­so­bas­Tan zi­a­re­bis, axal si­maR­le­Ta era ahead, that of communion with eternity, one
dap­yro­bis. swo­red am gzis­ken ga­uZ­Rve­ba maT Ta­na­med­ of conquering new heights, and the museum of
ro­ve xe­lov­ne­bis mu­ze­u­mi. contemporary art will lead us along this path.
na­na ko­ba­i­Ze NANA KOBAIDZE

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saCuqari, romelsac velodiT

the long-awaited present
ro­gorc iq­na, Cvens qve­ya­nas aqvs Ta­na­med­ro­ve qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi.
qar­Tu­li mxat­vro­ba nam­dvi­lad im­sa­xu­rebs aseT siv­rces imis­Tvis, rom yve­las vaC­ve­noT
ram­xe­la Se­moq­me­de­bi­Ti po­ten­ci­al
­ i gvaqvs. ara mxo­lod mxat­vre­bi, ara­med mTe­li sa­zo­
ga­doe­ba di­di in­te­re­siT elis mu­ze­u­mis gax­snas. ro­me­li as­peq­ti­Tac ar un­da Se­xe­do, mi­si
da­fuZ­ne­ba di­de­bu­li saq­mea. xe­lov­ne­bis verc er­Ti moy­va­ru­li mas gverds gul­gri­lad
ver auv­lis da iq­ne­ba ama­yi, rom qar­Tu­li Ta­na­med­ro­ve sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi gvaqvs.

gi­ga ba­Ti­aS­vi­li, ar­qi­teq­to­ri

At last, our country has the Georgian Museum of Fine Arts. Georgian painting truly deserves this space
to showcase to everyone our enormous creative potential. Our whole society, not only artists, cannot
wait for the museum to open. No matter what angle we may look at it from, its establishment is a worthy
cause. No one appreciating art will be able to ignore it. On the contrary, it will make everyone proud of
having the Georgian Museum of Fine Arts.

Giga Batiashvili, architect

korneli sanaZe. siRnaRi. 1964. muyao, guaSi. 58X78,5

KORNELI SANADZE. SIGHNAGHI. 1964. GOUACHE ON CARDBOARD. 58X78,5

42 www.magticom.ge
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givi ToiZe. quTaisi. rionis napiri. 1999. tilo, zeTi. 80X100

GIVI TOIDZE. KUTAISI. RIONI RIVERBANK. 1999. OIL ON CANVAS. 80X100

Za­li­an di­di saq­me ga­a­ke­Ta gia jox­Ta­be­ri­Zem _ aa­Se­na qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi. es di­di
Se­na­Ze­nia qar­Tu­li kul­tu­ris­Tvis. zo­ga­dad, Cve­ni biz­nes­me­ne­bis um­rav­le­so­ba ar ga­mo­ir­Ce­va qar­Tu­li
kul­tu­ri­sad­mi di­di in­te­re­siT. ra Tqma un­da, es yve­las ar exe­ba. ami­tom es mov­le­na Za­li­an sa­si­xa­ru­
lo da gan­sa­kuT­re­biT mi­sa­sal­me­be­lia.
vi­ci, rom am mu­ze­um­Si yve­la­fe­ri ga­keT­da umaR­les do­ne­ze _ uax­le­si teq­no­lo­gi­e­bis gaT­va­lis­wi­ne­
biT. yve­la kul­tu­ru­li ada­mi­a­nis sa­xe­liT, min­da mad­lo­ba ga­da­vu­xa­do gia jox­Ta­be­ri­Zes.
mi­xa­ria, rom mu­ze­um­Si ga­mo­i­fi­na bo­lo 70 wlis man­Zil­ze Seq­mni­li Za­li­an ni­Wi­e­ri qar­Tve­li mxat­vre­
bis Se­moq­me­de­ba. vu­lo­cav mu­ze­u­mis dam­fuZ­ne­bels am Se­sa­niS­na­vi mu­ze­u­mis gax­snas, qar­Tvel mxat­vrebs
ki _ did sa­Cu­qars.
el­dar Sen­ge­la­ia, ki­no­re­Ji­so­ri

Gia Jokhtaberidze has accomplished a great feat by building the Georgian Museum of Fine Arts, an enormous contribution
to Georgian culture. Our business community, for the most part, does not take much interest in Georgian culture – that
does not apply to all, of course – and this is exactly why this event is especially exciting and commendable.
I know that everything in this museum is state of the art in every way, including the latest technology. On behalf of all
cultured persons, I would like to express my gratitude to Gia Jokhtaberidze.
I am truly happy that the museum features the works created by many extremely talented Georgian artists in the course
of the past 70 years. I congratulate its founder on the opening of such a remarkable museum, an invaluable gift to
Georgian artists.
Eldar Shengelaia, filmmaker

