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4 (10 ) 2017 s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i

J u r n a l i

sarCevi / CONTENTS ra iqna lerwamSi damaluli cecxli

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WHERE IS THE FIRE THAT WAS CONCEALED IN REED

Tanamedrove xelovnebis muzeumi

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MUSEUM OF MODERN ART

koleqciebis istoriebidan

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FROM THE COLLECTIONS’ HISTORIES

Cveni CubCika

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OUR CHUBCHIK

vsunTqavT, ese igi...

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WE BREATHE, THEREFORE…

Cven vkiTxulobT, vswavlobT, vasuraTebT...

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WE READ, LEARN, ILLUSTRATE...

baroko - sinfonietas SesrulebiT

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BAROQUE – PERFORMED BY THE SINFONIETTA

„virtualuri realobis~ kultura

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“VIRTUAL REALITY” CULTURE

vin daexmareba qarTul kinos

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WHO WILL HELP GEORGIAN CINEMA

mTavari redaqtori EDITOR-IN-CHIEF revaz iukuriZe REVAZ IUKURIDZE saredaqcio jgufi ramaz Wilaia xaTuna kereseliZe aleqsandre ServaSiZe qeiTi ruTi deivisi

EDITORIAL STAFF RAMAZ CHILAIA KHATUNA KERESELIDZE ALEKSANDRE SHERVASHIDZE KATIE RUTH DAVIES

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Issued quarterly The material published in this magazine cannot be used without the authorization of the editorial staff

ISSN 2346-8165 beWdva: Sps „favoriti“ / Print: LTD Favorite

fotomasalis mowodebisTvis madlobas vuxdiT sandro yanCels da SoTa niSnianiZis ojaxs garekanze: Tengiz mirzaSvili, seriidan `TuSeTi~ / Cover: Tengiz Mirzashvili, from the series "Tusheti"

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i mS a w r le ra iqna li? x c e c damaluli

t was a h t e ir is the f e r e h W ? in reed d e l a e co n ce nianidz h s i N Shota

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4 (10 ) 2017

uZvelesi Tqmulebis mixedviT, cecxli RmerTebis saidumloeba yofila, magram promeTes wyalobiT igi adamianis kuTvnileba gamxdara. kacTmoyvare titans cecxli RmerTebisTvis mouparavs da, lerwmis ReroSi damaluli, miwaze Camoutania. cecxli kosmosuri sibrZnis simboloa. samyaroTa warmomSobi stiqiaa, Semoqmedi sulis materialuri formaa. cecxli sicocxlis dedaa. cecxlis gamovlenis formebi usasruloa, aseve dausrulebelia misi metamorfozac. maSasadame, cecxli sicocxlea, fenomenia, sicocxlis biografiac cecxliT iwyeba. qarTuli sityvebi „sicocxle“, „cincxali“, „cecxlis“ fuZidan gamokvesili sityvebi gaxlavT. yoveli atomi, ujredi Tu galaqtika sxvadasxva raodenobisa da masStabis eleqtronuli kombinaciaa. qvac ki gacivebuli cecxlia. qvaSi, gansakuTrebiT kaJis qvaSi, uricxvi pawawkintela varskvlavuri anabeWdia moTesili, TiTqos mzis Worfliseburi naperwklebi gaqvavebulano. adamianur vnebaTa foriaqic, temperamenti, azrovneba, emociebis wneva-tonusi, mTeli sasicocxlo energiis gamovlenaa, am RvTaebrivi cecxlis met-naklebi intensiurobiT xarjvaa. miTebsa da legendebSi, Cveulebriv mistikuri azria dafaruli, romelic realistur wakiTxvas moiTxovs.

RmerTebisaTvis cecxlis motacebis legendaSi es gasaSifri azri simboloebis saxiT warmogvidgeba. lerwami Semoqmedebis simboloa, cecxli _ RvTaebriv Zalisa, romelic lerwams suls STahberavs da salamurad aqcevs. rogorRa gavigoT damaluli cecxlis simbolika?

1. Semoqmedeba (lerwami) cecxlis (STagonebis) gareSe araraa.

2. raxan cecxli RvTaebrivi Zalaa _ uCinaric unda iyos. RvTaebis da RvTaebriobis erT-erTi atributi uxilavobacaa.

3. damaluli cecxli moTokil temperamentsac niSnavs. moTokili (azrovnebiT gawonasworebuli) temperamenti umaRlesi rangis xelovnebaSi swored dafarulad, qvedinebis saxiT arsebobs. maSasadame, legendaSi SemoqmedebiTi fsiqologiisa da esTetikis es sakiTxi, diaxac rom umaRles doneze, ase vTqvaT, olimpos donezea gadawyvetili. cecxlis zeciur warmoSobasa da miwiur sazriss Taviseburad exmianeba didi iliac: „me ca mniSnavs da eri mzrdis, miwieri zeciersa“. cecxlze mkiTxvelis yuradReba SemTxveviT ar SemiCerebia, arc cecxlis „poetur interpretaciaSi“ momixmia igi SemTxveviT. dRevandel qarTul poeziaSi ramdenime aseuli didpatara poeturi lerwami xmianobs. zogi glexurad gaCorknili, zogi modernistulad galaquli, zogic pirdapir safirmo markisa _ kritikisagan reklamirebuli da xaverdis futliarSi Casvenebuli. mainc Tamamad vambob:

According to ancient legends, fire was a privilege that Gods used to keep secret, until Prometheus gave it to humanity. The titan, who was fond of humans, is said to have stolen the fire from the Gods, hidden it in a reed, and to have brought it to Earth.

Fire is a symbol of cosmic wisdom. It is an element at the origin of universes, and the material form of creative souls. It is the mother of life. Fire comes in infinite shapes, and its metamorphic process will never stop. Fire is life, it is a wonder. The biography of life starts with fire too. The Georgian words “sitsotskhle” (life) and “tsintskhali” (completely new) both come from the word “tsetskhli” (fire). All atoms, cells and galaxies are an electric combination of various quantities and scales. Even stones are cooled fire. In stones, and particularly in flint, one can find countless minuscule star-shaped marks, as if freckled sparks had descended from the Sun. The turmoil of human passion, temper, pondering, and load of emotions are also a manifestation of this cosmic vital energy, the consumption of divine fire at various intensities.

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zogierTi qarTveli poeti ara Tu Tavisuflad usworebs mxars Tanamedrove msoflio poeziis standartebs, aramed bevr rameSi, (Tundac xatweraSi, metaforul azrovnebaSi) aWarbebs kidec. magram, Cemi azriT, dRevandel qarTul poezias swored is mTavari Tviseba aklia, rac dRemde misi siamayis sagani iyo _ aklia cecxli, es RvTaebrivi madli. ucecxlod Seqmnili striqoni dune, mWle da sisxlnaklulia. Tu Tanamedrove leqsi marTlac rafinirebuli da teqnikurad artistulia, mSobiarobis tkivilebi ar axlavs, Tu leqsi sulieri duRilidan ar daibadeba, ra Tqma unda, arc xorkli da qafi mohyveba da civi iqneba. amitomac tovebs aseTi leqsi natifad Tlili marmarilos STabeWdilebas. civi striqoni Zalauneburad bundovanic gamodis. Tu cecxlis Tvisebebi siTbo da sinaTlea, gulidan (cecxlis keridan) dabadebul striqonSi sicive da bindbundi ar gaiWaWanebs.

Wkuis darigeba aravis uyvars, miT ufro axalgazrdobas, RmerTma damifaros amgvari „mkrexelobisagan“, me mxolod Cemi dakvirvebis gaziareba minda umcrosi kolegebisaTvis. literaturaSi momavali axalgazrdoba garkveuli unda iyos Tavis sulier ZiebebSi, sulier moTxovnilebebSi. man unda icodes razed Tqvas uari, ra uaryos, rogorc dromoWmuli da uvargisi. rac mTavaria, kargad unda icodes, ras gaufrTxildes, ras mouaros, ris memkvidred da Wirisuflad Tvlis igi Tavs, ra aris misi ganviTarebis orientirebi. axalgazrdobas meti romantikuli suli unda aRmoaCndes. pirvel rigSi, wminda profesiuli sakiTxebi unda awuxebdes, vidre honoraris tarifis, TabaxTa raodenobisa da kritikosTa yuradRebis sakiTxia. bevri elvare talanti, mravali didebulad gamocemuli wignis avtori, sinamdvileSi pirveli wignis avtorad darCenila. mizezi maT pragmatistul pativmoyvareobaSi, sakuTari niWierebis vermovlaSi unda veZioT. karieris Ziebam, taSis sixarbem, `Savvolgian~ samsaxurze ocnebam, „Saikobanam“, naadrevma profesionalizmma da bohemurma cxovrebam gaflanga maTi sulieri energia, daSrita maTi STagoneba. aseTi cduneba mware gakveTili unda iyos yvelasTvis. literaturuli axalgazrdobis didi nawili TeTri da Tavisufali leqsiTaa gatacebuli. normaluria es mdgomareoba? ara mgonia. riTma-uriTmobis sakiTxi sulac ar wyvets poeziis rangis sakiTxs. aq sul sxva saSiSroebaa Casafrebuli: vaiTu riTmisa da metris ugulebelyofa sulieri modunebis simptomia, vaiTu cecxlis naklebobas niSnavs? siZneleebisaTvis Tavis arideba, ioli gziT siaruli axalgazrdobis gza ar aris. riTma da metri poets xels ar unda uSlides, rom mxatvrul xilvebs forma mounaxos. pwkareds, prozas miaxlovebuli leqsi gadRabnilia, fokusdarRveuli suraTiviTaa da misi emociuri aRqmac amitom Zneldeba. pwkareds, prozas miaxlovebuli leqsi formis uaryofas

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In myths and legends, there is usually a hidden mystical message that needs careful reading. In the legend of the theft of fire, this message has to be deciphered through symbols. The reed is a symbol of creation, fire – of divine force, which breathes life into the reed and transforms it into a flute. How can we decode the hidden symbolism of fire?

1. Creation (reed) without fire (inspiration) is nothing.

2. Because fire is a divine force, it needs to be invisible. One of the attributes of deities and divinity is that they are hidden.

3. Hidden fire also symbolizes a restrained temper. In the finest artworks, a restrained (balanced) temperament appears in a concealed way. Therefore, in this legend, the question of creative psychology and aesthetics is very well addressed; one could say – in an Olympian way.

The heavenly origin and earthly essence of fire are also mentioned by the great poet Ilia Chavchavadze: “I am appointed by the heavens and raised by the earthly nation”.

It is not by coincidence that I have directed readers’ attention towards fire and its “poetic interpretation”.

4 (10 ) 2017

Several hundreds of reeds of various sizes are “chanting” in contemporary Georgian poetry. Some rustically rough-hewn, some varnished in a modern way, and others even advertised by critics and arranged in a velvety case. I can proudly say that not only do some Georgian poets effortlessly satisfy the standards of contemporary world poetry, but in many cases (for instance in iconography or metaphorical contemplation), they surpass them. But on the other hand, I also believe that contemporary Georgian poetry lacks the fundamental attribute that used to be the source of our pride – it lacks the divine blessing of fire. A fireless verse is inert, scrawny and pale. If contemporary poetry is indeed refined and technically artistic, it doesn’t convey the pain of giving birth, and naturally, if poems aren’t born from a spiritual boil, they won’t be accompanied by any swelling or foam, and will become frigid. This is why this kind of poetry leaves the impression of finely hewn marble. Frigid verses are also automatically vague. The main attributes of fire are warmth and light, so verses that come from the heart (or from the hearth) cannot be cold or vague.

Nobody likes to be preached to, especially youth, and God forbid that I indulge in this “sacrilege” – I only want to share the results of my observations with my younger colleagues.

udris. uaryofa advili saqmea, Seqmnaa Zneli. riTma da metri leqsis Semkvreli duRabi, rkinis karkasia, poeturi qaosis, anarqiis momwesrigebeli Zalaa da bevr poetur daudevrobas, udisciplinobas gvaSorebs xolme.

Tanamedrove qarTul Tavisufal leqss anarqiuli ufro eTqmis, vinem Tavisufali. zogierTebis azriT, verlibri ufro tevadi formaa, uxvi informaciis, inteleqtualuri Ziebebis, teqnicizmiT garTulebuli drois gamomxatveli forma. nu dagvaviwydeba Cveni saukunis didi inteleqtualebi _ maiakovski, pasternaki, galaktioni riTmis virtuozebi iyvnen da aranaklebad rTuli drois gamoxatva SeZles. yovel SemTxvevaSi, qarTul Tavisufal leqsSi arc gansakuTrebuli inteleqtualuri Ziebebi Cans da arc rTuli drois gamomxatveli tendenciebi. me mesmis, Tavisufali leqsis moZaleba Taviseburi reaqciaa riTmebiT atitinebuli primitiuli moleqseobis mimarT, magram uniWoba da primitiuloba arc verlibrSi imaleba. iq ufro „motitvlebulia teritoria“. Tavisufali leqsiT gataceba modaSia, advilicaa, rac mTavaria, saxis etalonadac saRdeba. mTeli evropa ase werso _ amboben specialistebi, Tumca imasac dasZenen, axla klasikur formas ubrundebiano. asea Tu ise, literaturuli evropa Tu msoflio Tavis Tavs rogorme mouvlis.

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4 (10 ) 2017

Cven Cveni satkivari vTqvaT. nurc Cvens gemovnebas gamovWriT ucxoTa Targze. gavarkvioT ra formebi ufro gamoamzeurebs qarTuli enis elastikurobasa da simdidres. albaT ucxour enebze verlibris maRalmxatvruli faqtebic arsebobs da moqalaqeobrivi uflebac amitom moupovebia. CvenSi ki aseTi faqti jer ar aRnusxula. verc erT qarTul Tavisufal leqss ver davasaxeleb, romelic karg riTmian leqss jabnides, Sedevrebze aRarafers vambob.

Tavisufali leqsi arc siaxlea. Zveli qarTveli himnografebi TeTr da Tavisufal sagaloblebs werdnen.

Cveni saukunis 20-30-ian wlebSic did modaSi iyo es formebi. ra Tqma unda, Ziebebis, eqsperimentebis gareSe ganviTareba ar arsebobs, magram dasabeWdad mxolod am Ziebebis Sedegebi unda gamogvqondes da ara yovelgvari laboratoriuli alqimiis nimuSebi. qarTuli literaturuli axalgazrdoba uars ver ityvis Tavis umdidres poetur memkvidreobaze. amis uflebas erovnuli siamayis grZnobac ar mogvcems.

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The future generation in literature should be conversant with their own spiritual quests and needs. They have to know what to refuse; what to deny as outdated and unavailing. Most importantly, they have to know very well what they need to look after, to care for, whose heritage they represent, and what the landmarks of their evolution are.

Youth needs a more romantic soul. In the first place, they should focus on purely professional issues, and not the tariff of their honorary, the number of sheets they have, or the attention of literary critics. Many bright talents, authors of numerous wellpublished books, have actually remained the authors of one book – their first. We have to look for the reasons of this phenomenon in their pragmatic vanity and their inability to look after their talent.

The ambition of a career, the greed for applause, the dream of a prestigious job, premature professionalism and bohemian life has wasted their spiritual energy and constricted their inspiration. This kind of temptation should be a bitter lesson for everyone.

A large part of young literary talents is very fond of blank and free verses. Is this situation normal? I don’t think so. The question of whether a poem is rhymed or not doesn’t determine its quality. The threat here is completely different: what if the neglect of rhyme and meter is a symptom of spiritual weakening, what if it comes from a lack of fire? Avoiding difficulties and taking the easy way is not the path the young generation should follow. Rhyme and meter patterns should not hinder poets from finding forms for artistic vision. A poem that looks like prose or a word-to-word translation is distorted; it is like a photograph out of focus, and it also becomes more difficult to perceive on an emotional level.

A poem that looks like prose or a word-to-word translation is a negation of form. It is easy to negate things, and it is much more difficult to create. Rhyme and meter pattern are the mortar keeping a poem together; they are its metal framework; they are forces that organize poetic chaos and anarchy, and keep us away from the many risks of poetic negligence and indiscipline. Contemporary Georgian free verse is more anarchic than free. Some believe that the vers libre is a form that can incorporate more aspects, delivering plenty of information and fitting our time of intellectual research and increased technical complications. Let’s not forget the great intellectuals of our century – Maiakovski, Pasternak, Galaktioni, who were virtuosi of rhyme, and managed to describe a period that was no less complicated than ours. In any case, there is no tendency of particularly high intellectual quests, nor of describing difficult times in Georgian vers libre. I understand that the use of vers libre is a reaction against the primitive poetry that is babbling with rhymes, but the lack of talent and primitiveness cannot be concealed by vers libre either.

You are even more “exposed” in that territory. Vers libre is fashionable, it is easy too, and most importantly, it is considered as an established standard. Everybody in Europe writes like this, specialists say, though they also add that they are currently returning to more classical forms.

Anyway, the literary world in Europe or elsewhere will manage to look after itself. Let us focus on our own situation. Let us not base our taste

4 (10 ) 2017

erovnuli siamaye ki, pirvel rigSi, isev qarTuli poeziis didi avtoritetiT, aRorZinebiT aris gapirobebuli. araviTari siaxle ar Seqmnila dagrovili poeturi kulturis auTviseblad. amas istoriuli gamocdileba gveubneba. axalgazrda poets gaTavisebuli unda hqondes saukuneebis ganmavlobaSi qarTuli muzis mier mopovebuli warmatebebi; aTvisebuli unda hqondes versifikaciuli normebis, mxatvruli formebis, modelebis, sqemebis, formulebis gamosaxvis saSualebaTa da teqnikur ileTTa mTeli uzarmazari

on the templates of others. Let us determine which forms best fit the elasticity and richness of the Georgian language. There are probably highly artistic possibilities for vers libre in foreign languages, and this is why it got such an established status. But this hasn’t happened here yet. I cannot name one Georgian poem written in vers libre that prevails over a rhymed, metered poem – and I won’t even bother to compare them to masterpieces.

Vers libre isn’t a new thing for us. Old Georgian hymnographers wrote chants in blank and free verses. These forms were also popular in our country during the 1920s and 30s. Naturally, there is no evolution

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arsenali. qarTveli kacis suli erTob musikaluri, erTob artistulia, riTmas da melodiurobas, formis pewianobas advilad ver Seeleva. gavixsenoT qarTuli simRerebis rTuli arqiteqtonika, maTi formiseuli eleganturoba. Tu gansakuTrebuli smena da artistuli buneba ara gaqvs, aseT simRerebs verc Seasruleb. asevea poeziaSic: Znelia daukargo qarTul leqss artistuli buneba, Znelia daukargo riTmac, metric, ritmic, melodikac, Sesrulebis teqnikuri rafinireba. saWiroa leqsis sazRvrebis gafarToeba, magram gaprozauleba _ ara. qarTveli kaci ver daukargavs qarTul leqss im momxibvlelobas, rac rusTavelma, akakim da galaktionma moupoves. Tu davukargavT _ mkiTxvelsac vkargavT da isev poetebi gamovalT wagebulebi. xolo estafetisa da tradiciis ufleba yvela im karg Tvisebas aqvs, rac maradiulia qarTul leqsSi. maradiuli anu waruvali, pirvel rigSi, es cecxlia, anu igive temperamentia _ qarTuli erovnuli poeziis Jangbadi, sicocxlis eleqsiri da ukvdaveba. movCxrikoT es cecxli da gavaRvivoT, aRmovaCinoT damaluli cecxli. mxolod cecxlis Semnaxveli sityvaa gamZle, cocxali da saestafeto. cecxlis cxovelmyofeloba da madli sWirdeba Tanamedroveobasac da momavalsac. TviT ferflad qceuli istoriac ki cecxls inaxavs da ara ferfls. yvelafers iswavli da SeiZen temperamentis gardao, _ ambobda geronti qiqoZe. am azrs komentari ar sWirdeba. me mxolod mis erT aspeqts gavusvam xazs: utemperamento kacma leqsi ar unda weros!.. albaT yvelas gaxsovT giorgi leoniZis striqonebi: „qvac yvela aris naperwkliani, guli rom iyos, gasakviria?“. gasakviri diaxac unaperwklobaa, gulTa unaperwkloba! naperwkali, cecxli axalgazrdobaSia saZiebeli. axalgazrdobas meti cecxli aqvs, aseTia bunebis kanoni. es cecxli unda gamovlindes sicocxlis wyurvilSi, SromismoyvareobaSi, sicocxlis JinSi, idealebisken jiutad swrafvaSi. cecxlis, STagonebis gareSe poezia ar arsebobs. „moazrovne lerwmis drtvinva“ (tiutCevis sityvebia) poeturi cecxlis gaRvivebas gulisxmobs. am cecxliT unda aRvanTebdeT kacTa gulebs, am cecxliT unda vumkurnaloT sazogadoebriv wyluls, sulier mconarobas, primitiul wamxedurobas. „moazrovne lerwmis drtvinva“ mxatvrul siyalbeebTan Seurigeblobas niSnavs, WeSmaritebisken swrafvis poetur Jinsac da vin icis, iqneb cxovrebiseuli azris moZiebasac niSnavdes? sad aris es naperwkliani, Rvelfiani gulebi? ra iqna lerwamSi damaluli cecxli, RvTaebrivi cecxli _ SemoqmedebiTi stiqiis es pirvelsawyisi? sad aris yayaCosferi, Wrilobisferi, broweulis yvavilis briala cecxli? nuTu gaixarja? nuTu adre mosulma tabiZeebma,

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without research and experimentation, but we should only publish the accomplished results of this research, and not every example of alchemic work that poets carry out in their “laboratories”. The young generation of Georgian poets cannot renounce its unbelievably rich poetic heritage. The feeling of national pride won’t allow us. And this national pride comes, in the first place, from the prestige of Georgian poetry and its revival. From the experience of history, we know that no novelty has ever been introduced without consideration of the poetic culture that preceded it. A young poet should make the successes found by the Georgian muse throughout centuries his own, as well as the enormous arsenal of versification norms, artistic forms, models, patterns, variety of depiction formulas and technical tricks. The Georgian soul is both musical and artistic; it cannot refrain from the charm of rhythm and melody that easily. Let us remember the complex architectonics of Georgian polyphonic songs and their formal elegance. If you don’t have a particularly developed ear and an artistic nature, you won’t be able to perform these kinds of song. It is the same with poetry: it is difficult to strip Georgian poetry from its artistic nature, and it is also difficult to strip it from rhymes, meter, rhythm, melody, and its technical refinement.

We do need to spread the horizons of poetry, but not to transform it into prose. Georgians can’t take away the charm that was bestowed to Georgian poetry by Rustaveli, Akaki and Galaktioni. If we do lose it, we will also lose readers, and again, poets will be the losers in the story. The aspects that should be relayed and become a tradition are those that have always existed in Georgian poetry. The main thing that is timeless or eternal is this fire, or in other words, this temper – the oxygen, life elixir and immortal nature of Georgian poetry. Let’s look into this fire and set it ablaze again, let’s discover this concealed fire. The only words that will last are those that have fire in them, that are full of life and should be passed on. Both our current time and our future need the vitality and grace of fire. Even if history turns into ashes, it preserves fire, not ash.

Geronti Kikodze used to say that we can learn and own anything except our temper. This sentence doesn’t need any commentary. I will only underline one aspect of it: a man without temper should not write poetry!..

You probably remember Giorgi Leonidze’s verse: “Even stones produce sparks; would it be surprising if our hearts do?”. What’s surprising is that our hearts can lack sparks! This spark and fire should be searched for in one’s youth. Youth is fierier – it’s a law of nature. This fire can be felt in the thirst for life, in dedication, stubbornness, in the obstinate struggle for ideals... There is no poetry without fire, without inspiration. “The complaint of the thinking reed” (in Tyutchev’s words) means the kindling of poetic fire. This is the fire with which we should light people’s hearts, the one with which we should quench our society’s thirst, spiritual idleness, and primitive imitativeness. “The complaint of the thinking reed” means irreconcilability with artistic forgery, the poetic desire for truth, and who knows, maybe also the search for an existential purpose.

Where are these sparky, burning hearts? Where did the fire that was concealed in the reed go – this divine fire at the origin of creative elements? Where is this brilliant poppy fire, the color of wounds and

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leoniZeebma da asaTianebma daitaces? ara mgonia... asea Tu ise, am SemTxvevaSi awmyos movaleoba sakiTxis sworad dasmaa. sworad dasmul kiTxvaze swor pasuxs momavali gascems. magram sityva axalgazrdobas ekuTvnis, dRevandel axalgazrdobas. da ra amowuravs qarTuli poeziis _ erovnuli sulis potenciur SesaZleblobebs? aucileblad unda gamovceT axalgazrda poetebisa da prozaikosebis didtaniani saerTo krebulebi da visac es damaluli cecxli aRmoaCndeba _ siyvaruli, pativiscema da aRiareba ar unda movakloT. 1978 weli levan cucqiriZis ilustraciebi

of pomegranate flowers? Was it fully consumed? Was it taken away by previous poets such as Tabidze, Leonidze or Asatiani? I don’t think so… Whatever the answer, in our current situation, our duty is to ask the question in a relevant way. In time, a question that is asked correctly will always be answered.

But the ball is in the young generation’s camp of today. And what could consume the potential of Georgian poetry – the potential fire of the national spirit? We definitely need to publish thick anthologies of young Georgian poets and prose writers, and we should not lack love, respect and acknowledgement for the ones who display this hidden fire.

1978 Illustrationes by Levan Tsutskiridze

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თანამედროვე ხელოვნების მუზეუმი მომავლის მითი თუ რეალობა?

FUTURE MYTH OR REALITY?

ukanaskneli aTwleulebis ganmavlobaSi msoflio masStabiT Tanamedrove xelovnebis muzeumebis bumia. yvelaferi ki 1929 wels niu iorkSi Tanamedrove xelovnebis muzeumis (MoMa) gaxsniT daiwyo, romelmac saTave muzeumis axal tips daudo.

Tanamedrove xelovnebis muzeumi is adgilia, sadac damTvalierebeli uSualo dialogSia xelovanTan, erTgvari „forumi“, cocxali art-sivrce... Tanamedrove yofis mxatvruli xerxebiT modelireba da erTian sivrceSi warmodgena. kler biSopi cnobil naSromSi „radikaluri muzeologia“ miiCnevs, rom Tanamedrove xelovnebis muzeumi sazogadoebrivi cnobierebis arqivia, romelic `istoriuli gidis~ funqcias asrulebs, raTa damTvalierebels warsulis ukve gaazrebuli prizmidan Tanamedroveobis aRqma gauadvilos.

Zneli warmosadgenia ganviTarebuli qveyana, `Tavmoyvare~ qalaqi, sadac Tanamedrove xelovnebis muzeums mniSvnelovani roli ar hqondes gankuTvnili misi arqiteqturuli koncefciis, koleqciebis, saganmanaTleblo Tu interaqtiuli funqciis gamo.

