Tuesday, December 13, 2011

แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ” / Pirimze




“แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ””, แƒกแƒแƒคแƒ แƒขแƒแƒ‘แƒแƒขแƒแƒซแƒ˜แƒก แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜

แƒกแƒแƒฏแƒแƒ แƒ แƒžแƒ แƒ”แƒ–แƒ”แƒœแƒขแƒแƒชแƒ˜แƒ แƒ’แƒแƒ˜แƒ›แƒแƒ แƒ—แƒ”แƒ‘แƒ แƒฎแƒฃแƒ—แƒจแƒแƒ‘แƒแƒ—แƒก, 22 แƒ“แƒ”แƒ™แƒ”แƒ›แƒ‘แƒ”แƒ แƒก 18.00 แƒกแƒแƒแƒ—แƒ–แƒ”. แƒ›แƒ˜แƒกแƒแƒ›แƒแƒ แƒ—แƒ˜ แƒแƒ—แƒแƒœแƒ”แƒšแƒ˜แƒก 18แƒ (แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ˜แƒก แƒ›แƒ˜แƒ›แƒ“แƒ”แƒ‘แƒแƒ แƒ” แƒขแƒ”แƒ แƒ˜แƒขแƒแƒ แƒ˜แƒ).

22, 23 แƒ“แƒ 25 แƒ“แƒ”แƒ™แƒ”แƒ›แƒ‘แƒ”แƒ แƒก 19 แƒกแƒแƒแƒ—แƒ˜แƒ“แƒแƒœ แƒ›แƒแƒ”แƒฌแƒงแƒแƒ‘แƒ แƒ“แƒ˜แƒกแƒ™แƒฃแƒกแƒ˜แƒ”แƒ‘แƒ˜, แƒ›แƒแƒฎแƒกแƒ”แƒœแƒ”แƒ‘แƒ”แƒ‘แƒ˜ แƒ“แƒ แƒžแƒ แƒ”แƒ–แƒ”แƒœแƒขแƒแƒชแƒ˜แƒ”แƒ‘แƒ˜. แƒ“แƒแƒฌแƒ•แƒ แƒ˜แƒšแƒ”แƒ‘แƒ˜แƒ— แƒ˜แƒœแƒคแƒแƒ แƒ›แƒแƒชแƒ˜แƒแƒก แƒ’แƒแƒ”แƒชแƒแƒœแƒ˜แƒ— แƒ’แƒแƒฎแƒกแƒœแƒแƒ–แƒ”.

22-25 แƒ“แƒ”แƒ™แƒ”แƒ›แƒ‘แƒ”แƒ แƒก แƒ’แƒแƒ˜แƒ›แƒแƒ แƒ—แƒ”แƒ‘แƒ แƒ›แƒฎแƒแƒขแƒ•แƒแƒ  แƒกแƒแƒคแƒ แƒขแƒแƒ‘แƒแƒขแƒแƒซแƒ˜แƒก แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜แƒก แƒžแƒ แƒ”แƒ–แƒ”แƒœแƒขแƒแƒชแƒ˜แƒ. แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜ แƒ”แƒฎแƒ”แƒ‘แƒ 1971 แƒฌแƒ”แƒšแƒก แƒ—แƒ‘แƒ˜แƒšแƒ˜แƒกแƒจแƒ˜ แƒแƒจแƒ”แƒœแƒ”แƒ‘แƒฃแƒš แƒ“แƒ 2007 แƒฌแƒšแƒแƒ›แƒ“แƒ” แƒ›แƒแƒฅแƒ›แƒ”แƒ“ แƒกแƒแƒงแƒแƒคแƒแƒชแƒฎแƒแƒ•แƒ แƒ”แƒ‘แƒ แƒ›แƒแƒ›แƒกแƒแƒฎแƒฃแƒ แƒ”แƒ‘แƒ˜แƒก แƒ™แƒแƒ›แƒ‘แƒ˜แƒœแƒแƒข “แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ”แƒก”.

แƒ™แƒ•แƒšแƒ”แƒ•แƒ˜แƒก แƒ›แƒแƒœแƒซแƒ˜แƒšแƒ–แƒ” แƒกแƒแƒคแƒ แƒขแƒแƒ‘แƒแƒขแƒแƒซแƒ”แƒ› แƒจแƒ”แƒแƒ’แƒ แƒแƒ•แƒ แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ”แƒกแƒ—แƒแƒœ แƒ“แƒแƒ™แƒแƒ•แƒจแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒ“แƒแƒ™แƒฃแƒ›แƒ”แƒœแƒขแƒแƒชแƒ˜แƒ. แƒ”แƒก แƒ›แƒแƒกแƒแƒšแƒ แƒ›แƒแƒ˜แƒชแƒแƒ•แƒก แƒซแƒ•แƒ”แƒšแƒ˜ แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ˜แƒก แƒแƒ แƒฅแƒ˜แƒขแƒ”แƒฅแƒขแƒฃแƒ แƒฃแƒš แƒœแƒแƒฎแƒแƒ–แƒ”แƒ‘แƒก, แƒแƒ›แƒแƒœแƒแƒ แƒ˜แƒ“แƒ”แƒ‘แƒก แƒ’แƒแƒ–แƒ”แƒ—แƒ”แƒ‘แƒ˜แƒ“แƒแƒœ แƒ“แƒ แƒขแƒ”แƒšแƒ”แƒ แƒ”แƒžแƒแƒ แƒขแƒแƒŸแƒ”แƒ‘แƒก แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ˜แƒก แƒจแƒ”แƒกแƒแƒฎแƒ”แƒ‘, แƒคแƒแƒขแƒ แƒ›แƒแƒกแƒแƒšแƒแƒก แƒฌแƒ˜แƒ’แƒœแƒ”แƒ‘แƒ˜แƒ“แƒแƒœ, แƒ˜แƒœแƒขแƒ”แƒ แƒ•แƒ˜แƒฃแƒก แƒงแƒแƒคแƒ˜แƒš แƒ—แƒแƒœแƒแƒ›แƒจแƒ แƒแƒ›แƒ”แƒšแƒ—แƒแƒœ, แƒซแƒ•แƒ”แƒšแƒ˜ แƒžแƒ˜แƒ แƒ›แƒ˜แƒ–แƒ˜แƒก แƒžแƒ แƒ˜แƒ•แƒแƒขแƒ˜แƒ–แƒแƒชแƒ˜แƒ˜แƒก แƒ“แƒ แƒ“แƒแƒจแƒšแƒ˜แƒก แƒจแƒ”แƒ“แƒ”แƒ’แƒแƒ“ แƒแƒฆแƒ›แƒแƒชแƒ”แƒœแƒ”แƒ‘แƒฃแƒš แƒแƒฎแƒแƒš, แƒžแƒแƒขแƒแƒ -แƒžแƒแƒขแƒแƒ แƒ “แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ”แƒ”แƒ‘แƒ˜แƒก” แƒคแƒแƒขแƒแƒ”แƒ‘แƒก.

