Mzia Chikhradze explores the paradigm of modernism within a cosmopolitan framework. She highlights how the desire to integrate into a unified artistic space creates not only common trends in modernist art but also blurs the lines between specific national derivatives. Georgia's brief period of independence from 1918 to 1921 saw a flourishing of both Georgian modernism and the distinctive model of the Tbilisi avant-garde. This period was marked by creative collaboration among different nationalities, resulting in multinational and intercultural art.
Chikhradze notes that the art and culture developed during Georgia's independence carried distinct Georgian national characteristics. However, she argues that the emphasis on nationality can hinder modernist values. Prominent modernist artists like Lado Gudiashvili, Shalva Kikodze, Elene Akhvlediani, and David Kakabadze exemplified the movement from local significance to cosmopolitan art. Despite their avant-garde tendencies, these artists propagated art and culture within "national frames." Chikhradze draws parallels between Georgian modernism and similar movements in other countries.
Vera Pagava is an earlier generation representative of the Georgian artists immigrated abroad. Vera Pagava’s creative credo can be freely combined with the ideological concept of modern art. Pagava constantly developed a unique artistic style and in the last stage of her creativity, with abstract painting, she established herself as a worthy representative of the new school of Paris. Vera Pagava continuously developed her creative style and modernist vision. Her works from 60s of XX century mostly includes the abstract paintings and was presented at Venice Biennial in 1966.
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Ketevan Keti Shavgulidze's research delves into the creations of many Georgian émigré artists, uncovering a unifying abstract form in their works despite their diverse styles. The study highlights the unique artistic expressions of Luka Lazar, Beso Uznadze, Levan Bugiani, Alexandre Beridze, Tea Jorjadze, Tolia Astali, Anna K.E., Ketuta Alexi-Meskhishvili, Levan Mindiashvili, Gia Edgveradze, Nino Sakandelidze, Konstantin Mindadze, Tamuna Sirbiladze, Gia Rigvava, Irina Gabiani, Tamara K.E., Kako Topuriam, Lado Beroza, and Anri Basilaia.
Shavgulidze explores how each artist interprets abstraction in their art and what identity means to them. Through their abstract expressions, these artists reflect on their experiences and heritage, contributing to a broader understanding of contemporary Georgian art. This research offers valuable insights into the intersections of identity, abstraction, and émigré experiences, highlighting the distinct yet cohesive nature of their artistic contributions.
“Vocabulary of Co-existence: Short Review of Venice Experience”
Mariam Shergelashvili shares her insights from the Venice Biennale, an event that attracts over 500,000 visitors annually according to its official website. She reflects on Venice as a city and the profound impression it leaves on her. The Biennale experience prompts Shergelashvili to explore the social dimensions of art, especially against the backdrop of the global ecological crisis. She questions how art can create a critical representation of the world, utilizing the language of art rather than relying on statistics or dry documentation.
In the postmodern era, responses to these questions have been ironic, eccentric, and, borrowing from Baudrillard, simulated. However, Shergelashvili notes that the latest age of technological progress offers a new dimension. The imaginary state of crisis reality can be transformed into a powerful impulse of perception through virtual experiences. Given that art directly influences the brain and perception, analyzing it solely through the principles of art aesthetics is inadequate; it requires a complex understanding.
Conceptual and alternative signature or collective sear- ches of Georgian contemporary art developed against the backdrop of the ideological changes and systemic fluc- tuations which still determine the recent history of Geor- gia. Even in the late Soviet period and the so-called During "perestroika" important political changes were implemented. Article highlights the group exhibition of four Georgian artist: Alexander (Shura) Bandzeladze, Gia Edzgveradze, Luka Lasareishvili, and Koka Ramishvili in Germany. Organizer of this exhibition was Françoise Friedrich. His name is also connected to the second important exhibition which has a more institutional nature and is carried out under the auspices of the East-West Cultural Exchange Association. The mentioned exhibition called Dialogue was organized in 1994, and in addition to the aforementioned four, important artists such as Iliko Zautashvili, Gia Rigvava, and other contemporary German authors took part. Françoise Fridrich's name is associated with the support and promotion of the works of Karlo Katcharava, Mamuka Tsetslkhadze, and Shalva Khakhanashvili as well.
The research project Integration and Identity includes the study and analysis of the lives and art of emigrant Georgian artists currently living and working abroad. The project was implemented in 2017-2019 under the auspices of the Institute of Art History and Theory of Ivane Javakhishvili Tbilisi State University, and was funded within the Fundamental Research Grant Program of Shota Rustaveli National Science Foundation.
The issues raised by the project are topical for critical studies of Georgian art, since scholarly research generally fails to cover the significance of Georgian painters and artists abroad. Yet artists help determine the progress of cultural integration of Georgia into the West, while simultaneously enriching the national art space with different aesthetic values brought from the West.
The project Integration and Identity was implemented by the research group members:
Mzia Chikhradze, Ketevan Shavgulidze, Mariam Shergelashvili, Marita Sakhltkhutsishvili and Lana Karaia.
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Ze-Gavlena concept author and Editor-in-Chief: Thea Goguadze
Editor of this edition: Thea Goguadze
Design: Irina Kacharava (I-studio)
Cover: Vera Pagava