XXI saukune Tanamedrove xelovnebis industriaSi mega muzeumebis epoqaa. `teiti~, `gugenhaimi bilbao~ da

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In the last decades, there has been a worldwide boom of modern art museums. Everything started with the creation of the Museum of Modern Arts in New York in 1929, which laid the foundation for a new type of museum.

Modern art museums are places where visitors are in direct dialogue with artists, a kind of “forum”, a sentient art-space… It is the modeling and representation of our modern existence in one space, and through artistic means.

In her famous work ‘Radical Museology’, Claire Bishop states that modern art museums are archives of societies’ consciousness, and have the function of “history guides”, helping visitors to perceive the present world through the prism of an already conceptualized past.

It is difficult to imagine a developed country, a “proud” city in which a modern art museum does not hold an important role, be it for its architectural conception, collections, educational significance or interactional function.

In the world of modern art, the 21st century is clearly the epoch of mega museums. The ‘Tate’, ‘Guggenheim Bilbao’, and other cultural “Meccas”, around which art industries develop, fulfill an important role by developing cities’ economies. For instance, after the opening of its museum, industrial Bilbao became a very touristic city, partly due to the unique architecture of its building, which was made by Franc Gehry. The latter is also behind the soon-to-come ‘Guggenheim

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sxva `kulturuli meqani~, romelTa garSemo viTardeba saxelovnebo industriebi, mniSvnelovan rols asruleben qalaqebis ekonomikuri ganviTarebiT. magaliTisTvis industriuli bilbao muzeumis gaxsnis Semdeg udides turistul qalaqad iqca, rac garkveulwilad nagebobam, frenk geris unikalurma arqiteqturam ganapiroba. misive proeqtiT Sendeba `abudabi gugenhaimic~, romelic imTaviTve Sua aRmosavleTis mZlavr kulturul centrad moiazreba. ra xdeba am mxriv saqarTveloSi? ramdeni aTwleuliT CamorCa Cveni qveyana msoflio tendenciebs?

Cveni saxelmwifos samuzeumo politika mcire dafinansebis pirobebSi, ZiriTadad, kulturuli memkvidreobis dacvis, kvlevisa da popularizaciis sakiTxebs aregulirebs. yuradRebis miRma rCeba Tanamedrove xelovneba, romelmac ukanaskneli ramdenime aTwleulis ganmavlobaSi ganviTarebis Zalze saintereso istoria ganvlo.

XX saukunis meore naxevrisa da XXI saukunis vizualuri xelovneba, faqtobrivad, Seufasebelia. garkveulma ekonomikurma da politikurma sirTuleebma mxatvrebis didi nawilis sazRvargareT gadineba gamoiwvia. saTanadod Sesaswavlia is saintereso Semoqmedeba, rac am periodSi Seiqmna. dRemde ar momxdara Tanamedrove qarTuli xelovnebis institucionalizacia. kerZo da saxelmwifo galereebSi eqsponirebuli Tanamedrove xelovneba ki ver qmnis erTian suraTs. arsebul sicarieles, verc kerZo samuzeumo sivrceebi avseben. mogexsenebaT, rusTavelis gamzirze TiTqmis dasrulebulia da male gaixsneba saxviTi xelovnebis muzeumi. mis irgvliv xelovanTa wreebSi araerTgvarovani molodinia. saxelovnebo bazarze msxvili investoris Semosvlam mxatvrebis garkveuli nawilis Semoqmedebaze moTxovna gazarda. magram erTia kerZo

Abu Dhabi’, which will become one of the leading cultural centers in the Middle East.

What about Georgia? By how many decades is our country lagging behind global tendencies in the field?

In modest financial conditions, our state museum policy principally focuses on regulating the preservation, study and popularization of cultural heritage. Contemporary art is neglected, although it has been through a substantial and interesting development process in recent decades.

Visual artworks from the late 20th century onwards are practically unknown. Difficult economic and political situations led a significant number of artists to settle abroad. The interesting works created during this period ought to be properly studied. To this day, Georgian contemporary art has yet to be institutionalized, and the contemporary artworks displayed in private and state galleries fail to create a unified picture of the field. Nor can a private museum fill this empty space.

A museum of fine arts is soon to open on Rustaveli Avenue, raising many expectations in artists’ circles. The appearance of a large investor on the art market has increased the demand for the works of some artists. But private investment differs from state activity. No private museum can satisfy the demands of society towards the State.

In the last 30 years, due to a lack of financial resources, state museums have not been displaying contemporary art collections. An artistic vacuum thus appeared, not only in terms of visual artworks, but also with regard to research into the field. Therefore, visual arts don’t “affect” the consciousness of Georgian society. For decades, the neglect of contemporary art by the State has laid the foundations of the tastelessness we found ourselves in.

Readers may be interested to get acquainted with the thoughts of the gallerists, curators and artists we have interviewed. We asked them a single question: why is it important to create a modern art museum in Georgia?

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investicia da meore saxelmwifos aqtivoba. verc erTi kerZo muzeumi ver Caanacvlebs im molodins, romelic sazogadoebas saxelmwifos mimarT gaaCnia. ukanaskneli ocdaaTi wlis ganmavlobaSi saxsrebis simciris gamo, saxelmwifo muzeumebs Tanamedrove xelovnebis koleqciebi ar SeuvsiaT. Seiqmna xelovnuri vakuumi ara mxolod vizualuri xelovnebis bazis TvalsazrisiT, aramed Teoriuli kvlevebis kuTxiTac. Sesabamisad vizualuri xelovneba ver `muSaobs~ qarTuli sazogadoebis ZiriTadi nawilis cnobierebaze. aTwleulebis ganmavlobaSi Tanamedrove xelovnebis saxelmwifoebrivad „ugulvelyofam“ ganapiroba is ugemovnoba rac Cvens realobaSi aRmocenda. mkiTxvelisTvis saintereso iqneba gamokiTxva, romelic galeristebTan, kuratorebTan da xelovanebTan CavatareT. maT erTi kiTxviT mivmarTeT _ ratom aris mniSvnelovani saqarTveloSi Tanamedrove xelovnebis muzeumis Seqmna?

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lika mamacaSvili (xelovnebaTmcodne, saqarTvelos erovnuli muzeumis Tbilisis istoriis muzeumis droebiTi gamofenebis ufrosi): „dRevandel samyaroSi, TiTqmis ar moiZebneba qveyana, romelsac ar gaaCnia Tanamedrove xelovnebis muzeumi. ram ganapiroba es movlena? kacobrioba, didwilad, xelovnebis Semecnebisken iswrafvis _ ase iyo saukuneTa ganmavlobaSi, Tumca civilizaciam da uaxlesma procesebma sxvadasxva sferoSi es interesi sxvagvar WrilSi dagvanaxa: Tanamedrove xelovneba ekleqturia, is uamrav sinTezur Taviseburebas da Janrs, saxeobas, formas avlens. yoveli am formaTagani qmnis sakuTar, farTo sazogadoebisTvis bevrismTqmel samyaros, savses problemebiTa da socialur-politikuri sinamdviliT. moTxovnileba, sazogadoeba mudmivad ecnobodes Tanamedrove saxelovnebo procesebs, didia.

1980-ani wlebidan, saqarTveloSi aqtiurad moqmedebs, viTardeba sakmaod didi jgufi xelovanebisa, romlebic qmnidnen istorias da maT namuSevrebs ukve karga xania icnoben saerTaSoriso asparezzec. qarTuli Tanamedrove xelovnebis umTavresi niSani mis individualizmSia. saSuria am mravalsaxovani procesis istoriis SenarCuneba, raTa ganviTardes da farTo gza mieces axal dinebebs. aqedan gamomdinare, vTvli rom aucilebelia, saqarTveloSi iarsebos Tanamedrove xelovnebis muzeumma“.

Lika Mamatsashvili (art historian, head of temporary exhibitions at the Tbilisi History Museum of the Georgian National Museum): “In today’s world, there is almost no country without a modern art museum. Why? The majority of people aspire to get closer to art – this has been the case for centuries, but our civilization and the latest processes at hand in various fields, have shown us this interest from another angle: contemporary art is eclectic, and comes in an array of genres, styles, and forms. Each of these creates an autonomous realm that has a lot to tell the general public and that addresses today’s problems and sociopolitical issues. The demand from society to be in constant touch with the processes at hand in contemporary art is greater than ever.

A large and active group of artists has been developing since the 1980s, whose works have been known on the international arena for some time. The main characteristic of Georgian contemporary art is its individualism. We urgently need to preserve the history of this multi-faceted process, so that it develops and gives way to new tendencies. This is why I think it is absolutely necessary to have a modern art museum in Georgia.”

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baia wiqoriZe (xelovnebaTmcodne, `baia galereis~ direqtori): „saqarTvelo Sedis im mcirericxovan qveynebis ricxvSi, sadac Tanamedrove xelovnebis muzeumi ar arsebobs. muzeumi, anu is adgili, romelic Tanamedrove xelovnebas kulturul memkvidreobad aqcevs, gansazRvravs kulturaSi mimdinare procesebis prioritetebs, faseulobebs, romelTac eqneba SemecnebiTi, saganmanaTleblo mniSvneloba. es CamonaTvali kulturis am mZlavri, funqcionaluri instituciis mxolod mcire nawilia. rac ufro gviandeba Tanamedrove xelovnebis muzeumis daarseba da misi Tanamdevi infrastruqturuli meqanizmis amoqmedeba, miT ufro saeWvo xdeba is faqti, rom saqarTvelo Tanamedrove msoflios kulturis sruluflebiani wevri gaxdes. mxolod kulturuli memkvidreobis warmoCena ver Seavsebs im vizualur da SemecnebiT vakuums, rasac Cveni qveyana ganicdis Tanamedrove xelovnebis muzeumis ar arsebobis gamo.

XX saukunis dasawyisSi futuristebis mier gamoTqmuli manifesturi lozungi muzeumebis dangrevis Sesaxeb, rasac avangardistuli konteqsti hqonda, saqarTvelom gadaWarbebulad Seasrula: man ar Seqmna is, ris dangrevasac futuristebi iTxovdnen. Tumca es mxolod konceptualuri azrovnebis Sedegi ar unda iyos“.

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Baia Tsikoridze (art historian, director of the ‘Baia Gallery’): “Georgia is listed among the few countries where there is no modern art museum, or in other words, a place that transforms contemporary art into cultural heritage, that defines the priorities and values of the processes at hand in culture, and which also has an instructive and educational role. And this is only a small part of this strong and functional cultural institution. The more the creation of a modern art museum and of its infrastructural mechanisms is postponed, the less chance Georgia will have to become a full-fledged member of global contemporary culture. By only displaying cultural heritage, we won’t be able to fill the visual and cognitive gap our country is facing because of the inexistence of a modern art museum.

The manifesto published by the futurists at the beginning of the 20th century about the destruction of museums, which had an avant-gardist context, was overzealously observed by Georgia, which then didn’t even bother to create what the futurists wanted to be destroyed.

But this shouldn’t be the result of a mere conceptual thinking pattern.”

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qeTevan korZaxia (xelovnebaTmcodne, `Tibisi art galereis~ direqtori): „Tanamedrove xelovnebis muzeumis arseboba, zogadad, Tanamedrove xelovnebisadmi interess, mis aRiarebas, misi mniSvnelobis gaazrebas da movlas gulisxmobs.

Tanamedrove xelovnebis muzeumi yvela `Tavmoyvare~ qveyanas aqvs, damoukideblad imisa ra xarisxis da mniSvnelobis xelovneba `iwarmoeba~ am qveyanaSi. _ saqarTveloSi, sadac saxelmwifo sagamofeno (specialuri da sayovelTao) sivrceebi ar arsebobs, Tanamedrove xelovnebis muzeumis arsebobaze saubari, Rimilis momgvrelia... meore _ ra kriteriumiT unda SeirCes muzeumSi gamosafeni namuSevrebi da avtorebi? es sakmaod rTuli samuSaoa. mesame _ aTwleulebia, saxelmwifos Tanamedrove avtorTa namuSevrebi ar SeuZenia. romeli koleqciis bazaze unda Seiqmnas Tanamedrove xelovnebis muzeumi? aqvs ki, saxelmwifos neba da sakmao resursi saimisod, rom miukerZoeblad Seqmnas muzeumis sakadrisi koleqcia? meoTxe _ axali da uaxlesi qarTuli vizualuri xelovneba Tanamedrove xelovnebis muzeumis gareSe verasodes ver SeZlebs verc realuri suraTis warmoCenas da verc Tanamedrove msoflio artprocesebSi CarTvas. dabolos, Tuki Sesabamisi saxelmwifo struqturebi ar gaiazreben Tanamedrove xelovnebis, rogorc eris kulturis upirvelesad saWiro sferos mniSvnelobas, davrCebiT mxolod kulturuli memkvidreobisa da saqarTvelos TvalismomWreli landSaftebis amara...“

Ketevan Kordzakhia (art historian, director of ‘TBC Gallery’): “In general, the existence of a modern art museum signifies an increased interest towards contemporary art, the appreciation of the latter, an understanding of its importance and the desire to look after it.

Every “proud” country has a modern art museum, regardless of the quality and importance of the art they produce.

Firstly, in Georgia, where there are no state exhibition spaces (neither official nor public), speaking about the existence of a modern art museum would make many people smile…

Secondly, what should the criteria be for choosing the works and artists to be exhibited in the museum? This is a quite a difficult task.

Thirdly, the State hasn’t purchased works from contemporary artists for decades. On the basis of which collection should the modern art museum be founded? Does the State have the wish and the necessary resources to create an impartial collection worthy of the museum?

Fourthly, without a modern art museum, the latest Georgian visual artworks won’t be able to be displayed properly, nor to become part of the current ongoing processes happening in the art-world on an international scale.

And finally, if the relevant State structures don’t prioritize contemporary art as one the most important things for the nation’s culture, we will remain at the mercy of our cultural heritage and the beautiful landscapes of Georgia…”

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vanda mujiri (arqiteqtori, galerea „vanda“-s damfuZnebeli, direqtori): „yvela qveyanaSi arsebobs Tanamedrove xelovnebis muzeumi da saqarTvelos, romelic ase amayobs sakuTari xelovanebiTa da xelovnebiT, saerTod ar gaaCnia msgavsi sivrce. qveyanaSi Camosuli stumrebi, romlebic qarTul kulturas muzeumebis saSualebiT ecnobian gaocebulni rCebian, roca igeben, rom Tbiliss Tanamedrove xelovnebis muzeumi ar aqvs.

Tanamedrove xelovnebis muzeumi xels Seuwyobs Cveni sazogadoebis gemovnebis Camoyalibebas da xelovnebis axali mimdinareobebis gacnobas. is Cven msoflio xelovnebaSi mimdinare procesebis Tanaziarad gagvxdis“.

Vanda Mujiri (architect, founder and director of ‘Vanda Art Gallery’): “There is a modern art museum in every country, and Georgia, a country that is very proud of its artists and art, has nothing like it.

Guests visiting our country learn about Georgian culture through museums, and they are astonished when they learn that Tbilisi doesn’t have a modern art museum.

A modern art museum would help shape our society’s aesthetic judgement and knowledge of new developments in the art world. It would make us part of the ongoing processes."

qeTevan kvirikaZe (mxatvari, mediaxelovnebis doqtori, safrangeTi): „vfiqrob, dRes saqarTveloSi ar arsebobs mravalfunqciuri socio-kulturuli kompleqsi, romelic principulad axali instrumenti gaxdeboda qveyanaSi Tanamedrove vizualuri xelovnebis mniSvnelovani movlenebis gamovlenisas. uaxlesi xelovnebis da modernistuli samuzeumo proeqtebis specifikidan gamomdinare, Cndeba xelsayreli sagamofeno garemos da sivrcis Seqmnis aucilebloba. msoflioSi arsebuli Tanamedrove xelovnebis udidesi muzeumebis idealuri variantebis SesaniSnavi magaliTebia Musée d’art moderne de la ville de Paris („parizis Tanamedrove xelovnebis muzeumi“) da Centre national d’art et de culture Georges-Pompidou („pompidus centri“) parizsa da mecSi _ pirveli decentralizebuli Tanamedrove xelovnebis erovnuli centri. cxadia, rom Tanamedrove xelovnebis muzeumis Seqmna xels Seuwyobs qarTuli Tanamedrove xelovnebis integracias msoflio kulturul konteqstSi“.

Ketevan Kvirikadze (artist, doctor in media arts, France): “I think that in today’s Georgia, there is no multifunctional sociocultural complex, something to become a new instrument to display the happenings in contemporary visual art in our country.

Because of the specificity of the latest art projects, it has become absolutely necessary to create a proper exhibition environment and space. Some ideal examples of existing modern art museums are the Musée d’Art Moderne de la Ville de Paris (City of Paris Museum of Modern Art) and the Centre National d’Art et de Culture Georges-Pompidou (Centre Pompidou) in Paris and Metz – the first decentralized national center for modern art. It goes without saying that the creation of a modern art museum in Georgia would help the integration of our country’s modern artworks in a global cultural context."

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ana riaboSenko (xelovani, kuratori; ssip „SemoqmedebiTi saqarTvelos“ direqtori): „saqarTvelosTvis Tanamedrove xelovnebis muzeumis arseboba sasicocxlod mniSvnelovania, pirvel rigSi imisTvis rom, man rogorc kvleviTma instituciam ganaxorcielos uaxlesi saxelovnebo istoriis gaazreba da dawera. amis gareSe SeuZlebelia saxelovnebo sivrceSi ganviTarebuli movlenebis aRnusxva da klasifikacia; Sesabamisad ki skolebisa an mimdinareobebis gamokveTa-dasaxeleba. es, Tavis mxriv, dRes moRvawe xelovanebis Semoqmedebis mimarTulebebs gamoavlens da Sesabamisad skolis ganmsazRvrelic iqneba. muzeumi imavdroulad analizisa da profesiuli kritikis safuZvels Seqmnis, romlis gareSe warmoudgenelia romelime sferos ganviTareba lokalur Tu saerTaSoriso bazarTan mimarTebaSi. samwuxaroa, magram swored am klasifikaciis da analizis SesaZleblobis gareSe qarTuli Tanamedrove xelovneba mxolod lokalur bazarzea orientirebuli, mas raime Sefasebis kriteriumebic ar gaaCnia. istoriuli diskursi TavisTavad ki arqivis komponentzea agebuli, rac koleqciasac moiazrebs. calkeuli koleqciebi ki ver qmnian erTiani suraTis danaxvis SesaZleblobas, vinaidan kriteriumebisa da istoriuli klasifikaciis gareSe isini mxolod erTi individis gemovnebis amsaxvelia. amdenad, saqarTveloSi Tanamedrove xelovneba ganviTarebisTvis institucionalizacias saWiroebs da msoflioSi amis yvelaze warmatebuli magaliTi Tanamedrove xelovnebis muzeumia, romlis struqturac mudmivi diskusiebisa da ganxilvis sakiTxia saerTaSoriso samuzeumo da saxelovnebo wreebSi. magaliTad, ra funqciis matarebeli unda iyos is? an ramdenad unda iTvaliswinebdes adgilobriv konteqsts? ra formiT unda TanamSromlobdes saerTaSoriso sivrcesTan? saqarTvelo ki ver gaxdeba am saerTaSoriso diskursis monawile Tu mas ar eqneba msgavsi institucia“.

Ana Riaboshenko (artist, curator; director of LEPL ‘Creative Georgia’): “The existence of a modern art museum is a question of life and death for Georgia, in the first place because, as a research center, it can analyze and report on the latest developments in art history. Without this, it is is impossible to list and classify the ongoing happenings in the cultural sphere, which also makes it impossible to single out schools, tendencies, or movements. This would mark the directions taken by today’s artists, and would thus also define the Georgian “school”. At the same time, the museum would create a basis for research and professional reviews, without which it is impossible to imagine the development of any field, be it on the local or international market.

Georgian contemporary art is currently oriented towards the local market, but unfortunately, without research or classification, nor with any criteria for reviews. Naturally, the historic discourse itself is based on archive components, which include collections, but single collections cannot create a unified picture, because without the proper criteria and historic classification, they only represent individual tastes and views.

Therefore, the development of contemporary art in Georgia desperately needs institutionalization, and the best examples of that are modern art museums, the structure of which is constantly discussed and reviewed in international museum and art circles. For instance, what functions should a modern art museum have? Or to which extent should it take the local context into account? In what ways should it collaborate internationally? Georgia will not be able to become part of this international discussion if it doesn’t have this kind of institution.”

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dabolos: Tanamedrove xelovnebis muzeumis sakiTxi ramdenime aTeuli welia saxelmwifos mier diskusiis donezec ki ar ganxilula, Tumca didi xnis nanatri, saWirboroto Tema TiToeuli xelovanisTvis kvlav yvelaze aqtualur problemad rCeba. da Tu pragmatulad davsvamT kiTxvas: muzeumis Temis ugulvebelyofiT ras kargavs qveyana? pasuxi martivia: kargavs ramdenime Taobis Semoqmedebas, qarTuli vizualuri xelovnebis erT-erT yvelaze saintereso 30-40 wlian monakveTs. ufro konkretulad ki asobiT uniWieres xelovans, romelTa namuSevrebi msoflios bevr

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cnobil galereasa Tu muzeumSi ifineba, xolo Cvens qveyanaSi Sesabamisi sivrcis ar arsebobis gamo, aRniSnuli Taobebis koleqciebis Seqmna da erTianad warmoCena SeuZlebelia. gava wlebi da momaval Taobebs Zalian gauWirdebaT gaaanalizon Tu ra saintereso ganviTarebis gza ganvlo qarTuli vizualuri xelovnebis e.w. „dakargulma Taobebma“, Taobebma, romelTa Semoqmedeba xval ukve kulturuli memkvidreoba gaxdeba. aqve aRvniSnavT, rom saqarTvelos mTavrobis mier 2016 wels damtkicebul oficialur dokumentSi „kulturis strategia 2025“ sakmaod mkafio mesijia:

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„Sesabamisi multifunqciuri kulturis infrastruqturis _ Tanamedrove xelovnebis muzeumis Seqmna saxviTi xelovnebis dacvis, warmoCenisa da xelovanTa adgilobrivi da saerTaSoriso popularizaciis mizniT“. Sesabamisad, imeds vitovebT, rom saxelmwifo aqtiurad imuSavebs am Temis irgvliv da erT-erT prioritetad daisaxavs. msgavsi masStabis proeqti mravali wlis muSaobas moiTxovs. pirvel rigSi aucilebelia saWiro Tanxebis mobilizeba, raTa etapobrivad daiwyos koleqciebis Sevsebaze da Tavad muzeumis koncefciaze muSaoba.

Tu gadawyvetileba droulad miviReT da nebac iqneba, SesaZlebelia, 2025 wlisTvis Tanamedrove xelovnebis muzeumis idea realobad iqces.

Teona jayeli, kulturis menejeri, mxatvari

The question of a museum of modern art has not been discussed in the governmental sphere for decades, while it remains the most topical problem and sought-after desire for our country’s artists.

If we look at the issue from a pragmatic perspective, what does our country lose by neglecting this deficiency? It loses the creative work of several generations, and one of the most interesting periods of Georgian visual arts, spanning 30-40 years. More specifically, hundreds of talented artists, whose works are displayed in many famous galleries or museums around the world, cannot be exhibited collectively in Georgia because of the lack of an appropriate space.

Time will pass, and future generations will have a hard time analyzing the interesting ways in which Georgian visual arts have developed through the works of so-called “lost generations” – generations whose creations will soon become cultural heritage.

It is worth noting that in the official state document ‘Cultural Strategy 2025’ approved in 2016, there is a clear message about the goals in this regard: “The creation of an appropriate multifunctional cultural infrastructure – a modern art museum, for the preservation and exhibition of fine arts, and the popularization of artists on a local and international level.” Therefore, we hope that the State will work actively towards this goal, and will make it one of its priorities.

Such large-scale projects demand many years of work. In the first place, we need to gather the necessary funds, so that we can gradually start working on acquiring collections and developing the concept of the museum.

If we make the decision soon enough and show enough dedication, the idea of a modern art museum could become a reality by 2025.

Teona Jakeli, Cultural Manager, Artist

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koleqciebis istoriebidan

gugenhaimi

sityva muzeumi (Museum) berZnuli warmomavlobisaa da `muzebis saxls~ niSnavs. Tanamedrove muzeumebis pirveli prototipi _ muzeioni _ aleqsandriaSi Zv.w. 290 wels daarsda. swored am SenobaSi daido bina cnobilma aleqsandriis biblioTekamac, romelmac JamTa svlis gamo Cvenamde ver moaRwia. garda wignebisa, am nagebobis uamrav oTaxSi cxovelTa fitulebi da im droisTvis saintereso sxvadasxva eqsponati ifineboda.

Zvel saberZneTSi ixsneboda iseTi saxlebi, sadac dapyrobiT omebSi warTmeul, mopovebul alafs _ kulturisa da xelovnebis nimuSebs uCvenebdnen damTvalierebels. Sua saukuneebSi `muzeumis~ funqcias eklesia-monastrebi asrulebdnen, sadac sxva ZvirfaseulobasTan erTad saiuveliro nakeTobebi da manuskriptebi inaxeboda.

XV saukuneSi cnobili aristokratuli gvaris erT-erTma warmomadgenelma, lorenco de mediCim, gankarguleba gasca mis mamulSi qandakebebis baRi SeeqmnaT. swored am dros Semovida modaSi iseTi Senobebis daproeqteba da ageba, romelTa grZel, farTo koridorebSi ferweruli tiloebi da qandakebebi ifineboda. es e.w. `kabinetebi~ (xelovnebis nimuSTa sagamofeno sivrce) jer italiaSi, Semdeg germaniasa da, bolos mTel evropaSi gavrcelda. `pirvel Tanamedrove muzeumad~ londonis britanuli muzeumia aRiarebuli, romelic 1753 wels gaixsna. masSi moxvedra damTvarielebels mxolod biurokratiuli barieris gadalaxvis Semdeg _ werilobiTi nebarTviT SeeZlo. pirveli sajaro muzeumi ki, sadac xelovnebis nebismieri moyvaruli xvdeboda _ 1793 wels gaxsnili luvria.

Tanamedrove muzeumTa umetesoba kerZo koleqciebis bazazea Seqmnili. mravali cnobili persona saxsrebsa da energias ar iSurebda, raTa maTi koleqciebi mdidruli, gamorCeuli, sazogadoebisTvis saintereso gamxdariyo _ es interesi ki sabolood ama Tu im muzeumis gaxsniT sruldeboda...