แƒ’แƒแƒ›แƒแƒคแƒ”แƒœแƒ˜แƒก แƒ›แƒกแƒ•แƒšแƒ”แƒšแƒแƒ‘แƒ˜แƒก แƒ“แƒ แƒแƒก, 23-25 แƒ“แƒ”แƒ™แƒ”แƒ›แƒ‘แƒ”แƒ แƒก, 12-แƒ“แƒแƒœ 18 แƒกแƒแƒแƒ—แƒแƒ›แƒ“แƒ”, แƒแƒ—แƒแƒœแƒ”แƒšแƒ˜แƒก 18แƒ แƒœแƒแƒ›แƒ”แƒ แƒจแƒ˜, แƒ›แƒกแƒฃแƒ แƒ•แƒ”แƒšแƒ”แƒ‘แƒก แƒจแƒ”แƒ”แƒซแƒšแƒ”แƒ‘แƒแƒ— แƒกแƒแƒคแƒ แƒขแƒแƒ‘แƒแƒขแƒแƒซแƒ”แƒก แƒ’แƒแƒฃแƒ–แƒ˜แƒแƒ แƒแƒœ แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ”แƒกแƒ—แƒแƒœ แƒ“แƒแƒ™แƒแƒ•แƒจแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒ—แƒแƒ•แƒ˜แƒแƒœแƒ—แƒ˜ แƒ›แƒแƒ’แƒแƒœแƒ”แƒ‘แƒ”แƒ‘แƒ˜ แƒ“แƒ แƒ˜แƒกแƒขแƒแƒ แƒ˜แƒ”แƒ‘แƒ˜. แƒแƒกแƒ”แƒ•แƒ” แƒ›แƒ˜แƒแƒฌแƒแƒ“แƒแƒœ แƒคแƒแƒขแƒ, แƒ•แƒ˜แƒ“แƒ”แƒ แƒแƒœ แƒกแƒฎแƒ•แƒ แƒกแƒแƒฎแƒ˜แƒก แƒžแƒ˜แƒ แƒ˜แƒ›แƒ–แƒ˜แƒก แƒแƒ›แƒกแƒแƒฎแƒ•แƒ”แƒšแƒ˜ แƒ›แƒแƒกแƒแƒšแƒ.


Pirimze building was built in 1971 in Soviet Georgia. It had 6 floors and handworkers all kinds were employed there. Basically everything could be repaired here, shoes, watches, glasses, jewelry, bags, suitcases, belts, hairdryers, kitchen machinery… Knifes and scissors could be sharpened here, hair could be cut and shoes polished. Sewers of fur, leather and fabric would sew individual closing for costumers.

People in the whole city knew Pirimze and costumers from villages would use Pirimzes services as well.

From inside it was amazing place. All the handworkers had their private-like booths. These booths had personal interiors - covered with cut-outs from foreign glossy magazines, photos of naked girls, hand drawn advertisements.

This visual fascination of the place made me decide to re-construct the place while still alive in the minds of people who worked there. After meeting people who worked there it became clear that the problem of destruction hided larger picture and that social and political agendas of different players involved in this process.

In summer 2007 all the workers were dismissed from their work and Pirimze was torn down. In the place of old Pirimze now stands “Pirimze Plaza”. The word plaza is used in Georgian language, it is a foreign word, showing the direction Georgia is taking, changing names into exotic sounding definitions without changing people or fundamental direction. “Pirimze Plaza” will be yet another shopping centre, and business offices (makes one wonder how many successful business offices are around). Some handworkers from the old Pirimze will also be employed there against paying high rent and getting a small workplace in seller with no daylight.

The interviews with former employees show an interesting parallel of what has happened to the building together what is happening to the whole country.

Resarch phase:
October 17-December 21, 2011

During the research phase I have collected all sort of information about Pirimze. At this moment collection consists of architectural sketches of old and new Pirimze; Photos and videos 10s of smaller shops that emerged bearing the same name Pirimze scattered in the surroundings of old Pirimze; Information about the location and photographs of old Pirimze from the architectural books and newspapers; Drawings made of the construction during the transition from old to new Pirimze; Photos and video collages made by former workers. As well as my interview with former Pirimze worker and active fighter for workers rights Koki Beridze, and counter interview where Koki Beridze interviews me. TV reportages and newspapers covering the fight of the old workers and unfairness of new owners. Marquette’s of the interior and exterior of the building.

December 22-25
Presentation of the research phase to Georgian audience and lecture series.

Lecture series:
22 December at 19.00 “Architecture as result and definer of social processes” - speaker Levan Asabashvili, architect.
23 December at 19.00 “Collective effort - good case scenario” meeting with dentist Nana Mumlauri, whose colleagues were able to keep their workspaces after privtisation.
20.00 ”Argentina Worker Cooperatives – Industrias Recuperadas” – exert from the film about Argentinian Aluminium factory, in which the workers were able to occopy the factory where they worked and are collectively ruling it.
25 December at 19.00 “Collective and post-Soviet reality” – speaker Zviad Avaliani, political studies.


This project was supported by:






This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Sunday, November 06, 2011

The Visit, BaseCamp Stockholm @ Intercult

The Visit

Nini Palavandishvili (Tbilisi, Georgia) and Anna Smolak (Krakow, Poland)

November 2011, Stockholm, Sweden



Artists, theoreticians and practitioners from different disciplines are welcome to collaborate on the project “The Visit”. Moreover: We are looking for the individuals and the families who emigrated to Sweden and setteled down in Stockholm and would be willing to take part in the artistic project.

For BaseCamp Stockholm the two curators, Nini Palavandishvili (Tbilisi, Georgia) and Anna Smolak (Krakow, Poland), would like to extend and develop a project “The Visit”. The project is based on the research of different ethnic, cultural and religious groups living in chosen cities (Tbilisi, Krakow, Stockholm).

“The Visit” is designed as a series of artistic events that will take place in the private spaces of the citizens of different ethnic and national identity residing in Sweden permanently, or temporarily, also illegal immigrants, those who live in guest countries throughout generations as well as contemporary nomads, who are permanently on the move.

The citizen-newcomer and the concept
of private space

The purpose of this project is to discuss the modern identity of the city based on the idea of the citizen-newcomer, as well as to reinterpret the concepts connected with private space and intimacy of living. By attempting to answer what it means for the newcomers to have a private space. Does it mean freedom or quite the opposite – separation? Does home exclude from the broader social context and how may it be influenced by the external factors? We will point to the shifts between “public” and “private” and will draw attention to the problems of the progressing isolation of the private life which leads to erosion and eradication of social relations. By addressing the issues of the legality of the stay the project will also refer to the privacy of the space in the political and legal context.

Contemporary nomads

We would also like to extend our research to a new type of short-term migration which occurs particularly among young people who visit Stockholm without the intention to stay there permanently. For this group the process of absorption and exchange of cultural identities have a different dynamic and is less burdened with the feeling of loss.

Subjective map

The subjective map of the city that will emerge from this project will outline the tension and dynamics around cultural diversity which are a result of political processes and reflect not only the condition of the city but also individuals.

Art outside the institutional context

The aim of this project is also to discuss the concept connected with the rituals of visits and hospitality, the private space and functioning of art outside the institutional context.

