Sunday, November 19, 2017

VIDEO: Supra Nova - Innovating #GeorgianCuisine | Tekuna Gachechiladze | TEDxTbilisi

Does traditional food have a future? In this conversation renowned Chef Tekuna Gachechiladze describes her work to renew one of the world’s oldest food cultures, and discusses how traditions are both made and misunderstood.

Tekuna Gachechiladze is one of Georgia’s leading and most innovative chefs. After training in New York she served as the head chef at several establishments in Tbilisi before opening her own restaurants. Tekuna regularly promotes Georgian cuisine and culture at home and abroad and is the creator of the “Supra Nova” concept, which seeks to update and renew traditional Georgian dishes.

This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at

More links:
Tekuna Gachechiladze: the Queen of Georgian Fusion []
Café Littera: Din't Call It Fusion. By Paul Rimple []
Tekuna Gachechiladze chef / owner culinarium, cafe littera #cafelittera_tbilisi and culinarium-khasheria#culinarium-khasheria []
Tekuna Gachechiladze []
Georgia: Restaurants, hotels and shops. By Carla Capalbo []

VIDEO: A State at a Crossroads - Georgia: Donald Rayfield at TEDxTbilisi

Historian Donald Rayfield draws lessons from Georgia's long and complex history to illuminate the foreign policy choices of the present. In 1973 he first visited Georgia and has since written a history of Georgian literature, edited a Comprehensive Georgian-English Dictionary and, recently, published a history of Georgia.

In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)

BOOK: Edge of Empires: A History of Georgia. By Donald Rayfield - Review by Professor Ronald Grigor Suny (

Review by Professor Ronald Grigor Suny, review of Edge of Empires: A History of Georgia, (review no. 1375) Date accessed: 19 November, 2017

Think of what you are about to read more as a dialogue between two scholars of Georgia than a conventional review of a colleague’s book. Those few of us outside of Georgia who chose to study the Georgian language and delve into the three millennia history of that beautiful and beleaguered country have usually shaped our narratives in the template of national history – the story of a distinct people who managed to maintain a continuous existence despite invasions, occupations, exile, and the fall of their polities. Writing in a mode that only became imperative in the nationalist 19th century provides a coherence and continuity that belies the eclectic, disjointed, and cosmopolitan actualities of the Caucasian longue durėe. Yet since sources often are generated by states, and archival materials are usually organized by governments, the imprimatur of nation effaces the more complex variations of how people in the past understood themselves and others.

Donald Rayfield, Professor Emeritus of Russian and Georgian at Queen Mary, University of London, has undertaken just such a national story, even while his book’s title – Edge of Empires – affirms Georgia’s liminal position between great multiethnic states. His subtitle suggests that he is presenting one possible account and that others will offer different readings. When I first went to Georgia nearly half a century ago, Donald Rayfield was somewhat of a legend, a stellar student with fluent Georgian and a deep knowledge of its literature. Yet despite the proximity in our scholarly interests, over many decades we never met. He had left Georgia before I arrived, and though he apparently came to a lecture I delivered in London, he left with making himself known to me. When I published The Making of the Georgian Nation in 1988, Rayfield gave the book a relatively critical review in which he even took issue with the title. How could this book, which centered on the 19th and 20th centuries, be about the making of a nation whose origins reached back into prehistoric times? I finally met Professor Rayfield a year ago when we shared glasses of wine after the successful dissertation defense of one of his protégés. Later I bought his extraordinary two-volume dictionary of Georgian, which his wife delivered to me in a plastic bag in Victoria Station.

After the usual linguistic and archaeological introduction, Georgia’s history is conventionally said to begin with its first king, Parnavaz, who may or may not have existed, but who is enshrined in chronicles both Georgian and Armenian. Georgia’s mixed heritage is attested to by Parnavaz’s name and his mother, both Persian. The king married a North Caucasian (Chechen or Ingush) and gave his daughter in marriage to an Ossetian. The Georgian king Mirian III converted to Christianity circa 317, and a century later the first Georgian alphabet was devised. Georgians had their own identity, religion, and language but were deeply embroiled in the shifting alliances, allegiances, and imperial rivalries that roiled through Caucasia and Anatolia. King Vakhtang Gorgasali, founder of Georgia’s eventual capital, Tbilisi, was also the son of a Persian mother and the husband first of a Persian wife and later a Byzantine royal. His country’s affinity with Iran marked Georgian culture until the 19th century. Colchis (Lazica), Western Georgia, remained more firmly in the Greek, Roman, and Byzantine sphere of cultural and political influence until the coming of the Ottomans. The fateful decision of Catholicos Kvirion II in the seventh century to accept the dyophysite Christology of Byzantium ended the centuries-old closeness with the monophysite Armenians and secured Georgia as an eastern outpost of Orthodox Christianity.

The Arab invasions in that same period were an even more radical rupture in the history of Caucasia. Three Christian peoples – Georgians, Armenians, and Caucasian Albanians – would henceforth live with the threat, as well as the promise of tolerance, from Islam. Throughout the following centuries Georgia was more like a mini-empire, with a diverse population, and hierarchical inequitable relations of power among its peoples, than an ethnically and religiously homogeneous nation-state. Its history paralleled those of its neighbors (Armenia, Persia, Turkey, and Russia) at least until late Soviet times. Rather than ethnicity, it was religion and language that determined who might pass for Georgian. Rayfield is fond of the definition of Georgia offered by the ninth century author Giorgi Merchule: ‘We can consider as Greater Georgia wherever Mass and prayers are said in Georgian’ (p. 62). But as in Armenia, so in Georgia, many of the towns were inhabited by Muslim merchants and workers. A traveller in the late tenth century observed that Tbilisi was ‘wholly Muslim’ (p. 72).

Georgia (sakartvelo) was first united only in the early 11th century under Bagrat III, king of the Abkhaz. But soon the kingdoms of Caucasia, particularly the Armenian, faced a new and mortal danger – the invasions of the Seljuk Turks. Georgia’s monarchs made strategic agreements with the invaders, heralding a period of expansion and prosperity under the two most eminent rulers of the medieval period, David aghmashenebeli (the Builder) (1089–1125) and Tamar (1178–1213). David gave up his Armenian queen for a Qipchak to promote his kingdom’s security interests, while Tamar’s consort, David Soslan, was an Ossetian. Their empires, with their cosmopolitan capital at Tbilisi, were devastated in the early 13th century by the Mongols, and Georgia’s fortunes ebbed and flowed in the ensuing half millennium until by early modern times its monarchs repeatedly petitioned Russian tsars for protection against the predations of the Persians and the Ottomans.

Rayfield’s opus is very informative, in the sense that it is chock full of information – reigns, dynasties, foreign incursions, efforts at unification, and multiple failures to hold fragile states together. Like an earlier specialist, Cyril Toumanoff, he is obsessed with how various princes were related to one another, who was legitimate and who a pretender or usurper. His focus is on politics, the role of elites, rather than on society and social relations more broadly. He largely leaves out culture and literature, perhaps justifiably since he has treated Georgian writing extensively in his earlier history of Georgian literature. When the rulers of Georgia cease to be native royals, Rayfield follows the adventures and misadventures, amorous and military, of the various Russian governors and viceroys. In such a history from the top down, with much of the down left out, Georgia recedes from view as palace intrigues and personalities take center stage. The emancipation of the serfs is given short shrift. The dominance of Armenians in Tbilisi and other towns is mentioned in passing. Thanks to a Georgian study, he provides interesting details on anti-Semitism, which was largely a local Russian rather than a Georgian problem.