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FROM THE COLLECTIONS’ HISTORIES

GUGGENHEIM The word “museum” has Greek origins and means “the house of muses”. The Mouseion, the first prototype of modern museums, was created in Alexandria in 290 BC. This building included the famous Library of Alexandria, which was unfortunately unable to survive the hands of time. Apart from books, the numerous halls of the Mouseion displayed stuffed animals and various interesting exhibits.

In ancient Greece, some houses exhibited booty looted in war – cultural and art artefacts – to the public. In the middle ages, the function of “museums” was carried out by churches and monasteries, which preserved various valuables, including jewelry and manuscripts.

In the 15th century, Lorenzo de’ Medici gave instruction for the construction of a garden of statues on his estate. This is precisely the time when buildings with long, wide corridors exhibiting paintings and statues became popular. These so-called “cabinets” (exhibition spaces for artworks) spread to the territory of Italy, then to Germany, and finally across the whole European continent.

The British Museum, which was inaugurated in 1753, is considered to be the first modern museum. It could only be visited by people who had obtained written permission through bureaucratic means. The first public museum, where any amateur of art could enter, was the Louvre, which opened in 1793.

The majority of modern museums were created on the basis of private collections. Many famous figures generously spent both resources and energy on making their collections eye-catching, distinctive, and interesting for the public – and this endeavor often resulted in the opening of this or that museum…

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meier gugenhaimi vaJebTan / MEYER GUGGENHEIM AND SONS

dRes, msoflioSi im fondis avtoritets, romelic amerikis moqalaqis solomon robert gugenhaimis saxels atarebs, yvela aRiarebs. Tanamedrove xelovnebis nimuSebis udidesi koleqciebi gamofenilia niu iorkis, veneciis, bilbaos, las vegasis, berlinis, helsinkis da sxva qalaqebis muzeumebSi. yvelaferi ki 1919 wels daiwyo, maSin roca qvanaxSirisa da oqros mopovebis

Today, everybody agrees on the prestige of the foundation bearing the name of American citizen Solomon Robert Guggenheim.

Enormous collections of modern art are exhibited in museums in New York, Venice, Bilbao, Las Vegas, Berlin, Helsinki, and other cities.

Everything started in 1919, when at 58 years of age, the mining magnate decided to start collecting modern, avant-gardist artworks instead of carrying on with his very profitable business…

Solomon Robert Guggenheim was born in Philadelphia on the 2nd of February 1861. His father Meyer Guggenheim had emigrated to the USA from Switzerland in 1848. At first, he was a small entrepreneur and merchant. After accumulating some capital, he created the company M. Guggenheim’s Sons and started a new business. The Guggenheim family had silver, copper and lead, and smelting workshops in the US and Mexico. In 1901, the American Smelting and Refining Company merged with M. Guggenheim’s Sons, and became the leader in the field. The family business spread from Alaska to Congo.

hila ribei da solomon robert gugenhaimi HILLA REBAY AND SOLOMON ROBERT GUGGENHEIM

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They were eight siblings in the family, and Solomon was Meyer’s fourth child. After studying at the Concordia Institute in Zürich, Switzerland, the young Guggenheim returned to the US and became

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frenk loid raiti / FRANK LLOYD WRIGHT

58 wlis magnatma gadawyvita zemomgebiani biznesis nacvlad Tanamedrove avangarduli xelovnebis nimuSebis SegrovebisTvis moekida xeli... solomon robert gugenhaimi 1861 wlis 2 Tebervals daibada filadelfiaSi. mama, meier gugenhaimi, 1848 wels amerikis SeerTebul StatebSi Sveicariidan Cavida.

Tavdapirvelad igi mcire mewarmeobiTa da vaWrobiT iyo

actively involved in the family business. In 1891, he went to Mexico, where he became the head of the Compañia de la Gran Fundición Nacional Mexicana. He didn’t rest for four years, constantly traveling between Mexico and New York, and managed to restructure the business for the better – after these four years, the Mexican business was making over a million dollars profit each year. In addition, he overlooked the gold mining business Yukon Gold established in Chile and Alaska.

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Solomon Guggenheim married in 1895. His chosen one was one of the heiresses of the famous Rothschild family. Irene and Solomon had three daughters – Eleanor, Gertrude, and Barbara. It is his wife who sparked Guggenheim’s love for art and interest in becoming a collector.

Solomon Guggenheim started collecting artworks in the 1890s, though it remained a passion until the 1920s, when it became a systematic activity. When the businessman decided to seriously enrich his private collection, he felt he was too inexperienced and incompetent for the endeavor, and he asked German art historian and artist Baroness Hildegard (Hilla) Anna Augusta Elizabeth Rebay von Ehrenwiesen for help…

The aristocrat German girl born in Strasbourg had learned art history and theory in Berlin, where she was close to Wassily Kandinsky, Rudolf Steiner, Paul Klee, Hans Richter, Jean Arp, Kurt Schwitters, Robert Delaunay, Marc Chagall, and many other famous artists. Hilla moved to New York in 1927, where she was commissioned to paint a portrait of Solomon Guggenheim. Her academic portrait done in dark and warm tones had nothing to do with avant-gardist art, but the conversations held between the artist and the magnate during the painting sessions sparked Guggenheim’s interest…

hila ribei, solomon robert gugenhaimis portreti HILLA REBAY, PORTRAIT OF SOLOMON ROBERT GUGGENHEIM

dakavebuli. garkveuli kapitalis dagrovebis Semdeg, 1881 wels, kompania M. Guggenheim’s Sons (`m. gugenhaimi da Svilebi~) daarsa da axali saqme daiwyo. gugenhaimebis ojaxi aSS-sa da meqsikaSi vercxlis, spilenZisa da tyviis maRaroebs da sadnob saamqroebs amuSavebda. 1901 wels M. Guggenheim’s Sons The American Smelting and Refining Company-s Seerwya da axlad Seqmnil biznesSi wamyvani pozicia daikava _ mama-Svilebis saqmianoba alaskadan kongomde gafarTovda. ojaxSi rva bavSvi izrdeboda. solomoni meieris meoTxe Svili iyo. SveicariaSi, ciurixSi konkordias institutSi miRebuli ganaTlebis Semdeg, axalgazrda gugenhaimi StatebSi dabrunda da ojaxis biznesSi aqtiurad CaerTo. 1891 wels meqsikaSi gaemgzavra, sadac Compañía de la Gran Fundición Nacional Mexicana-s Caudga saTaveSi. oTxi wlis ganmavlobaSi mas wuTiTac ar dausvenia, mudam mexikosa da niu iorks Soris `mogzaurobda~ da sabolood saqme saaTiviT aawyo _ oTxi wlisTavze `meqsika~ weliwadSi

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milion dolarze met mogebas tovebda. amas Cilesa da alaskaze amuSavebuli oqros sabado Yukon Gold-ic daemata.

1895 wels solomon gugenhaimi daojaxda. misi rCeuli cnobili sabanko dinastiis, rotSildebis erT-erTi memkvidre, ireni gaxda. irensa da solomons sami qaliSvili SeeZinaT _ eleonora, gertruda da barbara. swored meuRlem gauRviZa axalgazrda gugenhaims siyvaruli xelovnebisadmi da interesi... koleqcionerobisadmi. solomon gugenhaimma namuSevrebis Segroveba XIX saukunis 90-iani wlebidan daiwyo, Tumca XX saukunis 20-ian wlebamde Semgroveblobas usistemo xasiaTi hqonda da mxolod gatacebad rCeboda. mas Semdeg rac biznesmenma seriozulad gadawyvita sakuTari koleqcia gaemdidrebina da am saqmeSi Tavs gamoucdelad da arakompetenturad Tvlida, daxmarebisTvis germanel xelovnebaTmcodnesa da mxatvars baronesa hildegard (hila) anna avgusta elizabeT ribei fon erenvizens mimarTa...

In 1930, Hilla introduced Solomon to Wassily Kandinsky, and more than 150 of his works entered his collection.

Guggenheim presented his collection to the public for the first time in 1930, when he exhibited his newly acquired works in the apartments of New York’s Plaza hotel. In the beginning, Solomon was interested in European abstractionism, then in non-objective and other avant-gardist art, and on the baroness’ advice, he purchased

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strasburgSi dabadebulma germanelma aristokratma gogonam xelovnebis Teoria da mxatvroba berlinSi iswavla, sadac vasili kandinskis, rudolf Stainers, paul klees, hans rixters, hans arps, kurt Sviterss, rober delones, mark Sagals da sxva mraval cnobil xelovans dauaxlovda. hila niu iorkSi 1927 wels Cavida da solomon gugenhaimis portretis dakveTa miiRo. am akademiur, muq da Tbil tonebSi Sesrulebul tilos araferi hqonda saerTo avangardul xelovnebasTan, Tumca seansebis dros mxatvarsa da magnats Soris Semdgarma saubrebma gugenhaimi daainteresa da...

1930 wels am didgvarovanma qalbatonma gaacno solomons vasili kandinski, romlis 150-ze meti namuSevari mis koleqciaSi moxvda. gugenhaimma avangarduli koleqcia sazogadoebas pirvelad 1930 wels gaacno _ niu iorkis sastumro Plaza-s apartamentebSi axlad SeZenili namuSevrebi gamofina. dasawyisSi koleqcioneri evropuli abstraqcionizmiT, Semdeg ki usagno xelovnebiTa da sxva avangarduli mimarTulebebiTac dainteresda da baronesa enreinveizenis rCeviT kandinskisTan erTad klees, delones, baueris, glezas, leJes, mondrianis da

several hundred works by Klee, Delaunay, Bauer, Léger, Mondrian, and other European artists.

In a few years, the collection grew so big that in 1937, he established the Guggenheim Foundation to foster the appreciation of modern art, and in 1939, his first museum was opened (temporarily) in Manhattan, New York, displaying European and American abstract artworks. This exhibition was titled ‘Art of Tomorrow’.

During the Great Depression and the Second World War, Guggenheim gave grants to young artists and assisted many European artists who had fled fascism in Europe.

In 1943, Solomon and Hilla decided to construct a new museum building in New York, and hired the famous American architect Frank Lloyd Wright for it, who didn’t consider New York as a city of his style, but on Guggenheim’s wish started working on the new project.

Wright created a very bold and original construction, especially for that time – the spiral building (remindful of an upside-down pyramid) was a completely new concept in museum architecture.

Despite some opposition, the architect managed to convince the Council of the Guggenheim Foundation, the city’s administration and society, and started the construction of the new museum, on 5th Avenue, completed in 1959. Sadly, Solomon Guggenheim passed in 1947. Frank Lloyd Wright himself died in 1959, months before the completion and inauguration of the museum.

iren gugenhaimi, vasili kandinski, hila ribei da solomon r. gugenhaimi / IRENE GUGGENHEIM, WASSILY KANDINSKY, HILLA REBAY, AND SOLOMON R. GUGGENHEIM

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sxva evropel xelovanTa ramdenime aseuli abstraqtuli

romelsac niu iorki mWidrod ganaSenianebul da sakuTari

Sedevri SeiZina.

arqiteqturuli stilis qalaqad ar miaCnda. Tumca,

ramdenime weliwadSi koleqcia imdenad gaizrda,

arqiteqtori gugenhaimis nebas dahyva da proeqtze

rom 1937 wels Tanamedrove xelovnebis ganviTarebis

muSaoba daiwyo. raitma im droisTvis marTlac Zalze

gugenhaimis fondi daarsda, 1939 wels ki niu iorkSi

Tamami da originaluri proeqti Seqmna _ spiraluri

manhetenze misi pirveli muzeumic (droebiTi) gaixsna, sadac evropuli da amerikuli abstraqcionizmis nimuSebi gamoifina. am eqspozicias `xvalindeli dRis xelovneba~ erqva. didi depresiisa da meore msoflio omis dros solomon gugenhaimma axalgazrda mxatvrebisTvis stipendiebi

nageboba (romelic amotrialebul piramidasac hgavs) sruliad axali sityva iyo samuzeumo arqiteqturaSi. winaaRmdegobis miuxedavad xuroTmoZRvarma SeZlo gugenhaimis fondis sameurveo sabWos, qalaqis mmarTvelobis da sazogadoebis darwmuneba da axali

daawesa da faSizms gamoqceul-gamoridebul bevr evropel

muzeumis mSenebloba daiwyo, romelic mexuTe aveniuze

xelovans gaumarTa xeli.

1959 wels dasrulda, magram... 1947 wels gardaicvala

1943 wels solomonma da hilam niu iorkSi muzeumisTvis

solomon gugenhaimi; 1959 wels, Senobis dasrulebamde da

calke nagebobis ageba gadawyvites da Senobis proeqti

muzeumis gaxsnamde ramdenime TviT adre ki frenk loid

cnobil xuroTmoZRvars frenk loid raits daukveTes,

raiti.

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Our k i h c b Chu ar vici, ramdenad var uflebamosili fermwerze vilaparako. Tanac iseTze, rogoric Tengiz mirzaSvilia, Cemi erT-erTi uaxloesi megobari da pirovneba, romlis msgavsic iSviaTad daiareba amqveynad. me musikosebze miWirs azris gamoTqma da iseTi individualobis matarebel mxatvarze saubari, rogoric Tengiz mirzaSvilia, ra Tqma unda, miZneldeba.

I don’t know if I’m qualified enough to talk about a painter, and even more so about a painter such as Tengiz Mirzashvili, a kind of individual that is rarely found in this world, and who also happens to be one of my closest friends. I have a hard time giving my opinion about musicians, so, naturally, it is very difficult for me to talk about such an idiosyncratic painter as Tengiz.

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sul axlaxans gavecani 1952 wels Tengizis mier Seqmnil Canaxatebs da gaocebuli davrCi. ver warmomedgina rom, samxatro akademiaSi swavlis dawyebamde da garkveuli msoflmxedvelobis Camoyalibebamde, Tandayolili ubadlo ostatoba Cemze aseT waruSlel STabeWdilebas moaxdenda. me, fanqarsa da saSlels SeCveuls, ver gamigia, rogor iqmneba sul raRac oriode StrixiT iseTi mxatvruli saxe, romelic ara Tu Sesworebas, veraviTar damatebas ver aitanda. sxvaTa Soris, Tengizis mTeli Segnebuli cxovreba mimarTulia im movlenebis ver atanasTan, romelTa winaaRmdeg brZola WeSmariti SemoqmdisaTvis erT-erTi mamoZravebeli Zalaa. igi ebrZvis yvelafers, rac simaxinjed miaCnia. ebrZvis Seupovrad da gulwrfelad.

Tavis nafiqrals da mosazrebebs uziarebs sazogadoebas da mxolod dro gansazRvravs misi damokidebulebis siswores sxvadasxva movlenebis mimarT... piradad me

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I recently discovered sketches made by Tengiz in 1952, and I was left astonished. I couldn’t imagine that even before starting his studies at the Academy of Arts and acquiring his own worldview, he could display such unrivaled mastery that would leave me with such an unforgettable impression. I am used to pencils and erasers myself, but I cannot understand how, with only a couple of strokes, one can create artistic images that need no correction, and what’s more, cannot even tolerate any addition. Throughout his life, Tengiz could never stand anything that went against pure creation, and the struggle against such phenomena became one of the driving forces of his art. He fights anything he deems as ugly. He fights sincerely and stubbornly. He shares his thoughts and opinions with society, and only time will tell the accuracy of his attitude towards this or that reality… I am personally fond of many of Tengiz’ opinions in

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Tengizis moRvaweobis am sferoSi bevri ram mizidavs, magram gansakuTrebiT minda aRvniSno erTi SexedviT umniSvnelo, magram CemTvis metad yuradsaRebi garemoeba. arc pirad saubrebSi da arc mravalricxovan werilebSi igi ar xmarobs sityvebs: `wilxvedri~, `sruliad saqarTvelo~, `bedkruli~, `mravaltanjuli~, `erovnuli TviTSegneba~ da a.S. sxvaTa Soris, mec mimaCnia, rom am cnebebis mxolod sityviT `motrfiale~ pirovnebebi, rogorc wesi, qveyanas da sazogadoebas daTvur samsaxurs uweven. amgvari leqsikiT gamudmebuli spekulireba xelmocaruli patriotebis xvedria. am xalxs samSoblos siyvaruli profesia hgonia. me odnav gadavuxvie mTavar Temas. mTavari ki Semdegia: CemTvis dRemde amoucnob movlenad rCeba Tengizis Seudarebeli ferwera, romlis arsi ewinaaRmdegeba im simaxinjes, rasac mTeli cxovreba verafriT ver egueba. albaT amitomac, misi ferwera _ uCveulod mSvidi, haerovani, amaRlebuli, sikeTiT savse da sevdiani, qmnis samyaros, romelic, msgavsad firosmanisa da galaktionisa, ganumeorebelia _ erTia am qveyanaze da mas Tengiz mirzaSvilis samyaro hqvia. gia yanCeli, 2005 weli

this regard, but I want to underline one aspect in particular, one that may seem less important, but that I deem worthy of our attention.

Neither in his private conversations, nor in his numerous letters, does he ever use the following words: “heritage”, “All Georgia”, “ill-fated”, “long-suffering”, “national consciousness”, and so on. I believe that such notions are typically used by people (and mostly people who simply “worship” these words) only to describe our country and society. Speculating with this kind of vocabulary is the share of empty-handed patriots. These people think that loving their country is a profession.

But I have veered off the main subject, which is the following: to this day, Tengiz’s unparalleled paintings, the essence of which engages against the ugliness he could never come to terms with, remain a mystery to me. Perhaps this is the reason his art –extraordinarily calm, airy, sublime, sad, full of kindness, creates a world that, similarly to those of Pirosmani and Galaktioni, is inimitable. It is unique on Earth, and it is Tengiz Mirzashvili’s world.

Giya Kancheli, 2005

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*** saxelosnos karze arcTu mokrZalebulad davakakune. _ e, mevida vincxa _ gaisma oTaxis siRrmidan CubCikas xma. es mimarTva yvela stumars ekuTvnis. misTvis ara aqvs mniSvneloba, stumari saqarTvelos prezidentia Tu damlagebeli. kari gamiRo. _ rogor xar? _ vkiTxe me. _ qe var faqizad _ mipasuxa Cveuli xalisiT. oTaxis siRrmidan eTer TaTaraiZis Tbili mzera Semomegeba.

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*** I knocked on the door of the studio quite boldly.

“Eee, someone’s arrived.” I could hear Chubchika’s voice from the back of the room.

This is how he addresses any guest. He doesn’t care if it is the President of Georgia or the cleaning lady.

He opened the door.

“How are you?” I asked him.

“Quite tranquil, I have to say,” he answered with his characteristic joyfulness.

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rogorc gavige eTeris axali leqsebis krebuli gamodis. wignis gaformeba CubCikas ekuTvnis. esec bunebrivia.

CubCika dajda, saocrad `mouwesrigeblad~ dalagebul magidasTan da albomSi Cveuli virtuozulobiT xatva daiwyo. davxede furcels da Cavilaparake: _ es ra magari peizaJi gamovida! _ amas ra unda, TvaldaxuWulic davxatav, _ gaiRima CubCikam. _ rasakvirvelia, xumrobs, _ Tqva Cveuli sidinjiT eTerma. _ ara, ar vxumrob, Tu gindaT Tvalebi amixvieT! _ eTer, modi vcadoT _ vuTxari me. _ moica! _ furceli da pastelebi movumzade. aiRo sxvadasxva zomis sami feris pasteli, ferebi zomebis mixedviT daimaxsovra da Tqva:

In the depth of the room, I noticed Eter Tataraidze’s warm gaze.

As I understood, a new anthology of Eter’s poems is to be published, and naturally, Chubchika is its illustrator.

Chubchika sat down at an exceptionally untidy table, and started drawing in an album with his typical virtuosity.

I looked at the album and said: “This is a great landscape!”

“That’s nothing, I can draw it with my eyes closed,” Chubchika said, laughing.

“That’s unusual, he’s joking,” said Eteri in her usual calm tone.

“No, I’m not joking, cover my eyes if you want!”

“Eter, let’s try it,” I told her.

“Wait!” I prepared a sheet of paper and pastels. He took pastels of three different colors and sizes. He memorized the colors according to the sizes, and said: “Will you cover my eyes?”

We covered his eyes with a cloth, and I told him with some irony:

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_ he, amixvieT Tvalebi?

Tvalebi avuxvieT da ironianarevi RimiliT vuTxari: _ aba daiwye! ramdenime wuTSi TeTr furcelze ulamazesi ofofi gaCnda. moulodnelobisagan gavSri. Sevxede eTeris gaognebul saxes. _ gamevida racxa? _ gamogvafxizla CubCikas SeZaxilma. _ SeiZleba es ofofi me maCuqo? _ amoviluRluRe me. _ weiRe, _ Tqva man da samzareulosken gaemarTa. _ axla me Cais mogimzadebT, racxa murabiT. saxelosnos kedlebs mzera movavle, TiTqos am

“You can start!”

In a few minutes, a most beautiful hoopoe appeared on the white paper. I was so surprised that I couldn’t move. I looked at Eteri’s astonished face.

“Is it something good?” Chubchika asked, waking us up.

“Can you give me this bird as a gift?” I murmured.

“Just take it,” he said, heading towards the kitchen. “I’ll make some tea with jam.”

I looked at the kitchen walls, as if I was seeing everything for the first time.

Carpets, copper jugs, a publication of ‘The Knight in the Panther’s

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yvelafers pirvelad vxedavdi. fardagebi, Tungebi, magidaze gadaSlili `vefxistyaosani~, saqarTvelos istoriis narkvevebi, sxvadasxva Jurnal-gazeTi, kedlebze uamravi namuSevari kidia, iatakzec yria, TiTqos es asec unda iyos. cxvrebi, xidi, wiTelkabiani qali (romelzedac vgijdebi), ferdobze sadRac Sors eklesiis konturi, forToxlisferi mze, `uzrdeli qalebi~, xeebi, zamTris peizaJi... am fiqrebidan moulodnelad raRacam gamomafxizla. gavxede Cems CanTas, romelSic wiTelniskarta ofofia mokalaTebuli da kidev erTxel gavifiqre: _ ara, CubCik, Sen marTla geniosi xar! zaira bereliZe, 2006 weli

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Skin’ spread on the table, studies on the history of Georgia, various magazines and newspapers, and numerous paintings hanging on the walls and lying on the floor.

Sheep, a bridge, a woman in a red dress (I am crazy about this one), the contour of a church far away on a mountain, an orange sun, “ill-mannered women”, trees, a winter landscape…

Something unexpectedly woke me up from these thoughts.

I looked at my bag, which now contained a red-beaked hoopoe, and I thought once more: “There’s no way around it, Chubchik, you are truly a genius!”

Zaira Berelidze, 2006

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*** araferi aravis msgavsi: arc garegnoba, arc xasiaTi, arc damokidebulebebi, arc ferebi, arc formebi, mudmivad eZebs siaxles, siRrmes, faseulobasa da dasafasebels...

*** Nothing in him looks like anyone else I know: his appearance, his character, his opinions, his colors, his shapes – he is always in a quest for something new, deep, valuable and honorable‌

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aris mudmiv moZraobaSi, aqvs dro wamebad da wuTebad ganawilebuli; winaT ara, axla aviwydeba da erTmaneTSi ereva, vis xvdeba, vin midis masTan saxlSi Tu saxelosnoSi... erTxel `vurCie~: axla is droa, patara ubis wignaki iyido da kiserze Camoikido, sadac `dRis reJimi~ gewereba: vis xvdebi, ra gaqvs wasakiTxi da ra unda daxato-meTqi. gaecina: _ `wakiTxva rom damaviwydeso~... `sicocxle~ _ am sityvis uRrmesi semantika ganuyofel kavSirSia Tengiz mirzaSvilis, rogorc adamianisa da xelovanis fenomenTan. madloba RmerTs! am ferebis Semqmneli avtorisa da am ferebiT gamdidrebuli qveynis moswrebisaTvis...

He is constantly doing something, he organizes time in minutes and seconds; this wasn’t the case earlier, but he now forgets and amalgamates who he meets, who visits him at home or at the studio… I once “advised” him: “The time has come for you to hang a small notebook around your neck, where you will write your daily schedule: who you are meeting, what you have to read, and what you have to paint.” He laughed: “What if I forget to read it…”

“Life” – the immense semantics of this word are in an inseparable relation with Tengiz Mirzashvili, both as a human and a phenomenon of art.

Thank God for the author of such colors, and for letting me live in the time when he enriched our country with them…

eTer TaTaraiZe, 2005 weli

Eter Tataraidze, 2005

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*** ...Tengiz mirzaSvils me udides xelovanTa gverdiT vayeneb, Tumca Cemi Cayeneba rad unda, rodesac igi karga xania dgas mowinave kohortaSi, Tuki dgoma eTqmis mis maradiul xetials ara mxolod ferwerisa da grafikis saufloSi, aramed xelovnebis istoriasa Tu filologiaSi, folklorsa Tu poetikaSi, teqstologiasa Tu, kerZod, rusTvelologiaSi.

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*** …I place Tengiz Mirzashvili among the greatest artists, but to say the truth, my opinion doesn’t really matter, as he has been standing (if we can call his eternal wandering “standing”) at the forefront, not only in the kingdoms of painting and graphic arts, but also of art history, philology, folklore, poetry, the study of texts, and rustvelology.

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Tengiz mirzaSvili, anu rogorc igi SinaurobaSi moixsenieba, `CubCika~, am profesionaluri universalizmiT me magonebs aRorZinebis xanis xelovanT, leonardo davinCis, leon batista albertis, vaxuSti batoniSvilsa Tu daviT guramiSvils, magram mainc isev da isev niko firosmans, samyarosTvis farTod gaxelili TvalebiTa da, rac mTavaria, guliT. ratomRac mgonia, rom cxonebuli nikalac CubCikasaviT `dafusfusebda~ Tbilisis quCebSi da Tavis Sinagan xilvebs sasoebiT daatarebda gaqeqili xurjiniT.

With his professional universalism, Tengiz Mirzashvili or “Chubchika”, as he was called by his close friends, reminds me of artists from the Renaissance period, such as Leonardo da Vinci, Leon Battista Alberti, Vakhushti Batonishvili or David Guramishvili, and more than anyone, of Niko Pirosmani, with his wide-open eyes, and more importantly his wide-open heart towards the world.