We believe that art has the potential to capture the intimate experiences and translate them to universal values. The functioning of the private space is governed by individual ritual. The appearance of the visitor (artist) is also subjected to this ritual. By introducing the artist to the newcomer’s home we would like to see how the roles of the host and guest overlap and transform.

New artworks

The interaction between the artists and the dwellers will lead to the creation of artworks based on family archives, personal stories and visual potential of the living space putting the artist in the position of the storyteller who overcomes language and cultural barriers. We would like to engage in the project not only artists but also theoreticians representing different disciplines to obtain multidimensional picture.

Collaborate with The Visit

For this reason we, curators are looking for artists, theoreticians, sociologists, urbanists, anthropologists, filmmakers, writers who would be interested in working with us on the above mentioned topics.

We are also looking for individuals and families who have immigrated to Stockholm or are staying here for longer period of time and who would be willing to share their story with the audience through an artistic dialogue.

Please contact us

Anna Smolak and Nini Palavandishvili
sthlm.visit@gmail.com

Looking forward to meeting you!


Related links:
GeoAIR
Transkultura

Supported by:

Saturday, October 29, 2011

แƒ’แƒแƒกแƒแƒฎแƒ“แƒ”แƒšแƒ˜/แƒกแƒแƒ›แƒแƒกแƒ˜. แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒฃแƒแƒ˜แƒ—แƒ˜, แƒ”แƒœ แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒ›แƒฃแƒ แƒ˜ / Dressing Room/Garment Work. Elizabeth White & Anne Elizabeth Moore, USA



„แƒ’แƒแƒกแƒแƒฎแƒ“แƒ”แƒšแƒ˜ / แƒกแƒแƒ›แƒแƒกแƒ˜“

แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒฃแƒแƒ˜แƒ—แƒ˜, แƒ”แƒœ แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒ›แƒฃแƒ แƒ˜, แƒแƒจแƒจ

แƒ™แƒฃแƒ แƒแƒขแƒแƒ แƒ˜: แƒœแƒ˜แƒœแƒ˜ แƒคแƒแƒšแƒแƒ•แƒแƒœแƒ“แƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜


แƒ’แƒแƒฎแƒกแƒœแƒ: 31 แƒแƒฅแƒขแƒแƒ›แƒ‘แƒ”แƒ แƒ˜, 2011, 17:00


แƒแƒ‘แƒ แƒ”แƒจแƒฃแƒ›แƒ˜แƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒ›แƒฃแƒ–แƒ”แƒฃแƒ›แƒ˜,

แƒ›แƒ˜แƒกแƒแƒ›แƒแƒ แƒ—แƒ˜: แƒชแƒแƒ‘แƒแƒซแƒ˜แƒก แƒฅ. 6 แƒ—แƒ‘แƒ˜แƒšแƒ˜แƒกแƒ˜

31 แƒแƒฅแƒขแƒแƒ›แƒ‘แƒ”แƒ แƒ˜-10 แƒœแƒแƒ”แƒ›แƒ‘แƒ”แƒ แƒ˜, 2011, แƒ—แƒ‘แƒ˜แƒšแƒ˜แƒกแƒ˜, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒ


แƒ”แƒœ แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒ›แƒฃแƒ แƒ˜ แƒ“แƒ แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒ•แƒแƒ˜แƒ—แƒ˜
แƒแƒ แƒ˜แƒแƒœ แƒแƒ›แƒ”แƒ แƒ˜แƒ™แƒ”แƒšแƒ˜ แƒฎแƒ”แƒšแƒแƒ•แƒแƒœแƒ”แƒ‘แƒ˜, แƒ แƒแƒ›แƒšแƒ”แƒ‘แƒ˜แƒช แƒžแƒ”แƒ แƒ˜แƒแƒ“แƒฃแƒšแƒแƒ“ แƒ”แƒ แƒ—แƒแƒ“ แƒ›แƒฃแƒจแƒแƒแƒ‘แƒ”แƒœ แƒกแƒแƒชแƒ˜แƒแƒšแƒฃแƒ  แƒกแƒแƒ™แƒ˜แƒ—แƒฎแƒ”แƒ‘แƒ—แƒแƒœ แƒ“แƒแƒ™แƒแƒ•แƒจแƒ˜แƒ แƒ”แƒ‘แƒฃแƒš แƒžแƒ แƒแƒ”แƒฅแƒขแƒ”แƒ‘แƒ–แƒ” แƒ˜แƒกแƒ”แƒ— แƒ แƒ”แƒ’แƒ˜แƒแƒœแƒ”แƒ‘แƒจแƒ˜, แƒกแƒแƒ“แƒแƒช แƒ“แƒ˜แƒ“แƒ˜ แƒ”แƒ™แƒแƒœแƒแƒ›แƒ˜แƒ™แƒฃแƒ แƒ˜ แƒแƒœ แƒžแƒแƒšแƒ˜แƒขแƒ˜แƒ™แƒฃแƒ แƒ˜ แƒชแƒ•แƒšแƒ˜แƒšแƒ”แƒ‘แƒ”แƒ‘แƒ˜ แƒ›แƒ˜แƒ›แƒ“แƒ˜แƒœแƒแƒ แƒ”แƒแƒ‘แƒก. แƒ—แƒ‘แƒ˜แƒšแƒ˜แƒกแƒจแƒ˜ แƒฌแƒแƒ แƒ›แƒแƒ“แƒ’แƒ”แƒœแƒ˜แƒšแƒ˜ แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜ แƒแƒ”แƒ แƒ—แƒ˜แƒแƒœแƒ”แƒ‘แƒก แƒ›แƒแƒ— แƒแƒ แƒ˜ แƒฌแƒ˜แƒœ แƒžแƒ แƒแƒ”แƒฅแƒขแƒก, แƒ แƒแƒ›แƒšแƒ”แƒ‘แƒ˜แƒช แƒ”แƒฎแƒ”แƒ‘แƒ แƒฅแƒแƒšแƒ˜แƒก แƒ แƒแƒšแƒก, แƒ›แƒ˜แƒก แƒ’แƒแƒ แƒ”แƒ’แƒœแƒแƒ‘แƒแƒก แƒ“แƒ แƒจแƒ แƒแƒ›แƒแƒก แƒกแƒแƒ”แƒ แƒ—แƒแƒจแƒแƒ˜แƒกแƒ แƒฅแƒกแƒแƒ•แƒ˜แƒšแƒ”แƒ‘แƒ˜แƒ— แƒ•แƒแƒญแƒ แƒแƒ‘แƒแƒกแƒ แƒ“แƒ แƒ›แƒแƒ“แƒ˜แƒก แƒ˜แƒœแƒ“แƒฃแƒกแƒขแƒ แƒ˜แƒแƒจแƒ˜. “แƒ’แƒแƒกแƒแƒฎแƒ“แƒ”แƒšแƒ˜ / แƒกแƒแƒ›แƒแƒกแƒ˜” แƒฌแƒแƒ แƒ›แƒแƒ“แƒ’แƒ”แƒœแƒ˜แƒšแƒ˜แƒ แƒแƒ‘แƒ แƒ”แƒจแƒฃแƒ›แƒ˜แƒก แƒ›แƒฃแƒ–แƒ”แƒฃแƒ›แƒ˜แƒก แƒ›แƒจแƒ•แƒ”แƒœแƒ˜แƒ”แƒ  แƒจแƒ”แƒœแƒแƒ‘แƒแƒจแƒ˜, แƒ แƒแƒ›แƒ”แƒšแƒ˜แƒช แƒแƒ“แƒ แƒ” แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒแƒก แƒ›แƒ›แƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒ‘แƒ˜แƒก แƒฅแƒ•แƒ”แƒจ แƒ˜แƒงแƒ, แƒแƒฎแƒšแƒ แƒ’แƒแƒœแƒแƒฎแƒšแƒ”แƒ‘แƒ˜แƒก แƒžแƒ แƒแƒชแƒ”แƒกแƒจแƒ˜แƒ, แƒ—แƒฃแƒ›แƒชแƒแƒฆแƒ แƒแƒ‘แƒ แƒ”แƒจแƒฃแƒ›แƒ˜แƒก แƒฌแƒแƒ แƒ›แƒแƒ”แƒ‘แƒ˜แƒก แƒ˜แƒœแƒ“แƒฃแƒกแƒขแƒ แƒ˜แƒ˜แƒก แƒ’แƒแƒœแƒแƒฎแƒšแƒ”แƒ‘แƒ แƒแƒ  แƒฎแƒ“แƒ”แƒ‘แƒ. แƒกแƒฌแƒแƒ แƒ”แƒ“ แƒกแƒแƒ–แƒแƒ’แƒแƒ“แƒ แƒแƒฆแƒ˜แƒแƒ แƒ”แƒ‘แƒแƒกแƒ แƒ“แƒ แƒ”แƒ™แƒแƒœแƒแƒ›แƒ˜แƒ™แƒฃแƒ  แƒ’แƒแƒœแƒ•แƒ˜แƒ—แƒแƒ แƒ”แƒ‘แƒแƒก แƒจแƒแƒ แƒ˜แƒก แƒแƒ›แƒ’แƒ•แƒแƒ แƒ˜ แƒแƒ แƒแƒ—แƒแƒœแƒฎแƒ•แƒ”แƒ“แƒ แƒ แƒฌแƒแƒ แƒ›แƒแƒแƒ“แƒ’แƒ”แƒœแƒก แƒ“แƒแƒ™แƒ•แƒ˜แƒ แƒ•แƒ”แƒ‘แƒ˜แƒก แƒกแƒแƒ’แƒแƒœแƒก แƒžแƒ แƒแƒ”แƒฅแƒขแƒจแƒ˜ “แƒ’แƒแƒกแƒแƒฎแƒ“แƒ”แƒšแƒ˜ / แƒกแƒแƒ›แƒแƒกแƒ˜”.