For all its suggestive material Rayfield’s construction of the Georgian past fails to give much analysis of why events or processes occurred. The story is Georgian–centric and Georgian-philic, a national narrative focused on the steady march forward of the Georgians themselves. Georgians’ implicit nationalism is taken for granted rather than investigated. The rule of Russians is largely seen as a negative imperial imposition, though Rayfield concedes at several points that the authorities ‘did some good’ or ‘Not all government measures were reactionary’ (pp. 304, 310). Almost completely missing are the complex relations of Georgians with the other peoples of Georgia, particularly their social rivals, the Armenians, which in my understanding was a primary ingredient in the generation of Georgian nationalism and even the particular Menshevik brand of Marxism that became hegemonic in the national liberation movement.

Still, what Rayfield gives us is usually reliable and clearly presented. The single doubtful episode comes with the appearance of Stalin, whom he claims framed an innocent watchseller, Arsena Jorjiashvili, for the assassination of General Fedor Griaznov in 1906, which in fact Stalin organized. Rayfield’s source is a post-Soviet article, but close reading of the evidence from earlier memoirs indicts Jorjiashvili, who carried out the killing even as Stalin’s group of terrorists was preparing to murder the hated officer (p. 315). There is also no evidence connecting Stalin with the murder a year later of the nationalist poet and political figure Ilia Chavchavadze (now Saint Ilia), which Rayfield pins on the Bolshevik leader.

The chapter on the revolution and Georgian independence (1917–21) is bizarre in two ways. Rather than using recent research and writing on the period, Rayfield depends almost exclusively on memoirs, for example, of the German general Friedrich Kress von Kressenstein. The years in which masses of people moved onto the stage of history are told as the maneuvering of key leaders, a throwback to older modes of diplomatic and military history. The word ‘soviet’ is studiously avoided in favor of ‘council,’ and the role of the Mensheviks is grossly underestimated.

Things go downhill both for Georgia and the book when we reach the ‘Soviet annexation.’ After 1921 the history of Georgia as told here was one of unremitting repression, executions, and resistance. Sanguinary as the Communists could be, they managed to create a degree of loyalty as formerly subaltern people moved up the social ladder and peasant Georgia was transformed into a modern urban and industrial society. Literacy, mass education, better health care, and public support of literature and national culture were also products of the Soviet state. Yet here Soviet power is depicted basically as a terror regime built on unspeakable brutality. How raw power translated into a grudging legitimacy needs to be explained. Rather than conceptualizations or interpretations, we are given reportage and indictment. It should be noted that Rayfield has uncovered fascinating material on Georgian émigré activity against the USSR and Soviet counterespionage targeting Georgians, though one might question the balance between the treatment of the emigration and internal affairs. Rayfield’s Soviet chapters are clearly post-Soviet history, a post-revisionist chronicle that reflects the current anti-Soviet, even anti-Russian, mood of present-day Georgians. What the Soviets called their dostizheniia (achievements) have fallen into a deep memory hole and left on the surface are the ruins of a cruel failed experiment in human engineering.

Rayfield regains his footing in the last chapter, which covers the years of restored independence. Although he was once a friend of the troubled dissident Zviad Gamsakhurdia, who became Georgia’s freely elected president in 1991, Rayfield is balanced and judicious in sorting through the contentious politics and suicidal civil and ethnic wars that divided and ultimately led to the disintegration of Georgia. While there is no love lost with the former communist, and second president of Georgia, Eduard Shevardnadze, the author acknowledges that this survivor of numerous assassination attempts was able to disarm the reckless paramilitaries and reestablish a modicum of state authority. Rayfield is equally critical of Mikheil Saakashvili, the flamboyant young lawyer who overthrew Shevardnadze in the “Rose Revolution” of November 2003. Unlike some pro-Georgian Western writers, Rayfield does not claim that Russia rather than Georgia initiated the disastrous Russo-Georgian war of August 2008. In this dubious adventure Saakashvili was the provocative David to Russia’s slow-footed Goliath. Rayfield’s narrative ends on the eve of Saakashvili’s electoral defeat by billionaire Bidzina Ivanishvili in 2012.

This book will fascinate anyone interested in the turbulent, tangled past of the Georgians. What it lacks in analysis and overriding interpretation it makes up with recovered tales of willful characters who in their zeal usually brought disaster to their country. When I attempted five decades ago to bring some coherence, if not unbroken continuity, to Georgia’s history, I emphasized the theme of cultural and social construction of national identity and argued that only in modern times did politics, culture, territory, and popular sovereignty come together in a discourse of nationhood. Whatever Georgia was in its thousands of years – tribal society, dynastic realm, ethnoreligious community – it became a nation only in the 19th century with the rise of its secular intelligentsia and even more forcefully in the 20th century in the years of Soviet rule. A second argument in The Making of the Georgian Nation was that the histories of small peoples like Georgians and Armenians cannot be told in isolation from the histories of the empires with which and within which they existed. Empires both thwarted and enabled the making of nations. That complex story may be underplayed in Rayfield, yet he gives us sufficient detail to illuminate the paradoxical interplay between the imperial and the national. Georgians were made and remade over time, both by their own efforts and the restraints imposed and possibilities provided by those that dominated them.

FOTOGRAFIE: Bildband von Wolfgang Korall - DIE SEELE GEORGIENS

Erscheint im Dezember 2017 in limitierter Auflage im Mitteldeutschen Verlag Halle/Saale und für 39 EUR im Buchhandel.

Die Herausgabe wird gefördert vom Georgian National Book Center in Tiflis und dem georgischen Kulturministerium.

Ein Bildband mit Texten und Farbfotos von Wolfgang Korall im Großformat 28x28 cm seines Buches "SWANETIEN - Abschied von der Zeit".

Vorbestellungen für Weihnachten beim Verlag oder im Handel: ISBN 978-3-95462-305-1

Georgien ist kein großes Land, aber groß in der Vielfalt geschichtlicher Zeiten, geografischer Regionen, anstrengender Wege und gastfreundlicher Menschen wie ein kleiner Kontinent. Georgien ist ein Mysterium, ein Abenteuer, eine Offenbarung. Wolfgang Korall ist der Autor des Bildbandes "SWANETIEN – Abschied von der Zeit". 2008 bis 2011 folgt Wolfgang Korall auf mehreren Reisen den Wegen der Heiligen Nino, die das Christentum nach Georgien brachte, bis zu den Orten ihres Wirkens. Es ist eine Suche in der Natur des Landes und seiner Menschen nach der Seele Georgiens und eine Zeitreise von den Traditionen zur Moderne. Seit seiner Jugend durch Reisen und Freundschaften mit Georgien verbunden und inspiriert von den Bildern des Malers Niko Pirosmani gelingen Wolfgang Korall sensible Fotografien der kraftvollen Seele Georgiens.

