On June 26, 2024, one of the most significant events for Georgian and European football became an indelible part of collective and individual memory. A simple statement, in formal language, describing how the Georgian national team reached the Round of 16 in the UEFA European Championship, marked either the beginning or end of various adventures and stories for different people. It became a defining part of a larger narrative, a piece of the mosaic that skillfully connects and completes the whole picture. On this day, Kutaisi faced numerous challenges due to heavy rains, flooding, and electricity issues—problems that concerned the city. Yet, amidst these worries, one thought persisted in many minds: where and how to watch today’s game.

Interesting adventures begin unexpectedly. You don’t need to wander the “heart of the sea” for ten years after the war, witness the manifestations of gods living on Olympus, encounter “dark phantoms,” meet people who straddle the line between gods and men, study their characters, test yourself in various situations, and finally return home to be awaited by loved ones. Interesting stories often have unexpected beginnings. So, we decided to embark on a journey to Kutaisi, the city of white stones!

Being an artist on a real stage is hard work. Especially when neither the country nor the city, which has left important names in the complex but interesting history of painting, can be concealed. This time, the goal is to, on the one hand, remember the work of artists born in Kutaisi in the 20th century, and on the other hand, discuss the work of contemporary artists living in the city of Otskheli. This will either create or negate the contrast between them. The mention of Otskheli is not accidental, as he can be considered one of the main “predecessors,” and “guides.” The poetic attitude towards the external world and the dramatic relationship to depicted objects (as Ketevan Kintsurashvili writes) are so reflected in his painting that they have become a form of expression and have survived to this day.

“When I hear the name Valiko Mizandari, I think of a winter evening, of a tin stove, of the crackling firewood; the head of Michelangelo’s ‘David,’ portraits of Kutaisi locals — some in clay, some in stone, plaster, and some unfinished — and the endless stream of sweet stories, where the simple people of our city magically intertwine with the bohemians of Montmartre in Paris, the adventures of Alexander the Great, the pranks of the trickster Khariton (may he rest in peace!) The paintings, Rodin’s smile, hunting adventures in Kopitnari, human proportions — all accompanied by the seductive pink wine of Imereti, slowly pouring into my memories, causing a sweet pain to my heart with their uniqueness and the inevitability of dead moments…”

Linguistic ethnography is a broad concept that encompasses both linguistic and ethnographic approaches to studying the language features and communication of a specific society or group. Simply put, people possess an extensive range of linguistic repertoires, drawing from and adapting language symbols, enriching them with new meanings, using them in different contexts, and even altering their form or content. Such events determine that the mentioned diversity can, in some cases, manifest as the development of dialects, the establishment of specific grammatical forms, or the peculiarities of pronouns. Numerous studies have demonstrated that language has its own hierarchy, economy, and even gender.

Early spring of 1910 in Partskhnali… A man in festive attire awaited someone… At that moment, he invigorated in his mind the nature of the yet unseen place of Partskhnali to a familiar tune: “Soon the bleached The forest and field will be green, Flowers will bloom Spreading fragrances; Laurel trees will come alive, The mountain’s peak, the forest’s mouth And there will pass The spring zephyr.” (literal translation)

In the 1990s, a significant socio-political crisis erupted in independent Georgia, a period marked by a desperate search for identity in the post-Soviet era. This crisis involved dealing with deep social conflicts, rampant unemployment, and a high crime rate, making it a particularly tumultuous time for the country. The phenomenon known as the “Kutaisi Wave” emerged and evolved against this historical backdrop, representing a complex assessment of these turbulent times.

Songs created since the 90s were compiled into two albums, preserving the history of Kutaisi. It wasn’t rare for concerts to be held in the former building of the House of Writers. What set this generation apart was not only their music but also a shared vision. Everything old-fashioned became a ruin; “Viva” signaled something new.

Do you know where the most outstanding representatives of Georgian painting can meet in Kutaisi? Certainly, in the city center at Rustaveli Avenue 8,  in the permanent exhibition of the David Kakabadze Gallery of Fine Arts, or the repository of the fund. Let’s talk about a symbolic coincidence: directly across from the gallery is the building of the first public school. In this former classical gymnasium, one of the founders of Georgian realistic painting Giorgi Maisuradze (painting teacher of Akaki, Niko Nikoladze, Niko Marie, Besarion Gogoberidze, and other notable figures) lived for many years starting in 1851. He was the first accredited Georgian portrait painter, a friend, and classmate of Repin, who taught drawing and penmanship.

For several days now, the name of this beautiful, but especially “charismatic” woman has been spinning in my head. Interestingly, more than ten years have passed since she last occupied my thoughts. Ten years ago, she interested me less, and later, I almost forgot about her. In the past year, however, my curiosity has reawakened, and I have a desire for everyone, if not many, to know about her.