“แƒ’แƒแƒกแƒแƒฎแƒ“แƒ”แƒšแƒ˜” (2006) แƒ˜แƒซแƒ˜แƒ”แƒ‘แƒก แƒแƒ“แƒ›แƒ˜แƒแƒœแƒ˜แƒก แƒžแƒ˜แƒ แƒแƒ“, แƒกแƒแƒชแƒ˜แƒแƒšแƒฃแƒ  แƒ“แƒ แƒคแƒกแƒ˜แƒฅแƒแƒšแƒแƒ’แƒ˜แƒฃแƒ  แƒ™แƒแƒ•แƒจแƒ˜แƒ แƒก แƒขแƒแƒœแƒกแƒแƒชแƒ›แƒ”แƒšแƒ—แƒแƒœ แƒ›แƒ˜แƒ›แƒแƒ แƒ—แƒ”แƒ‘แƒแƒจแƒ˜. แƒจแƒ”แƒ”แƒ แƒ—แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒจแƒขแƒแƒขแƒ”แƒ‘แƒ˜แƒก แƒ™แƒฃแƒšแƒขแƒฃแƒ แƒแƒจแƒ˜ แƒฅแƒแƒšแƒ”แƒ‘แƒก แƒ”แƒ™แƒ˜แƒกแƒ แƒ”แƒ‘แƒแƒ— แƒฉแƒแƒชแƒ›แƒแƒกแƒ—แƒแƒœ แƒ“แƒแƒ™แƒแƒ•แƒจแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒกแƒแƒ™แƒ˜แƒ—แƒฎแƒ”แƒ‘แƒ˜แƒก แƒ™แƒแƒ แƒ’แƒแƒ“ แƒแƒ—แƒ•แƒ˜แƒกแƒ”แƒ‘แƒ, แƒ แƒแƒ’แƒแƒ  แƒฃแƒœแƒ“แƒ แƒ’แƒแƒ›แƒแƒ˜แƒงแƒฃแƒ แƒ”แƒ‘แƒแƒ“แƒœแƒ”แƒœ, แƒ˜แƒแƒ แƒแƒœ แƒกแƒแƒงแƒ˜แƒ“แƒšแƒ”แƒ‘แƒ–แƒ” แƒ“แƒ แƒ.แƒจ. แƒกแƒแƒ“แƒแƒช แƒแƒ  แƒฃแƒœแƒ“แƒ แƒ›แƒแƒ•แƒฎแƒ•แƒ“แƒ”แƒ— แƒฅแƒแƒšแƒ˜แƒก แƒขแƒแƒœแƒ˜ แƒงแƒ•แƒ”แƒšแƒ’แƒแƒœ แƒ’แƒแƒœแƒ˜แƒฎแƒ˜แƒšแƒ”แƒ‘แƒ, แƒ แƒแƒ’แƒแƒ แƒช แƒขแƒ”แƒ แƒ˜แƒขแƒแƒ แƒ˜แƒ, แƒ แƒแƒ›แƒ”แƒšแƒ–แƒ”แƒช แƒกแƒแƒชแƒ˜แƒแƒšแƒฃแƒ แƒ˜ แƒกแƒขแƒแƒขแƒฃแƒกแƒ˜, แƒžแƒ˜แƒ แƒแƒ•แƒœแƒฃแƒšแƒแƒ‘แƒ แƒ“แƒ แƒ›แƒแƒ แƒแƒšแƒฃแƒ แƒ˜ แƒ›แƒแƒฎแƒแƒกแƒ˜แƒแƒ—แƒ”แƒ‘แƒšแƒ”แƒ‘แƒ˜แƒ แƒแƒกแƒแƒฎแƒฃแƒšแƒ˜. แƒแƒฅแƒ”แƒ“แƒแƒœ แƒ’แƒแƒ›แƒแƒ›แƒ“แƒ˜แƒœแƒแƒ แƒ” แƒกแƒฃแƒ แƒ•แƒ˜แƒšแƒ˜ แƒกแƒแƒ™แƒฃแƒ—แƒแƒ แƒ˜ แƒ—แƒแƒ•แƒ˜แƒก แƒฌแƒแƒ แƒ“แƒ’แƒ”แƒœแƒ˜แƒกแƒ แƒ˜แƒกแƒ”, แƒ แƒแƒ’แƒแƒ แƒช แƒ’แƒ•แƒ˜แƒœแƒ“แƒ แƒ แƒแƒ› แƒแƒฆแƒฅแƒ›แƒฃแƒšแƒ”แƒ‘แƒ˜ แƒ•แƒ˜แƒงแƒแƒ—, แƒ’แƒแƒœแƒกแƒแƒ–แƒฆแƒ•แƒ แƒแƒ•แƒก แƒฉแƒ•แƒ”แƒœแƒก แƒ’แƒแƒ แƒ”แƒ’แƒœแƒฃแƒš แƒกแƒแƒฎแƒ”แƒก แƒ“แƒ แƒฅแƒ›แƒœแƒ˜แƒก แƒ’แƒ แƒซแƒœแƒแƒ‘แƒแƒก, แƒ—แƒ˜แƒ—แƒฅแƒแƒก แƒจแƒ”แƒ’แƒ•แƒฌแƒ”แƒ•แƒก แƒซแƒแƒšแƒ แƒ•แƒ›แƒแƒ แƒ—แƒแƒ— แƒกแƒ˜แƒกแƒขแƒ”แƒ›แƒ, แƒ แƒแƒ›แƒ”แƒšแƒ–แƒ”แƒช แƒœแƒแƒ™แƒšแƒ”แƒ‘แƒแƒ“ แƒจแƒ”แƒ’แƒ•แƒ˜แƒซแƒšแƒ˜แƒ แƒ’แƒแƒ•แƒšแƒ”แƒœแƒ˜แƒก แƒ›แƒแƒฎแƒ“แƒ”แƒœแƒ. แƒฉแƒ•แƒ”แƒœแƒ˜ แƒ˜แƒ›แƒ”แƒ“แƒ”แƒ‘แƒ˜แƒก แƒ“แƒ แƒจแƒ˜แƒจแƒ”แƒ‘แƒ˜แƒก แƒ’แƒแƒ›แƒแƒ”แƒ แƒ—แƒ˜แƒแƒœแƒ”แƒ‘แƒ”แƒšแƒ˜ แƒ’แƒแƒกแƒแƒฎแƒ“แƒ”แƒšแƒ˜ แƒแƒ—แƒแƒฎแƒ˜ แƒ—แƒแƒœแƒ“แƒแƒ—แƒแƒœ แƒ˜แƒฅแƒชแƒ”แƒ•แƒ แƒกแƒ˜แƒ•แƒ แƒชแƒ”แƒ“, แƒกแƒแƒ“แƒแƒช แƒซแƒแƒšแƒแƒฃแƒคแƒšแƒ”แƒ‘แƒ˜แƒก แƒซแƒ˜แƒ”แƒ‘แƒ˜แƒก แƒžแƒ แƒแƒชแƒ”แƒกแƒ˜ แƒ’แƒแƒ“แƒแƒ˜แƒ–แƒ แƒ“แƒ”แƒ‘แƒ แƒกแƒแƒ™แƒฃแƒ—แƒแƒ แƒ˜ แƒ—แƒแƒ•แƒ˜แƒก แƒจแƒ”แƒกแƒฌแƒแƒ•แƒšแƒ˜แƒก แƒ’แƒแƒœแƒ›แƒ”แƒแƒ แƒ”แƒ‘แƒแƒ“ แƒžแƒ แƒแƒชแƒ”แƒกแƒแƒ“. แƒ’แƒแƒœแƒ•แƒ˜แƒฎแƒ˜แƒšแƒแƒ•แƒ— แƒ แƒ แƒฉแƒ•แƒ”แƒœแƒก แƒ—แƒแƒ•แƒ”แƒ‘แƒก แƒกแƒฎแƒ•แƒ˜แƒกแƒ˜ แƒ›แƒ–แƒ”แƒ แƒ˜แƒก แƒแƒ‘แƒ˜แƒ”แƒฅแƒขแƒ”แƒ‘แƒแƒ“, แƒแƒ› แƒžแƒ˜แƒ แƒแƒ“แƒฃแƒš แƒกแƒ˜แƒ•แƒ แƒชแƒ”แƒจแƒ˜ แƒฉแƒ•แƒ”แƒœ แƒ•แƒกแƒแƒ–แƒฆแƒ•แƒ แƒแƒ•แƒ— แƒ แƒ แƒ˜แƒฅแƒœแƒ”แƒ‘แƒ แƒฉแƒ•แƒ”แƒœแƒ˜ แƒกแƒแƒฏแƒแƒ แƒ แƒ’แƒแƒ แƒ”แƒ’แƒœแƒแƒ‘แƒ, แƒกแƒแƒ“แƒแƒช แƒฉแƒ•แƒ”แƒœ แƒ”แƒ แƒ—แƒ“แƒ แƒแƒฃแƒšแƒแƒ“ แƒ›แƒแƒงแƒฃแƒ แƒ”แƒ‘แƒšแƒ”แƒ‘แƒ˜แƒช แƒ•แƒแƒ แƒ— แƒ“แƒ แƒ—แƒแƒ•แƒแƒ“ แƒžแƒ”แƒ แƒกแƒแƒœแƒแƒŸแƒ”แƒ‘แƒ˜, แƒ•แƒ˜แƒกแƒแƒช แƒฃแƒงแƒฃแƒ แƒ”แƒ‘แƒ”แƒœ. แƒกแƒแƒ™แƒฃแƒ—แƒแƒ แƒ˜ แƒ—แƒแƒ•แƒ˜แƒก แƒ“แƒแƒ›แƒแƒ™แƒ›แƒแƒงแƒแƒคแƒ˜แƒšแƒ”แƒ‘แƒšแƒแƒ“ แƒฌแƒแƒ แƒ›แƒแƒฉแƒ”แƒœแƒ˜แƒก แƒกแƒฃแƒ แƒ•แƒ˜แƒšแƒ–แƒ” แƒ›แƒ˜แƒฃแƒ—แƒ˜แƒ—แƒ”แƒ‘แƒก แƒฃแƒฎแƒ”แƒ แƒฎแƒฃแƒšแƒ˜ แƒ“แƒ แƒ›แƒฃแƒ“แƒ›แƒ˜แƒ•แƒ˜ แƒžแƒ แƒแƒชแƒ”แƒกแƒ˜ แƒขแƒแƒœแƒกแƒแƒชแƒ›แƒšแƒ˜แƒก แƒจแƒ”แƒ แƒฉแƒ”แƒ•แƒ˜แƒกแƒ. แƒฌแƒแƒ แƒ›แƒแƒ“แƒ’แƒ”แƒœแƒ˜แƒšแƒ˜ แƒแƒ แƒ˜ แƒ•แƒ˜แƒ“แƒ”แƒ, แƒ แƒแƒ›แƒ”แƒšแƒ˜แƒช แƒชแƒแƒš-แƒชแƒแƒšแƒ™แƒ” แƒแƒ แƒ˜แƒก แƒ’แƒแƒ“แƒแƒฆแƒ”แƒ‘แƒฃแƒšแƒ˜, แƒฎแƒแƒ–แƒก แƒฃแƒกแƒ•แƒแƒ›แƒก แƒ’แƒแƒœแƒกแƒฎแƒ•แƒแƒ•แƒ”แƒ‘แƒแƒก แƒžแƒ˜แƒ แƒแƒ•แƒœแƒ”แƒ‘แƒ˜แƒก แƒœแƒแƒ›แƒ“แƒ•แƒ˜แƒš แƒ‘แƒฃแƒœแƒ”แƒ‘แƒแƒกแƒ แƒ“แƒ แƒ›แƒ˜แƒก แƒ’แƒแƒ แƒ”แƒ’แƒœแƒแƒ‘แƒแƒก แƒจแƒแƒ แƒ˜แƒก แƒ“แƒ แƒ”แƒฌแƒ˜แƒœแƒแƒแƒฆแƒ›แƒ“แƒ”แƒ’แƒ”แƒ‘แƒ แƒ›แƒแƒงแƒฃแƒ แƒ”แƒ‘แƒšแƒ˜แƒก แƒžแƒ แƒ˜แƒ•แƒ˜แƒšแƒ”แƒ’แƒ˜แƒแƒก แƒ“แƒแƒ˜แƒ™แƒ›แƒแƒงแƒแƒคแƒ˜แƒšแƒแƒก แƒ—แƒแƒ•แƒ˜แƒกแƒ˜ แƒ•แƒแƒ˜แƒแƒ แƒ˜แƒกแƒขแƒฃแƒšแƒ˜ แƒ›แƒ˜แƒกแƒฌแƒ แƒแƒคแƒ”แƒ‘แƒ”แƒ‘แƒ˜.

