Abstracts - International Initiative for Georgian Cultural Studies

MODERNISM IN GEORGIA
Georgian Art Nouveau - part of the European cultural heritage - has been duly evaluated by Europe.
Now it is our turn as Art Nouveau still lacks appreciation and protection; protection from deterioration as
well as from wrong and scientifically non-justified restoration efforts, the number of which has increased
over the last years.
Maia Tsitsishvili
I. Javakhishvili Tbilisi State University. Georgia
From Expressionism to Dada: Georgian Painting from 1910 to the 1930s (Based on Recent
Discoveries)
During recent years everyone who has ever been in touch with the 1910-1930s Georgian avant-garde
movement was so surprised to find the hidden acuity, simplicity, diversity and uniqueness of previously
unknown material (owing to the existing political situation), that the discovery of these qualities were
partly referred to as a fortuity. These traits, which to some degree distinguish Georgian painting of the first
half of 20 th century from its contemporaneous European art, are observable during the entire course of its
existence. The art of this period (painting, graphic, and theatrical stage design, as well as book illumination)
reflects nearly all artistic movements of the European avant-garde.
During the first half of 20 th century, when many European cities overflowed with the avant-garde spirit,
Tbilisi - with a peculiar openness and readiness to absorb new ideas was also incorporated into this contemporaneous
progressive movement. One may say that Georgian painting evolved most naturally during this
period between 1910 and 1920s. It is noteworthy, that every single painter had an individual approach to the
avant-garde art: some of them followed just one or two artistic trends (Sh. Kikodze, V. Sidamon-Eristavi,
K. Zdanevich, I. Zdanevich, E. Akhvlediani, D. Tavadze); others were engaged in analyzing and developing
many different movements (D. Kakabadze, L. Gudiashvili, I. Gamrekeli, D. Shevardnadze); and the works
of some Georgian modernists are so unique that it is difficult to find their direct analogues (P. Otskheli).
The presentation to the public at large and analysis of these bold and in some cases extremely avantgarde
works, which were discovered during the last three years, will contribute to fully recognizing the
importance of Georgian modernists and help to change already established views on their work. Although
the process of exploration of this unknown material is ongoing, already unveiled artworks that are at once
unexpected and remarkable offer the possibility for recapitulation and analysis.
Irine Abesadze
Shota Rustaveli Theatre and Cinema University. Georgia
From Georgian Modernism to Transavantgardism, a Definition of Terms
The sharply pronounced negation in the perception of the outside world, as provoked by world wars and
revolutions, one after another, gave birth to artistic movements which were united under the name of “modernism”.
The followers of this movement attempted to convey the sense of homelessness and alienation of
the humans and the fear of totalitarian violence in various forms. The painful perception of the anticipated
tragic end of the universe and eschatological visions reached their apex in the 1960-70s, when renowned
culturologists and philosophers began asserting, independently from each other, that the life could not go on
the same way. It is as a result that the greatest philosopher of the 20 th century, M. Heidegger, is considered
one of the forefathers of not only Existentialism, but Postmodernism as well. To him belong the following
words: “Postmodernism originated to add new notion to the world rather than to finish off the trend of
Modernism.”
It is too early to discuss artistic processes taking place in the 1980-1990s in the Georgian cultural milieu
as their conceptual formation is still underway. Today it is only possible to state the trends in evidence: i)
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