Ein Unfall im Kaukasus beendet 2011 auf dramatische Weise die Arbeit Wolfgang Koralls. Georgien wird zum Schicksalsland und hier sind seine Bilder ...

Friday, November 17, 2017

GEDICHTE: Die Kartoffelernte. Neue Georgische Lyrik II. Herausgegeben von Matthias Unger

Die Kartoffelernte. Neue Georgische Lyrik II.
Ab dem 26.10. lieferbar. Jetzt schon bestellbar bei Corvinus Presse. Das Buch hat 88 Seiten und kostet 20 €.
Herausgegeben von Matthias Unger.

Gedichte von Besik Kharanauli, Temur Chkhetiani, Rusudan Kaishauri, Lela Tsutskiridze, Nato Ingorokva, Giorgi Lobzhanidze und Nika Jorjaneli.
Zeichnungen von Dieter Goltzsche.
Nachsichtungen von Norbert Hummelt und Sabine Schiffner (nur Nika Jorjaneli).
Deutsche Erstausgabe, Herbst 2017
Die Grafike von Dieter Goltzsche entstanden speziell zu diesen Gedichten. Interlinear ins Deutsche übertragen von Nana Tchigladze.

Dank an Harald Weller für Satz und Layout und natürlich an den Verleger Hendrik Liersch

Corvinus Presse Berlin
ISBN 978-3-942280-41-9

CHARITY-PROJEKT: Vom Kaukasus zum Königsstuhl. Martin Fluch - 4.500 km auf Cross-Skates von Georgien bis nach Deutschland.

Ein gemeinsames Charity-Projekt von Martin Fluch und der Kaukasischen Post

Seit Februar 2013 ist Martin Fluch Deutsch-Lehrer in Batumi/Georgien. Sein Arbeitsverhältnis mit der Schule Euro 2000 endet im Juni 2018. Die Rückkehr nach Eppelheim/Heidelberg, wo er wohnt, will er mit Cross-Skates in maximal 90 Tagen (inklusive der eingeplanten Erholungspausen auch für Presse- Foto- und Filmtermine) über die Türkei, Griechenland, Bulgarien, Serbien, Ungarn und Österreich bewältigen. Es soll eine langsame Wieder-Annäherung an Deutschland werden und eine ebensolche Entfernung aus Georgien. Und ist nebenbei auch ein völkerverbindender Lauf während des vom Auswärtigen Amt offiziell ausgerufenen Deutsch-Georgischen Jahres.

Erfahrungen aus früheren sozialgeprägten Sportprojekten - einer Kanu-Tour über die gesamte Donaustrecke von der Quelle bis zur Mündung (2811 Km) und einem Langstreckenlauf über 885 Kilometer und 2 Gebirgspässe über 3000 Meter in 11 Tagen durch Kirgistan - liegen diesem neuen Vorhaben des ambitionierten Ausdauer-Sportlers zugrunde.

So soll auch dieser Lauf einem gemeinnützigen Zweck dienen – Charity-Partner ist die Kinderkrebshilfe des georgischen Solidarity Funds zusammen mit der Uni-Kinder-Klinik Freiburg, wobei dem Läufer selbst keine großen Privatkosten entstehen sollten.
Medien-Partner: Kaukasische Post,
Ausrüster: boss sports, Stettiner Str. 24, 76356 Weingarten(Baden), Tel.: +4972442059888

Finanzierung und Charity:
Pro Tag ist ein Budget von 50,-- € fest eingeplant, in der Summe € 4.500,--. Dazu eine Reserve für unvorhergesehene Ausgaben von € 1.000,--. Das Geld soll durch Sponsoring aufgebracht werden. Aufgerufen sind Firmen und Privatpersonen, sich mit einem Tagessatz von € 1,-- bis € 25,-- zu beteiligen.

“Grenzen für eine Spende sind weder nach oben noch nach unten gesetzt.“

Platin-Sponsor: € 25,-- pro Tag = € 2.250,--
großes Logo auf allen Veröffentlichungen, sofern machbar Sonder-Termine mit Presse, Verlinkung auf Webseite

Gold-Sponsor: € 20,-- pro Tag = € 1.800,--
großes Logo auf allen Veröffentlichungen, Verlinkung auf Webseite

Silber-Sponsor: € 15,-- pro Tag = € 1.350,-- <
mittel großes Logo auf allen Veröffentlichungen, Verlinkung auf Webseite

Bronze-Sponsor: € 10,-- pro Tag = € 900,--
kleines Logo auf allen Veröffentlichungen, Verlinkung auf Webseite

Premium-Supporter: Tagesbeiträge von mindestens € 1,-- (90 Euro).

Unterstützer: Beiträge ab 10 Euro

Alle Sponsoren und Unterstützer werden namentlich auf der Webseite gelistet (nach Wunsch mit Höhe der Spende).

Kinderkrebshilfe des georgischen Solidarity Funds zusammen mit der Uni-Kinder-Klinik Freiburg

Charity-Beitrag: 25 % der Sponsoring-Beiträge gehen sofort direkt an die Kinderkrebshilfe, dazu alle erzielten Überschüsse. Die eingespielten Tagessätze werden für jeden Tag, den Martin Fluch früher in Heidelberg ankommt als geplant, in voller Höhe an die Kinderkrebshilfe weitergeleitet. Je mehr Spenden eingehen, umso größer werden die prozentualen Sponsoring-Beiträge.

Rechenbeispiele: Wenn 5.000,- Euro gesponsert werden, gehen 1250 Euro an den Solidarity-Fond, das fehlende Geld für den Lauf trägt der Läufer selbst. Bei 7.000 Euro könnten schon mindestens 2000 Euro an die Kinderkrebshilfe gehen (knapp 30%)

Ab 10.000 Sponsoring erhöht sich der Charity-Beitrag auf ca. 50%.
Mit jedem Tag, den Martin Fluch das Ziel früher als die angesetzten 90 Tage erreicht, erhöht sich die Spendensumme an die Kinderkrebshilfe ebenfalls.

Die Kaukasische Post hat ein Sonderkonto eingerichtet, wird die Beiträge der Sponsoren und Unterstützer verwalten und nach der Reise eine transparente Abrechnung erstellen.

Spendenquittungen können – nach Wunsch - ab einer Höhe von 200 Euro ausgestellt werden.

KaPost Kinderkrebshilfe Georgien
Sparkasse Kraichgau
IBAN: DE48 6635 0036 0018 2986 89

Medien-Partner Kaukasische Post:
Die Kaukasische Post begleitet das Projekt als Medienpartner mit einer eigenen Webseite ab Dezember 2017. In ihr werden Vorbereitung und Streckenverlauf dargestellt, ebenso wird während des Laufs regelmäßig in Bild, Text und Video über den Verlauf berichtet. Auf der ganzen Strecke wird außerdem intensive Medienarbeit betrieben.