“แƒ’แƒแƒกแƒแƒฎแƒ“แƒ”แƒšแƒ˜” แƒœแƒแƒฉแƒ•แƒ”แƒœแƒ”แƒ‘แƒ˜ แƒ˜แƒงแƒ แƒœแƒ˜แƒฃ แƒ˜แƒแƒ แƒ™แƒ˜แƒก แƒ•แƒ˜แƒ–แƒฃแƒแƒšแƒฃแƒ แƒ˜ แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ˜แƒก แƒ’แƒแƒšแƒ”แƒ แƒ”แƒแƒจแƒ˜.


“แƒกแƒแƒ›แƒแƒกแƒ˜” (2010) แƒ”แƒœ แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒ›แƒฃแƒ แƒ›แƒ แƒจแƒ”แƒฅแƒ›แƒœแƒ Leipziger Baumwollspinnerei-แƒก (แƒšแƒ”แƒ˜แƒคแƒชแƒ˜แƒ’แƒ˜แƒก แƒ‘แƒแƒ›แƒ‘แƒ˜แƒก แƒกแƒแƒ แƒ—แƒแƒ•แƒ˜ แƒฅแƒแƒ แƒฎแƒแƒœแƒ) แƒ แƒ”แƒ–แƒ˜แƒ“แƒ”แƒœแƒชแƒ˜แƒแƒจแƒ˜, แƒ”แƒ แƒ— แƒ“แƒ แƒแƒก แƒ›แƒกแƒแƒคแƒšแƒ˜แƒแƒก แƒงแƒ•แƒ”แƒšแƒแƒ–แƒ” แƒ“แƒ˜แƒ“ แƒ“แƒ แƒซแƒ•แƒ”แƒš แƒฅแƒกแƒแƒ•แƒ˜แƒšแƒ˜แƒก แƒ›แƒฌแƒแƒ แƒ›แƒแƒ”แƒ‘แƒ”แƒš แƒฅแƒแƒ แƒฎแƒแƒœแƒแƒจแƒ˜. แƒซแƒ•แƒ”แƒšแƒ˜ แƒ แƒแƒ“แƒ˜แƒ™แƒแƒšแƒฃแƒ แƒ˜ แƒกแƒแƒชแƒ˜แƒแƒšแƒฃแƒ แƒ˜ แƒฌแƒงแƒแƒ‘แƒ˜แƒก แƒแƒ แƒ’แƒแƒœแƒ˜แƒ–แƒ”แƒ‘แƒ˜แƒก แƒ›แƒแƒ›แƒกแƒฌแƒ แƒ” แƒ“แƒ แƒแƒ› แƒกแƒคแƒ”แƒ แƒแƒจแƒ˜ แƒ’แƒ”แƒ แƒ›แƒแƒœแƒ˜แƒ˜แƒก แƒ“แƒ”แƒ›แƒแƒ™แƒ แƒแƒขแƒ˜แƒฃแƒšแƒ˜ แƒ แƒ”แƒกแƒžแƒฃแƒ‘แƒšแƒ˜แƒ™แƒ˜แƒก แƒžแƒ”แƒ แƒ˜แƒแƒ“แƒจแƒ˜ แƒ”แƒ แƒ—แƒ’แƒ•แƒแƒ แƒ›แƒ แƒกแƒแƒ›แƒแƒ—แƒฎแƒ”แƒ›, Baumwollspinnerei-แƒ› แƒ›แƒซแƒ˜แƒ›แƒ” แƒ“แƒแƒ แƒขแƒงแƒ›แƒ แƒ›แƒ˜แƒ˜แƒฆแƒ แƒ‘แƒ”แƒ แƒšแƒ˜แƒœแƒ˜แƒก แƒ™แƒ”แƒ“แƒ”แƒšแƒ˜ แƒ“แƒแƒชแƒ”แƒ›แƒ˜แƒก แƒจแƒ”แƒ›แƒ“แƒ”แƒ’, แƒ—แƒแƒœแƒแƒ›แƒจแƒ แƒแƒ›แƒšแƒ”แƒ‘แƒ˜แƒก แƒฃแƒ›แƒ แƒแƒ•แƒšแƒ”แƒกแƒแƒ‘แƒแƒก แƒ›แƒแƒฃแƒฌแƒ˜แƒ แƒกแƒแƒ›แƒกแƒแƒฎแƒฃแƒ แƒ˜แƒก แƒ“แƒแƒขแƒแƒ•แƒ”แƒ‘แƒ. แƒแƒ› แƒ“แƒ แƒแƒก แƒ›แƒแƒœ แƒกแƒแƒ‘แƒแƒšแƒแƒแƒ“ แƒจแƒ”แƒฌแƒงแƒ•แƒ˜แƒขแƒ แƒฌแƒแƒ แƒ›แƒแƒ”แƒ‘แƒ แƒ“แƒ แƒ™แƒแƒ แƒ˜ แƒ’แƒแƒฎแƒกแƒœแƒ แƒฎแƒ”แƒšแƒแƒ•แƒแƒœแƒ”แƒ‘แƒ˜แƒกแƒ—แƒ•แƒ˜แƒก แƒ“แƒ แƒ’แƒแƒšแƒ”แƒ แƒ”แƒ”แƒ‘แƒ˜แƒกแƒ—แƒ•แƒ˜แƒก. แƒ›แƒ˜แƒฃแƒฎแƒ”แƒ“แƒแƒ•แƒแƒ“ แƒแƒ›แƒ˜แƒกแƒ, 1989 แƒฌแƒ”แƒšแƒก แƒแƒ“แƒ’แƒ˜แƒšแƒแƒ‘แƒ แƒ˜แƒ•แƒ˜ แƒ›แƒแƒ—แƒฎแƒแƒ•แƒœแƒ แƒแƒ แƒช แƒฅแƒกแƒแƒ•แƒ˜แƒšแƒ–แƒ” แƒ“แƒ แƒแƒ แƒช แƒ›แƒ˜แƒกแƒ’แƒแƒœ แƒฌแƒแƒ แƒ›แƒแƒ”แƒ‘แƒฃแƒš แƒœแƒ”แƒ“แƒšแƒ”แƒฃแƒšแƒ–แƒ” แƒแƒ  แƒจแƒ”แƒ›แƒชแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ. แƒแƒ›แƒ˜แƒก แƒจแƒ”แƒ›แƒ“แƒ”แƒ’ แƒ’แƒ”แƒ แƒ›แƒแƒœแƒ˜แƒ แƒจแƒ”แƒฃแƒ”แƒ แƒ—แƒ“แƒ แƒกแƒแƒ”แƒ แƒ—แƒแƒจแƒแƒ แƒ˜แƒกแƒ แƒžแƒแƒšแƒ˜แƒขแƒ˜แƒ™แƒฃแƒ  แƒจแƒ”แƒ—แƒแƒœแƒฎแƒ›แƒ”แƒ‘แƒแƒก