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mu­ze­u­mis gax­sna aris udi­de­si mov­le­na sa­ Ta­na­med­ro­ve xe­lov­ne­bis gan­vi­Ta­re­ba­Si mniS­vne­lo­
qar­Tve­los­Tvis. mu­ze­u­mis ar­se­bo­ba pir­vel va­nia ko­leq­ci­o­ne­re­bis ro­li. mi­sa­sal­me­be­lia ker­Zo
rig­Si qar­Tul saq­mes em­sa­xu­re­ba da war­mo­ ko­leq­ci­e­bis sa­zo­ga­do­eb­riv siv­rce­Si war­mod­ge­na.
ad­gens qvey­nis su­li­er Ri­re­bu­le­bas. es um­ vi­me­dov­neb, rom axa­li sa­ga­mo­fe­no siv­rce sa­ku­Tar
niS­vne­lo­va­ne­si plat­for­maa ro­gorc cno­ ad­gils da­i­ka­vebs Tbi­li­sis kul­tu­rul cxov­re­ba­Si.
bi­li mxat­vre­bis war­mo­sa­Ce­nad, ase­ve uc­no­bi
da axa­li sa­xe­le­bis aR­mo­sa­Ce­nad. udi­de­si da­viT lor­Tqi­fa­ni­Ze, ar­qe­o­lo­gi
mad­lo­ba ba­ton gia jox­Ta­be­ri­Zes da qa­l­ba­
ton ma­na­na Se­var­dna­Zes ga­we­u­li uzar­ma­za­ri Art collectors play an important role in the development of
Sro­mis­Tvis da xe­lov­ne­bis siy­va­ru­lis­Tvis! contemporary art. Exhibiting private collections in public
mu­ze­u­mi iq­ne­ba um­niS­vne­lo­va­ne­si kul­tu­ru­ spaces is praiseworthy. I hope that this new exhibition space
li cen­tri da udi­des rols Se­as­ru­lebs mo­ will take its place in Tbilisi’s cultural life.
ma­va­li Ta­o­bis aR­zrdis sa­kiT­xSi.
David Lordkipanidze, archaeologist
eli­so bol­qva­Ze, pi­a­nis­ti

The opening of this museum is the greatest event in

Georgia! First of all, the existence of the museum will
serve the Georgian cause, embodying the country’s Cve­ni qvey­ni­saT­vis mniS­vne­lo­van da did mov­le­nad
spiritual values. It is a platform of utmost importance un­da gan­vi­xi­loT Ta­na­med­ro­ve qar­Tu­li xe­lov­ne­bis
to display acclaimed Georgian artists and to pir­ve­li ker­Zo mu­ze­u­mis gax­sna, ro­me­lic ga­mo­ir­Ce­
discover unknown and new names alike. Deepest va Ta­vi­si mdi­da­ri da mra­val­fe­ro­va­ni ko­leq­ci­iT.
gratitude to Mr. Gia Jokhtaberidze and Mrs. Manana er­Tgva­rad sim­bo­lu­ria isic, rom es mu­ze­u­mi ga­ix­
Shevardnadze for their enormous efforts and love of sna swo­red im ad­gi­las, sa­dac ad­re `mxat­vris sax­li~
art! The museum will become the most important iyo. sa­si­xa­ru­loa is faq­ti, rom mu­ze­u­mis ko­leq­cia
cultural center playing a vital role in bringing up mo­i­cavs ise­Ti cno­bi­li av­to­re­bis na­mu­Sev­rebs, rom­
future generations. leb­mac wa­ruS­le­li kva­li da­to­ves Ta­na­med­ro­ve qar­
Tul xe­lov­ne­ba­Si.
Eliso Bolkvadze, pianist
aR­sa­niS­na­via, rom ba­ton­ma gia jox­Ta­be­ri­Zem xe­lov­
ne­bi­sad­mi di­di siy­va­ru­liT Seq­mni­li ker­Zo ko­leq­
cia aq­cia mu­ze­u­mis kuT­vni­le­bad da Seq­mna siv­rce,
sa­dac xe­lov­ne­bis Tay­va­nis­mcem­lebs, axal­gaz­rda
Ta­o­ba­sa da qvey­nis stum­rebs mi­e­ce­maT sa­Su­a­le­ba
ezi­a­ron qar­Tu­li Ta­na­med­ro­ve xe­lov­ne­bis sa­u­ke­
Te­so ni­mu­Sebs.

van­da mu­ji­ri, ga­le­ris­ti

The opening of the first private museum of contemporary

Georgian art with its rich and diverse collections must be
considered an important and crucial event in our country.
Similarly, it is somewhat symbolic that the museum opens
where the Artist’s House used to be. It is gratifying to know that
daviT mindoraSvili. the museum’s collection includes many works by prominent
mocekvave. 2010. artists who have made a mark in contemporary Georgian art.
tonirebuli TiTberi,
mospilenZeba, Notably, Mr. Gia Jokhtaberidze, through his great love of art,
marmarilo. 130X40X40 donated his private collection to the museum, thus creating an
DAVID MINDORASHVILI. environment where art connoisseurs, youth and the country’s
DANCER. 2010. visitors will have a chance to familiarize themselves with the
DARKENED BRASS, best examples of contemporary Georgian art.
COPPER-PLATING, MARBLE.
130X40X40 Vanda Mujiri, gallerist