Geplant sind über die Fahrt noch eine TV-Dokumentation und ein Buch zu produzieren.

boss sports
Stettiner Str. 24, 76356 Weingarten (Baden), Deutschland
Telefon: +49 7244 2059888

Susanne Boss

Rainer Kaufmann
Kaukasische Post

Thursday, November 16, 2017

DOKUMENTARFILM: In der Schwebe (Georgien-Doku) - WHEN THE EARTH SEEMS TO BE LIGHT - Von Salome Machaidze, Tamuna Karumidze und David Meskhi, Deutschland/Georgien 2016

Skaten ist im postsowjetischen Georgien mehr als ein westlicher Freizeitsport. Der Film zeigt eine Gruppe junger Männer auf ihrer Suche nach Identität und Freiheit.

Dokumentarfilm von Salome Machaidze, Tamuna Karumidze und David Meskhi, Deutschland/Georgien 2016

Weitere Links:

Wednesday, October 18, 2017

VIDEO: "Dagny, or a Love Feast" by Zurab Karumidze - Excerpt from the novel read by the author.

BUCH: Roman von Zurab Karumidze "Dagny oder Ein Fest der Liebe"

Das Buch: Zurab Karumidze: Dagny oder Ein Fest der Liebe. Roman. Aus dem Englischen von Stefan Weidle. Lizenzausgabe. CulturBooks Longplayer, Oktober 2017. 288 Seiten. 14,99 Euro. ISBN 978-3-95988-090-9

Das Buch
Fast wäre es leichter aufzuzählen, was in diesem Roman nicht vorkommt, denn Zurab Karumidze hat alles in sein großes postmodernes Spiel gepackt, dessen er nur irgend habhaft werden konnte. Immerhin aber hat er uns eine zentrale Figur geschenkt, Dagny Juel. Die gab es wirklich, sie wurde am 4. Juni 1901 in Tiflis von einem nicht erhörten Liebhaber erschossen. Sich selbst erschoss er dann auch. Am 8. Juni 1901, ihrem 34. Geburtstag, wurde Dagny in Tiflis beerdigt.

Dagny Juel war Norwegerin, sie lernte Edvard Munch kennen und wurde sein Modell (etwa für die berühmte »Madonna«). Später traf sie auf August Strindberg, der sie erst liebte und dann in einem Drama vernichtete. Schließlich aber heiratete sie den Bohemiensatanisten Stanisław Przybyszewski, mit dem sie in dem Berliner Künstlerkreis um die Kneipe »Das Schwarze Ferkel« unterwegs war. Przybyszewski überließ sie dann seinem Jünger Władysław Emeryk, der sie nach Tiflis mitnahm.

Wer tritt sonst noch auf in diesem Roman? Zunächst der georgische Mystiker Georges Gurdjieff und der Volksdichter Wascha-Pschawela. Weiter ein sprechender Rabe vom Saturn, der Maler Niko Pirosmani, ein tibetanischer Schamane, August Strindberg, Albert Schweitzer und viele andere. Sie alle sind beteiligt an einem »Fest der Liebe«, das dann gründlich schiefgeht, weil sich der junge Revolutionär Koba einmischt, der ein Auge auf Dagny geworfen hat. Er wird später als Josef Stalin in die Geschichte eingehen. Und natürlich spielt das georgische Nationalepos, Der Recke im Tigerfell von Schota Rustaweli, eine wichtige Rolle.

Warum es uns gefällt
Ein turbulenter Roman über das Ende der Belle Époque und den Beginn des Terrors.

Der Autor
Zurab Karumidze (geb. 1957) ist einer der bekanntesten Autoren Georgiens. Sein Werk umfaßt Romane, Kurzgeschichtensammlungen, Novellen sowie ein Buch über Jazz, das den wichtigen georgischen Literaturpreis SABA gewann. Darüber hinaus ist er Herausgeber und Mitherausgeber einiger Essaybände über die georgische Politik und Kultur. Zurab Karumidze lebt in Tiflis und ist als außenpolitischer Berater der georgischen Regierung tätig.

Sein Roman Dagny or A Love Feast wurde 2012 auf die Longlist des »Dublin International Literary Award« gewählt. Der Roman erschien zuerst 2011 in Tiflis. Er wurde in englischer Sprache geschrieben, eine Übertragung ins Georgische gibt es (noch) nicht. Bislang wurde er lediglich ins Türkische übersetzt. zurab
Zurab Karumidze: Dagny oder Ein Fest der Liebe. Geschichte einer Femme fatale. Von Heinz Gorr []

Tuesday, October 17, 2017

FRANKFURTER BUCHMESSE: Katie Melua singt für Georgien @katiemelua

Übergabe der Buchmesse-Gastrolle von Frankreich (2017) an Georgien (2018) am Sonntag. Passend dazu stimmte Sängerin Katie Melua auf dem Messegelände georgische Klänge an


Wednesday, October 11, 2017

ART: Art Villa Garikula / არტ ვილა გარიყულა - Metamorph - Bolgarsky Palace in Venice

Story that has spanned more than a century: from Bolgarsky summer residence in Akhalkalaki village to the first regional Center for Contemporary Art in Georgia. Garikula – Center of the Arts project of the newly established art center presented Georgia first time in Venice at the 9th International Architecture Exhibition in 2004. Bolgarsky summer residence was built in 1885 by Tbilisi born civil engineer of Polish descent, Vasili Boglarsky for his beloved wife. Apart from this house, he constructed several public buildings in Tbilisi including Military Cathedral in the centre of town (which does not exist anymore) and engineered a new water system for the famous Motley Baths in the Old City.

The summer residence was equipped with heating system and plumbing and boasted with wonderful wine cellar, as well as Champaign production and canning. The delicious output of Bolgarsky estate, could have been bought not only in the Russian Empire’s parent state but in Paris as well. After the establishment of the Soviet Rule, with the beginning of Red Terror Bolgarski was declared people’s enemy and subsequently executed. Estate was plundered. A boarding school was opened in the Bolgarky residence, but to everyone’s dismay, later closed, abandoned and used as a hay barn in a village.

Art villa started in late 90s of the last century as an artists’ squat based in Bolgarsky Palace, a derelict and desolate building which was cleaned and put in order with the help of artists, architects and students from Tbilisi State Academy of Arts led by the educator and painter Karaman Kutateladze. The process of rehabilitation was carried out in accordance with the new functions of the cultural heritage. Later, its result was turned into architectural project Garikula - Center of Arts. The latter presented Georgia first time at the Venice Biennial of Architecture in 2004 titled METAMORPH. The project showcased the metamorphosis of the Bolgarsky Palace from the abandoned heritage into its new future as the Centre for Contemporary Art.

Renovation to restore iconic look of popular Art Villa Garikula [agenda_ge]
Art Village []
Art Villa Garikula steht am Rande der Ortschaft Akhalkalaki []

Saturday, October 07, 2017

VIDEO: Ethnic minorities in Georgia - via @takosvanidze

National minorities who live in towns and villages across Georgia usually have a common problem - poor knowledge or lack of knowledge of the state language. This forces them to be in an ‘information vacuum’, where they are cut off from social and political life of Georgia and consequentially, have a weak interest in the elections.