แƒฅแƒกแƒแƒ•แƒ˜แƒšแƒ˜แƒก แƒฌแƒแƒ แƒ›แƒแƒ”แƒ‘แƒแƒกแƒ—แƒแƒœ แƒ“แƒแƒ™แƒแƒ•แƒจแƒ˜แƒ แƒ”แƒ‘แƒ˜แƒ—, แƒ แƒแƒ›แƒ”แƒšแƒกแƒแƒช “แƒ›แƒฃแƒšแƒขแƒ˜-แƒฅแƒกแƒแƒ•แƒ˜แƒšแƒฃแƒ แƒ˜ แƒจแƒ”แƒ—แƒแƒœแƒฎแƒ›แƒ”แƒ‘แƒ” แƒ”แƒฌแƒแƒ“แƒ”แƒ‘แƒแƒ“แƒ, แƒ แƒแƒ›แƒšแƒ˜แƒก แƒ›แƒ˜แƒ–แƒแƒœแƒ˜ แƒ˜แƒงแƒ แƒ›แƒกแƒแƒคแƒšแƒ˜แƒแƒก แƒงแƒ•แƒ”แƒšแƒแƒ–แƒ” แƒฆแƒแƒขแƒแƒ™แƒ˜ แƒฅแƒ•แƒ”แƒงแƒœแƒ”แƒ‘แƒ˜แƒกแƒ—แƒ•แƒ˜แƒก แƒ›แƒ˜แƒ”แƒชแƒแƒ— แƒจแƒ”แƒกแƒแƒซแƒšแƒ”แƒ‘แƒšแƒแƒ‘แƒ แƒฉแƒแƒ แƒ—แƒฃแƒšแƒ˜แƒงแƒ•แƒœแƒ”แƒœ แƒ›แƒแƒ›แƒ’แƒ”แƒ‘แƒ˜แƒแƒœ แƒ˜แƒœแƒ“แƒฃแƒกแƒขแƒ แƒ˜แƒแƒจแƒ˜. แƒ“แƒฆแƒ”แƒก แƒฃแƒ™แƒ•แƒ”, แƒ›แƒ˜แƒฃแƒฎแƒ”แƒ“แƒแƒ•แƒแƒ“ แƒ˜แƒ›แƒ˜แƒกแƒ, แƒ แƒแƒ› แƒแƒ› แƒจแƒ”แƒ—แƒแƒœแƒฎแƒ›แƒ”แƒ‘แƒแƒก แƒ•แƒแƒ“แƒ แƒ’แƒแƒฃแƒ•แƒ˜แƒ“แƒ, แƒแƒ“แƒ’แƒ˜แƒšแƒแƒ‘แƒ แƒ˜แƒ•แƒ˜ แƒกแƒแƒ แƒ’แƒ”แƒ‘แƒšแƒ˜แƒแƒœแƒแƒ‘แƒ แƒ’แƒแƒœแƒ›แƒขแƒ™แƒ˜แƒชแƒ“แƒ, แƒ™แƒแƒ›แƒ‘แƒแƒฏแƒ”แƒšแƒ˜ แƒฅแƒแƒšแƒ”แƒ‘แƒ˜ แƒแƒ™แƒ”แƒ—แƒ”แƒ‘แƒ”แƒœ แƒ›แƒแƒ˜แƒกแƒฃแƒ แƒ”แƒ‘แƒก แƒ“แƒ แƒฏแƒ˜แƒœแƒกแƒ”แƒ‘แƒก แƒแƒ›แƒ”แƒ แƒ˜แƒ™แƒ˜แƒกแƒ—แƒ•แƒ˜แƒก แƒ“แƒ แƒ’แƒ”แƒ แƒ›แƒแƒœแƒ˜แƒ˜แƒกแƒ—แƒ•แƒ˜แƒก (แƒ“แƒ แƒแƒ แƒแƒ›แƒแƒ แƒขแƒ) แƒซแƒแƒšแƒ˜แƒแƒœ แƒ แƒ—แƒฃแƒš แƒกแƒแƒ›แƒฃแƒจแƒแƒ แƒžแƒ˜แƒ แƒแƒ‘แƒ”แƒ‘แƒจแƒ˜. แƒฌแƒแƒ แƒ›แƒแƒ“แƒ’แƒ”แƒœแƒ˜แƒšแƒ˜ แƒ•แƒ˜แƒ“แƒ”แƒ แƒแƒกแƒแƒฎแƒแƒ•แƒก แƒ”แƒœ แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒ›แƒฃแƒ แƒ˜แƒก แƒฎแƒแƒœแƒ’แƒ แƒซแƒšแƒ˜แƒ• แƒžแƒ”แƒ แƒคแƒแƒ แƒ›แƒแƒœแƒกแƒก, แƒ แƒแƒ›แƒ”แƒšแƒ˜แƒช 34 แƒกแƒแƒแƒ—แƒ˜ แƒ“แƒ 36 แƒฌแƒฃแƒ—แƒ˜ แƒ’แƒ แƒซแƒ”แƒšแƒ“แƒ”แƒ‘แƒแƒ“แƒ แƒ“แƒ แƒจแƒ”แƒ›แƒชแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜แƒ 1 แƒกแƒแƒแƒ—แƒแƒ›แƒ“แƒ”. แƒ•แƒ˜แƒ“แƒ”แƒแƒจแƒ˜ แƒ˜แƒ’แƒ˜ แƒฎแƒ”แƒšแƒ˜แƒ— แƒแƒ แƒฆแƒ•แƒ”แƒ•แƒก แƒแƒ  แƒฏแƒ˜แƒœแƒกแƒ˜แƒก แƒจแƒแƒ แƒ•แƒแƒšแƒก, แƒกแƒแƒ—แƒ˜แƒ—แƒแƒแƒ“ แƒจแƒšแƒ˜แƒก แƒ›แƒแƒ— แƒœแƒแƒฌแƒ˜แƒšแƒ”แƒ‘แƒแƒ“ แƒซแƒ•แƒ”แƒšแƒ˜ แƒขแƒ”แƒฅแƒกแƒขแƒ˜แƒšแƒ˜แƒก แƒฅแƒแƒ แƒฎแƒœแƒ˜แƒก แƒ—แƒแƒœแƒแƒ›แƒ”แƒ“แƒ แƒแƒ•แƒ” แƒžแƒ˜แƒ แƒแƒ‘แƒ”แƒ‘แƒจแƒ˜. แƒ”แƒก แƒœแƒแƒ›แƒฃแƒจแƒ”แƒ•แƒแƒ แƒ˜ แƒ”แƒ แƒ—แƒ’แƒ•แƒแƒ แƒ˜ แƒ›แƒ”แƒ“แƒ˜แƒขแƒแƒชแƒ˜แƒแƒ แƒ™แƒแƒžแƒ˜แƒขแƒแƒšแƒ˜แƒ–แƒ›แƒ–แƒ”, แƒ”แƒ แƒ—แƒ˜แƒแƒœแƒแƒ‘แƒแƒ–แƒ”, แƒ“แƒแƒ™แƒแƒ แƒ’แƒ•แƒแƒ–แƒ” แƒ“แƒ แƒ’แƒแƒ›แƒซแƒšแƒ”แƒแƒ‘แƒแƒ–แƒ”.