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sa­qar­Tve­lo ar aris mxo­lod sve­

tic­xo­ve­li, jva­ri, ubi­sis mxat­
vro­ba da fi­ros­ma­ni! sa­qar­Tve­lo
aris XX da XXI sa­u­ku­nis qar­Tu­li
xe­lov­ne­bac, maT So­ris, cxa­dia
mxat­vro­bac! Ta­na­med­ro­ve qar­Tu­
li xe­lov­ne­bis mu­ze­u­mis ga­Ce­na
(ro­gorc iq­na) yve­las aC­ve­nebs ra
mxat­vre­bi gvyav­da da gvyavs! es mu­
ze­u­mi bev­ris­Tvis (qar­Tve­le­bis­
Tvi­sac) iq­ne­ba sa­qar­Tve­los axa­li
aR­mo­Ce­na!

za­za aba­Si­Ze, is­to­ri­ko­si

Georgia is not just about Svetitskhoveli,

Jvari, Ubisi’s murals or Pirosmani!
Georgia is also about the Georgian art
of the 20th and 21st centuries, including
painting, of course! The establishment
(finally!) of the museum of contemporary
Georgian art will show everyone what
kind of artists we had and still have! For
many, including Georgians themselves,
this museum will equal rediscovering
Georgia!

Zaza Abashidze, historian

omar durmiSiZe. naturmorti kalaTiT. 1990.

tilo, zeTi. 100X80
OMAR DURMISHIDZE. STILL LIFE WITH BASKET. 1990.
OIL ON CANVAS. 100X80

qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mis gax­sna erT-er­Ti mniS­vne­lo­va­ni da ga­dam­wyve­ti na­bi­jia Cve­ni
ku­lu­tu­ris ga­da­sar­Ce­nad da vinc am yve­la­fer­ze ifiq­ra, vi­sac am saq­me­Si wvli­li mi­uZ­Rvis, mxo­lod
mad­lo­bas im­sa­xu­rebs. Cve­ni kul­tu­ra da ga­naT­le­ba dRes Za­li­an mZi­me mdgo­ma­re­o­ba­Sia. mu­ze­u­mis gax­
sna gax­de­ba sis­te­mu­ri cvli­le­bis sa­fuZ­ve­li. swo­red aseT­ma mid­go­mam un­da Ca­a­nac­vlos ag­re­si­a­ze da­
fuZ­ne­bu­li kom­pi­u­te­ru­li Ta­ma­Se­bi. im siv­rce­Si, sa­dac Ta­na­med­ro­ve qar­Tve­li mxat­vre­bi ari­an ga­mo­
fe­nil­ni, sas­ko­lo eq­skur­si­e­bi un­da mo­ew­yos da axa­li Ta­o­ba qar­Tul kul­tu­ras ezi­a­ros. amas ake­Tebs
mTe­li msof­lio da am gzas un­da da­vad­geT Cvenc.

me­rab ko­ko­CaS­vi­li, ki­no­re­Ji­so­ri

The opening of the Georgian Museum of Fine Arts is an important and decisive step toward saving our culture, and
everyone who conceived this idea and worked toward it deserves nothing but gratitude. Our culture and education are
going through some hard times today. The opening of this museum will lay the foundation for systemic change. This is
the approach that must replace aggression-based computer games. This environment featuring contemporary Georgian
artists must offer school tours so that the younger generations may embrace Georgian culture. This is what the whole
world is doing, and we must follow suit.

Merab Kokochashvili, filmmaker

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qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi

sa­xel­wo­de­ba­Si­ve mo­i­cavs im mi­si­as, ro­
me­lic man qar­Tu­li kul­tu­ris wi­na­Se it­
vir­Ta. xSi­rad sa­xel­mwi­foc ki ver axer­
xebs im­dens, rac er­Ti ada­mi­a­nis ke­Til
ne­bas Se­uZ­lia. bed­ni­er­ e­baa ise­Ti ada­mi­a­
ne­bis ar­se­bo­ba, rom­le­bic sa­ku­Ta­ri qvey­
nis is­to­ri­as uf­rTxil­de­bi­an da ina­xa­ven,
vi­sac sam­Sob­lo Za­li­an uy­varT. swo­red
ase­Ti ada­mi­a­nia gia jox­Ta­be­ri­Ze.

da­To ev­ge­ni­Ze, mu­si­ko­si

The very name of the Georgian Museum of

Fine Arts implies the mission assigned to it in
Georgian culture. Often, the state itself is unable
to accomplish what the good will of one man
can. It is a joy to have such people who care
for and preserve the history of their homeland,
who love their homeland unconditionally. Gia
Jokhtaberidze is one such man.