Journalist: Tamar Svanidze
Camera Operator: Ramaz Giorgashvili
Film was made within the project of Internews Georgia

VIDEO: "The Last" Doc Film about life in Georgian mountain villages

Director: Aleksandr Rekhviashvili
DP: Paata Kereselidze
Editing: Saba Amirejibi

VIDEO: Trio Devlira, Chechen music from Pankisi.

Trio Devlira: Mariam and Markha from Pankisi and Yannick from France.

The Chechen and Tush moods of DEVLIRA are women's love songs for men, men for women, songs of mountain and animals, songs of Sufi trance.

The Chechen repertoire is a happy mix of oriental music, walks of the bards of the Caucasus, from the Slavic melancholy to the rhythm of the Mongolian rides!

The Tush repertoire come from this small isolated area of Georgia, in the heart of the great Caucasus, between Chechnya and Daghestan.

Mariam Machalikashvili: singing, Balalaïka
Malka Machalikashvili: singing, Garmon, Balalaïka
Yannick Loyer: singing, tambour

more Songs:

Sunday, September 10, 2017

EXHIBITION: Knights from Pshav-Khevsureti - Andro Semeiko - in collaboration with writer Ana Kordzaia-Samadashvili and fashion designer Manana Antelidze

Opening: Friday 15 September 18.00
16 September – 14 October
Tuesday–Friday 11.00-18.00, Saturday 11.00-17.00
Giorgi Leonidze State Museum of Georgian Literature
Address: 8 Giorgi Chanturia St., 0108, Tbilisi
Phone: +995 322 932 890; +995 322 932 045
Facebook: from Pshav-Khevsureti

The project explores life and work of Vazha-Pshavela in relation to pertinent socio-political issues around the world and particularly in Georgia.

Andro Semeiko and Ana Kordzaia-Samadashvili have explored Vazha-Pshavela’s work and his personal objects from the Literature Museum collection, and have selected the poet’s handkerchief as the central object around which they create a metaphorical world through their own work.

Andro Semeiko creates an installation inhabited by a ghostly presence of a medieval knight, a legendary crusader that lived in Khevsureti. He carries the poet’s handkerchief as a talisman and addresses Vazha-Pshavela’s ideas of humanism and progressive attitude towards nature.

Ana Kordzaia-Samadashvili has, in the process of her research, discovered that the handkerchief was made especially for the poet and given to him as a gift by Georgian Women’s Society; she creates a fictional character that reflects women’s voice in the world.

Manana Antelidze addresses various aspects of Vazha-Pshavela’s humanism including the female voice in his work, and designs an androgynous outfit, which combines audacity and gentleness.

The exhibition is an installation consisting of painting, drawing, fashion, archival material, slideshow, text and audio work that create a multilayered story. The project will be followed by a Georgian-English publication and further exhibitions and book launches in the UK and Georgia.

The project is made possible with the kind support from Arts Council England, British Council, AG Alco and magazine Beaumonde.

ELECTRONICS: Natalie Beridze TBA: Trackpremiere von "Waves Future" ( via @Groove_Mag

( Groove-Chefredakteur besuchte für einen Szenebericht im aktuellen Heft Tiflis. Eine Generation im Aufbruch

Dass Georgien aber noch mehr als roughen Techno der Marke HVL oder einem bezaubernden Stamm an Volksliedern bietet, beweist die Compilation დე / DE – Sounds From Georgia, die auf einem neu gelaunchten Label mit dem geschwungenen Titel Intergalactic Research Institute For Sound erscheint. Neben einem der Labelbetreiber, dem I/Y-Mitglied Irakli, versammeln sich darauf Acts, die sechs zwischen zartem Klangflächendesign bis hin zu an frühe Aphex Twin-Werke erinnernde Electroncia in sechs Tracks eine erstaunliche stilistische Bandbreite vereinen.

Natalie Beridze ist die Veteranin unter den Beitragenden. Seit Anfang der Jahrtausendwende ist die Klangkünstlerin unter verschiedenen Pseudonymen – hier als Natalie Beridze TBA – in fast allen erdenklichen stilistischen Richtungen unterwegs und hat dabei auf zahlreichen Labels ihre eigensinnigen Soundentwürfe veröffentlicht. Beridze gehört auch zum Line-Up, das am 21. September im Berliner Silent Green Kulturquartier die Veröffentlichung der Compilation feiert. Neben den ebenfalls auf დე / DE vertretenen Rezo Glonti, MYI, Zesknel und Severiane wird sie dort live aufspielen und beweisen, dass Georgien weit mehr als nur Clubmusik zu bieten hat.

Groove präsentieren TBAs "Waves Future" als exklusive Premiere! VÖ: 21. September 2017

Fotos: Presse (Natalie Beridze)

ROMAN: Das Spiel des Todesengels. Georgien unter Stalin. Von Awtandil Kwaskhwadse (

( Klappentext: "Eine bittere Geschichte behandelt dieser wohl erste dokumentarische Roman eines Georgiers über den Stalinismus in Georgien und der Sowjetunion. Der Verfasser ist ein Kind dieser Zeit, er hat sie als Augenzeuge erlebt und durchlitten. Eigene Anschauung und eigener Schmerz bewegen ihn bei der Wiedergabe einer Fülle von Fakten, die dem deutschen Leser bisher wenig bekannt sein dürften: Die Invasion der russischen Streitkräfte in die Demokratische Republik Georgien 1921, die faktische Okkupation Georgiens durch Sowjetrussland, die Emigration der georgischen Regierung, die Abwehr der türkisch-islamischen Aggression im Raum Batumi durch gemeinsames Vorgehen von georgischen Regierungstruppen und Bolschewiki; die Machtübernahme durch die Bolschewiki und die Ausrufung der Sowjetmacht in Georgien, die Entwicklung der Widerstandsbewegung gegen die russische Okkupation und die Sowjetordnung, das Erstarken des politischen Widerstands vor allem in Gurien, das Wüten der Tscheka; Verhaftungen und Massenexekutionen, um den Widerstand des georgischen Volkes zu brechen, der August-Aufstand 1924 gegen die russische Besatzung und die Sowjetmacht; Berias Aufstieg, die Attentate auf Stalin an der Schwarzmeerküste und auf dem Weg zum Riza-See, die Machtkämpfe im Sowjetstaat, Berias Zusammenarbeit mit Stalin, der massenhafte Terror in der Sowjetunion, die Verhaftungen, Folterungen und Hinrichtungen in den dreißiger Jahren, Berias Intrigen, die systematische Bespitzelung, Verfolgung und Ermordung georgischer Intellektueller, die Stalinschen Todeslager, der zweite Weltkrieg aus der Sicht der Sowjetbürger, die Hoffnungen der Kaukasier auf Befreiung aus dem riesigen Völkergefängnis; das Kriegsende und Stalins Tod, Berias Entmachtung und Erschießung, die der folgende Scheinprozess zu verhehlen versuchte. Awtandil Kwaskhwadse lässt eine Zeit aufleben, in der die Furcht vor der Zukunft das Leben der Menschen bestimmte. "

2017, 568 Seiten, Maße: 21 cm, Kartoniert (TB), Deutsch, Übersetzung: Fähnrich, Heinz, Verlag: Reichert, ISBN-10: 3954902567, ISBN-13: 9783954902569

Vorwort (pdf)
Probekapitel  (pdf)

FILM: ADILA - documentary film about Georgian traditional music, dance and style of life culture

Film by Zaza Korinteli & Gia Diasamidze

DOCUMENTARY: "Wie Luft Zum Atmen" - Film von Ruth Olshan (Traditional Georgian Music Documentary) @salzgeberfilm

WIE LUFT ZUM ATMEN ist eine Reise in ein kleines Land zwischen Asien und Europa, das zu unrecht zwischen den Grenzen der Kulturen vergessen wird: Georgien, das hier in seiner ganzen Schönheit, seinem Zauber und seiner Vielfältigkeit eingefangen ist.