“แƒกแƒแƒ›แƒแƒกแƒ˜” แƒœแƒแƒฉแƒ•แƒ”แƒœแƒ”แƒ‘แƒ˜ แƒ˜แƒงแƒ แƒฉแƒ˜แƒ™แƒแƒ’แƒแƒก แƒ—แƒแƒœแƒแƒ›แƒ”แƒ“แƒ แƒแƒ•แƒ” แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ˜แƒก แƒ›แƒฃแƒ–แƒ”แƒฃแƒ›แƒจแƒ˜; แƒ’แƒ”แƒ แƒ›แƒแƒœแƒ˜แƒ˜แƒก Leipziger Baumwollspinnerei-แƒจแƒ˜; แƒ™แƒแƒ›แƒ‘แƒแƒฏแƒแƒจแƒ˜ - แƒžแƒœแƒแƒ› แƒžแƒ”แƒœแƒ˜แƒก ‘แƒ›แƒ”แƒขแƒ แƒฐแƒแƒฃแƒ–แƒจแƒ˜’ แƒ“แƒ แƒฉแƒ˜แƒ™แƒแƒ’แƒแƒก แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก DoVa Temporary-แƒจแƒ˜. แƒ•แƒ˜แƒ“แƒ”แƒ แƒแƒกแƒ”แƒ•แƒ” แƒœแƒแƒฉแƒ•แƒ”แƒœแƒ”แƒ‘แƒ˜ แƒ˜แƒงแƒ “แƒฉแƒ•แƒ”แƒœแƒก แƒ“แƒ”แƒ›แƒแƒœแƒ”แƒ‘แƒจแƒ˜” แƒกแƒแƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ แƒกแƒแƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ แƒแƒกแƒแƒชแƒ˜แƒแƒชแƒ˜แƒ˜แƒก แƒ™แƒแƒœแƒคแƒ”แƒ แƒ”แƒœแƒชแƒ˜แƒแƒ–แƒ” แƒœแƒ˜แƒฃ แƒ˜แƒแƒ แƒ™แƒจแƒ˜ 2011 แƒฌแƒ”แƒšแƒก.