Dato Evgenidze, musician

Tamaz xuciSvili. cekva minis burTebiT. 1998.
tilo, zeTi. 75X60
TAMAZ KHUTSISHVILI. DANCING WITH GLASS BALLS. 1998.
OIL ON CANVAS. 75X60

mi­maC­nia, rom qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi iq­ne­ba erT-er­Ti sa­a­ma­yo da mniS­vne­lo­va­ni ad­gi­li
ro­gorc qar­Tul sa­mu­ze­u­mo siv­rce­Si, ise mTel sa­qar­Tve­lo­Si. gan­sa­kuT­re­biT sa­si­xa­ru­loa, rom es
mu­ze­u­mi war­mo­a­Cens Cvens uni­ka­lur qar­Tul sax­viT xe­lov­ne­bas. Cve­ni fer­we­ris sko­la mar­Tlac ga­
mor­Ce­u­lia da mas po­pu­la­ri­ze­ba sWir­de­ba. me Tvi­Ton gax­la­varT Ta­na­med­ro­ve xe­lov­ne­bis moy­va­ru­li
da yvel­gan ve­Zeb msgavs mu­ze­u­mebs. es siv­rce da mas­Si war­mod­ge­ni­li qar­Tu­li mxat­vro­ba ki araf­riT
Ca­mo­u­var­de­ba msof­li­os Ta­na­med­ro­ve xe­lov­ne­bis wam­yvan mu­ze­u­mebs.
pir­ve­lad rom qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­ums vew­vie, mar­Tla ama­yi vi­ya­vi imiT, rac iq vi­xi­le _
yve­la mniS­vne­lo­va­ni qar­Tve­li mxat­va­ri da ase ge­mov­ne­biT Ser­Ce­u­li eq­spo­zi­cia! Cve­ni sa­a­ma­yo mxat­
vre­bis er­Tad Sek­re­bil did ko­leq­ci­ebs sxva­gan ver­sad ixi­lavT. es iq­ne­ba ad­gi­li, sa­dac si­a­mov­ne­biT
wa­viy­van xol­me stum­rebs qar­Tu­li sax­vi­Ti xe­lov­ne­bis ga­sac­no­bad. mad­lo­ba min­da vuT­xra ba­ton gia
jox­Ta­be­ri­Zes qar­Tu­li kul­tu­ris mxar­da­We­ris­Tvis da mxat­vro­bis, mu­si­kis Tu li­te­ra­tu­ris gan­vi­
Ta­re­bis xel­Sew­yo­bis­Tvis.
ba­sa foc­xiS­vi­li, re­Ji­so­ri

I believe that the Georgian Museum of Fine Arts will be one of the most cherished not only in Georgia’s museum
community, but throughout the country as well. It is especially exciting that the museum displays our unique Georgian
visual arts. Our school of oil painting is truly exceptional, which needs to be promoted. I, for one, am a big fan of
contemporary art, and I am always on the lookout for such museums. This space, and the Georgian paintings featured
therein, can vie with any leading museum of contemporary art in the world.
When I visited the Georgian Museum of Fine Arts for the first time, I was filled with pride because of what I saw—every
noteworthy Georgian artist and an exposition selected with such exquisite taste! Nowhere else can one find such a large
collection of our prized artists. It will be a place where I will happily take my guests to introduce them to Georgian visual
arts. I would like to thank Mr. Gia Jokhtaberidze for supporting Georgian culture, and for promoting our art, music, and
literature.
Basa Potskhishvili, filmmaker

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ma­Sin, ro­de­sac in­di­vi­du­a­lu­ri da da­sa­max­sov­re­be­li es­Te­ti­kis mqo­ne da­mi­en her­sti da jef kun­si xe­
lov­ne­bis ba­zars ina­wi­le­ben, ma­ri­na ab­ra­mo­vi­Ci da ulai (uve la­i­si­pi­ni) „er­Tad sun­Tqa­ven“, xo­lo ai
ve­i­vei _ Ci­ne­li xe­lo­va­ni am­bobs: „xe­lov­ne­ba ko­men­ta­ria yve­la­fer­ze“, sa­qar­Tve­lo­Si kiT­xva­ze _ „sad
aris Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­u­mi?“ _ di­di xnis uxer­xu­li du­mi­li mo­ix­sna.