Der Dokumentarfilm von Ruth Olshan entdeckt vor allem die beeindruckende Musik Georgiens, in der die kulturelle Identität seiner Bewohner tief verwurzelt ist.

In den fast verloren gegangenen und wieder entdeckten Gesängen und Tänzen, die die UNESCO auf die Liste des Weltkulturerbes gesetzt hat, meint man Stimmen und Lieder aus einer vergangenen Zeit zu hören. Musik sei für sie so wichtig wie die Luft zum Atmen, erzählt eine Protagonistin im Film und man versteht sie sofort. #

Ruth Olshans vielschichtiges Porträt eines Landes, seiner Menschen und ihrer Musik zeigt, was das Besondere an der georgischen Musik ist: die Lebendigkeit der Folklore im Alltag, die aufrecht erhaltene Tradition, die in den Texten gespeicherten Mythen, das soziale Erleben der Musik, die regionale Unterschiedlichkeit der Kultur, und die Musiker, die die Musik heute auch in Pop- und Jazzbereiche weiterführen.

"Großartige Bilder, sympathische Protagonisten und schöne, unvertraute Musik!" (filmdienst) "Ruth Olshan hat einen sehr feinen Musikfilm gemacht, der einen Ort 90 Minuten zum Klingen bringt" (zitty) "Eine berückende Hommage an ein Volk, dessen große Kultur durchströmt wird von Gesang" (Rheinischer Merkur) "Folklore kann ganz schön cool sein!" (Die Welt) "Ein ‚Hit’ für musikbegeisterte Weltreisende im Kino!" (

Ruth Olshan in her film portrays musicians who work with different approaches: a male choir searching and cultivating old folk songs in the Caucasus region, a female choir, a school dance company and musicians who enhance Georgian folk music. There is a common denominator that links the diverse protagonists in Olshan’s film: Singing, dancing and music are crucial elements of their lifestyle. Music is as important as “air to breath,” explains the director of the female choir . The subtle camera work discreetly catches moments and spontaneous encounters, showing that the rehearsals and the singing brings moments to these women where they are taken away from their normal course of life. For life in Rustavi, a small town near Tiflis, seems bleak. The industry is dead, the unemployment rate is enormous. You ask yourself how people can live. The choir women’s beauty and positive energy exude an affirmative sign of life, even in mournful moments. Men and women sing and dance both joy and sorrow off their chest. In Georgia, music seems to be omnipresent, almost existential. Even if a young singer does not think folk music is “sexy”, he still gets hooked. It gets under his skin. The film pays tribute to this fascination, vitality, and spiritedness.

VIDEO-PORTRÄT: Der Georgische Schriftsteller Zaza Burchuladze (

Im Rahmen des Projekts "Writers@Berlin". Präsentiert von
Produktion: Atlantis-Film Berlin
Tonbearbeitung und Komposition: Klangkosmonauten

Thursday, September 07, 2017

DOK FILM FESTIVAL: Import/Export - Georgischer Film im Grenzverkehr - Länderfokus in Leipzig 2017 (

( DOK Leipzig 30. Oktober – 5. November 2017
60. Internationales Leipziger Festival für Dokumentar- und Animationsfilm

Filme aus Georgien liegen im Trend. Seit einigen Jahren bekommen sie die Aufmerksamkeit von internationalen Filmfestivals und zunehmend auch von Weltvertrieben. Im Landesinneren schwelt unterdessen noch ein Generationenkonflikt, denn aufstrebende Filmschaffende wenden sich vom kulturellen Raum der ehemaligen Sowjetunion ab und wollen sich an breiteren europäischen Diskursen beteiligen. Wie werden dieser Wandel und die Ablösung von der sowjetischen Vergangenheit im Dokumentarischen reflektiert?

Der Länderfokus Georgien bildet die rasante Entwicklung der vergangenen Jahre ab und hinterfragt kritisch, ob sich die Machart der Filme ändert, wenn die ganze Welt auf diese zu blicken scheint.

The Dazzling Light of Sunset (2016); Regie: Salomé Jashi
Die Regisseurin Salomé Jashi entwirft in The Dazzling Light of Sunset ausgehend von einem lokalen TV-Sender ein Stimmungsbild einer georgischen Kleinstadt. Jashi reflektiert dabei etwas, das in vielen der ausgewählten Filme mitschwingt: die Auseinandersetzung mit dem Selbstbild der Georgier/innen, die als modern wahrgenommen werden wollen, und dem vermeintlichen Fremdbild, das einem Vorzeige-Image zuwiderlaufen könnte. Die skateboardfahrenden Jugendlichen in When the Earth Seems to Be Light verkörpern dagegen eine universelle Jugendkultur, sind dann aber doch ganz in ihrer Region verhaftet, wenn durch abrupte Gegenschnitte auf Staßentumulte das Dahindriften der jungen Leute irritieren. Es ist offenkundig, das sich nicht nur der Filmmarkt im kaukasischen Land gewandelt hat, das ganze Land befindet sich seit 1989 im Umbruch und sucht nach einem eigenen Platz zwischen Ost und West.

When the Earth Seems to Be Light (2015); Regie: Salome Machaidze, Tamuna Karumidze, David Meskhi
In den Filmen dieser sogenannten Neuen Georgischen Welle werden keine zeitgenössischen Tendenzen ausgelassen, anders als beim sowjetischen Dokumentarfilm, der viel mit suggestiver Musik und gedankenführendem Kommentartext arbeitete, um keine politisch ungewollte Interpretationen zuzulassen. Heute verwenden einige Filmschaffende beispielsweise Mittel der dokumentarischen Inszenierung und rücken in die Nähe des Spielfilms, etwa Nino Kirtadzes Don’t Breathe oder Rati Onelis Langfilm-Debüt City of the Sun. Rati Oneli fängt die schrumpfende ostgeorgische Stadt Tschiatura vor dem Hintergrund einer gewaltigen Naturkulisse ein. Wurden im umliegenden Gebirge einst Mengen an Mangan abgebaut, liegt das Bergwerk heute fast brach und hinterlässt eine geisterhaft wirkende Stadt. Bei Vakhtang Jajanidzes Exodus sind die Grenzen zwischen Dokumentarfilm und Fiktion kaum noch auszumachen.