For some reason, I think that Pirosmani was “bustling around” in Tbilisi like our Chubchika, and that like him, he was carrying his inner visions diligently in a raked saddlebag.

vaxuSti kotetiSvili, 2005 weli

Vakhushti Kotetishvili, 2005

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. . . gi i e es , T v qa T n vsu

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. . . e r o f e r e h t , e h t a We bre

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qeTevan qemokliZe dRes msoflios Teatrebis erT-erTi sasurveli stumaria. misi repertuari im CarCoebSia moqceuli, romelsac Tavad momRerali udgens sakuTar xmas da SesaZleblobebs. mis musikalur biografiaSi saopero partiebi TandaTan, magram triumfiT imkvidreben adgils, rac ganapirobebs kidec, misi, rogorc artistis progress da Cvenc, mis msmenels mudmivi siaxlisa da molodinis gancdaSi gvamyofebs. saopero rolebis mravalferovnebasTan erTad, qemokliZe kameruli musikis mesaidumlecaa _ mis xelTaa rosinis virtuozuli belkantodan maleris tragikul lidebamde gadaWimuli repertuari _ dRes, albaT, Zalian cotas Tu SeuZlia CvenSi roialTan ase simRera. saopero karierasTan erTad, romelic romis, milanis, veronas, parmis, palermos, marselis, tuluzis, monpelies, madridis, barselonis, seviliis, berlinis, santiagos, vaSingtonis, los anJelesis, tokios, peterburgis da kidev sxva bevri Teatris scenaze Sesrulebul rolebs moicavs. momRerlis vokaluri Tu artistuli SesaZleblobebi SeumCneveli arc karlos sauras darCenia; didma espanelma reJisorma is filmSi `me, don jovani~ aTamaSa da qarTvelma varskvlavma vitorio storaros kameris win gaibrwyina. artistis cxovrebis gza SeiZleba raRac SemTxveviTobam Semoabrunos da... qeTevan qemokliZec swored maSin gavida vokalis gamocdaze, roca xatviT iyo gatacebuli...

Ketevan Kemoklidze is one of the most sought-after singers in the world of opera. She enriches her repertoire according to her own will, voice and capabilities. In her musical biography, opera parts gradually, but successfully, establish themselves, which leads to her progress as an artist, and brings us, her audience, into a constant state of expectation. Together with the diversity of her opera roles, Kemoklidze is also a confidante of chamber music, with a repertoire spreading from Rossini’s virtuosic bel canto to Mahler’s tragic lieds. There are probably very few people today who can sing like that next to a piano.

Together with her opera career, which includes many roles performed in the theaters of Rome, Milano, Verona, Parma, Palermo, Marseille, Toulouse, Montpellier, Madrid, Barcelona, Sevilla, Berlin, Santiago, Washington, Los Angeles, Tokyo, Petersburg, and many other cities, the singer’s vocal and artistic skills were noticed by Carlos Saura; the great Spanish director making her play in his film ‘I, Don Giovanni’, where the Georgian star shined before Vittorio Storaro’s camera.

An artist’s life can take a completely different turn by mere coincidence. When Ketevan went to her first vocal audition, her passion was drawing…

bavSvobaSi musikalur skolaSi, xalxuri simReris gundSi vmRerodi. erT-erTi koncertis Semdeg dedas hkiTxes, am bavSvs patroni ar hyavso... dedam es SeniSvna yuradiRo da aTwledSi guliko kariaulTan mimiyvana. gulikom momismina da dedas uTxra, am bavSvs kargi vokaluri monacemebi aqvs da nodar andRulaZes vaCvenoTo, romelic im dros konservatoriis msgavsad, aTwledis vokalis kaTedrasac xelmZRvanelobda. aRmoCnda, rom aTwledSi mosmena mesame dRes iyo daniSnuli. im dros samxatvro skolaSi vswavlobdi, momRerlis karieraze ar vfiqrobdi da arc

In my childhood, I sang in the folk ensemble of a music school. After one of the concerts, they asked my mother why nobody was taking care of me as a singer… My mother took it seriously, and brought me to Guliko Kariauli’s Music Academy. After listening to me, Guliko told my mother that I had good vocal potential, and that she should take me to Nodar Andguladze, who headed both the State Conservatoire and the vocal department of her academy. An audition was arranged at the academy three days later. At that time, I was studying at an art school; I wasn’t thinking about a career as a singer at all, and I wasn’t ready to sing either, but I still took the audition, performing a folk song, and this is how I entered Guliko Kariauli’s Music Academy at 14 years of age.

simRerisTvis viyavi mzad, magram gamocdaze mainc gavedi, xalxuri simRera Sevasrule da ToTxmeti wlisa ase Caviricxe musikalur aTwledSi.

Then you entered the State Conservatoire?

No. First I studied at the Economics Faculty of the Tbilisi State

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Semdeg CaabareT konservatoriaSi? ara, Tavidan Tbilisis saxelmwifo universitetSi vswavlobdi ekonomikis fakultetze, romelic meore kursidan mivatove da konservatoriaSi guliko kariaulis klasSi Cavabare... Tumca manamde, aTwledSic kargi gamosvlebi mqonda. 2002 wels konservatoriis mcire darbazSi solo koncertic ki gavmarTe. konservatoriis Semdeg? konservatoriaSi Cemi swavlisas, saqarTveloSi pirvelad Camovida belvederis konkursis warmomadgeneli, romelmac xuTi studenti SegvarCia da ase aRmovCndi venaSi pedagogTan erTad. es CemTvis pirveli saerTaSoriso konkursi iyo. manamde, aq, axalgazrduli da respublikuri konkursebis laureati gavxdi, aseve miRebuli mqonda prizi elena obrazcovas konkurszec. 2003 wels evropuli konkursi yvelasTvis saocnebo iyo da venaSi la skalas akademiam pirvelive turze momaniWa prizi da akademiaSi swavlis stipendia. garda amisa, barselonis da laipcigis Teatrebma SemomTavazes TanamSromloba. konkursis samive turi bolomde gaviare da finalSi vimRere... swored am dros seriozulad da sabolood gadavwyvite gavyolodi simReras.

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University, but I stopped during the second year, and enrolled at the Conservatoire, in Guliko Kariauli’s class… But before that, I had already performed a number of concerts at her academy, including a solo concert in the small hall of the Conservatoire in 2002.

And after the Conservatoire?

The first time a representative of the Belvedere Competition visited Georgia, I was studying at the Conservatoire. He chose five students, and this is how I found myself in Vienna, together with my teacher.

This was my first international competition. Before that, I won the Youth Competition and the Republic Competition in Georgia, and I had also been awarded a prize at the Elena Obraztsova Competition.

In 2003, European competitions were like a dream to us, and I received a prize from La Scala in the very first round, as well as a grant to study in Milan. I also received offers to perform at the Leipzig and Barcelona theaters. I passed three rounds of the competition and sang in the final… That’s when I decided to pursue a singing career.

Were you contacted by impresarios after the competition?

Theater directors contacted me directly, including the director of La Scala, as well as those of the Liceu and Basel theaters. The fact that the directors themselves were interested in me was very motivating.

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konkursis Semdeg dagikavSirdnen impresarioebi? pirdapir Teatrebis direqtorebi, maT Soris la skalas, aseve liseos da bazelis Teatrebisa. swored es iyo mniSvnelovani, rom Tavad Teatrebis direqtorebi dainteresdnen CemiT, ar wydeboda SemoTavazebebi. amis Semdeg wavedi la skalas akademiaSi, sadac ukve swavlobdnen qarTvelebi _ pirveli Taoba iyo laSa niqabaZe, Semdeg nino surgulaZe da gia oniani, mesame Taoba viyaviT nino maCaiZe, irina kapanaZe, nika lagvilava da me _ TerTmetidan oTxi qarTveli. akademiaSi vin gaswavlidaT? xmaze luCana serasTan vmuSaobdi, interpretaciaze leila genjerTan. masterklasebi Cagvitares renato bruzonim da luiji alvam. es sasargeblo, magram imavdroulad, damabnevelic iyo _ erTsa da imaveze yvela sxvadasxva rames geubneboda. Cveulebriv, Tormetidan, visac akademiaSi iReben, warmatebul karieras samioTxi Tu aRwevs, danarCenni meore partiebs asruleben an gundSi mRerian, sxvebi maswavleblobas iwyeben da

The offers kept coming and coming. After that, I went to La Scala’s Academy, where there were already some Georgians – the first generation was represented by Lasha Nikabadze, then it was Nino Surguladze and Gia Oniani, and the third generation was composed of Nino Machaidze, Irina Kapanadze, Nika Lagvilava and myself – four Georgians out of eleven students.

Who taught you at the Academy?

Luciana Serra was teaching us vocals, and Leyla Gencer was teaching us interpretation. We also had masterclasses with Renato Bruson and Luigi Alva. It was useful, but confusing at the same time – they were all telling us different things about the same aspects.

Usually, from the 12 students accepted at the Academy, only three or four have successful careers; the rest perform less important parts or sing in ensembles, start teaching, or sometimes even completely “disappear”. The learning process is difficult and stressful for foreigners – you are in a foreign country, you don’t know the language, you have never lived alone, you are without your family… You need to be very strong; this was a difficult situation that was very different from the 1990s in Georgia. Therefore, the ones who are still singing from

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zogi sulac `qreba~. ucxoelisTvis swavlis procesi rTuli da stresulia _ xar ucxo qveyanaSi, ena ar ici, ar darCenilxar marto, ojaxis gareSe. amas yvelafers didi gamZleoba sWirdeba, es 90-ianebisgan gansxvavebuli, sxva tipis sirTule iyo. amitom, dRes Cveni klasidan nino maCaiZe, nika lagvilava da me vmReriT. imaT garda, vinc ukve vaxseneT, mimecadinia jani raimondisTan, jovani baras mowafesTan, visTanac nodar andRulaZe swavlobda, da roca vuTxari, rom mec andRulaZis skolas warmovadgendi, sixaruliT gagiJda, nodars Zalian did pativs scemda. nodar andRulaZe movlena iyo da guli mwydeba, rom misi codna da SesaZleblobebi bolomde ver gamoviyeneT. leila genjeric xom ucxoeli iyo, Tumca italiur skolas warmoadgenda... ki, belkantos udidesi warmomadgeneli gaxldaT da mocartis erT-erTi saukeTeso interpretatori.

Turquli warmoSobis genjeri dediT poloneli iyo da, albaT, amitom uyvarda gansakuTrebiT Sopeni. poloneli kompozitoris Temebze polina viardos mier Seqmnili simRerebi genjeris Semdeg, missave davalebiT, mgoni pirvelma me Sevasrule.

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our class are Nino Machaidze, Nika Lagvilava and myself. Apart from those that I mentioned, I studied with Gianni Raimondi, a student of Giovanni Barra, with whom Nodar Andguladze had studied; when I told him that I was also representing Nodar Andguladze’s School, he became ecstatic – he had a lot of respect for Nodar, who was a real phenomenon, and I feel bad that we couldn’t use his expertise to the fullest.

Leyla Gencer was a foreigner too, but she represented the Italian School…

Yes, she was a great representative of bel canto, and one of the best interpreters of Mozart. She was of Turkish origin, but had a Polish mother, which is probably why she was particularly fond of Chopin.

I think I was the first to perform the songs Pauline Viardot created on the Polish composer’s themes after Leyla Gencer – on her own instructions.

Did you always consider yourself a mezzo?

During my childhood, I sang the second or third voice in the ensemble. When I started studying vocals and we discovered that I could sing high notes very freely, I had the temptation to give soprano a try, but I always had the inner feeling that I was a mezzo. I actually tried to sing as a soprano, but I realized that my “instrument” was not forthcoming … You cannot force your voice to do what it

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Tavi yovelTvis mecod migaCndaT? bavSvobaSi gundSi meore an mesame xmas vmRerodi, magram roca vokalSi mecadineoba daviwye da Zalian Tavisufali `maRlebi~ aRmomaCnda, iyo cduneba, rom mecada soprano, magram Sinaganad yovelTvis vgrZnobdi, rom meco viyavi. Tumca, cdas win ra udgas da micdia kidec, Tumc vxvdebodi, rom `insturmenti~ ar momyveboda; ar SeiZleba xmas daaZalo is, rac ar SeuZlia. TbilisSi vimRere izoldes Liebestod, romelsac sopranoebTan erTad mecoebic mRerian; vagneri ar iTvaliswinebda xmas, werda rogorc `instrumentisTvis~ da, amdenad, zustad ver gansazRvrav ra xmisTvis iyo gansazRvruli. jer arc ulrikas vmReri verdis `bal maskaradidan~ da arc msgavs partiebs. vmReri imas, rasac Cemi xma miesadageba; esaa rosini, belini, doniceti _ iTvleba, rom erT-erTi saukeTeso Semsrulebeli var jovana seimoris partiis `ana bolenaSi~, axla Cemi `topia~ eboli verdis `don karlosidan~. ormocdaaTs ro gavcdebi, albaT, ulrikasac vimRereb. belkantos rolebi... madridSi Sedga Cemi adaljizas debiuti _ arc meti, arc naklebi mariela deviasTan erTad. devia normas partias Tavad originalur gasaRebSi mReris da mxolod maTTan simReras Tanxmdeba, vinc aseve originalur gasaRebSi

cannot. I sang Isolde’s Liebestod in Tbilisi, which is sung by both sopranos and mezzos; Wagner didn’t take voice into account, he was composing for the instruments, and therefore, we cannot really determine for which voice it was created.

These days, I don’t sing Ulrica’s part in ‘A Masked Ball’, or any such parts. I sing the parts that my voice fits: Rossini, Bellini, Donizetti – I am considered to be one of the best performers of Giovanna Seymour’s part in ‘Anna Bolena’, and my “top one” right now is Eboli’s part from Verdi’s ‘Don Carlos’. When I’m over 50, I will probably sing Ulrica too.

What about bel canto roles?

My Adalgisa debut took place in Madrid – together with no less than Mariella Devia. Devia only sings Norma’s part in its original key, and she will only sing with singers who also sing in the original key.

They called me from the theater, offered me the chance to take part in the performance, and asked me if three rehearsals would be enough; I’d never sung this part before, but I decided to risk it. I was very nervous, but the debut went very well.

Again in Madrid, where I was singing Cherubino’s part in Mozart’s ‘The Marriage of Figaro’, I met Teresa Berganza. She listened to my Rosina part, for which I didn’t use any cadenza, and advised me to continue doing so in future. She said that cadenzas are good, but very American, and that I should try to achieve my own style through color. If you manage to do that, it will be bring a much better result, she said.

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imRerebs. Teatridan damikavSirdnen, SemomTavazes erT speqtaklSi monawileoba da mkiTxes sami repeticia Tu meyofoda; es partia manamde namReri ar mqonda da amitom unda gameriska, asec moviqeci, vinerviule, magram debiutma Zalian kargad Caiara. madridSive, sadac qerubinos vmRerodi mocartis `figaros qorwinebaSi~ Sevxvdi tereza bergancas. bergancam Cemi rozina moismina, romelSic aranair kadencias ar viyenebdi da mirCia, arc momavalSi gamomeyenebina isini. kadenciebi kargia, magram Zalian amerikuliao, ecade gansxvavebas xmis SeferilobiT miaRwio, ise, rom msmeneli verc mixvdes, Tu amas moaxerxeb, gacilebiT ukeTesi iqnebao. barokos rolebi... baroko pirvelad saopero studiis scenaze vimRere, es iyo hendelis `amadiji~. barokos teqstebi axlac Zalian sainteresoa CemTvis da aqtiurad vmReri festivalebze, radgan, vgrZnob, rom sxvanairad xvdeba Cems suls. samwuxarod, barokos wre Caketilia da misi Semsruleblebi sxva repertuars TiTqmis ar mRerian. me ase ver viqnebi, marto barokoze ver gavCerdebi, Tumca Sesrulebis stils vicav, rodesac barokos instrumentebi ukraven, sxvanair fers da JReradobas verc miscem.

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And baroque?

I first sang baroque on the stage of an opera studio – it was Haendel’s ‘Amadigi’. Baroque texts are very interesting, and I still sing them at festivals, because I feel that they touch my soul in a different way. Unfortunately, the baroque field is quite “closed” – their performers sing almost no songs from other repertoires. I couldn’t be like that, I couldn’t sing only baroque, though I always observe the performing style – when baroque instruments are playing, I cannot voice any other “color” or genre.

Please also tell us about your French roles.

My first French opera was Massenet’s ‘Manon’, back at La Scala’s Academy. After that, I sang the same composer’s ‘Thaïs’. I also sang Gounod’s ‘Romeo and Juliet’ and then ‘Faust’ in Verona and London. My ‘Carmen’ debut took place in Tokyo in 2014. I will also be performing ‘Carmen’ in three other cities – Boston and Québec, where it will be my first time, and Rome, where I have already sung. I really want to perform Charlotte’s part in Massenet’s ‘Werther’, I actually already had an offer for that, but I had to say no because I already had other obligations.

So, you sometimes have to refuse offers?

Yes, for various reasons. For instance, I said no to Berg’s ‘Wozzeck’, which was to be conducted by Daniel Barenboim. This was about four years ago, and I think that I wasn’t ready for Marie’s part, neither

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franguli rolebi...

Cemi pirveli franguli opera iyo masnes `manoni~ jer kidev la skalas akademiaSi. amis Semdeg vimRere misive `Taisi~. veneciaSi, veronasa da londonSi vimRere gunos `romeo da julieta~, Semdeg `fausti~. 2014 wels Sedga Cemi karmenis debiuti tokioSi. karmens axlac vimRereb sam qalaqSi _ bostonSi, kvebeksa da romSi, sadac ukve namReri maqvs, pirveli ori dadgma ki CemTvis axalia.

Zalian minda Sarlotis partia masnes `verterSi~, mqonda kidec SemoTavazeba, magram raRacas daemTxva da uaris Tqma momiwia. giwevs xolme uaris Tqma SemoTavazebeze? diax, miwevs xolme sxvadasxva mizeziT. magaliTad, uari vTqvi bergis `vocekSi~ simReraze, romelic daniel barenboims unda ediriJora. es daaxloebiT oTxi wlis win iyo da vfiqrob, rom marias partiisTvis arc vokalurad da arc fsiqologiurad mzad ar viyavi. rom davTanxmebuliyavi, SeiZleba amas Zalian bevri ram moeca... an sul araferi _ araerTi SemTxveva viciT, roca momRerlebi, maT Soris didi, aseT proeqtze wavidnen da daasrules kidec kariera. ise, bergis simRerebi TbilisSi ukve mqodna namReri. es guliko kariaulis damsaxurebaa? diax, namdvilad, guliko iyo pirveli vinc CvenTan Seasrula Sonbergi, bergi, veberni da mec pirveli kursidanve mamRerebda. ase rom, Cemi daintereseba venis axali skoliT saqarTveloSi daiwyo da ara evropaSi. yovelTvis mainteresebda im repertuaris simRera, romelic saerTod ar sruldeboda aq. es memkvidreobiT gvergo gulikos mowafeebs. dResac mudmivi brZola miwevs Cems agentTan, raTa TeatrSi mowvevisas, speqtaklTan erTad, momcen patara reCitali. msgavsi koncertebi Cveulebriv saopero scenebze tardeba xolme da es Janri imdenad mainteresebs, rom vTavazob _ ar aviReb honorars, oRond mamRereT-meTqi. axlac, Tbilisis kameruli musikis festivalze katalonieli kompozitoris Savie montesalvajes cikli vimRere. qarTvel msmenels Tu kataloniuri musika gavacani, manamde, barselonaSi viqtoria de los anxelesis saxelobis festivalze qarTuli musika gavitane _ TaqTaqiSvili da maWavariani; ar vaWarbeb, imdenad aRfrTovanebulebi da gaocebulebi darCnen, rom saswrafod `gamoikvlies~, Tu vin iyvnen es kompozitorebi da poetebi da sinanuli gamoTqves, rom aqamde ar icnobdnen maT. Tqvenc atarebT aseT `kvlevas~ roca partias amzadebT? koncertis win viwyeb fiqrs, ra SeiZleba vimRero. Tu koncerti ucxoeTSia, vcdilob qarTuli da rusuli repertuari mqondes, Tundac erT ganyofilebaSi.

vocally nor psychologically. If I had accepted, maybe it would have brought me a lot of good things… or nothing at all – I know many cases in which singers, including great ones, have accepted such projects and it turned out to be the end of their career… By the way, I had already sung some of Berg’s songs in Tbilisi.

Thanks to Guliko Kariauli?

Yes, definitely. Guliko was the first to perform Schoenberg, Berg, and Webern in Georgia, and she made me sing them from my first year at the Conservatoire. My interest in the Second Viennese School actually started in Georgia, and not in Europe. I was always interested in singing this repertoire, because it was never performed here. Guliko’s students were lucky enough in that. To this day, I’m in a constant argument with my agent to get a small recital together with theater invitations and large concerts. These recitals take place on reguar opera stages, and I am so interested in this genre, that I offer to sing myself – “I don’t need to be paid, just let me sing”, I say. I recently sang Catalan composer Xavie Montsalvatge’s cycle during Tbilisi’s Chamber Music Festival. I got the Georgian audience acquainted with Catalan music, but before that, I sang Georgian music (Taktakishvili and Machavariani) in Barcelona, in the framework of the Victoria de los Angeles Festival. Without any

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amdeni mogzaurobis Sedegad SeiZleba siRrmiseulad

exaggeration, they were so astonished that they directly started

ara, magram viswavle enebi. magaliTisaTvis, aviRoT

“researching” the composers and poets, and expressed their regrets at

vagneris `vezendonkis simRerebi~; aq bevri kvleva

not having known about them before.

araa saWiro, radgan yvelaferi cnobilia _ vagneris grZnobebi matilde vezendonkisadmi _ im droisTvis emociebis gamoxatva gansxvavebuli iyo, alegoriuli, didi Sinagani grZnobiT da misi dafarvis mcdelobiT.

Do you also carry out this kind of “research” when you’re preparing for a part?

I start thinking before concerts about what I can sing. If the concert

mxolod amis gaazrebis Semdeg viwyeb teqstsa da

is abroad, I try to present a Georgian and Russian repertoire, even

stilze muSaobas.

if it has to be in one section. After all the traveling that I did, I have learned languages – perhaps not thoroughly, but still. For instance,

ra intensivobiT anaxlebT repertuars?

let’s take Wagner’s ‘Wesendonck Lieder’. You don’t need to do much

zogjer, weliwadSi, xuTi-eqvsi rolis swavla miwevs

research for it, because we know all about it: Wagner’s feelings

xolme. sabednierod Tu saubedurod es Zalian bevria.

towards Mathilde Wesendonck, and the fact that people used to

SeiZleba axali partiis saswavlad mxolod ori kvira

express feelings differently back then – more allegorically, with strong

gqondes da amitom iZineb da iRviZeb Sens rolTan

inner feelings, and attempting to cover the latter. It is only after

erTad. wels mxolod erTi debiuti meqneba madridSi

incorporating all these aspects that I start working on text and style.

_ pirveli qarTveli var, vinc sarsuelas imRerebs `sarsuelas~ TeatrSi. es sakmaod rTulia, sarsuelaSi Zalian mniSvnelovania parlatoebi, dialogebi, es

How often do you renew your repertoire?

I often have to learn five or six different roles per year. Fortunately

dramatuli rolebia da rom gadaxedoT, Zalian cota

or unfortunately, this is a lot. I sometimes have only two weeks to

araespaneli momRerali Tu mReris mas.

learn a part, and therefore, I have to go to sleep and wake up in the

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romeli speqtakli migaCniaT saukeTesod, romelSic gimReriaT? albaT, grem vikis `ana bolena~ seviliis Teatro de la Maestranza-Si~. CemTvis es rolic da dadgmac aRmoCena iyo. komfortulia gaTanamedrovebul dadgmebSi simRera? dRes veRar getyviT, rom did gansxvavebas vxedav. momRerlebs saerTod gvaxasiaTebs dadgmebis dawuneba. mTavaria, Sexvide speqtaklis qsovilSi, SeiZleba reJisors bolomde arc eTanxmebode, magram unda moZebno Sualedi, masac mousmino, Senic uTxra. berlinis Deutsche Oper-is `sevilielis~ SemTxveva maxsovs, scenaze didi vagoni idga, romelzec partniorTan erTad videqi, siviwrove iyo da masze raRac konstruqciiT avZveriT, Camokidebuli figaro fexebs urtyamda vagons da vyanyalebdiT, miuxedavad amisa, SevZeliT simRera.

Zalian usiamovno rames vityvi _ dRes operaSi reJisoruli mxare gaxda dominanturi, maT didi gavlena aqvT da diriJorebic daiRalnen maTTan brZoliT _ Tan, axla aRarc iseTi diriJorebi arian, rogorc uwin.

role. This year, I will only perform one debut in Madrid – I will be the first Georgian to sing Zarzuela at the Teatro de la Zarzuela. This is quite a difficult part: parlatto and dialogues are very important in Zarzuela; these are dramatic roles, and if you think about it, very few non-Spanish singers have performed it.

Which the operas you have performed do you think was the best?

Probably Graham Vick’s ‘Anna Bolena’ at Sevilla’s Teatro de la Maestranza. Both this role and the staging were a true discovery for me.

Is it comfortable to sing in modernized operas?

I couldn’t say that I see much difference today. In general, us singers like to disapprove of the staging. The most important thing is to undertsand the pattern of the concert. Maybe you don’t always fully agree with the directors, but you have to find a middle ground, to listen to them, and to tell them what you think too. I remember that during our performance of ‘The Barber of Seville’ at Berlin’s Deutsche Oper, there was a large wagon on the stage, on which I was standing together with my partner. It was very narrow and we had to climb on it through some kind

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Tbilisis operis scenaze Tu gimReriaT? operaSi mxolod koncertebze mimReria. aseve, iano Tamaris mowveviT Sevasrule adaljizas da ebolis partiebi sakoncerto formiT festivalze `aRdgomidan amaRlebamde~. speqtakli jer ar mimReria, Tu momiwveven da mec Tavisufali viqnebi, siamovnebiT davTanxmdebi.

of construction; the hanging Figaro was kicking the wagon and we were shaking, but despite all this, we managed to sing.

I also have to say something quite unpleasant: today, the directors’ role has become dominant in opera, they have acquired great influence, and even conductors are tired of always arguing with them – and today, we generally have much less authoritative conductors than before.

karlos sauras filmSi rogor moxvdiT? sruliad SemTxveviT. 2008 wels mosmenidan TbilisSi vbrundebodi, roca Cemi agenti damikavSirda da mTxova monawileoba mimeRo kastingSi filmisTvis ~me, don jovani~, romelsac karlos saura atarebda. agents vuTxari, rom zedmetad iyo darwmunebuli CemSi. kastingze wasvla arc mifiqria, magram sxvaTa Soris mainc vaxsene gulikosTan, romelmac miTxra, rom aRarasdros gamcemda xmas, Tu uars vityodi am Sansze. raRa meqna, RamenaTevi Ramis matarebliT gavvardi gasaubrebaze, megona rom davagviane. kastings Tavad saura eswreboda da mTxova gamekeTebina etiudi, viTom vCxubobdi. rogorc Cans, daRlilma da gaRizianebulma imdenad kargad `viCxube~, rom damswreTa aRfrTovaneba gamoviwvie. amis Semdeg romSi gavemgzavre... matarebelma daagviana da gabrazebulma Cxubi aeroportSi gavagrZele, sadac SemTxveviT saurac aRmoCnda. gadaRebebi rom damTavrda, sauram miTxra, rom etiudi ki kargad gaakeTe, magram aeroportSi ukeT iCxubeo _ is Zalian Tbili adamiania,

Have you ever sung on the stage of the Tbilisi Opera?