„mxat­vris sax­lis“ ad­gi­las (esec ni­San­dob­li­via) Ta­na­med­ro­ve xe­lov­ne­bis mu­ze­u­mi ix­sne­ba. mi­u­xe­da­vad
az­rTa sxva­das­xva­o­bi­sa (Tun­dac fa­sa­du­ri) Za­li­an mniS­vne­lo­va­ni da sa­si­coc­xlod au­ci­le­be­li saq­me
ga­keT­da.

za­i­ra be­re­li­Ze, ga­le­ris­ti

While Damien Hurst and Jeff Koons, with their individual and unforgettable aesthetics, are dividing the art market and
Marina Abramović and Ulay (Uwe Laysiepen) are Breathing In and Breathing Out together, while Chinese artist Ai Weiwei
says, “Art is a universal comment,” Georgia breaks the long-standing awkward silence caused by the question: “Where is
the museum of contemporary art?”

In place of the Artist’s House – which is equally symbolic – a museum of contemporary art is about to open. Despite a
difference of opinion, however superficial, a very significant and vitally important cause has been accomplished.

Zaira Berelidze, gallerist

qeTi davlianiZe. babuawverebis qalaqi. 2016. tilo, zeTi. 95X95

KETI DAVLIANIDZE. CITY OF DANDELIONS. 2016. OIL ON CANVAS. 95X95

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iuri beriSvili. oqtomberi. 2009. tilo, zeTi. 100X126

IURI BERISHVILI. OCTOBER. 2009. OIL ON CANVAS. 100X126

Cve­ni qvey­nis gan­sa­kuT­re­bu­li mo­na­po­va­ri mi­si kul­tu­ru­li mem­kvid­re­o­ba da Ta­na­med­ro­ve xe­lov­ne­baa.

gia jox­Ta­be­ri­Ze ki qar­Tvel biz­nes­men­Ta So­ris upir­ve­le­sia, ro­mel­mac wle­bis gan­mav­lo­ba­Si Ta­vi­si
yu­rad­Re­biT, xel­Sew­yo­biT da mzrun­ve­lo­biT ara­erT did av­tors Se­dev­re­bis Seq­mnis Se­saZ­leb­lo­ba
mis­ca. yo­vel­Tvis vi­co­di mi­si da ma­na­na Se­var­dna­Zis udi­de­si ko­leq­ci­is Se­sa­xeb, ro­mel­Sic sxva­das­xva
pe­ri­o­dis qar­Tvel mxat­var­Ta 3500-ze me­ti na­mu­Se­va­ria Tav­moy­ri­li. Cems si­xa­ruls saz­Rva­ri ar hqon­
da, ro­de­sac Se­vit­yve ma­Ti ga­daw­yve­ti­le­bis Se­sa­xeb _ Cvens de­da­qa­laq­Si Ta­na­med­ro­ve teq­no­lo­gi­e­biT
da uax­le­si stan­dar­te­biT aRWurvili mu­ze­u­mi ae­Se­ne­bi­naT da pi­ra­di ko­leq­cia far­To sa­zo­ga­do­eb ­ is­
Tvis ga­e­zi­ar­ e­bi­naT. Cqa­ra ga­ir­bi­na wleb­ma da sul ma­le mu­ze­u­mi pir­vel stum­rebs umas­pin­Zlebs, maT
So­ris tu­ris­tebs... sa­a­ma­yoa ise­Ti ke­ris ga­Ce­na, ro­me­lic erov­nu­li TviT­Seg­ne­bis amaR­le­bas, msof­li­
o­Si Cve­ni kul­tu­ris ma­Ral do­ne­ze war­mo­Ce­nas da Ta­vad xe­lo­van­TaT­vis mo­ti­va­ci­is Seqmnas em­sa­xu­re­
ba. bed­ni­er
­ i var, rom es is­to­ri­u­li mov­le­na Cems dro­Si xde­ba da mje­ra, rom mi­si da­ma­ar­seb­lis Rvaw­li
sa­Ta­na­dod da­fas­de­ba, mu­ze­u­mi ki ma­ra­di­u­lad dar­Ce­ba da da­am­Sve­nebs Cvens xe­lov­ne­biT ga­je­re­bul
qve­ya­nas!
ni­ko­loz raW­ve­li, di­ri­Jo­ri

Our cultural heritage and contemporary art are special achievements of our country. Gia Jokhtaberidze is the first among
Georgian businessmen to have, through his attention, assistance and care, helped many great artists create masterpieces.
I have always been aware of his and Manana Shevardnadze’s enormous collection incorporating more than 3,500 works
by Georgian painters from different periods. I was overjoyed at learning about their decision to build in our capital a
museum equipped with modern technology and meeting the highest standards in order to share their collection with
the public at large. Years have flown by, and the museum will soon host its first guests, including tourists… It makes one
proud to see the birth of such a center that serves the purpose of expanding national self-consciousness, presenting our
culture worldwide at the highest level, and further motivating our artists. I am happy to be contemporaneous to this
historic event, and I believe that the merit of its founder will be duly appreciated. And the museum will endure forever to
adorn our country suffused with high art!
Nikoloz Rachveli, conductor