Wenn Heinz Emigholz in 2+2=22 [The Alphabet] schließlich die deutsche Band Kreidler bei deren Albumaufnahmen in Tiflis begleitet und den Ort mit besonderem Blick auf die Architektur filmt, schafft er Bilder, die es so von der georgischen Hauptstadt noch nicht gegeben hat – ein wertvoller Blick von außen.

Begleitend zum Länderfokus gibt es eine Paneldiskussion, in dem das Aufeinanderprallen zweier unterschiedlicher Sichtweisen auf den georgischen Film thematisiert wird: der sehnsüchtige Blick des westlichen Publikums auf Geschichten osteuropäischer Länder und die zweifelnde Selbstreflexion georgischer Filmemacher/innen.

Der Länderfokus Georgien wurde kuratiert von Zaza Rusadze, Filmemacher, Produzent und Mitglied der Auswahlkommission von DOK Leipzig. Das Programm entstand in Zusammenarbeit mit der Heinrich-Böll-Stiftung.

Mit ihrer Filmreihe „Female Gazes from Georgia – Contemporary Documentaries“ fördert die Heinrich Böll Stiftung georgische Regisseurinnen und tourt durch vier weitere Städte.

In Kooperation mit der Heinrich Böll Stiftung

Filme Länderfokus

2+2=22 [The Alphabet] | Heinz Emigholz | Germany | 2017 | 82 min. | OV with English subtitles | Documentary Film

Altzaney | Nino Orjonikidze, Vano Arsenishvili | Georgia | 2009 | 31 min. | OV with English subtitles | Documentary Film

City of the Sun (original title: Mzis qalaqi) | Rati Oneli | Georgia, USA, Qatar, Netherlands | 2017 | 100 min. | OV with English subtitles | Documentary Film

Don’t Breathe (original title: La Faille) | Nino Kirtadze | France | 2014 | 86 min. | OV with English subtitles | Documentary Film

Exodus (original title: Gamosvla) | Vakhtang Jajanidze | Georgia | 2015 | 15 min. | without dialogue/ subtitles | Documentary Film

Horizon | Dato Kiknavelidze | Georgia | 2017 | 5 min. | without dialogue/ subtitles | Animated Film

Li.Le | Natia Nikolashvili | Georgia | 2017 | 10 min. | without dialogue/ subtitles | Animated Film

Madonna (original title: Madona) | Nino Gogua | Georgia | 2014 | 58 min. | OV with English subtitles | Documentary Film

Sunny Night (original title: Sonnige Nacht) | Soso Dumbadze, Lea Hartlaub | Georgia | 2017 | 85 min. | OV with English subtitles | Documentary Film

Sovdagari | Tamta Gabrichidze | Georgia | 2016 | 22 min. | OV with English subtitles | Documentary Film

The Dazzling Light of Sunset | (original title: Daisis miziduloba) | Salomé Jashi | Georgia, Germany | 2016 | 74 min. | OV with English subtitles | Documentary Film

The Machine Which Makes Everything Disappear | (original title: Manqana, romelic kvelafers gaaqrobs) | Tinatin Gurchiani | Georgia, Germany | 2012 | 101 min. | OV with English subtitles | Documentary Film

When the Earth Seems to Be Light | (original title: Roca dedamiwa msubuqia) | Salome Machaidze, Tamuna Karumidze, David Meskhi | Georgia, Germany | 2015 | 80 min. | OV with English subtitles | Documentary Film

Tuesday, September 05, 2017

PRESS RELEASE: The Tbilisi Photo Festival 2017 - Opening Week September 13 - 20

For its 8th edition The Tbilisi Photo Festival, the premier showcase for regional and international photography in the Caucasus, is back with its most provocative and diverse program to date! The central theme of festival 2017 is fashion! Fashion is, after all, a genuine representation of identity.

The festival program will emphasize all existing connections between fashion, the tradition of identity representation, ideology and the photographic image.

From Guy Bourdin’s seductive avant-garde photographs to Viviane Sassen’s daring approach to fashion images and the extremely rare collection of East German fashion photography from the Stasi period (1970s), as well as never-before-seen pre-Islamic revolution Iranian Fashion magazines, the week-long festival of shows, events and talks once again breaks new ground in subjects, styles and ways of seeing.

For it’s 8th edition, TPF is proud to host the world premier exhibition of Russian Journal Revisited by Magnum photographer Thomas Dworzak and British writer Julius Strauss. 70 years later they travel in the footsteps of famous American writer John Steinbeck and Magnum agency co-founder Robert Capa, who visited and documented life in Georgia, Ukraine and Russia two years after the end of World War II.

Another 2017 highlight of the TPF program is the exhibition-tribute to the late American photojournalist and co-founder of Noor Images, Stanley Greene. Curated by Anna Shpakova, “See You in My Dreams”: Intimate Diary of Stanley Greene is a presentation of Stanley Greene’s unseen series of polaroids and personal letters.

Now in its eighth year, the Tbilisi Photo Festival has ensured its place as a must-stop meeting-point for photography and photographers from across Asia, the Middle East and Europe.


Fashion Photography
The 2017 Tbilisi Photo Festival starts off with fashion photography and the work of Guy Bourdin and Viviane Sassen, both of whom are shown in the Caucasus for the first time.

Guy Bourdin, Avant-Garde

Guy Bourdin is definitely one of the “most important photographers of the second half of the twentieth century.” An autodidact artist, he re-defined the contours of contemporary fashion photography. For more than 40 years, his sublime iconic images - surreal, enigmatic, and humorous, are timeless and have had a major influence on the works of generations of photographers. TPF will inaugurate its 8th edition with an outstanding open air event that will combine the screening of Guy Bourdin’s work with a live music performance of Nika Machaidze/Nikokoi – one of Georgia’s leading contemporary composers and artists.

Viviane Sassen. In And Out Of Fashion

The Dutch star of fashion photography - Viviane Sassen has broken all the rules of contemporary fashion photography and challenged the way we see fashion in the context of our complex modern world. “Her images are complex, unexpected and breathtaking, and they are many conceptual leaps away from the mainstay approaches to fashion that have dominated the 21st century so far” Extract from In and out of Fashion, Bright Star by Charlotte Cotton.

Identities is a captivating group of shows that focuses on traditions and ways identity have been represented in the photographic image. Many of these are “found” images, several collections have never been seen before, while others have been published online or in book form. This series is noteworthy for its brazen humor and impact as a chronicle of the human condition: • Renowned Lithuanian photographer, Vitas Luckus’s series of portraits In Front of the White Screen (1987); • A stunning collection of studio portraits from 1970s central India by Suresh Punjabi, from the project Studio Suhag; • Never-before-seen pre- Islamic revolution Iranian fashion magazines; • Portraits of the Taliban found and collected in Afghanistan by Magnum photographer Thomas Dworzak in early 2000s; • Bikini Collection from the private Trophy Collection of the Soviet Soldier (1950s); • Unveiled images of couples photographed in Iranian photo studios before the revolution; Extremely rare collection of fashion photography from East Germany by Gunter Roubitcz (1960s-1970s); • The Circle of Life, a collection of portraits of the inhabitants of Blenio Valley in Switzerland from 1910-25 by Swiss photographer Roberto Donetta. These along with other series are all part of Identities, one of the week’s great highlights for festival 2017.