I only sang concerts at the Opera. I also performed the parts of Adalgisa and Eboli in the context of the festival ‘From Easter to Ascension’. But never in a theatrical setting. If they invite me and I’m free at that time, I will gladly come and perform.

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How did you end up in Carlos Saura’s film?

Completely by chance. In 2008, when I was coming back from an audition in Tbilisi, my agent called me and asked me to take part in a casting for Carlos Saura’s film ‘I, Don Giovanni’. I told my agent that he was putting too much confidence in me. I wasn’t even thinking about the casting seriously until I mentioned it to Guliko, who told me that she’d never speak to me again if I neglected this opportunity. What could I do? I rushed in a night train to the casting after a sleepless night, thinking I’d be too late. Saura was attending the casting himself, and asked me to do an etude in which I had to pretend I was arguing with someone. It appears that my weariness made me argue so well, that I impressed the onlookers. After that, I traveled to Rome… The train was late, and I continued arguing at

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`qeTebans~ meZaxis, radgan espanelebi ase warmoTqvamen v-s. Tbili da daxvewili iyo gadaRebebze genialuri operatori vitorio storaroc. masterklasebi Tu CagitarebiaT? mTxoven xolme masterklasebis Catarebas. gulikos klasSi isedac vamecadineb studentebs da meubnebian, rom kargad vxsni. swavlebis procesi CemTvisac Zalian sainteresoa, magram dro da didi energia sWirdeba, aq ki yovelTvis raRac mizniT Camovdivar, an koncertia, an festivali... Tu gaviTvaliswinebT rogor pirobebSi aswavlidnen 90-ianebSi Cveni pedagogebi, Tamamad SemiZlia vTqva _ isini namdvili gmirebi arian! dasavleTSi ase ar xdeba, pedagogi dilidan saRamomde ar gamecadinebs. xmas rogor uvliT? siCumiT. xma ar unda daZabo da sunTqvaze unda gqondes maxvili. sunTqva yvelaze mniSvnelovania, vsunTqavT, ese igi vcocxlobT, vsunTqavT, ese igi vmReriT. nodar andRulaZe gvaswavlida, rom Tu pirvelad iyo sityva, is ver warmoiTqmeboda sunTqvis gareSe... esaubra Salva cxovrebaZe

the airport, where Saura also turned up. When the shooting finished, Saura told me that I had performed the etude very well, but that I had fought even better at the airport. He is a very warm person, he calls me “Keteban”, because Spanish people don’t pronounce “v’s”. Vittorio Storaro, the director of photography, is also very warm and refined.

Do you ever hold masterclasses?

I’m sometimes asked to hold masterclasses. I teach students from Guliko’s class, and they tell me I instruct them well. The process of teaching is very interesting for me too, but it demands a lot of time and energy, and every time I come here, I have something to do, a concert, a festival… If we take into account the conditions in which our teachers were instructing us in the 1990s, I can say they are true heroes! It isn’t the same in the West: teachers won’t instruct you from morning till evening.

How do you look after your voice?

With silence. You shouldn’t strain your voice, and you should focus on your breathing. Breathing is the most important thing: we breathe, therefore we are alive; we breathe, therefore we sing. Nodar Andguladze was teaching us that where in the beginning, there was the Word, it couldn’t have been pronounced without breath…

Interview by Shalva Tskhovrebadze

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elfosta: televeziri@gmail.com | vebgverdi: www.utvalavi.ge; | feisbuki: https://www.facebook.com/StudioTeleveziri

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Cven vkiTxulobT, vswavlobT, vasuraTebT `vefxistyaosans~ We read, learn, illustrate ‘The Knight in the Panther’s Skin’ saqarTveloSi zepirmetyveleba erT-erTi uZvelesi tradiciaa. misi meSveobiT swavlobdnen da aswavlidnen sakralur codnas, xalxur poezias, miTebs da zRaprebs. mTxrobeli da msmeneli uwyvet jaWvs qmnida saukuneebis siRrmidan dRemde. axla, es didebuli tradicia, TiTqmis sruliad miviwyebulia; arada, vfiqrobT, rom misiT, erovnuli TviTmyofadi bunebis sazrisi iqna SenarCunebuli... Cveni winaprebi `vefxistyaosans~ qarTvelTa saxarebad miiCnevdnen, radgan masSi eris ZiriTadi esTetikur-eTikuri faseulobebia Tavmoyrili. poemis maRalmxatvruli, zRaprulalegoriuli siuJeti erTnairad izidavda da izidavs didsa da pataras. amitomac, Taobidan Taobas zepiri metyvelebiT gadaecemoda is. masSi mudam xedavdnen siyvarulis, megobrobisa da gmirobis misabaZ magaliTebs. `vefxistyaosanSi~ xom erTmaneTs enacvleba siyvarulisa da megobrobis amaRlebuli grZnobebi. aq gancdis simZafre

Oral tradition is one of the oldest Georgian customs. It is thanks to oral tradition that people used to learn and teach sacred knowledge, folk poetry, myths and legends. Storytellers and auditors created an uninterrupted chain linking the depths of centuries to the present day. Today, this great tradition has been almost completely forgotten, while it is, we think, by its virtue that the concept by which our nation’s independent nature could be preserved… Our ancestors considered ‘The Knight in the Panther’s Skin’ as the Georgian Bible, because it contains the nation’s main aesthetic and ethical values. The poem’s artistic, tale-like allegoric subject attracted adults and children alike. Therefore, it was transmitted from one generation to the other orally. One could always find ideals of love, friendship and heroism to follow in the poem. ‘The Knight in the Panther’s Skin’ offers variations of elevated feelings of love and friendship. It brings an intensity of feelings, thought and contemplation processes to an extreme… they have to open, no more, no less, the curtains covering the secret of our world!

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But for the modern public (and especially for schoolchildren), the poem is old, and uses an “archaic” language; also, the seemingly opposing characters of the protagonists and their vertiginous adventures create a barrier that can at first seem insurmountable for readers…

ukiduresobamdea miyvanili da aseve _ fiqri, Wvreta.... sadac ha, sacaa... farda unda aexados samyaros saidumlos!

Tumca, Tanamedrove mkiTxvelisTvis (gansakuTrebiT, saskolo asakis mozardisTvis) nawarmoebis Zveli, `arqauli~ ena; aseve, gmirebis, erTi SexedviT, winaaRmdegobrivi xasiaTebi, siuJetis Tavbrudamxvevi peripetiebi, _ iseT winaRobas qmnis, rom poemis aRqma, erTi SexebiT, TiTqos SeuZlebelia...

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*** Early animation films created with children’s drawings at our studio ‘Televizier’, such as ‘Pontos – the Black, Black Sea’, ‘Enormous Sky…’, ‘Autumn Autobus’ and others were quite successful and won awards at 12 festivals in various countries. The method used for these films – constructing a film with animated children’s drawings – allowed us to make the educational process more enjoyable, to transmit what we had to teach without constraint; while children could express their inner world more freely.

Today, in the framework of the project ‘We read, learn, illustrate The Knight in the Panther’s Skin’, we read chapters of the poem with children, we discuss their meaning and essence, and… we are making an animation film based on ‘The Knight in the Panther’s Skin’. Children

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*** `televeziris~ adreulma namuSevrebma _ bavSvebis naxatebiT Seqmnilma animaciurma filmebma _ `ponto _ Savi, Savi zRva�, `uzarmazari ca...~, `Semodgomis avtobusi~ da sxv. _ warmatebas miaRwies da sxvadasxva qveynis 12 festivalze gaimarjves. am filmebSi gamoyenebulma xerxma _ bavSvebis gacocxlebuli naxatebiT filmis agebam _ saSualeba mogvca SemecnebiTi procesi ufro saxaliso gagvexada, Zaldatanebis gareSe gadagveca saTqmeli, da piriqiT _ patarebs ufro `Tavisuflad~ gamoexataT sakuTari Sinagani samyaro. dRes, proeqtis, `Cven vkiTxulobT, vswavlobT, vasuraTebT `vefxistyaosans~, farglebSi bavSvebTan erTad vkiTxulobT poemis Tavebs, vsaubrobT nawarmoebis Sinaarsze da... vqmniT films `vefxistyaosnis~ mixedviT. bavSvebi Tavad irCeven strofebs, swavloben, iazreben, xataven da qmnian `TavianT~ TinaTins, tariels, rostevans, nestans, avTandils, ama Tu im scenas; vfiqrobT, rom vubrundebiT miviwyebul tradicias... filmze muSaoba, TamaSis msgavsi, Tavisufali SemoqmedebiTi procesia;

choose their favorite verses themselves, learn and ponder them, and illustrate them, thus creating their own Tinatin, Tariel, Rostevan, Nestan, Avtandil, and this or that scene. We believe that by doing so, we are returning to our forgotten tradition‌ Working on the

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film becomes an open creative process resembling a game; working freely on the poem undoubtedly enriches us, reminding us of our independent nature… We only provide the children with an incentive ­– the main role belongs to the children themselves.

Our idea – the creation of an animation film from drawings by children living in various regions of Georgia, as well as from verses read by them, is an attempt to transmit something complex in a painless, simpler way – almost syllable by syllable. Children come to our studio to work, to record their voices, to draw, to learn ‘The Knight

nawarmoebTan Zaldautanebeli Sexeba udaod gvamdidrebs, gvaxsenebs Cvens TviTmyofad bunebas... Cven mxolod biZgs vaZlevT maT. aq mTavari roli mozards ekuTvnis.

Canafiqri _ saqarTvelos sxvadasxva kuTxeSi mcxovrebi bavSvebis `gacocxlebuli naxatebiT~ dasuraTebuli da maT mier wakiTxuli strofebiT Seqmnili animaciuri filmi, _ rTulis martivad, sadad (TiTqmis `damarcvliT~) gadmocemis mcdelobaa. patarebi Cvens saxelosnoSi modian samuSaod, xmis Casawerad, saxatavad, `vefxistyaosnis~ strofebis zepirad dasaswavlad; maSin, roca igive masalis aTvisebas skolaSi ufro rTulad axerxeben. am xerxiT ki, momavali TaobisTvis, `Zveli~ nawarmoebi Tanamedrove xdeba... dRevandelobas ubrundeba.

Cveni qveynis sxvadasxva mxaris bavSvebis naxatebSi da zepirad warmoTqmul strofebSi TiToeuli kuTxisTvis damaxasiaTebeli ganwyoba, xedva, xmovaneba (magaliTad, mTaSi ufro mxedruli suli, barSi ki _ lirizmi, fiqri...) vlindeba. es intonaciuri mravalferovneba ufro metad aferadebs da amdidrebs films.

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in the Panther’s Skin’s’ stanzas by heart, and it takes them much less time and energy than absorbing the same subject at school. Through this method, “old” works become contemporary for the future generations… They return to the present.

In the drawings made by children from various regions of our country and their recorded readings, one can feel the essential character of each region; their vision, their intonation (for instance, the more martial soul of the mountainous regions, and the more lyrical and pensive one of the valleys…). This diversity of intonations enriches and provides more color to the film.

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*** Cveni jgufi aT welze metia mogzaurobs saqarTvelos sxvadasxva kuTxeSi. ukve CavwereT 2500-ze meti bavSvi; Seiqmna poemis siuJetis amsaxveli 7000-ze meti naxati. Cveni qveynis ama Tu im mxaris mozardebis naxatebsa da zepirad naTqvam strofebSi, rogorc vTqviT, mJRavndeba TiToeuli kuTxisTvis damaxasiaTebeli ganwyoba, xedva, xmovaneba... mopovebuli saukeTeso audio-Canawerebi, naxatebi da kaligrafiuli nimuSebi Tavsdeba mudmivad ganaxlebad interaqtiul vebgverdze (www.utvalavi.ge); Segrovebuli masaliT ki iqmneba: a) bavSvebis mier gacocxlebuli naxatebiT dasuraTxatebuli da wakiTxuli strofebiT gaxmovanebuli srulmetraJiani animaciuri filmi _ „vefxistyaosani“; b) dokumenturi filmi, romelic asaxavs saqarTvelos sxvadasxva kuTxeSi mcxovrebi bavSvebis SemoqmedebiTi muSaobis process; g) bavSvebis naxat-ilustraciebiT da maTi kaligrafiiT dasuraTebuli wigni _ „vefxistyaosani“. mniSvnelovania, rom filmebi

*** Our team has been traveling around Georgia for more than ten years. We have already recorded more than 2,500 children, and more than 7,000 drawings illustrating the poem have been made. As we said, the character, vision, and intonation of this or that region can be felt in the drawings… A selection of the best audio recordings, illustrations and calligraphic works have been put on our interactive website (www.utvalavi.ge), which is constantly updated. With the material we gather, we are creating: 1) A feature-length animation film, ‘The Knight in the Panther’s Skin’, from the children’s animated drawings and recordings of them reading the poem’s stanzas. 2) A documentary film showing the creative work process of children living in various regions of Georgia. 3) A book made from the drawings, illustrations and calligraphic works done by children. It is worth noting that through the voices of children from various regions, the films and the book are expressing our country’s unity and the continuity of its cultural heritage, as well as being an attempt to transpose the

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spiritual and moral values accumulated across centuries into our modern world.

We hope that our expeditions will continue, not only in Georgia, but also beyond its borders – in Tao-Klarjeti, Fereydan, and Saingilo.

In Great Britain, they have the Shakespeare House, in Spain – Cervantes’, and in Italy, Dante’s… We believe that it wouldn’t

da wigni iqmneba _ rogorc saqarTvelos yvela kuTxis bavSvis ganacxadi qveynis erTianobisa da kulturuli memkvidreobis tradiciebis uwyvetobisa; saukuneebis ganmavlobaSi dagrovebuli sulieri da zneobrivi faseulobebis TanamedroveobaSi gadmotanis mcdeloba. vimedovnebT, rom eqspediciebi kvlavac gagrZeldeba da ara mxolod saqarTveloSi, aramed mis farglebs gareTac _ tao-klarjeTSi, fereidansa da saingiloSi.

be unfitting to open a house dedicated to Rustaveli in Georgia.

We hope that in this “house”, together with others, a small space would display our project, and this space could include the following activities: getting acquainted with the poem – reading, narration; overviewing the history of the epoch; studying and discussing stanzas; preserving the oral tradition; drawing and illustrating (constantly renewing the exhibition); copying stanzas (to publish books); working on the animation film – with scenes from the poem, animating drawn characters; inviting folk storytellers; recording declamations; renewing the tradition of

britaneTSi aris Seqspiris saxli, espaneTSi _ servantesisa, xolo italiaSi dantesi... vfiqrobT, rom urigo ar iqneba rusTavelis saxlis gaxsna saqarTveloSic. am `saxlSi~, imedi gvaqvs, sxvasTan erTad, mcire adgils Cveni proeqtic daikavebs da... am sivrceSi Catardeba Semdegi aqtivobebi: nawarmoebis gacnoba _ kiTxva, Txroba; istoriul-epoqiseuli mimoxilva; strofebis axsna, daswavla; zepirmetyvelebis tradiciis gagrZeleba; dasuraTeba-ilustrireba (gamofenis mudmivi ganaxleba); strofebis gadawera (wignis gamosacemad); animaciur filmze muSaoba _ poemis scenebis, naxati personaJebis gacocxleba; xalxuri mTqmelebis mowveva; saukeTeso deklamaciis Cawera; „cocxali suraTebis“

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tradiciis ganaxleba; scenebis gaTamaSeba, dadgma; vebgverdis mudmivi ganaxleba; ucxour enovani versiebis Seqmna; bavSvebis mier dasuraTebuli wignis _ `vefxistyaosnis~ (beWduri da eleqtronuli versiebi) gamocema; samomavlod ki: tele da radiogadacema; SemoqmedebiTi eqspediciebis mowyoba saqarTvelosa da mis farglebs gareT. sasurveli da SesaZlebelia festivalis _ „rusTavelis dReebi“ daarseba. `rusTavelis saxli~ erTgvarad gaaerTianebs rusTavelis SemoqmedebiT dainteresebul skolis moswavleebsa da studentebs, pedagogebs, mecnierebsa da xelovnebis sferoSi momuSave pirebs. gamofena-saxelosnos ewvevian rogorc Tbiliseli, aseve, sxvadasxva regionidan Camosuli bavSvebi. gamofena-saxelosno, Tavadac imogzaurebs saqarTvelos ama Tu im kuTxeSi, sadac adgilobriv mozardebs saSualeba miecemaT CaerTon zemoT aRweril SemoqmedebiT procesSi. proeqtis avtori da reJisori nodar begiaSvili (studia `televeziris~ xelmZRvaneli)

moving images; staging scenes; constantly updating our website; creating versions in foreign languages; and publishing printed and electronic versions of the ‘Knight in the Panther’s Skin’ book illustrated by children.

As for the future: TV and radio shows; arranging creative expeditions throughout Georgia and beyond. It would also be nice to found a festival, which could be called ‘Rustaveli Days’.

The ‘Rustaveli House’ would unite schoolchildren, students, teachers, scholars and artists interested in Rustaveli’s work. Our exhibition-atelier would be visited by children from both Tbilisi and various regions of Georgia.

The exhibition-atelier would itself travel in various regions of the country, where it would allow local children to get involved in the abovementioned creative process.

Author of the project and director of the film – Nodar Begiashvili (Head of studio ‘Televizier’)

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baroko - sinfonietas SesrulebiT

Tbilisis saxelmwifo kameruli orkestri _ `saqarTvelos sinfonieta~ 2008 wels daarsda. misi mravalferovani repertuari sxvadasxva epoqis musikalur nawarmoebebs moicavs. orkestris koncertebi imarTeba rogorc saqarTveloSi, ise evropis sxvadasxva qveyanaSi. Tbilisis sakoncerto darbazebis garda sinfonieta koncertebs marTavs iseT SesaniSnav darbazebSi rogoricaa: berlinis koncerthausi, amsterdamis koncertgebau, miunhenis konservatoriis didi sakoncerto darbazi da sxv. 2012 wels orkestrma barokos epoqis musikaluri instrumentebi SeiZina da kavkasiaSi pirveli baroko orkestri gaxda.

Founded in 2008, the Tbilisi State Chamber Orchestra – Georgian Sinfonietta aims to deliver the most diverse repertoire at the highest artistic level. The schedule of the orchestra includes performances both in Tbilisi and in Europe, as well as in the regions of Georgia, where the popularization of chamber music has been a great success. The Georgian Sinfonietta has performed in celebrated venues such as Konzerthaus Berlin and Concertgebouw Amsterdam, and is a regular guest at festivals, including the Tbilisi Wind Festival, Tbilisi Chamber Music Festival, Telavi International Music Festival and Opernfestival Gut Immling. Since the acquisition of period instruments in 2012, the orchestra pioneers have historically informed performances in the Caucasus.

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dabadeba qarTvelma msmenelma kargad icis, rom kameruli orkestri, romelic sistematurad muSaobs da marTavs koncertebs, bolo periodSi saqarTveloSi aRar arsebobda. kameruli orkestris tradicia gasuli saukunis 60-iani wlebidan daiwyo. bolo orkestri, romelic liana isakaZem saqarTveloSi Camoayaliba, 2003 wels daiSala da musikosebi sxvadasxva orkestrebSi gadanawildnen.

Cemi Tanamoazreebis da Cemi rwmeniT, im dros arsebobda axalgazrduli resursi axali orkestris SeqmnisTvis. zogs swavla axali damTavrebuli gvqonda, zogic ukmayofilo iyo samsaxuriT; Tumca, mxolod materialuri sakiTxi ar mdgara, ufro metad ambicia gvamoZravebda, radgan kargad vswavlobdiT da gvindoda Cveni Zalebis realizeba. daviwyeT nulidan. CvenTvis sruliad ucnobma, 183-e saSualo skolis direqtorma, klasi dagviTmo da daaxloebiT samkviriani repeticiebis Semdeg, 2008 wlis 13 ivniss, konservatoriis mcire darbazSi pirveli koncerti gavmarTeT. debiutze bevr musikoss da msmenels movuyareT Tavi, radgan nebismieri maTganis azri

Commencement The Georgian audience knows very well that until recent times, there was no chamber orchestra in Georgia that systematically worked and gave concerts. The tradition of chamber orchestras started in the 1960s. The last chamber music orchestra in Georgia, which was founded by Liana Isakadze, fell apart in 2003, and its musicians moved to various other orchestras.

Myself and likeminded people believe that at that time, there were enough resources (in terms of young musicians) to create a new orchestra. Some had just finished their studies, some were unhappy with their work… But it wasn’t only about finances, it was actually more about ambition ­– we were good students, and we wanted to realize our potential.

We started from scratch. The director of the 183rd middle school, who was completely unknown to us, gave us a classroom in his building, and after about three weeks of rehearsals, on the 13th of June 2008, we held our first concert in the small hall of the Conservatoire. We gathered many musicians and music lovers for our debut, because we were interested in their thoughts. Finances soon became a necessity for the new orchestra – we needed to acquire mixers, partitions; to print posters… Our first friend appeared – Gia Bugadze, then rector of the Academy of Arts, who offered us

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CvenTvis mniSvnelovani iyo. axalSeqmnili orkestrisTvis maleve aucilebeli gaxda Tanxa pultebis, notebis SesaZenad, afiSis dasabeWdad. maleve gamogviCnda pirveli megobaric _ samxatvro akademiis maSindeli reqtori gia buRaZe, romelmac sarepeticio sivrce gamogviyo da afiSebis dabeWdvaSic dagvexmara. akademiaSi oTxi weli davyaviT, vidre kulturis saministro mogvcemda farTs. maSin ara mxolod sakuTari sivrce, statusic ki ar gvqonda da berlinis `koncerthausis~ koncertze ar icodnen rogor warvedgineT. araformalurad samxatvro akademiis orkestrs gveZaxdnen, rac msmenels `acdunebda~, rom viyaviT mxatvrebi, romlebic `kargad~ vukravdiT. pirvel koncertebs sakuTari xarjiT vmarTavdiT. vfiqrobdiT, erTi weli vimuSavebdiT da vnaxavdiT ra gamovidoda. kulturis saministros dafinansebis imedi gvqonda, proeqtic SevitaneT, TiTqos yvelaferi saCvenod unda gadawyvetiliyo, magram ministri Seicvala da dafinansebac davkargeT. amasobaSi is daTqmuli

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a rehearsal space and helped us to print our posters. We used the Academy for four years before the Ministry of Culture provided us another space. Back then, as well as not having our own space, we even lacked an official status, and they weren’t even sure how to introduce us at Berlin’s Konzerthaus. We were called the Art Academy’s Orchestra informally, which mislead the audience into believing that we were painters or sculptors who could just play well.

We performed our first concerts at our own cost, thinking we’d keep going one more year, and then we’d see what happened. We were hoping the Ministry of Culture would finance us; we even applied with a project, and everything seemed to be going our way, but the Minister was replaced, and we lost our financing. The one year we had talked about had passed, we met the new minister, and… we were financed for only five concerts, the last of which took place at the Opera Theater. Ioseb Ketchakmadze attended that performance, though we didn’t know him at the time and had not invited him personally. We learned that the next morning, Mr. Ioseb had gone to meet Minister Nika Rurua and asked him to finance our orchestra.

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welic gavida, SevxvdiT axal ministrs da... mxolod xuTi koncertis dafinanseba movipoveT, romelic operis TeatrSi daskvniTi koncertiT dagvirgvinda. am gamosvlas ioseb keWaymaZe eswreboda, romelsac arc vicnobdiT da arc mogviwvevia. meore diliT batoni iosebi ministr nika ruruasTan Sesula da uTxovia _ Cveni orkestri aucileblad daefinansebina. es Semdeg Tavad ruruam dagvidastura, da isic gviTxra, rom keWaymaZe erTaderTi ar yofila... naTloba TbilisSi erT-erT koncertze liza baTiaSvilis meuRlesTan, frang hoboistTan fransua lelusTan mogviwia dakvra. swored lelum gvirCia orkestrisTvis `sinfonieta~ dagverqmia, raTa CvenTan misi da sxva Casaberebis dakvra Sesabamisi gamxdariyo. kameruli orkestri, Tu dazustebuli araa, rom simebiania, isedac

Rurua himself would confirm this afterwards, and he also told us that Ketchakmadze wasn’t the only one who did so…

Baptism At a concert in Tbilisi, we played with Lisa Batiashvili’s husband, French oboist François Leleux. It is the latter who advised us to call the orchestra “Sinfonietta”, so that it would become understandable for him and other wind instruments to play with us. If there is no precision about whether a chamber orchestra has string instruments, then it is implied that it includes some wind instruments. Sinfonietta is a broader concept: it can be a large chamber orchestra or a smaller symphonic orchestra, and therefore, it legitimizes any configuration.

At first, we didn’t like the new name, but then we got used to it…

Officially, we are now named the Tbilisi State Chamber Orchestra.

One of our first and most important tours took place in Berlin’s Konzerthaus in the framework of the Georgian Culture Days, where we performed Giya Kancheli’s ‘The Boston Waltz’ and Shostakovich’s

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iTvaliswinebs SemadgenlobaSi ramdenime Casabers. sinfonieta ki ufro farTo cnebaa, is didi kameruli da mcire simfoniuri orkestria da amdenad nebismier Semadgenlobas legitimurs xdis. Tavdapirvelad ar mogvwonda axali saxeli, magram Semdeg yuri SeeCvia... oficialurad, dRes, Tbilisis saxelmwifo kameruli orkestri gvqvia.

Cveni erT-erTi pirveli da mniSvnelovani gastroli berlinis `koncerthausSi~ saqarTvelos kulturis dReebis farglebSi Sedga, sadac gia yanCelis `valsbostoni~ da SostakoviCis pirveli safortepiano koncerti SevasruleT aleqsandre korsantiasTan erTad da... `koncerthausis~ menejmentisgan axali mowvevac miviReT, romlis moTxovnis mixedviT aucileblad unda Segvesrulebina Cveni qveynis klasikosi da Tanamedrove kompozitorebis nawarmoebebi. mocartsa da SopenTan erTad SevasruleT aleqsi maWavarianis meoTxe simfonia da specialurad festivalisTvis Seqmnili arCil giorgobianis `azari~. maleve gastroli gvqonda amsterdamis legendarul `koncertgebauSic~, liza baTiaSvilTan da nino gvetaZesTan erTad.