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Za­li­an di­di iyo Ce­mi gu­listki­vi­li, walking from the Kashveti Church or down Rustaveli Avenue, saw that
ro­de­sac qa­Su­e­Tis ek­le­si­i­dan an rus­ chasm known in the past as the Artist’s House once brimming with
Ta­ve­lis mxri­dan im „xa­xas“ Ca­vuv­li­di, constant creativity, where artists gathered around the samovar, the
ro­mel­sac odes­Rac „mxat­vris sax­li“ unfulfilled dream of Pirosmani, to share ideas, pain, and joy.
er­qva da sa­dac yo­vel­dRi­u­ri Se­moq­
me­de­bi­Ti cxov­re­ba Cqef­da. ew­yo­bo­da And then, this place full of life was razed to the ground at the hands
uam­ra­vi ga­mo­fe­na da ro­gorc fi­ros­ma­ of human beings. I remember the fire, and Tbilisi residents, perfect
nis na­natr did sa­mo­var­Tan _ mxat­vre­bi strangers, who risked their lives to save paintings from the burning
ik­ri­be­bod­nen, er­Tma­neTs ide­ebs, tki­ building.
vils da si­xa­ruls uzi­ar ­ eb­dnen.
This issue is especially painful to me and my family, because Temo
da ai, ada­mi­a­nis xel­ma es si­coc­xliT Gotsadze was the director of the Artist’s House, who was full of ideas
sav­se ad­gi­li aR­ga­va pi­ri­sa­gan mi­wi­sa. about the creation of a museum of contemporary art… And, all of a
max­sovs xan­Za­ri da sru­li­ad uc­xo Tbi­ sudden, it all went down the chute right before his eyes.
li­se­le­bi, rom­leb­sac si­coc­xlis ris­
This reminiscing may sound inappropriate here, but be not surprised
kis fa­sad na­xa­te­bi ga­moh­qon­daT al­
if I say that the memory of those bad days has been brought back by
mo­de­bu­li sax­li­dan da maT ga­dar­Ce­nas
my present great joy and happiness. I am happy for this monumental
la­mob­dnen.
building looking at us proudly. I am happy because artists’ works will
Cem­Tvis da Ce­mi oja­xis­Tvis es gan­sa­ once again give their best. I am happy because many will realize that
kuT­re­bu­lad mtkiv­ne­ul ­ i Te­maa, rad­ Georgian culture is the nation’s pride and should not be associated with
gan swo­red Te­mo go­ca­Ze iyo mxat­vris anything else.
sax­lis di­req­to­ri da uam­ra­vi idea
Yes, I am proud because, after so many debates, twists and turns, a man
hqon­da Ta­na­med­ro­ve xe­lov­ne­bis mu­
appeared, one enamored with painting, brought paintings and artists
ze­u­mis Seq­mnas­Tan da­kav­Si­re­biT... da
back to life, and me among them. Yes, I am proud that, finally, we have
ai, uceb yve­la­fe­ri mis Tval­win ga­nad­
a museum of contemporary art to display the works of artists from the
gur­da.
20th and 21st centuries.
al­baT es gax­se­ne­ba ax­la uad­gi­loa,
Thank you for it! Thank you for creating yet another hub of culture!
mag­ram nu ga­gik­vir­de­baT Tu­ki vit­yvi,
rom es cu­di dRe­e­bic did­ma si­xa­rul­ma Marina Janashia, actress
da bed­ni­er ­ e­bam ga­max­se­na. mi­xa­ria, rom
ama­yad dag­vcqe­ris es mo­nu­men­tu­ri Se­
no­ba. mi­xa­ria, rom aq kvlav mxat­vre­bis
na­mu­Sev­re­bi mo­i­wo­ne­ben Tavs. mi­xa­ria,
rom ma­va­ni mix­vde­ba _ qar­Tu­li kul­tu­
ra eris si­a­ma­yea da ara­fer­Ta­naa mi­sat­
mas­ne­be­li.

di­ax, ama­yi var, rom am­de­ni da­vi­sa da

pe­ri­pe­ti­is Sem­deg ga­moC­nda ka­ci, mxat­
vro­bis siy­va­ru­liT Sep­yro­bi­li da
si­coc­xle ara mxo­lod na­xa­tebs da
mxat­vrebs, ara­med Cem­na­ir ada­mi­a­neb­
sac da­ub­ru­na. di­ax, ama­yi var imiT, rom
bo­los da bo­los Ta­na­med­ro­ve xe­lov­
ne­bis mu­ze­u­mi gvaqvs, sa­dac XX da XXI
sa­u­ku­ne­eb
­ is mxat­vre­bis na­mu­Sev­re­bi
iq­ne­ba war­mod­ge­ni­li.