Identities. Taliban. Collection of Thomas Dworzak/Magnum Photos  
See You In My Dreams!
Stanley Greene’s Intimate Diary
Curated by Anna Shpakova

Co-founder of the prestigious Noor agency, American photographer Stanley Greene started out as a fashion photographer but made a name for himself as a prominent war photographer.

Regarded as the “poet photojournalist,” Greene died in May 2017. Tbilisi Photo Festival presents a tribute to a dear friend and defender of the Caucasus. Anna Shpakova, a long-time friend of Stanley Greene and a curator of the exhibition explains, “For most (he is) a legendary photographer whose war and social injustice coverage will forever stay in the history of photography... For me, (he is) a master of the eminent world I am grateful to be part of... Countless letters and polaroids are evidence of a romance at a time when we were oblivious to the world falling.”

See You In My Dreams! features 30 letters and Polaroids that appeared in the spring and summer of 2001 “Only accompanists of a romance, are becoming a narration, allowed us to penetrate, without being the voyeurs, to the singular rhythm of Stanley Greene,” Anna Shapokova says. This exhibition is a personal, heartfelt presentation of the man; not a display of his work.

Russian Journal Revisited by Thomas Dworzak and Julius Strauss

In 1947, American writer John Steinbeck and Magnum photographer Robert Capa set out to objectively document the USSR. Their journey took them to Russia, Ukraine and Georgia. 70 years later, Magnum Photographer Thomas Dworzak and British journalist Julius Strauss have teamed up to re-explore the 1947 journey with the same original aim Steinbeck described as, "honest reporting, to set down what we saw and heard without editorial comment, without drawing conclusions about things we didn't know sufficiently." TPF is proud to host the world premier exhibition of this bold project, which will prove to be a deeply perceptive comparison and contrast of the times.

Georgian Journey: Robert Capa in Georgia - the collection of Robert Capa’s 1947 images from Georgia will be also featured in the 2017 program of Tbilisi Photo Festival 2017.

Night of Photography 2017 at Fabrika
Open Air Night Screenings

Tbilisi Photo Festival continues its tradition of conducting open air night-time screenings of first-class photography from around the world. This year, however, the Night of Photography moved from the streets of Old Tbilisi to a refurbished Soviet sewing factory called Fabrika - a creative multi-purpose urban space situated in a historical neighborhood. The work of over 350 photographers will be featured on the screens set up on Fabrika’s roof, as well as in the laid back lobby of its hostel, and in the generous courtyard, surrounded by restaurants and bars - and even in hostel dorm room 137.

The Eye of Photography, British Journal of Photography, Photo Vogue Festival, Delhi Photo Festival, Finish Museum of Photography, Ibasho Gallery with the selection of Japanese female photographers and some other, are joining the program of the Tbilisi Night of Photography for the first time in 2017. The Night of the Year of Les Rencontres d’Arles has also returned to Tbilisi. A selection of slideshows will be screened in memory of the late Claudine Maugendre, who had been Artistic Director of the Night of the Year of Les Rencontres d’Arles for many years. Lensculture is again part of the Night –second year in a row. The selection of works of emerging Georgian Fashion photographers, Belarusian artists, emerging Dutch photographers, Vasa project with Kharkov Photography School, in addition to many others, will be featured on the Tbilisi Night of Photography 2017.

Night of Photography will be screened on opening week Saturday, September 16th from 20.00 to 01.30 @ Fabrika.

Vlisco at Tbilisi Photo Festival 2017

Georgia’s vibrant and dynamic fashion industry has lately found its place on the world map of fashion. To celebrate this and to underline Georgia’s stature as “new capital of fashion in Eastern Europe,” Tbilisi Photo Festival has invited Vlisco, the Dutch textile brand with a renowned 170 history as leader in print design using batik technique in West Africa, for a new collaboration with emerging Georgian designer, Lasha Devdariani, and Georgian fashion photographer, Luisa Chalatashvili. The collection will be presented in the event Vlisco, A Unique Fashion Story, along with a public lecture on design at Vlisco by Gabriela Sancez y Sancez de la Barquera, Vlisco in-house designer.

A conversation with Viviane Sassen

Coralie Gauthier, Director of Exhibitions and Programs at the prestigious Parisian club Silencio, designed by David Lynch, and the exclusive underground Paris club Salo, and founder of Since 1977, will moderate a conversation with Dutch fashion photographer Viviane Sassen.

Magnum Photos 70 at 70

2017 is Magnum Photo’s seventyyear anniversary. To commemorate its birthday, the world’s leading photo agency is curating seventy iconic images by seventy of its photographers that will be part of a screening with live music at Tbilisi Photo Festival 2017 at the stylish Rooms Hotel Garden.

Capa Curator Cynthia Young (ICP) on Robert Capa and Russian Journal

The year Magnum was founded was the same year Capa and Steinbeck made their landmark journey to the USSR, just two years after the end of World War II. Cynthia Young, representing the Capa Archives at the International Centre of Photography in New York, will give a talk about Capa and the Russian Journal. Ms. Young will also have a conversation with Thomas Dworzak.

The Art of Fashion Photography with Patrick Remy

French fashion photography critic Patrick Remy is known for his book series, Fashion Images de Mode and Strip/Paradise/Desire/Sensation (Steidl). Remy has also published photographer’s monographs and organized photo exhibitions in Miami, Tokyo and Melbourne. For TPF, Patrick Remy will be talking about fashion photography and the books of fashion photography.

Photography in the Margins: The Material History of an Indian Studio

Anthropologist and art historian, Professor Christopher Pinney is Professor of Anthropology and Visual Culture at University College London. He is a specialist for his studies on the visual culture of South Asia, specifically India, and is also curator of the Suhag Studio show, which is the part of our Identities program.

The Delhi Photo Festival & Photography from India by Dinesh Khanna

Dinesh Khanna is a photographer and co-founder of the Delhi Photo Festival, one of the most respected photo festivals in India. Mr. Khanna explains that India is a vast and diverse country of many languages and ethnicities, yet its arts and traditions are steeped in the visual. “In such a nation, photography and the image were bound to be an integral 'language' for social, political and economic conversations,” he says. TPF is eager to have Dinesh Khanna in Tbilisi to present these visual stories to help us understand the rich world of Indian photography.

Tbilisi Photo Festival Book Fair

Tbilisi Photo Book is the first and only photography book fair in the entire South Caucasus region. It was founded by Tbilisi Photo Festival to promote the production of photo books in Georgia. The collection includes photo books from Japan, Poland, Turkey, Ukraine, France, India, Iran - and many other countries - as well as self-published books selected by our guests and the curatorial team.

At this old crossroads between East and West, the Tbilisi Photo Festival has become a new destination for the world’s photographers, bringing together the best images of the region and far beyond, transforming Tbilisi into photography capital of Caucasus.

Tbilisi Photo Festival 2017
September 13 - 20
Night of Photography on September 16

Elina Valaite
Program Coordinator