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Piano Concerto No. 1 together with Alexander Korsantia and… we were invited for another performance by the Konzerthaus administration, who expressed their great wish for us to play our country’s classic and modern composers’ pieces. Together with Mozart and Chopin, we performed Aleksi Machavariani’s Symphony No 4, and Archil Giorgobiani’s ‘Azari’, which he had composed specially for the festival. Soon after, we performed in Amsterdam’s legendary Concertgebouw with Lisa Batiashvili and Nino Gvetadze.

The road to baroque The aesthetics of baroque were well-received in the environment we found ourselves in. Despite the fact that a department of period performances has existed in Moscow for a long time, this idea turned out to be inacceptable for Marine Iashvili (who was my teacher); in Moscow, where I did my post-graduate studies, they considered that people who played baroque did so because they didn’t play well. This idea was corroborated by the baroque concerts I attended in Moscow – wonderful Stradivarius and Guarneri instruments performing awful concerts. Each time I came into contact with baroque, it didn’t bring any good, and I was led to agree with my mentors’ opinion.

Our first live contact with baroque took place during the

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gza barokosken im atmosferosa da avtoritetebSic, sadac yofna gviwevda barokos esTetika miuRebeli iyo. miuxedavad imisa, rom moskovSi istoriuli Sesrulebis kaTedra didi xania arsebobs, es idea marine iaSvilisTvisac (romelic Cemi pedagogi iyo) miuRebeli aRmoCnda; moskovSi, sadac aspirantura gaviare, miaCndaT rom barokos ukravda is, visac dakvra ar SeeZlo. am azrs barokos is koncertebic mimyarebda, romlebic maSin moskovSi imarTeboda _ stradivariusis da guarneris sruliad genialur instrumentebze Sesrulebul saSinel koncertebs vismendi. Cemi yoveli Sexeba barokosTan, warumateblad mTavrdeboda da mec TandaTan vrwmundebodi Cemi mentorebis simarTleSi. pirveli cocxali Sexeba barokosTan TbilisSi zemoTxsenebul Casaber sakravTa festivalze gvqonda.

Camosuli iyo italieli fagotisti da diriJori serjo aZolini. repeticiis Semdeg, rodesac wasvla daapira, yuri mokra Cvens telemanis koncertis repeticias da survili gamoTqva `baso kontinuo~ daekra. repeticia fagotis koncerts daemsgavsa _ is

abovementioned Tbilisi Wind Festival. Italian bassoonist and conductor Sergio Azzolini was on a visit to Georgia. After the rehearsal, as he was planning to leave, he heard our rehearsal of Telemann’s concert, and expressed his wish to play the “basso continuo”. The rehearsal started looking like a bassoon concert – he was the only one who could play it in the right way. This was the first time I got to see a virtuoso performer playing baroque. After the rehearsal, Azzolini told us that we would definitely be playing together the following year.

After that, I started actively listening to authentic baroque recordings, and we gradually started shifting towards this aesthetics.

Some managed to switch faster, some needed more time, because none of us had previously worked in an authentic baroque style. We didn’t even have proper notes, and were playing on soviet scores.

Baroque instruments Before Stradivarius’ model was finally established, violins had undergone many transformations. The baroque violins that were made at that time had a different neck length, a different bridge; their strings were made from hamstrings, and they had more distance between the strings and the body of the instrument.

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iyo erTaderTi, vinc imas ukravda, rac unda daekra. maSin pirvelad vnaxe virtuozi Semsrulebeli, romelic imavdroulad barokosac ukravda. aZolinim repeticiis Semdeg aRgviTqva, rom momaval festivalze erTad davukravdiT. amis Semdeg barokos avTentikuri Canawerebis aqtiurad mosmena da TandaTan am esTetikaze gadawyoba daviwyeT. zogs es maleve gamouvida, zogs meti dro dasWirda. manamde xom arc erTs arasdros gvimuSavia barokos avTentikur stilistikaze. Sesabamisi arc gamocemebi gvqonda, vukravdiT sabWouri redaqciebiT. barokos instrumentebi violinom, vidre stradivariusis modeli sabolood damkvidrdeboda, bevri transformacia ganicada. barokos violino, romelic im dros keTdeboda, gansxvavdeboda yeliT da grifis sigrZiT, jorakiT; simebi myesebisa iyo, xolo wyobac odnav dabali.

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We always had the idea to purchase baroque instruments, but the process was accelerated thanks to Italian violinist and baroque specialist Enrico Onofri: we wrote him that we wanted to play with him, to which he answered that he played on a baroque violin, and therefore couldn’t play with us. This convinced us that we definitely needed baroque instruments for our orchestra, and we started gathering them; finding some in Tbilisi, some in Beijing, at a relatively low price. Afterwards, we purchased a theorbo. Today, we have a viola da gamba, a lute, and baroque flutes, with which we have yet to spark anyone’s interest. Our latest purchase is a baroque drum.

Our lucky find was a harpsichord created by American master William Dowd in 1978, which we purchased from an old harpsichordist woman in Boston. Our friend Magda Ubilava found Dowd’s assistant, who remembered the instrument, and promised us that if need be, he would restore it and we would need only to cover his travel expenses. Today, the harpsichord is in ideal condition, and Ana Kurdovanidze is its musician – despite her many occupations, she studies day and night, and is truly second to none.

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barokos instrumentebis SeZenis idea yovelTvis gvqonda, magram procesi italieli meviolinisa da barokos specialistis enriko onofrisTan urTierTobam daaCqara: mivwereT, rom masTan dakvra gvsurda, razec gvipasuxa, rom is barokos violinoze ukravda da amdenad CvenTan dakvra ar gamouvidoda. aman sabolood dagvarwmuna, rom barokos instrumentebi ukve aucileblobas warmoadgenda Cveni orkestrisTvis da daviwyeT maTi Segroveba Tbilissa da pekinSi SedarebiT iafad. Semdeg Teorboc SeviZineT. dRes ukve gvaqvs viola da gamba, lutna, barokos fleitebi, romliTac jerjerobiT veravin davaintereseT. sul bolo SenaZeni barokos dolia.

Cveni mTavari `gamarTleba~ amerikeli ostatis uiliam daudis mier 1978 wels Seqmnili klavesinia, romelic moxucebuli klavesinisti qalisgan SeviZineT bostonSi. Cvenma megobarma magda ubilavam ipova daudis asistenti, romelsac axsovda es instrumenti da Segvpirda, rom Tu amis saWiroeba dadgeboda, mxolod gzis safasurad aRgvidgenda. axla klavesini idealur mdgomareobaSia da masze ana qurdovaniZe ukravs, romelic miuxedavad sxvadasxva samsaxurebisa, dRedaRam mecadineobs da namdvilad aravis Camouvardeba.

Baroque festival In November 2015, eight concerts took place in Tbilisi, with many baroque performers taking part. Among them, were Jordi Savall and Sergio Azzolini. The interest of the audience and the success of the performances gave birth to the idea of creating a festival, and… now, the festival lasts almost a month; very good for us, because we have to learn many new compositions. Working on a baroque repertoire takes time, especially when we have to play with completely different musicians. I also noticed that baroque performers are much more direct than their colleagues.

Jordi Savall’s 2015 opening concert was very successful, and became a kind of highlight of our festival, allowing us to confidently invite famous baroque performers thereafter. Savall’s working style was also a real masterclass for us. It is a whole institution, where each individual has a clear function; we received a clean score as well as a score with Savall’s annotations from his colleague, so that we could get a feeling of the kind of interpretation we would be doing.

None of the members of our Sinfonietta have had special education in baroque, and only our foreign colleagues have studied it properly.

But in the end, music is music: you can either play it, or you cannot.

And you should have enough respect for composers to play their scores as they were written. In our reality, we could not find urtext editions, but now, times have changed, and they can be accessed for free on the internet. The most important thing is to have information

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barokos festivali 2015 wlis noemberSi TbilisSi rva koncerti gaimarTa, romlebzec bevrma barokos Semsrulebelma moiyara Tavi. maT Soris _ iordi savalma da serjo aZolinim. mayureblis dainteresebam da warmatebam festivalis daarsebis idea dabada da... dRes festivali ukve TiTqmis erTi Tve grZeldeba; es CvenTvis kargia, radgan bevri axali nawarmoebis swavla gviwevs. barokos repertuarze muSaobas didi dro sWirdeba, miT umetes roca erTmaneTisgan absoluturad gansxvavebul musikosTan gvixdeba dakvra. Cemi dakvirvebiT, barokos Semsruleblebi bevrad uSualoebi arian, vidre maTi kolegebi.

CvenTvis Zalian did gamarTlebad da erTgvar savizito baraTad iqca iordi savalis koncerti 2015 wlis festivalis gaxsnaze. aman saSualeba mogvca Semdgom barokos cnobili Semsruleblebi Tamamad mogvewvia.

CvenTvis namdvili masterklasi iyo savalis muSaobis stilic. es mTeli institutia, sadac yvela adamians garkveuli funqcia aqvs miniWebuli, saboloo jamSi savalis biblioTekarisgan miviReT sufTa da savalis aRniSvnebiani partiturebi, raTa gvcodnoda daaxloebiT rogori interpretacia gveloda.

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about the composer, the epoch and the style – at least, for instance, that Bach didn’t trust anyone with improvisation, and that he wrote every variation himself – so you cannot allow yourself as much freedom with Bach as with, for instance, Heinrich Biber.

Repertoire Today, the majority of baroque orchestras are only oriented towards baroque repertoires. But there are also orchestras that add other repertoires to baroque. In Nathalie Stutzmann’s ‘Orfeo 55’, musicians sometimes even change instruments during the performance.

The baroque repertoire is very large, and the number of its composers is much greater than those of the following period, especially if we consider the fact that we have either scarce information, or don’t know anything at all about many baroque composers. Therefore, the temptation to discover them and perform them for the first time is great. If we take, for instance, Czech composer Zelenka and his concert written for eight instruments, it is a true masterpiece, but I graduated the Conservatoire without even hearing his name once.

This year, we performed at the Gottlib Goldberg Festival in Gdansk – it was its 11th edition; and international stars took part, including Andreas Scholl. We performed two newly-discovered cantatas by Goldberg, and

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Cven, `sinfonietas~ wevrebs, baroko specialurad aravis gviswavlia, mxolod Cvens ucxoel orkestrantebs aqvT gavlili is sagnad. sabolood musika xom musikaa, SegiZlia an ar SegiZlia dakvra. kompozitors ki sul cota imiT unda sce pativi, rom igi kargi redaqciiT daukra. Cvens realobaSi `urteqstebi~ ar iSoveboda, magram axla viTareba Seicvala da Tavisufali wvdomiTac kia internetSi. mTavaria, kompozitorze, epoqasa da stilze flobde informacias _ Tundac imas, rom baxi aravis andobda improvizacias da Tavad yvela xmaSi hqonda gawerili is, amitom baxTan Tavs imdenis uflebas ver miscem, ramdensac, vTqvaT hainrix biberTan.

we were therefore one of their first performers in the world. Goldberg’s music looks very much like that of Bach, much more so than the music of Bach’s children themselves, perhaps because Goldberg passed early and didn’t have the time to establish his own style.

Right now, we want to perform a baroque opera, but the issue lies with the vocalists… We really want to invite Cecilia Bartoli and we are already working on that, but it’s not easy: firstly, it’s not cheap,

repertuari barokos orkestrebis umetesoba dRes mxolod barokos repertuarzea orientirebuli. Tumca aris orkestrebi, romlebic barokos sxva repertuarsac uTavseben. natali Stucmanis Orfeo 55-s SeuZlia erT koncertSic ki Secvalos instrumentebi. barokos repertuari Zalian didia da kompozitorebis raodenoba bevrad aRemateba Semdgomi

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periodisas, miT umetes, rom bevri maTganis Sesaxeb an Zalian cota viciT, an sul araferi. Sesabamisad, maTi aRmoCenis da pirvelad Sesrulebis cdunebac didia. Cexi zelenka rom aviRoT da misi rva instrumentisTvis dawerili koncerti, absoluturi Sedevria, konservatoria ki ise davamTavre, rom saerTod ar gamego misi gvari. wels meored viyaviT gdanskSi baxis mowafis, gotlib goldbergis saxelobis festivalze, romelic meTerTmeted gaimarTa; monawileobdnen msoflio varsklavebi, magaliTad, amerikeli kontrtenori andreas Soli. Cven goldbergis axlad aRmoCenili ori kantata SevasruleT da amgvarad maTi erT-erTi pirveli Semsruleblebi gavxdiT. goldbergis musika Zalian hgavs baxis musikas, gacilebiT metad, vidre baxis Svilebisa, albaT imitom, rom is adre gardaicvala da Tavisi stilis Seqmna ver moaswro. axla barokos operis Sesrulebis survilic gagviCnda, magram problema vokalistebia. Zalian gvinda CeCilia bartolis mowveva da vmuSaobT kidec amaze, magram rTulia: erTi rom Zviria, meore _ TviTmfrinavSi ar jdeba. adre mxolod erT orkestrTan mReroda, Tumca sabednierod axla ase aRaraa. wels pirvelad CavrTeT festivalSi avTentikuri saxiT qarTuli sagaloblebi da xalxuri musika `anCisxatis~ SesrulebiT, romelic pergolezis `stabat maters~ SevupirispireT erT koncertSi da musikis sinTezTan erTad, msmenelis sinTezic miviReT: `anCisxatis~ msmenelma pergolezi moismina, xolo pergolezisam `anCisxati~. barokos msmeneli kargad maxsovs Cveni pirveli koncerti rusTavelis TeatrSi, romelzec ukve barokos instrumentebiT vukravdiT. koncerti marTlac istoriuli mniSvnelobis iyo, radgan amdeni wlis Semdeg baroko pirvelad aJRerda saqarTveloSi, darbazi savse iyo da msmenelmac kargad migviRo. rusTavelis Teatris mcire scena akustikuradac da arqiteqturuladac saukeTeso sivrcea TbilisSi am Janris musikisTvis, es araerT gastroliors aRuniSnavs. erTaderTi problema `garedan~ Semomavali xmaa. samwuxaroa, margam barokos musikiT studentebis dainteresebas ver vaxerxebT, miuxedavad imisa, rom aqamde sruliad sasacilo fasad da axla ukve ufasod SeuZliaT moisminon solistebi, romlebic nebismier evropul darbazs avseben. rom hkiTxoT, evropisken iswrafvian, iq ki isev igive solistebi ukraven. ori masterklasi gvqonda kiolnis kapelis koncertmaisterTan da barokos pedagogTan kristof maierTan. misi orkestrTan muSaoba ukve gakveTilia.

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and secondly, she doesn’t like to fly. She used to sing with only one orchestra, but fortunately, she changed her ways.

This year, it was the first time we introduced authentic Georgian chants and folk music into the festival, with the Anchiskhati Choir; Pergolesi’s ‘Stabat Mater’ was also performed at the same concert, and, together, with a beautiful synthesis of music, there was a synthesis of audiences: the audience of the Anchiskhati Choir listened to Pergolesi, and the audience of Pergolesi listened to the Anchiskhati Choir.

Baroque audience I remember our first concert with baroque instruments in the Rustaveli Theater. The concert was of truly historic importance, because after all these years, it was the first time that baroque was performed in Georgia.

The hall was full, and we were received very well by the audience. The small hall of the Rustaveli Theater is the best space for this genre of music, both in terms of acoustics and architecture – this was mentioned by many foreign artists who performed there. The only problem with this hall is the noise coming from behind the doors.

Unfortunately, we didn’t manage to spark the attention of students towards baroque music, despite the fact they could listen to soloists who fill any European hall for almost nothing – and they can now do so for free. If you ask them, they want to go to Europe, while the very same soloists are actually also playing here.

We held two masterclasses with Christoph Mayer, concertmaster at the Capella of Cologne and baroque professor. Working with his orchestra is a lesson in itself. We recorded our first disc, Telemann’s Suites, in collaboration with him.

The more our audience grows, the more supporters and sponsors we have. If the first year, it was only the French Institute of Georgia; the Italian Embassy joined in the second year, and this time, the German Embassy came forward themselves to offer us their support.

These are the three main countries of baroque, and none of them asks anything from us – they simply express the desire for us to perform the music of their composers. Austria and the Czech Republic have now also become our supporters. Finances are of vital importance; we had times when we couldn’t afford to have a contrabassist, so we had to convince our sponsors that we needed one in our orchestra…

Future plans During the next festival, we’ll have a very important project – we will perform an authentic rendition of Mozart’s requiem, as a symphonic orchestra, together with Alfredo Bernardini and his ensemble. Mozart and Freemasons’ wind instruments of choice were the clarinet and the basset horn, and if the oboe generally has the leading role in the wind instruments of the period, it is replaced by the basset horn in Mozart’s score. This will also be the first time that baroque trombones and trumpets will be presented. The choir is already being prepared by conductor Giorgi Margvelashvili, and the performance will be performed without a conductor.

Giorgi Kerelashvili, Artistic director of 'Sinfonietta'

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swored masTan erTad CavwereT Cveni pirveli diski _ telemanis suitebi. msmenelTan erTad izrdeba Cveni mxardamWeric da axla sponsoric metia; Tu pirvel wels mxolod diumas franguli centri iyo, meore wels italiis saelCo Segvemata da wels germaniis saelCom Tavad gamoxata survili. barokosTvis ki es mTavari qveynebia da arcerTi maTgani moTxovnebs ar gviyenebs, mxolod survils gamoTqvamen, rom maTi kompozitorebis musika Sesruldes.

CamonaTvals axla avstriis da CexeTis mxarec daemata. dafinanseba sasicocxlod mniSvnelovania, gvqonda periodi, roca kontrabasis Stati ar gvqonda da gviwevda imis mtkiceba, rom is aucilebelia orkestrisTvis.

samomavlod... momaval festivalze erTi Zalian mniSvnelovani proeqti gvaqvs _ alfredo bernardinisTan da mis ansambl `Zefiro~-sTan erTad simfoniuri SemadgenlobiT avTentikurad aJRerdeba mocartis reqviemi. mocartis da sxvaTa Soris, masonebis sayvareli Casaberi instrumentebi, klarneti da basethorni iyo da Tuki im periodis Casaber jgufSi Cveulebriv hoboi liderobs xolme, mocartis partituraSi mas basethorni enacvleba. aseve pirvelad iqneba warmodgenili barokos trombonebi da sayvirebi. gunds diriJori giorgi margvelaSvili ukve amzadebs. nawarmoebi ki diriJoris gareSe Sesruldeba. giorgi qerelaSvili, `sinfonietas~ samxatvro xelmZRvaneli

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„virtualuri realobis~ kultura “VIRTUAL REALITY” CULTURE

mimdinare wlis 27 oqtombers amerikis kinoakademiam oficialurad ganacxada, rom oskari gansakuTrebuli miRwevebisaTvis, ufro konkretulad ki „istoriis gadmocemis revoluciuri gamocdilebis SeqmnisaTvis“ gadaecema meqsikel reJisors alexandro gonsales iniaritus proeqtisaTvis „sxeuli da qviSa“ (Carne y arena). „sxeuli da qviSa“ _ multimediuri instalaciaa, romelic mayurebels virtualuri realobis formatiT miewodeba da meqsikeli devnilebis istorias gadmogvcems. proeqti Tanamedrove xelovnebis aRiarebuli mxardamWeris FONDAZIONE PRADA-s dafinansebiT ganxorcielda. alexandro gonsalesma erT-erT interviuSi ganacxada, rom am proeqtiT is SemoqmedebiT riskze wavida, radgan Zalian aRelvebs teqnologiebis gavlena adamianze da rom garkveuli Temebi (maT Soris imigraciis Tema), samwuxarod, virtualur realobaSi Cvenebas moiTxovs, radgan „Cveulebriv cxovrebaSi adamianebma ukve dakarges mgrZnobeloba“. eqsperimentma gaamarTla kidec, yvelasaTvis moulodnelad instalaciam arnaxuli interesi gamoiwvia da mis mnaxvelebs, gansxvavebuli STabeWdilebebisa da emociebis miuxedavad, erTi saerTo gancda dautova _ isini kinematografis momavals adevnebdnen Tvals.

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During epochal changes, when traditional values assimilate with modern times, they have to undergo certain transformations.

Any change means that one has to exit the existing balance, or, in other words, forming the “new” transgresses the “old” – the stability of traditional systems. The larger the scale of the change, the more difficult it is to adapt it to the traditional system, and this process always involves some resistance. Throughout the history of humanity’s development, there was a mutual influence between technology and culture, but technologies always held a practical function: they were a mediator between the ideas of the creator and their materialization. Today, with the transformation of culture happening at an unprecedented pace, technology has transcended its role as a mediator and has itself become a creator of art, and apart from a practical purpose, it now also carries an aesthetic function.

Today, the formation of a sociocultural space reflecting the new stages of technological development, which stand out for the very fast pace in which they are transforming cultural values, has become inevitable. New values appear daily, and do not even have the time to establish themselves. The final transformation of this system of cultural values is not yet complete in our society – this process is presently taking place, and modern technologies, the development of which creates a new sociocultural context, are playing a very significant role in it. These changes establish a universal system of values and can, more generally, determine society’s strategy for life and work, and form a global consciousness.

pol koksiji, qaris SemoWra, londonis dizainis festivali, 2010 PAUL COCKSEDGE, A GUST OF WIND, LONDON DESIGN FESTIVAL, 2010

daniel biureni, Tanamedrove xelovnebis muzeumis fasadi nurembergSi DANIEL BUREN, FACADE OF NEUES MUSEUM, NUREMBERG

epoqaluri cvlilebebis dros tradiciuli Rirebulebebi TanamedroveobasTn SeTvisebisas garkveul transformacias ganicdis. nebismieri cvlileba arsebuli balansis mdgomareobidan gamosvlas gulisxmobs; anu axlis formireba arRvevs Zveli _ tradiciuli sistemis stabilurobas. rac ufro masStaburia siaxle, tradiciuli sistemis konteqstTan misi Sewyoba rTuldeba da es procesi winaaRmdegobis fonze mimdinareobs. teqnologiisa da kulturis urTierTgavlena kacobriobis ganviTarebis istoriis ganmavlobaSi xdeboda, magram teqnologiebs, yovelTvis gamoyenebiTi funqcia hqonda. is mxolod Suamavals warmoadgenda Semoqmedis ideebsa da mis materialur xorcSesxmas Soris. dRes, roca kulturis transformacia arnaxuli siswrafiT mimdinareobs, teqnologia Suamavlis rols gascda da Tavad gaxda xelovnebis Semqmneli _ ara mxolod funqciuri, aramed esTetikuri datvirTvis matarebelic ki. dRes ganviTarebis axali etapis amsaxveli sociokulturuli sivrcis formireba gardauvali gaxda da Rirebulebebis cvlis uswrafesi tempiT gamoirCeva. axali Rirebulebebi yoveldRiurad Cndeba da drois gamocdis gavlas, srulfasovnad damkvidrebas verc aswrebs. kulturis RirebulebaTa sistemis saboloo Camoyalibeba Tanamedrove sazogadoebaSi jer ar dasrulebula. es procesi mxolod mimdinareobs da masSi udides rols swored axali teqnologiebi TamaSobs, romelTa ganviTareba dRevandel sociokulturul konteqsts qmnis. es cvlilebebi universalur RirebulebaTa sistemas amkvidrebs da SeuZlia, zogadad, sazogadoebis cxovrebisa da saqmianobis strategiis gansazRvra, globaluri cnobierebis formireba.

Tanamedrove kultura, misadmi damokidebuleba arsebiTad gansxvavdeba aqamde arsebuli tradiciuli modelebisgan. teqnologiebisa da Tanamedrove kulturuli procesebis urTierTmimarTebas Tavad kulturis arsis mimarT adamianis damokidebulebis Secvla mohyva.

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pol koksiji, `qariSxali~, Suqis festivali, lioni, 2011 / PAUL COCKSEDGE , BOURRASQUE, FESTIVAL OF LIGHT, LYON, 2011

teqnologiebis ganviTarebam samyaro TiTqos daapatarava _ Seqmna globaluri sakomunikacio veli da gaaaqtiura garkveuli kulturuli standarti; am standartis mixedviT adamiani unda flobdes Tanamedrove civilizaciis sakomunikacio formebs, iyos Semwynarebeli sxva kulturaTa mimarT, daamyaros intensiuri kulturaTaSorisi kontaqtebi da xelovnebis, literaturis, filosofiis, mecnierebis zogadi tendenciebi gaiTavisos. dRes kulturis integrireba sazogadoebrivi cxovrebis ama Tu im sferoSi daCqarebuli tempiT xdeba. is aRar aris calke mdgomi,

Modern culture and our society’s attitude towards it completely differs from former traditional models. The interrelationship between technology and modern cultural processes led to a transformation of people’s attitude towards the essence of culture itself.

The development of technology seems to have made our world smaller – it has created a global communication network and has activated a certain cultural standard; according to this standard, people should master current communication means, be tolerant towards other cultures, establish intensive contacts between cultures, and get acquainted with general tendencies in the fields of art, literature, and philosophy. Today, the integration of culture in this or

pol koksiji, xelnaweri, pekinis dizainis kvireuli, 2011 / PAUL COCKSEDGE, MANUSCRIPT, BEIJING DESIGN WEEK, 2011

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damoukidebeli kategoria da mecnierebis, soflis meurneobis, turizmis, ekologiisa da sxva dargebis aucilebel komponentad iqca. Tanamedrove msoflioSi TiTqmis yvela politikuri da ekonomikuri movlena intensiuri kulturuli procesebis fonze mimdinareobs. kulturul cxovrebaSi win wamoiwia adre marginalurma imperativma _ kulturis ganviTarebasa da gavrcelebas safuZvlad daedo mniSvnelovani da gasaTvaliswinebeli faqtori _ misi komercializacia da komerciul ideaze dafuZneba. gansakuTrebiT gaaqtiurda masobrivi

that field of social life is happening much faster than before. It isn’t a separate, independent category anymore, and has now become an integral part of science, agriculture, tourism, ecology, and other fields.