di­di mad­lo­ba amis­Tvis, di­di mad­lo­ba

kul­tu­ris ki­dev er­Ti ke­ris Seq­mnis­
Tvis.
geno zaqaraia. cxenis alegoria. 2015.
ma­ri­na ja­na­Sia, msa­xi­o­bi graniti, brinjao. 65X25X70
GENO ZAKARAIA. ALLEGORY OF A HORSE. 2015.
It gnawed away at my heart every time I, GRANITE, BRONZE. 65X25X70

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bo­los da bo­los mi­vi­ReT di­di sa­Cu­qa­ri

_ rus­Ta­vel­ze ix­sne­ba is, rac ase esa­Wi­
ro­e­ba Cvens qa­laqs, Cvens kul­tu­ras. axa­
li Se­no­ba or­ga­nu­lad Ca­e­we­ra pros­peq­
tSi. es kul­tu­ris di­di faq­tia.

re­zo gab­ri­a­Ze, re­Ji­so­ri

Finally, we have been granted this invaluable

gift: That which has been so badly needed
by our city, our culture, is about to open on
Rustaveli Avenue. The new building organically
blends into the avenue’s environment. It is a
great cultural fact.

Rezo Gabriadze, film and theater director

aleqsandre banZelaZe. kompozicia #7. 1989.

tilo, zeTi. 151X131
ALEXANDRE BANDZELADZE. COMPOSITION N7. 1989.
eduard Saxnazarovi. lotusi. 2006. OIL ON CANVAS. 151X131
TiTberi. 35X32X33,5
EDUARD SHAKHNAZAROV. LOTUS. 2006.
BRASS. 35X32X33,5

mo­xa­ru­li var, rom Cvens qa­laqs Ta­na­med­ro­ve sax­vi­Ti xe­lov­ne­bis ki­dev er­Ti sa­ga­mo­fe­no siv­rce Se­
e­ma­ta, sa­dac Tav­moy­ri­lia qar­Tve­li mxat­vre­bis uni­ka­lu­ri na­mu­Sev­re­bi. mu­ze­u­mi Za­li­an mim­zid­ve­li
iq­ne­ba ro­gorc Cve­ni Ta­na­mo­qa­la­qe­e­bis­Tvis, ase­ve Ca­mo­su­li stum­re­bis­Tvis.
vfiq­rob, mu­ze­u­mi axal­gaz­rda Ta­o­bas ga­uR­vi­Zebs siy­va­ruls xe­lov­ne­bi­sad­mi da mis­cems swor mi­mar­
Tu­le­bas ma­Ra­li do­nis es­Te­ti­kis Ca­mo­ya­li­be­ba­Si.
gul­wrfe­lad min­da mi­vu­lo­co am Se­sa­niS­na­vi mu­ze­u­mis da­ma­ar­seb­lebs da war­ma­te­ba vu­sur­vo mu­ze­u­mis
mes­ve­u­rebs rTul da ama­ve dros me­tad sa­Wi­ro saq­mi­a­no­ba­Si.
ni­no ana­ni­aS­vi­li, ba­le­ri­na

I am happy that our city now has yet another exhibition space to display contemporary visual arts, which puts together
the unique works by Georgian artists. The museum will prove to be extremely attractive to both our fellow citizens and
visitors.
I believe that the museum will nourish the younger generations’ love for art and will direct them in the right direction
toward developing top-level aesthetics.
I wholeheartedly congratulate the founders of this remarkable museum and wish success to its leaders in their difficult
and yet so much needed work.
Nino Ananiashvili, ballerina

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 3(79)2018 \\ THE WORLD OF CONSTANT CONNECTION

me­Wur­Wle­Tu­xu­ce­so­ba di­di tvir­Ti da pa­su­xis­mgeb­lo­baa. ara Zve­li, fe­o­da­lu­ri ga­ge­biT, ara­med im

az­riT, rom­li­Tac re­zo Ta­bu­kaS­vil­ma Se­ar­qva Ta­vis fil­mSi eq­vTi­me Ta­ya­iS­vils _ gan­Zis dam­fa­se­be­li,
Sem­gro­ve­be­li, ga­dam­rCe­ni, mom­vle­li, sxva­Ta Tva­lam­de mim­ta­ni...

zus­tad am mov­le­nas­Tan gvaqvs saq­me, ro­ca dRes sa­qar­Tve­lo­Si spe­ci­a­lu­rad Se­iq­mna Ta­na­med­ro­ve xe­
lov­ne­bis mu­ze­u­mi da iq uZ­vir­fa­se­si qve­bi­viT Tav­moy­ri­lia 50-80-ia­ni wle­bis mxat­vru­li Se­dev­re­bi,
rom­le­bic sxva Sem­Txve­va­Si ga­i­fan­te­bo­da, ga­Ti­Tov­de­bo­da da da­i­kar­ge­bo­da. ax­la isi­ni er­Tma­neTs Se­
av­se­ben, xazs ga­us­va­men, ga­am­did­re­ben da er­Tad aRe­bul­ni qvey­nis nam­dvil sa­gan­Zurs Seq­mni­an.