In the modern world, almost every political and economic event takes place in parallel to intensive cultural processes. A formerly marginal imperative has also appeared to the forefront of cultural life – the commercialization and commercial conceptualization has become an important factor that is now at the base of cultural development and diffusion. Mass culture has become particularly popular; its aesthetic level is radically different from the aesthetic norms established in

daniel biureni, Savi da TeTri kolonebis art instalacia pale roialSi, parizi, 2011 DANIEL BUREN, ART INSTALLATION OF BLACK AND WHITE COLUMNS IN THE COURTYARD OF PALAIS ROYAL, PARIS, 2011

kultura, romlis esTetikuri done radikalurad gansxvavdeba klasikur kulturaSi damkvidrebuli esTetikuri normebisgan da xSirad TaobaTa Soris dapirispirebis mizezic xdeba. Tumca drois gamowveva sazogadoebas aiZulebs, axleburad gaaanalizos arsebuli kulturuli standartebi. sakomunikacio sivrcis mkveTrma cvlilebam moSala sazRvrebi kulturebs Soris da axali komponentebi warmoqmna _ gafarTovda fsevdokulturuli urTierTobebis areali, romelSic dialogi dRes metnaklebad cnobadi azrobrivi struqturebis meSveobiTaa SesaZlebeli. am sakomunikaco velze gabatonda saerTo stereotipebi, Sefasebebi, qcevis normebi... da es gacilebiT ufro komfortuli aRmoCnda adamianebisTvis.

classical culture, and this often becomes a source of disagreement between generations. But the challenge of time management forces our society to analyze the existing cultural standards from a new perspective. The fundamental changes of communication means had removed borders between different cultures and created new components – the field of pseudocultural relations has been enlarged, in which dialogue is possible through more or less recognizable thinking patterns. Common stereotypes, assessments, and norms of behavior have become more and more influential in this communication network… And this has turned out to be much more comfortable for people. Right now, culture seems to be losing its uniqueness, which was the characteristic feature of local cultural epochs. Many researchers call our modern culture, which develops

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“sxeuli da qviSa“ - instalaciis SesasvlelTan, kani, 2017 / ‘FLESH AND SAND’ (CARNE Y ARENA) – ON THE WAY TO INSTALLATION, CANNES, 2017

axla kultura TiTqos kargavs Tavis gansakuTrebulobas, imas rac lokaluri kulturis epoqisTvis iyo damaxasiaTebeli. Tanamedrove kulturas bevri mkvlevari „virtualuri realobis~ kulturas uwodebs, romelic komunikaciis globaluri interaqtiuri saSualebebiT viTardeba. zenacionaluri mentalobis Seqmnam ganapiroba siRrmiseuli cvlilebebi elitur da masobriv kulturaTaSoris urTierTobebSi. masobrivi kultura gaaqtiurda da Tanamedrove civilizaciis umniSvnelovanes elementad gardaiqmna. teqnologiebis ganviTarebam adamians arCevanis uzarmazari SesaZlebloba misca _ mas SeuZlia uswrafesad miiRos nebismieri informacia, gaecnos siaxles, SearCios misTvis saintereso audio da vizualuri masala. XX saukunis dasawyisamde kulturuli siaxleebi lokalur xasiaTs atarebda da ZiriTadad mxolod im arealze vrceldeboda, sadac xelovani Semoqmedebas qmnida _ teqnikuri progresis TviTmxilveli mxolod is

kler morgani, `adamianis buneba~, 2016 CLAIRE MORGAN, HUMAN NATURE, 2016

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through interactive global communication means, the “virtual reality” culture. The creation of a supranational mentality laid the foundations of a deep transformation in the relation between elite and mass culture, the latter becoming more popular and now one of the most significant elements of modern civilization.

The development of technology provided humans with enormous possibilities – they can get any information in seconds: they can read the news, select the audio and video materials that interest them…

Until the beginning of the 20th century, cultural transformations had a local scale, and were usually spread only where artists were creating or performing their art – the only witnesses of technological progress were the audiences visiting theaters and concerts. For centuries, the art of music, dance, and partly of painting were a privilege reserved to the aristocracy, and then to the enriched bourgeoisie who were supporting these arts and their creators. The situation changed radically in the 20th century, with an unseen enlargement of mass culture and the appearance of new technical means which could duplicate any artwork, regardless of its status, aesthetic value and the year in which it was made. Today, digital technology has multiplied this effect to an unimaginable extent. It is now easy for anyone to present oneself in front of large audiences, to get them acquainted with their skills, and to become popular in days – in other words, to create an independent, so-called “cultural industry” by themselves.

Today, with social media, it is possible to connect with formerly inaccessible “stars”, to share one’s ideas with them, and sometimes even to create a successful collaborative project with them.

The development of technology also offers new possibilities to traditional arts such as theater, cinema, and music. The possibility of manipulating space and of creating interactive systems has appeared, and experiments have become the characteristic feature of art.

The internet and innovative sensory technologies have enlarged the artistic realm. Apart from that, the feature that makes new art fields stand out is their interactivity – the creation of an open communication network and the shift of the focus from the result to

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mayurebeli da msmeneli iyo, romelic Teatrebsa da koncertebs stumrobda. musikis, cekvis, nawilobriv ferweris xelovneba saukuneebis ganmavlobaSi mxolod aristokratebis, SemdegSi ki gamdidrebuli burJuaziis privilegias warmoadgenda, romlebic mxars uWerdnen xelovnebis am mimarTulebebs da mis Semqmnelebs. viTareba, mkveTrad, XX saukuneSi Seicvala _ masobrivi kulturis arnaxuli gafarToebiTa da teqnikuri saSualebebis gaCeniT, romlebic xelovnebis nebismieri nimuSis tiraJirebas axdenda misi statusis, esTetikuri Rirebulebisa da Seqmnis drois miuxedavad. dRes ki cifrulma teqnologiam es masStabi arnaxulad gazarda.

Tanamedrove samyaroSi martivia, nebismieri adamiani Tavad wardges mayureblis didi raodenobis winaSe, sakuTari SesaZleblobebi gaacnos da mokle droSi arnaxuli popularoba moipovos, anu Tavad aamoqmedos damoukidebeli e.w. „kulturuli industria“. sadReisod, SesaZlebelia socialuri qselis meSveobiT adre miuwvdomel „varskvlavTan“ dakavSireba, misTvis sakuTari ideebis gaziareba da zogjer warmatebuli erToblivi proeqtis Seqmnac ki. teqnologiis ganviTarebam axali SesaZlebloba SesTavaza xelovnebis tradiciul mimarTulebebs _ Teatrs, kinos, musikas da a.S. xelovnebis damaxasiaTebeli niSani gaxda eqsperimenti. gaixsna sivrculi manipulaciis, interaqtiuri sistemis Seqmnis SesaZlebloba. internetma da inovaciurma sensorulma teqnologiebma gaafarTova mxatvruli realoba. amas garda, xelovnebis axali mimarTulebebis ganmasxvavebeli

daTvis mucelSi, qeiTlind brauni, vein gareti da lein Sordi, toronto, 2016 CAITLIND R.C BROWN, WAYNE GARRETT AND LANE SHORDEE, IN THE BELLY OF A BEAR, TORONTO, 2016

the process. Artists offer videos filmed during the creation process of their works, or load unfinished art products on devices, and their completion stages can be observed by anyone on, for instance, the screen of their smartphone. Almost all the latest art trends are based on the knowledge and mastery of technology, but the essence of art is almost always neglected, which is why there is a probability that in some time, the popularity of technologies will disappear; if this happens, artists will need to show tremendous energy and efforts in order to remain on the art scene and retain their relevance.

The criticism of culture, which has always played a very important role in the establishment of this or that attitude towards artworks, has also changed. In an epoch were technologies are constantly changing, fewer and fewer people listen to the commentaries of

kolaboracia „NUMEN/FOR USE“, instalacia “STRING”, vena, 2014 / NUMEN/FOR USE, ‘STRING’, VIENNA, 2014

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daniel biureni, instalacia “PILE UP” DANIEL BUREN, INSTALLATION “PILE UP” , LISSON GALLERY, LONDON, 2017

niSani, misi interaqtiurobaa _ Ria sakomunikacio sivrcis Seqmna da aqcentis gadatana Sedegidan procesze. mxatvrebi gvTavazoben videoebs, romelic nawarmoebis Seqmnis procesSia gadaRebuli, an dausrulebeli artproduqti itvirTeba mowyobilobis mexsierebaSi, romlis mflobelsac SeuZlia procesis dasrulebas smartfonis ekranze miadevnos Tvali. xelovnebis TiTqmis yvela

others – even when they come from very high quality critics. The analytical character of critics has already become secondary. Success is based on popularity, which can be appreciated in the number of times an artwork is mentioned in media outlets, “liked” on social networks, in the income gotten from the implementation of the project, and from ratings made by various social groups. Well-argued and highly professional commentaries have lost their importance, because their deep contents and comprehensive texts are becoming less and less interesting for the actors of the virtual world. Users of our new communication network wish to get information as fast as possible, and they actually manage to do so; the reviews that are currently the most popular are those that have an informational value or act as a kind of guidance, and get society acquainted with products on a superficial level. This is particularly visible in the cultural industries that circulate through digital material, which are the ones that are most influenced by technology. The perspective of the future development of criticism in culture and art is at risk, as there is a chance that it will be transformed into a marketing tool.

The development of technology has helped transform traditional cultural spaces and their standard social relations. It is difficult to establish oneself in a realm where the cultural and informational memory of our whole civilization could fit in a smartphone that

daniel biureni, „alegro vivace“, baden-badeni, 2011 / DANIEL BUREN, ‘ALLEGRO VIVACE’, BADEN-BADEN, 2011

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daniel biureni, ferisa da Suqis TamaSi, Tanamedrove xelovnebis centri BALTIC-i, geitshedi, 2014 DANIEL BUREN, 'CATCH AS CATCH CAN', BALTIC CENTRE FOR CONTEMPORARY ART, GATESHEAD, 2014

uaxlesi mimdinareoba efuZneba teqnikisa da teqnologiis flobis xarisxs, magram misi Sinaarsobrivi mxare TiTqmis yovelTvis sustad aris damuSavebuli, amitom arsebobs albaToba, rom cota xanSi teqnologiebis mTeli es momxibvleloba gaqres da maSin, imisaTvis rom art-scenaze darCes da kvlav saintereso iyos, Semoqmeds uzarmazari energia da Zalisxmeva dasWirdeba.

is as small as someone’s pocket. Even institutions dedicated to conservation such as museums and libraries are facing the challenge of our epoch, and trying to adapt to the demands of modern times, to withstand strong competition and to include new functions in parallel to the old, which enables them to provide not only theoretical knowledge, but also practical skills. Virtual tours, digital archives, and various other electronic services have already become the

Seicvala kulturis kritikac, romelsac yovelTvis umniSvnelovanesi roli eniWeboda konkretuli nawarmoebis mimarT garkveuli ganwyobis Camosayalibeblad. teqnologiebis ganviTarebis epoqaSi sul ufro mcire raodenoba usmens calkeuli pirovnebebis _ Tundac Zalian maRali donis kulturis kritikosTa azrs. kritikis analitikuri xasiaTi ukve meorexarisxovani xdeba. warmateba popularobazea dafuZnebuli, romelic mediasaSualebebSi moxseniebisa da socialur qselSi mowonebis raodenobaSi, proeqtis ganxorcielebiT miRebul SemosavalSi, sxvadasxva sazogadoebrivi jgufebis mier Sedgenil reitingSia gamoxatuli. argumentirebulma da maRalprofesiulma kritikam CrdilSi gadainacvla, radgan misi Rrma Sinaarsi da yovlismomcveli teqstebi virtualuri samyaros moTamaSeebs sul ufro naklebad

daniel biureni, instalacia „qari iq qris, sadac surs“, de haani, 2009 DANIEL BUREN, INSTALLATION 'THE WIND BLOWS WHERE IT PLEASES', DE HAAN, 2009

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ainteresebT. sakomunikacio qselis momxmareblebs uswrafesad surT informaciis miReba da axerxeben kidec; ufro Cqara ki kritikis is mimarTuleba viTardeba, romelsac sainformacio _ gzamkvlevis xasiaTi aqvs da samomxmareblo doneze acnobs sazogadoebas ama Tu im produqts. es gansakuTrebiT SesamCnevia cifruli matareblebis meSveobiT gavrcelebuli kulturuli industriebis magaliTze, romlebic yvelaze metad ganicdis teqnologiur gavlenas. kulturisa da xelovnebis kritikis samomavlo ganviTarebis perspeqtiva araerTmniSvnelovania, radgan arsebobs misi transformaciisa da marketingis instrumentad qcevis safrTxe. teqnologiebis ganviTarebam xeli Seuwyo tradiciuli kulturuli sivrceebisa da masSi awyobili sazogadoebrivi urTierTobebis saxecvlilebas.

Znelia Tavis damkvidreba im realobaSi, sadac civilizaciis kulturuli da sainformacio mexsiereba adamianis jibeSi moTavsebul smartfonSi eteva. iseTi

norm. Little by little, old institutions are establishing themselves as multifunctional cultural spaces where one can find top-notch media centers, small scientific laboratories and lounge zones that offer numerous possibilities; as for the museum staff, together with their other duties, they now have to manage webpages and carry out active PR campaigns on social networks.

The beginning and end of each epoch are accompanied by change, but the 21st century has made this more obvious than ever. If we compare this process to the industrial revolutions of the past, which have lasted decades and centuries, we will see that the digital revolution is taking place at a much faster pace, and that a strong force to be reckoned with, one that can be considered as of the determining factors of today’s reality, is being established and has a great deal of influence on every aspect of human life, including social and cultural ones. Is it a good or a bad thing? It will take a long time before we find a final and unequivocal answer to this question, but the processes that are currently at hand already have numerous analysts, experts and assessors, who see both good and bad in this phenomenon.

Ketevan Trapaidze

pol kaminsi, wiTeli yayaCoebis instalacia londonis tauerTan, 2014 PAUL CUMMINS, RED POPPIES INSTALLATION AT THE TOWER OF LONDON, 2014

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qristo, mcuravi misadgomi, izeos tba, italia, 2016 / CHRISTO, THE FLOATING PIERS, LAKE ISEO, ITALY, 2016

konservatuli institutebic ki, rogoricaa muzeumi da biblioTeka exmianebian drois gamowvevas, cdiloben Tanamedroveobis moTxovnebs moergon, gauZlon mZlavr konkurencias da Zveli funqciebis paralelurad, axalic SeiTavson, romelic aramxolod Teoriuli codnis, aramed praqtikuli unarebis miwodebaSic gamoixateba. virtualuri turebi, cifruli arqivebi, sxvadasxva eleqtronuli momsaxurebis SeTavazeba ukve Cveulebriv ambad iqca. Zveli instituciebi TandaTanobiT multifunqciur kulturul sivrceebad yalibdeba, sadac maRalteqnologiuri media-centrebicaa, mcire samecniero laboratoriebic da launj-zonebic _ dasvenebisa da garTobis uamravi SesaZleblobiT; TanamSromlebs ki, sxva movaleobebTan erTad, daemataT veb-gverdebis administrireba da aqtiuri piar-kampaniis warmoeba socialur qselebSi.

yoveli epoqis dasasruls da axlis dasawyiss Tan sdevs cvlileba, magram XXI saukunem es yvelaze naTlad warmoaCina. Tu am process SevadarebT warsulis industriul revoluciebs, romelTa mimdinareobasac aTwleulebi da saukuneebi dasWirda, vnaxavT, rom cifruli revolucia gacilebiT swrafad mimdinareobs da yalibdeba Zlier, angariSgasawev Zalad, romelic dRevandel realobaSi TamaSis wesebis damdgenad gvevlineba da umniSvnelovanes gavlenas axdens adamianuri yofis yvela, maT Soris socialur da kulturul aspeqtzec. kargia es Tu cudi _ am kiTxvis saboloo da calsaxa pasuxamde kidev didi dro gaivlis, Tumca mimdinare procesebs dRes ukve hyavs uamravi analitikosi, eqsperti da Semfasebeli, romelic amaSi cudsac da kargsac erTdroulad xedavs. qeTevan trapaiZe

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os?

n i k l u T r a q aexmareba

vin d

WHO WILL HELP GEORGIAN CINEMA? bolo aTi-TxuTmeti welia, presidan Tu telearxebidan, araerTi qarTveli specialisti da zogi araspecialistic imeds gamoTqvams, rom „amerika daexmareba qarTul kinos aRorZinebaSi“. Cveni kinematografi, ukanaskneli sami aTwleulis ganmavlobaSi iseT savalalo mdgomareobaSia, rom daxmareba da aRorZineba ar awyenda. Tanac precedenti arsebobs: amerika ukve daexmara erT postkomunistur qveyanas _ ungreTs. es grZeli, magram saintereso ambavia.

1966 wels, kanis festivalze, ungreli reJisoris mikloS ianCos 1965 wlis filmma „imedis gareSe“ furori moaxdina. marTalia, prizi ver aiRo, Tumca mTavari prizis pretendenti iyo. Jiuri, rogorc Cans, Seacbuna da daabnia misTvis manamde ucnobi kinematografiuli qveynis aRmoCenam. samagierod, saerTaSoriso kritikam da safestivalo publikamac aRfrTovanebiT miiRo

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In the last ten to fifteen years, be it in the press or on TV, numerous Georgian specialists or amateurs have voiced their hope for “America to help the revival of Georgian cinema”. Our cinematographers have been in such a critical situation for the last 30 years that some help, and the revival of Georgian cinema, clearly wouldn’t do them any harm. What’s more, there is a precedent of this as America already helped another post-communist country: Hungary. This is a long but interesting story.

At the 1966 edition of the Cannes Film Festival, Hungarian director Miklós Janscó’s 1966 film ‘The Round-Up’ was a huge success. It didn’t get a prize, but it was one of the candidates for the Palm d’Or. It appears that the jury was dumbfounded and confused by this discovery of a new country in the field of cinema.

However, the film was internationally acclaimed by critics and very well received by the audience of the festival, and it was awarded other prestigious prizes the same year. ‘The Round-Up’ was bought

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filmi, romelic imave wels sxva prestiJuli premiebiT aRiniSna. „imedis gareSe“ msoflios qveynebis didma nawilma SeiZina. erTma frangulma turistulma firmam, am filmis parizuli premieris Semdeg, gaavrcela sareklamo slogani: „ewvieT ungreTs _ ianCos qveyanas!“ es, manamde ususuri ungruli kinos pirveli saerTaSoriso warmateba iyo. ungreTis maSindeli lideri, ianoS kadari, komunisti iyo da albaT, uamravi nakli eqneboda, magram moulodnelad, patrioti aRmoCnda: man kinoxelovnebaSi, Tavisi, evropuli sazomebiT patara, 10 milioniani qveynis popularizaciis da msoflios kulturul rukaze misi fiqsaciis potenciali dainaxa. centraluri evropis am qveyanas yovelTvis hqonda kompleqsi, rom originaluri, gansxvavebuli enis gamo, danarCen evropas mowyvetili iyo. ungruli, fino-ugoruli enebis jgufSi Sedis.

by many countries. After the Parisian premiere of the film, a French tourism agency created the following advertising slogan: “Visit Hungary – the country of Janscó!” This was the first success of a formerly weak Hungarian cinema.

János Kádár, the Hungarian leader of the time, was a communist, and he must have had numerous shortcomings, but unexpectedly, he turned out a patriot: he noticed the potential of popularizing his relatively small country of 10 million inhabitants and of putting it on the cultural world map thanks to cinema. This central European country had developed a complex about the idea that because of their original, peculiar language, it was isolated from the rest of the continent. Hungarian belongs to the Finno-Ugric family, and the only countries speaking its languages are Hungary, Finland and Estonia. What’s more, Hungarian on the one hand, and Finnish and Estonian on the other hand only share a symbolic relationship and a similitude in a few grammatical norms. Cinema

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am jgufis enebze ki, evropaSi mxolod ungrelebi, finelebi da estonelebi saubroben. Tanac kavSiri, erTi mxriv ungruls, meore mxriv finursa da estonurs Soris simboluria da ramdenime gramatikuli normis msgavsebiT Semoifargleba. kino _ vizualuri xelovnebaa. enobrivi barieri misTvis SedarebiT ioli dasaZlevia. am faqtorebis gaTvaliswinebiT kadarma swrafi da radikaluri reformebi gaatara. ungreTi msoflios erTaderTi qveyanaa, romelSic kinoesTetika aucilebel sagnad iswavleboda saSualo skolaSi. Tavidan ungrelebs Zalian gauWirdaT: ar iyvnen pedagogebi, ar iyo saxelmZRvaneloebi, ar arsebobda specializebuli ucxouri literatura, rom eTargmnaT. TavianTi ambiciuri proeqti ungrelebma nulidan daiwyes, magram umokles vadaSi daZlies problemebi. amas garda, rac kidev ufro mniSvnelovania, ungreTSi miiRes kinowarmoebis finansirebis e.w. „franguli kanoni“. miuxedavad imisa, rom safrangeTi maSinac iyo da axlac aris burJuaziuli qveyana, kanoni socialisturia. es kanoni ramdenime aspeqts moicavs, magram mokled, misi arsi

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is a visual art, and it can break the language barrier relatively easily. Taking these factors into account, Kádár carried out fast and radical reforms.

Hungary is the only country in the world in which cinema aesthetics were taught as a compulsory class in middle school. At first, it was difficult: there were no teachers, no manuals, there was no specialized foreign literature to be translated... Hungarians started their ambitious project from scratch, but managed to overcome obstacles in a very short time.

What’s even more important is that they adopted the so-called “French law” of film production financing in Hungary. Despite the fact that France was (and still is) a bourgeois country, this law is socialist in nature. It encompasses several aspects, but to be short, these are the main points: the State compels film distributors and cinema theater owners to hand out a large portion (almost a half ) of the profits they make from foreign films for the production of local films.

As a result, at the surprise of the rest of the world, a strong, autonomous, intellectual art house cinema appeared in Hungary.

Critics and experts expressed their amazement about the fact that

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SemdegSia: saxelmwifo, kanonmdeblobiT avaldebulebs kinodistributorebs da kinoTeatrebis mflobelebs, rom sazRvargareTuli produqciis demonstrirebiT miRebuli Semosavlis maRali procenti, TiTqmis naxevari, moaxmaron nacionalur kinowarmoebas.

Sedegad, danarCeni msofliosTvis moulodnelad, ungreTSi Seiqmna TviTmyofadi, inteleqtualuri, mZlavri saavtoro kinematografi. kritikosebi da eqspertebi imTaviTve gamoxatavdnen gaocebas, rom or qveyanas _ avstrias da ungreTs, romlebic odesRac erTian imperiaSi mxardamxar cxovrobdnen da viTardebodnen, radikalurad gansxvavebuli kinokultura hqondaT. erTi mxriv avstriuli kino, agebuli metwilad musikalur reviuebsa da primitiul komediebze, meore mxriv, msoflios erT-erTi gamorCeuli, saxelovnebo ungruli kinematografi, romelsac realur konkurencias mxolod tradiciulad mowinave franguli, zogjer italiuri kino uwevda. sami aTwleulis ganmavlobaSi msoflioSi ar Catarebula met-naklebad Rirebuli kinofestivali, romelzec minimum erTi ungruli filmi mniSvnelovan gamarjvebas da premias ar moipovebda. 1968 wels ki uprecedento SemTxveva

two countries, Austria and Hungary, which were once living and developing in the same empire, had completely different cinema cultures. Where Austrian cinema was mainly constructed on musical revues and primitive comedies, art house Hungarian cinema became one of the most distinctive film industries in the world, the only competition of which was the long-established French, and sometimes Italian cinemas.

For three decades, there was no more or less distinguished international film festival without at least one Hungarian film achieving huge success and winning a prize. And in 1968, an unprecedented occurrence took place: the number of intellectual, art house Hungarian films exceeded the number of entertainment and commercial films produced in the country. Despite the fact that Hungarian film production was not immense, and only 23-25 feature films were made per year, it is still a unique occurence in cinema history. In the West, they called it the “Hungarian Miracle”.

World-famous film directors worked in Hungary: Zoltán Fábri, István Szabó, András Kovács, Károly Makk, István Gaál, Péter Bacsó, Gábor Bódy – professor at the Film Institute of Western Germany, Márta Mészarós – one of the most interesting female film directors, and many more. It was no problem for Hungarian directors to invite French, Italian, or American actors into their films, while if it wasn’t

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dafiqsirda: ungruli inteleqtualuri, saxelovnebo filmebis ricxvma gadaaWarba gasarTobi, komerciuli filmebis raodenobas. miuxedavad imisa, rom ungruli kinowarmoeba ar iyo masobrivi da weliwadSi mxolod 23-25 srulmetraJiani filmiT Semoifargleboda, es mainc unikaluri da dasafasebeli faqtia kinos istoriaSi. dasavleTSi, yvelafer amas, xatovnad „ungrul saswauls” uwodebdnen. ungreTSi muSaobdnen kinosamyaroSi kargad cnobili reJisorebi: zoltan fabri, iStvan sabo, andraS kovaCi, karoi maki, iStvan gaali, peter baCo, dasavleT berlinis kinoinstitutis profesori _ gabor bodi, msoflios erTerTi yvelaze saintereso qali-reJisori marta mesaroSi da bevri sxva. ungreli reJisorebisTvis problemas

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impossible for cinematographers from other communist countries to do so, it was still extremely difficult.

Many producers and directors form Western Germany, England and the USA enjoyed collaborating with Hungary, because ‘Mafilm Studios’ was equipped with top-notch equipment for the time, and producing films in Hungary was much cheaper than in the West.

Budapest’s Film Lab received regular orders from abroad, mainly from neighboring Yugoslavia, the three laboratories of which could not boast as premium technical equipment or as professional staff.

Hungarian animation films deserve a separate article. One example will be enough: in 1982, Ferenz Rofusz’ three-minute animation film ‘A Légy’ (‘The Fly’) won an Oscar.

Unfortunately, the Georgian audience, and even the majority of Georgian film specialists, don’t know Hungarian cinema, or know it very superficially or one-sidedly. There are two main causes behind this. Firstly, Georgians had a condescending, arrogant attitude towards socialist countries, their history and culture. The second reason is more substantial: soviet ideologists and censors frowned on Hungarian cinema. They had many reasons for that: there were no taboo themes in Hungarian cinematography. Hungarians filmed not only non-communist, but sometimes even anti-communist films. It also happened that they produced erotic dramas on the verge of pornography, or dwelled on aspects of homosexuality, and what’s more, in relationship to Marxist ideology. They would also screen sarcastic, malicious satires of the socialist system. The recommendations or

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ar warmoadgenda TavianT filmebSi frangi, italieli, amerikeli msaxiobebis miwveva. sxva komunisturi qveynebis kinematografistebisTvis ki, es, SeuZlebeli Tu ara, uaRresad rTuli iyo. bevri prodiuseri da reJisori dasavleT germaniidan, inglisidan da amerikis SeerTebuli Statebidan xalisiT TanamSromlobda ungrul mxaresTan, radgan kinostudia „mafilmi“ im droisaTvis mowinave kinoteqnikiT iyo aRWurvili, xolo gadaRebebi ungreTSi sagrZnoblad ufro iafi jdeboda, vidre dasavleTSi. budapeStis kinolaboratoria regularulad iRebda SekveTebs sazRvrgareTidan, metwilad mezobeli iugoslaviidan, romlis sami laboratoria, SedarebiT dabali klasis teqnikiT da personaliT iyo dakompleqtebuli. calke saubris Temaa ungruli animaciuri kino. mxolod erTi magaliTic kmara: 1981 wels, ferenc rofusis samwuTianma animaciurma filmma „buzi“, „oskari“ daimsaxura. samwuxarod, ara marto qarTveli mayurebeli, aramed qarTveli specialistebis umravlesobac ar icnobs

instructions of competent soviet authorities were not followed by the Hungarian side in any way. The Hungarian audience, critics, and the country’s communist government, led by János Kádár, received such films calmly, without fuss. The Soviet Union was infuriated. Yet the West was charmed. Because Hungarian comrades could not be influenced, the head of soviet film distribution services was compelled to restrain a large part of the screenings of films coming from the “brotherly” socialist Hungary.