dar­wmu­ne­bu­li var, wle­bis Sem­deg, es mu­ze­u­mi ise­Ti­ve mov­le­na iq­ne­ba Tbi­li­sis kul­tu­rul cxov­re­ba­
Si, ro­gorc or­ses mu­ze­u­mi _ pa­riz­Si.

na­na ja­ne­li­Ze, ki­no­re­Ji­so­ri

Being a treasurer is a heavy cross and great responsibility, not in its old feudal meaning, but along the lines of this term
used by Rezo Tabukashvili in the film about Ekvtime Takaishvili, that is, one who appreciates treasures, who collects,
salvages, cherishes and hands down to others these valuables…

This is exactly the phenomenon we are witnessing today when a museum is being established especially for contemporary
art to put together like the finest gems artistic masterpieces from the 1950s-1980s, which would otherwise be scattered,
thinned out and lost. But now they will complement and compliment one another, enrich one another to make up the
country’s true repository of treasures.

I am convinced that, many years from now, the museum will be just as important a site in Tbilisi as the Musée d’Orsay in
Paris.

Nana Janelidze, filmmaker

duda gabaSvili
DUDA GABASHVILI

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 THE WORLD OF CONSTANT CONNECTION // 3(79)2018

oleg timCenko. infanta. 2015. tilo, zeTi. 150X120

OLEG TIMCHENKO. INFANTA. 2015. OIL ON CANVAS. 150X120

axa­li sa­mu­ze­u­mo siv­rcis Seq­mniT Se­iv­so is sag­rZno­bi da­nak­li­si (Tu ara va­ku­u­mi), ro­me­lic ga­mo­iw­via
90-ia­ni wle­bis dra­ma­tu­li mov­le­ne­bis Se­de­gad mxat­vris sax­lis ga­nad­gu­re­bam. Tbi­li­sis sa­ga­mo­fe­no
dar­ba­ze­bi­sa Tu ga­le­re­e­bi­sa­gan gan­sxva­ve­biT, qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi mxat­vre­bi­saT­vis
sru­li­ad ax­le­bur, xel­mi­saw­vdom da srul­yo­fil sa­ga­mo­fe­no ga­re­mos qmnis.
mu­ze­u­mis uni­ka­lu­ri teq­ni­ku­ri aR­Wur­vi­lo­ba uz­run­vel­yofs sa­ga­mo­fe­no eq­spo­na­te­bis sa­u­ke­Te­so aR­
qmas da amas­Ta­na­ve iZ­le­va eq­spo­zi­ci­is swra­fi tran­sfor­ma­ci­is sa­Su­a­le­bas. ar­se­bu­li ga­le­re­eb
­ i­sa­gan
gan­sxva­ve­biT axa­li mu­ze­u­mi ara mar­to tra­di­ci­ul ­ ad ga­wo­nas­wo­re­bu­li, aka­de­mi­u­ri, ara­med kon­cep­
tu­a­lu­rad ax­le­bu­ri, Ta­na­med­ro­ve eq­spo­zi­ci­e­bis, per­for­man­se­bis Tu aq­ci­e­bis mow­yo­bis sa­Su­a­le­bas
iZ­le­va.
Ta­ma­mad Se­iZ­le­ba iT­qvas, rom qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi udi­de­si Se­na­Ze­nia ara­mar­to qar­
Tve­li mxat­vre­bi­saT­vis, ara­med zo­ga­dad, qar­Tu­li sax­vi­Ti xe­lov­ne­bis da qar­Tu­li kul­tu­ris gan­vi­
Ta­re­bi­saT­vis.
va­Ja or­be­la­Ze, ar­qi­teq­to­ri

The establishment of this new museum facility will fill the huge gap, if not void, caused by the destruction of the Artist’s
House during the dramatic events of the 1990s. Unlike Tbilisi’s exhibition halls or galleries, the Georgian Museum of Fine
Arts creates a totally new, accessible and perfect exhibition space for artists.
The museum’s unique technical equipment ensures the best conditions to perceive the exhibits, also allowing for a rapid
transformation of the exposition. Unlike the presently operating galleries, the new museum provides an opportunity to
facilitate conceptually innovative, contemporary expositions, performances and shows, besides traditional, conventional
and academic exhibitions.
Without exaggeration, the Georgian Museum of Fine Arts is the greatest gift not only to Georgian art, but the development
of Georgian visual arts and Georgian culture in general.
Vazha Orbeladze, architect

52 www.magticom.ge
Tbilisi, 0108, SoTa rusTavelis gamziri #7
7, Shota Rustaveli Avenue, 0108, Tbilisi, Georgia

tel/Tel: +995 591 680 000, +995 591 690 000

E-mail: info@finearts.ge; www.finearts.ge
www.finearts.ge