Naturally, Hungarian films could still be watched in the Soviet Union, but they were cliché melodramas, standard detective films, dull comedies, or film versions of Imre Kálmán’s operettas. There were almost no cinematographically important or valuable films on soviet screens, and this is why the phenomenon of Hungarian cinema wasn’t noticed by the Georgian audience.

In 1995, they shot the jubilee documentary film ‘Lumière et compagnie’ in France. 40 directors from various countries took part in this large-scale project. While working on the film, French director Régis Wargnier asked the following question to then French president François Mitterrand: “If one image suddenly came to your mind, one frame, from which film would it be?” Wargnier

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ungrul kinematografs, an icnobs Zalian cudad, calmxrivad. mizezi oria. jer erTi, qarTvelebs qedmaRluri, agdebuli damokidebuleba hqondaT socialisturi qveynebis, maTi istoriis da kulturis mimarT. meore mizezi ufro mniSvnelovani da seriozulia: sabWoTa ideologebi da cenzorebi ungrul kinos almacerad uyurebdnen. safuZveli sakmarisze meti hqondaT: ungreli kinematografistebisTvis akrZaluli Tema ar arsebobda. ungrelebi iRebdnen ara mxolod arakomunistur, zogjer antikomunistur filmebsac. xdeboda, gadaiRebdnen erotikul dramas pornografiis zRvarze, an ganixilavdnen homoseqsualisturi urTierTobis aspeqtebs, Tanac marqsistul ideologiasTan mimarTebaSi, an kidev, ekranebze gamouSvebdnen geslian, RvarZlian satiras socialistur sistemaze da a.S. kompetenturi sabWoTa amxanagebis araerT rekomendacias da miTiTebas, raime qmediTi RonisZieba ungruli mxridan ar mohyolia. ungreli mayurebeli, kritika da qveynis komunisturi mTavroba, ianoS kadaris meTaurobiT, aseT filmebs mSvidad, auRelveblad xvdeboda. sabWoTa kavSiri Sefiqrianebuli da ganrisxebuli iyo. samagierod, dasavleTi iyo moxibluli. raki ungrel amxanagebze zemoqmedeba ver xerxdeboda, sabWoTa kinogaqiravebis

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was interested in the vision and perception of someone who wasn’t involved in cinema. As the leader of one of the influential French political parties, Mitterrand had been an honored guest of the Cannes Film Festival for years. To his surprise, Wargnier gave a concrete answer to his abstract question: “I saw this film in Cannes in 1972. I don’t remember its title, nor the name of its director.

I can only recall that the film was Hungarian. The camera was doing impressive loops, it was flying. The actors were moving in a strange way, as if they were dancing. I will never forget it!” It wasn’t difficult for Wargnier to determine which film François Mitterrand was talking about: Miklós Janscó’s 1971 work ‘Red Psalm’, which won him the Best Director award at Cannes in 1972. The French president remembered only one film, and it was Hungarian. János Kádár was right: cinema turned out to be the country’s main export material, and its most important means for international integration. Janscó himself named Hungarian cinema a “lotus flower blooming in a communist swamp.”

That said, an interesting question naturally comes to mind: if Hungarian cinema had been revived a long time ago and was experiencing constant progress, then why did Hungarians need American help? American assistance was inevitable: in 1993, under the pressure of large American production companies, the socialdemocratic government of Hungary was forced to remove the “French

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xelmZRvaneloba iZulebuli iyo SeezRuda „moZme“, socialisturi ungreTis kinoproduqciis ZiriTadi nawili sabWoTa ekranze. ra Tqma unda, ungruli filmebi sabWoTa kavSirSic Semodioda, magram es iyo banaluri melodramebi, standartuli deteqtivebi, mosawyeni komediebi, an imre kalmanis operetebis kinoversiebi. mniSvnelovani da Rirebuli ungruli filmi sabWoTa ekranze TiTqmis ar gamoCenila. amitomac, qarTveli mayureblisTvis, ungruli kinos fenomeni SeumCneveli darCa. 1995 wels, safrangeTSi iRebdnen kinos asi wlisTavisadmi miZRvnil dokumentur films _ „lumieri da kompania“. am masStabur proeqtSi ormoci reJisori monawileobda msoflios sxvadasxva qveynidan. frangma reJis varniem, filmze muSaobisas, aseTi kiTxviT mimarTa safrangeTis prezidents fransua miterans: „Tu Tqvens warmosaxvaSi uecrad amotivtivdeba erTi gamosaxuleba, erTi kadri, romeli filmidan iqneba is?“ reJis varnies ainteresebda kinoxelovnebisgan daSorebuli adamianis Sexeduleba, aRqmis Tavisebureba. miterani wlebis ganmavlobaSi eswreboda kanis festivals sapatio stumris rangSi, rogorc erT-erTi gavleniani politikuri partiis lideri. Tavis abstragirebul kiTxvaze, varniem moulodnelad, konkretuli pasuxi miiRo: „es filmi kanSi vnaxe 1972 wels. ar maxsovs filmis saTauri, arc _ reJisoris saxeli. maxsovs mxolod, rom filmi ungruli iyo. kinokamera gasaocar maryuJebs akeTebda, dafrinavda. msaxiobebi ucnaurad moZraobdnen, TiTqos cekvavdnen. es arasodes damaviwydeba!“ varniesTvis sirTules ar warmoadgenda imis dazusteba, romeli filmi hqonda mxedvelobaSi fransua miterans: mikloS ianCos 1971 wlis namuSevari „sanam xalxi kidev iTxovs“, romelmac 1972 wels, kanSi prizi daimsaxura saukeTeso reJisurisTvis da romelsac dasavleTSi icnoben saxelwodebiT „wiTeli fsalmuni“. safrangeTis prezidents cxovrebaSi erTaderTi filmi daamaxsovrda, isic ungruli. ianoS kadari ar Semcdara: kino, qveynis ZiriTadi saeqsporto faseuloba da saerTaSoriso integraciis mTavari saSualeba aRmoCnda. Tavad ianCo, ungrul kinematografs, „komunistur WaobSi gafurCqnil lotosis yvavils“ uwodebda... yovelive zemoTqmulis fonze, Cndeba bunebrivi da kanonzomieri kiTxva: Tuki ungruli kino karga xnis aRorZinebuli iyo da permanentul winsvlas ganicdida, raRaSi sWirdebodaT ungrelebs amerikis daxmareba? amerikis daxmareba gardauvali iyo: 1993 wels, ungreTis maSindeli social-demokratiuli mTavroba, msxvili amerikeli kinomewarmeebis uxeSi zewoliT, iZulebuli gaxda gaeuqmebina kinos finansirebis „franguli kanoni“. amis Semdeg, arakomerciulma ungrulma kinom, faqtobrivad, arseboba Sewyvita.

law” of film financing. After that, non-commercial Hungarian movies are practically non-existant.

Today, some film projects are financed by the Hungarian Ministry of Culture. István Szabó can sometimes find money for his films outside the country; the ambitious Béla Tarr will still be financed by foreigners, but what’s been done since 1993 in Hungarian cinema is only a pale shadow of its former grandeur. This is how America has “helped” Hungary.

In Georgia, cinema had declined since the decreasing of financing from the State, without the involvement of Americans.

The fact that America won’t help us is clear. But perhaps France could?

The French consider cinema to be their national art. With its seemingly small 8% of the world’s film market, France has managed to contain the expansion of Hollywood practically by itself. Apart from that, the French think that they have the responsibility to support the development of cinema in francophone countries. France is assisting rich and established countries and regions such as Belgium, the French-speaking cantons of Switzerland, and the province of Québec in Canada. The

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dRevandel ungreTSi, zogierT kinoproeqts ungreTis kulturis saministro afinansebs. xdeba, iStvan sabo moiZiebs Tanxebs filmisTvis ungreTis sazRvrebs gareT; isev ucxoelebi daafinanseben pretenziul formalists bela tars, magram yvelaferi is, rac 1993 wlis Semdeg keTdeba ungrul kinoSi, warsuli didebis mxolod fermkrTali aCrdilia. ase „daexmara“ amerika ungrul kinematografs.

CvenSi, kinoxelovneba dasrulda saxelmwifo dafinansebis SewyvetasTan erTad, amerikelebis Carevis gareSe. amerika rom ar dagvexmareba, cxadia. iqneb safrangeTi dagvexmaros? frangebi kinematografs sakuTar nacionalur xelovnebad aRiqvamen. safrangeTi, msoflio kinobazris kontrolis Tavisi, erTi SexedviT umniSvnelo _ rva

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French also help some non-francophone countries in both western and eastern Europe, but can France manage to save and revive the culture of cinema in other countries? Will it find resources for Georgia?

Georgia became the 36 th member of Eurimages in 2011, an international organization aimed at supporting cinema also created under the aegis of France – with its headquarters located in Strasbourg. We can rest reassured, Georgian cinema was saved, and soon enough we will see the start of its revival.

But nothing comes that easy. Eurimages has its regulations, and it only finances international coproductions. It won’t be able to assist Georgian cinema as a sole entity: it can only finance films shot in more than one member country of Eurimages. A number of Georgian-foreign projects have already been financed by Eurimages – politically correct films that purposely suit festival

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procentiT, praqtikulad marto, medgar winaaRmdegobas uwevs holivudur eqspansias. garda amisa, frangebi Tavs movaled miiCneven, xeli Seuwyon frangulenovani qveynebis kinos ganviTarebas. safrangeTi exmareba iseT mdidar da uproblemo qveynebs da regionebs, rogoricaa belgia, Sveicariis franguli kantonebi da kanadis provincia kvebeki. frangebi zogierT arafrangulenovan qveyanasac umarTaven xels dasavleT Tu aRmosavleT evropaSi, magram gawvdeba erTi safrangeTi, yvela danarCenis kinokulturis gadarCenas da aRorZinebas? gamonaxavs saxsrebs saqarTvelosTvis?

2011 wels saqarTvelo evrimaJis rigiT 36-e wevri gaxda. unda iTqvas, evropuli kinos xelSewyobis es saerTaSoriso organizaciac frangebis egidiT Seiqmna da Stab-binac strasburgSi aqvs. SegviZlia SvebiT amovisunTqoT: qarTuli kino gadarCa da male misi aRorZinebac daiwyeba. yvelaferi ase martivad ar aris. evrimaJs Tavis wesdeba aqvs da mxolod saerTaSoriso produqcias afinansebs. is ver daexmareba gancalkevebulad specifikur qarTul kinos. mas SeuZlia daafinansos marto is filmebi, romelTa gadaRebaSi, evrimaJis wevri erTze meti qveyana monawileobs. ramdenime qarTul-ucxourma proeqtma ukve moipova evrimaJis dafinanseba. esenia politkoreqtuli, sagangebod safestivalo jildoebze gaangariSebuli sqematuri filmebi. evrimaJis moTxovnebi da SezRuduli finansebi, metis imeds arc iZleva. dReisaTvis Cvens kinoSi damTrgunveli mdgomareobaa: vulgaruli, uxamsi teleserialebi, romelTac kinoxelovnebasTan saerTo araferi aqvT, anda, zemoxsenebuli, premiebze orientirebuli nawarmoebebi, romlebic SigadaSig marTlac iReben prizebs, oRond mayureblis dainteresebas ver axerxeben. albaT, qarTuli kinos reanimirebis mcdelobebic dasafasebelia da fardobiTi safestivalo warmatebebic, magram sanam gviani ar aris mivxedoT Cveni kinos saxelovan warsuls. bolosdabolos SevqmnaT kinoarqivi, rom qarTuli filmebi ruseTSi aRar inaxebodes. baltiispireTis samma qveyanam, karga xania sistemaSi moiyvana TavianTi arcTu saintereso kinoistoria. evropul baltiispireTs vin Civis, centraluri aziis qveynebmac moawesriges maTi uRimRamo filmebi. iqneb, Cvenc mogvevlo qarTuli kinoxelovnebis marTlac brwyinvale nimuSebisTvis. vin icis, amaSi mainc dagvexmarebodnen frangebi, gindac amerikelebi. an, iqneb erTi problema mainc gadagveWra sxvis dauxmareblad... zurab nacvliSvili

prizes. One cannot expect more from the standards and limited finances of Eurimages.

Today, Georgia is facing a critical situation in the field of cinema: we have vulgar, indecent TV shows that have nothing to do with the art of cinema, or abovementioned works that are custommade for awards, and which do indeed win prizes from time to time, but fail to attract the interest of audiences. We should probably welcome the attempts to revive Georgian cinema as well as the relative success it has found at festivals, but let us also look after our cinema’s glorious past before it’s too late. Let us at least create a film archive, so that Georgian films are not kept in Russia anymore. The three Baltic countries established an archive system for their (not so interesting) cinema history a long time ago. Even central Asian countries have taken care of their lifeless films.

Perhaps we could also take care of the brilliant works of Georgian cinema. Who knows, maybe the French or Americans could help us with that? Or perhaps we could resolve at least one issue without the assistance of others...

Zurab Natsvlishvili

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giorgi gegeWkori saqarTvelos Teatraluri sazogadoebis Tavmjdomare saqarTvelos Teatraluri sazogadoeba, rogorc xelovanTa nebayoflobiTi SemoqmedebiTi organizacia, 1880 wels daarsda ilia WavWavaZis TaosnobiT. am dramatul sazogadoebas zustad gansazRvruli misia da sazogadoebrivi funqcia hqonda _ sxva Teatralur movlenebTan erTad, istambeboda piesebi, ikiTxeboda prozauli nawarmoebebis scenuri interpretaciebi da iTargmneboda ucxouri epikurdramatuli literatura... 1945 wels, sabWoTa periodSi Teatralurma dramatulma sazogadoebam statusi Seicvala da Teatraluri sazogadoebis saxeliT gaagrZela SemoqmedebiT saqmianoba. am dros,

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saqarTvelos Teatraluri sazogadoebis gavlena, garkveulwilad, kulturis saministros gavlenasac ki utoldeboda. wlidan wlamde izrdeboda organizaciis qoneba. XX saukunis oTxmocian wlebSi es organizacia flobda: dasasvenebel saxlebs, agarakebs, kombinatebs, sakuTriv sazogadoebis Senobas, satransporto saSualebebs, stambas, gamomcemlobas da mraval sxvas. amave periodSi Seiqmna qarTuli Teatris sacavi; sazogadoebis mxardaWeriT Teatrmcodneebi ajamebdnen mimdinare Teatralur sezonebs, beWdavdnen samecniero statiebs, ilustrirebul albomebs da vrcel monografiebs.

4 (10 ) 2017

sabWoTa kavSiris daSlis Semdeg Teatralur sazogadoebac `daiSala~ _ 90-iani wlebidan yovelwliurad iyideboda da sxvisdeboda saukunis ganmavlobaSi nagrovebi qoneba. daeca misi avtoriteti da daekarga funqciac. samwuxarod, saqarTvelos Teatraluri sazogadoebis dRevandeli mdgomareoba savalaloa. mas aRar aqvs SemoqmedebiTi funqcia! gasxvisebuli da gayidulia qonebis mniSvnelovani nawili; Tumca, jer kidev SenarCunebulia sololakSi sazogadoebis Senoba, akaki xoravas saxelobis `msaxiobis saxli“ (romlis udidesi nawili gaqiravebulia), boboyvaTsa da manglisSi dasasvenebeli saxlebi... TanamSromelTa umravlesoba TveobiT ver iRebs mcire gasamrjelosac ki. kulturis saministros xelSewyobiT, or TveSi erTxel gamodis Jurnali _ `Teatri da cxovreba“ (romelic, samwuxarod ver pasuxobs Tanamedrove moTxovnebs) da, daixura da aRar gamodis yovelwliuri Semajamebeli gazeTi, `qarTuli Teatris dRe“.

Cveni mizani arsebuli savalalo mdgomareobis gamosworeba da mizanmimarTuli marTvis meSveobiT mZlavri SemoqmedebiTi gaerTianebis Seqmna, dakarguli avtoritetis dabrunebaa; Teatraluri sazogadoeba ise unda gaxdes qmediTi, SemoqmedebiTad aqtiuri organizacia. amisTvis ki upirveles amocanas, dedaqalaqsa da regionSi, materialur-teqnikuri bazis aRdgena, gamarTva da modernizeba warmoadgens. misia, romelic Teatralur sazogadoebas istoriulad aqvs, qarTuli Teatris ganviTarebis aqtiuri mxardaWeraa. sadReisod, pirvel rigSi, saWirod miviCnevT leoniZis quCaze arsebuli Senobis, akaki xoravas saxelobis msaxiobTa saxlis srul reabilitacia-modernizacias. bolo xans gaCnda mosazreba, rom es Senoba gaiyidos da mis nacvlad, sadme aSendes mcire moculobis nageboba; Semosuli Tanxa ki moxmardes sxvadasxva saxis problemebis mogvarebas. Cven vTvliT, rom es mosazreba mcdaria da am `ideis~ ganxorcielebis SemTxvevaSi `msaxiobis saxls~ davkargavT! swored msgavsi `miznebisTvis~ sxvisdeboda arsebuli qoneba, problema ki problemad rCeboda. aucilebelia nageboba srulad gavaTavisufloT yovelgvari qiriTi valdebulebisgan, ganvaxorcieloT safuZvliani saremonto samuSaoebi da rac mTavaria, `msaxiobis saxls~ davaSenoT ramdenime sarTuli. am proeqtis ganxorcielebas mxars uWeren Cveni strategiuli partniorebi, sxvadasxva fondebi da investorebi. `axal~ sarTulebze ganTavsdeba sastumro, romelic regionidan Tu ucxoeTidan Camosul Teatris

moRvaweebs umaspinZlebs. regionis Teatrs, romelic dedaqalaqSi gamarTavs gastrols, saSualeba eqneba ufasod dabinavdes, rac mniSvnelovnad Seamcirebs mis da Cvens xarjebs. specifikur reabilitacias saWiroebs SenobaSi arsebuli scenac, romelic Sesabamisi standartebis gaTvaliswinebiT unda moewyos. es sivrce xelmisawvdomi gaxdeba sxvadasxva Teatris, reJisorisa da msaxiobisaTvis. safuZvels CavuyriT `msaxiobis saxlis~ mudmivmoqmedi Teatris daarsebasac. Cveneuli koncefcia aseve gare infrastruqturis srulad gamarTvas moicavs, rac Semdegs gulisxmobs: arsebul skverSi (`stelas baRSi~) gavxsniT sazafxulo kinoTeatrs, romelic daeTmoba Teatraluri moRvaweebis Semoqmedebas, filmebs, klasikuri musikis koncertebs; movawyobT art-kafes, romelic evropis qalaqebSi arsebuli, kulturis popularizatori, msgavsi kafeebis magvari gaxdeba. aq monitorebze mudmivad vaCvenebT qarTuli Teatris oqros fondSi dacul vizualur masalas, amonaridebs Zveli Canawerebidan, tele-speqtaklebs, cnobili msaxiobebis benefisebis Canawerebs. aqve ganxorcieldeba konkretuli Teatraluri moRvawis benefisi da SemoqmedebiTi saRamo-performansebi. bolo aTwleulebSi regionaluri Teatrebi uyuradRebod darCnen, mxolod ramdenime Teatri (baTumis, quTaisis, Telavis) axerxebs gastrolis gamarTvas da Semoqmedebis sazogadoebamde mitanas. regionSi, Teatrebs mZime pirobebSi uwevT arseboba. wlebia, saqarTvelos Teatraluri sazogadoeba ar dainteresebula maTiT. metic, mcire informaciac ki ar arsebobs Tu ra xdeba da ra problemebis winaSe dganan isini. Cveni mizania rom umTavresi aqcenti swored regionebs daeTmos. upirveles yovlisa aucilebelia aRdges saqarTvelos Teatraluri sazogadoebis regionaluri organizaciebi. vgegmavT, rom xelaxla dafuZndes aWaris, guriis, samegrelos, imereTis, mesxeT-javaxeTisa da kaxeTis regionaluri organizaciebi, romlebsac koordinirebas gauwevs saqarTvelos Teatraluri sazogadoebis Sesabamisi warmomadgeneli; Teatraluri sazogadoebis mxardaWeriT wlis ganmavlobaSi es Tu is reJisori regionis TeatrebSi ganaxorcielebs speqtaklebs, aseve regionisa da dedaqalaqis, an sxvadasxva regionis Teatrebis integraciis mizniT, Seiqmneba ko-produqciebi; Teatraluri sezonis dasawyisSi gavmarTavT Teatrmcodneebis Sekrebas, sadac yvela Taoba gaerTiandeba. urTierTSeTanxmebis safuZvelze ganisazRvreba TeatrmcodneTa jgufebi, romlebic mivlinebul iqnebian ama Tu im regionSi. Teatralur

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kvireulebze, SesaZlebeli gaxdeba axali warmodgenebis naxva, romlis Semdegac gaimarTeba sajaro ganxilvadiskusia Teatrmcodneebs, msaxiobebsa da mayurebels Soris; Teatraluri sezonis dasasruls momzaddeba sezonis Semajamebeli, moculobiTi wigni-Jurnali, romelSic daibeWdeba recenziebi; Teatraluri sazogadoeba daxmarebas gauwevs janmrTelobis an finansuri problemebis mqone xelovanebs. saamisod investorebTan da partniorebTan TanamSromlobiT Seiqmneba sarezervo fondi. dRes umaRles saxelovnebo universitets mravali axalgazrda amTavrebs, Tumca maTgan mxolod mcire nawils Tu eZleva Semdgomi profesiuli ganviTarebis, TviTrealizebis SesaZlebloba. Cveni xedva axalgazrda TeatralTa mxardaWeris ramdenime mimarTulebas iTvaliswinebs. saubaria axalgazrda reJisorTa mxardaWeris programaze, Teatraluri tele-studiis Seqmnaze, damwyeb xelovanTa bienaleze da saerTaSoriso staJirebis programaze. TiToeuli maTgani ramdenime qvepunqts moicavs: 1) axalgazrda reJisorTa mxardaWeris programa gulisxmobs _ aqtiur TanamSromlobas Teatralur universitetTan da kulturis saministrosTan. kerZod, gvsurs axalgazrda reJisorebma sadiplomo speqtaklebi regionalur TeatrebSi ganaxorcielon. Sesabamisad, universitetidan gamoyofili Tanxa da saministros dotacia gadamisamarTdeba regionis TeatrebSi. am gziT SesaZlebli gaxdeba regionis Teatrma repertuars danaxarjis gareSe daumatos kidev erTi axali speqtakli da axalgazrda reJisorsac profesional msaxiobebTan muSaobis saSualeba miecema; 2) Teatraluri tele-studiis proeqti arsebobs da uaxloes momavalSi daiwyebs funqcionirebas. studia Teatraluri universitetis saswavlo gegmis nawili gaxdeba. axalgazrda msaxiobebsa Tu reJisorebs sakurso da sadiplomo speqtaklebis momzadebis Semdeg miecemaT video-kamerasTan muSaobis SesaZlebloba. studia uzrunvelyofs sadiplomo speqtaklebis safuZvelze tele-speqtaklebis momzadebas da maT satelevizio premieras; 3) axalgazrda xelovanTa bienaleSi gaerTiandebian Teatraluri universitetis, konservatoriisa da samxatvro akademiis studentebi, romlebsac organizebas gauwevs saqarTvelos Teatraluri sazogadoeba. bienale gulisxmobs axalgazrduli mxatvruli namuSevrebis festivals, sakoncerto saRamoebsa da gamofenebs;

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4) reJisorTa staJirebis programa sasicocxlod aucilebelia. icvleba dro da icvleba Cveni warmodgena kulturaze. Tanamedrove gamowvevebis pirispir aucilebelia saerTaSoriso gamocdilebis gaziareba, swavleba. maSin roca aqtualuri da prioritetulia qarTuli kulturis msoflio kulturebTan integraciis sakiTxi, gvsurs axalgazrda reJisorebi mivavlinoT evropis sxvadasxva Teatralur skolebSi, organizaciebsa da festivalebze. wlis ganmavlobaSi, minimum oTxi reJisori staJirebas gaivlis sazRvargareT, rasac Teatraluri sazogadoeba uzrunvelyofs. wlebis ganmavlobaSi Teatraluri sazogadoeba gamoscemda Teatralur narkvevebs, monografiebs, saiubileo albomebs, piesebs da sxva saintereso masalas. dRes, es saqmianoba mas `miviwyebuli~ aqvs.

Cveni mizania safuZvlianad gadavxedoT qarTuli Teatris sacavs, arqivs da aRvadginoT stamba, gamomcemloba. sagamomcemlo saqmianoba ramdenime mimarTulebas moicavs: saSuria erovnuli dramatuli mwerlobis mxardaWeris programis Seqmna da qarTvel dramaturgebTan mWidro TanamSromloba. vgegmavT, gamovceT anTologia, sadac warmodgenili iqneba wlis saukeTeso piesebi; qarTuli Teatris dRes, 14 ianvars gamovceT vrceli moculobis wigni, romelSic Sejamdeba gasuli Teatraluri sezoni; da SevcvliT Jurnalis `Teatri da cxovreba“ formats. qarTuli Teatris popularizebisTvis vfiqrobT aqtiurad CaverToT saerTaSoriso safestivalo urTierTobebSi. upirvelesad, vgegmavT saerTaSoriso Teatralur sazogadoebebTan urTierTobebis aRdgenas, monawileobas Sesabamis konferenciebsa da simpoziumebze. garda amisa, meti informaciulobis TvalsazrisiT vgegmavT Semdeg RonisZiebebs: saqarTvelos sazogadoebriv mauwyebelTan molaparakebis safuZvelze axali saTeatro gadacemis momzadebas saxelwodebiT _ `sofiti“; axali radio arxis _ `qarTuli Teatri“ _ daarsebas; Teatraluri sazogadoebis veb-gverdi Seqmnas da saqarTveloSi moRvawe msaxiobebis sainformacio bazis momzadebas; tipografiuli bazis aRdgenas; qarTuli Teatris dRis aRmniSvneli RonisZiebis formatis Secvlas; xelovanTa dajildoebis axlandeli wesis daxvewas (avtoritetuli Jiuris dakompleqtebas _ TeatrmcodneebiT, kompozitorebiT, mxatvrebiT, mwerlebiT da sxv.); da fuladi premiebis raodenobisa da odenobis mniSvnelovnad gazrdas.

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