“Dressing Room / Garment Work”
Elizabeth White & Anne Elizabeth Moore, USA

Curated by Nini Palavandishvili

Opening: 31.10.2011, 17:00


State Silk Museum,
Address:
6 Tsabadze Str., Tbilisi

October 31- November 10, 2011, Tbilisi, Georgia
Anne Elizabeth Moore and Elizabeth White are artists from the United States who occasionally collaborate on social practice-based projects in regions undergoing great economic or political change. This collaboration combines two previous projects, both addressing the role of women’s work, appearance, and labor in the international garment trade and fashion industry. Dressing Room / Garment Work is presented in the Silk Museum, a beautiful formerly state-run facility now undergoing a rebirth—although the silk industry, itself, is receiving no such revitalization. This disparity between public celebration and economic development comes under scrutiny in Dressing Room / Garment Work.


Dressing Room (2006) explores the relationship between self and reflection in the social and psychological site of the dressing room. In U.S. culture, women in particular are held responsible for learning the language of clothing and for developing the related but separate skills of shopping and dressing. Everywhere we go, our female bodies are regularly surveyed as meaningful territory on which social status, personality, and moral character are written. Thus the capacity to project the way in which we wish to be received indicates mastery over our appearance and provides a sense of power within a system over which we have little control. Housing many of our hopes and fears, the dressing room then becomes a space in which this quest for power is continually played out through repetitive self-scrutiny. In this private space we evaluate what will be our public appearance, considering ourselves as the objects of others’ gazes, simultaneously looking and being looked at. Making public my self-surveillance, projections show me trying on dresses and looking at myself in an endless loop, pointing to the awkwardness and interminability of our efforts for satisfactory presentation of self. Filmed separately, the two video feeds amplify the distinction between self and appearance and interrupt the viewer’s privileged voyeuristic perspective.

Dressing Room
has been exhibited at the Visual Arts Gallery in New York.


Garment Work (2010) was conducted by Anne Elizabeth Moore in residence at the Leipziger Baumwollspinnerei, formerly one of the largest and longest-running textile mills in the world. A site for early radical socialist organizing and a haven of sorts under the GDR, the Baumwollspinnerei took a heavy hit when the Berlin Wall fell, and let most employees go, eventually ceasing production entirely and opening its doors to artists and galleries. Local demand for textiles, however, did not decrease in 1989, nor the products they are made from. Germany took advantage then of an international policy called the Multi-Fibre Agreement, which was intended to allow the world’s most impoverished countries the chance to enter the lucrative industry. Today, however, this agreement has ended, alongside the local benefits it ensured, so Cambodian women now make t-shirts and jeans for the US and Germany and others under extremely difficult conditions. The video distills 34 hours and 36 minutes of work into an hour-long video of Moore’s durational performance, which involved taking apart a pair of jeans with her bare hands under the contemporary conditions of the former textile mill. Garment Work is a meditation on capitalism, integrity, loss, and perseverance.

Garment Work has been exhibited at the Museum of Contemporary Art in Chicago, the Leipziger Baumwollspinnerei in Germany, Meta House in Phnom Penh, Cambodia, and DoVA Temporary at the University of Chicago. The video was screened at “Our Demons,” a part of the 2011 College Art Association conference in New York City.


แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒฃแƒแƒ˜แƒ—แƒ˜ แƒ“แƒ แƒ”แƒœ แƒ”แƒšแƒ˜แƒ–แƒแƒ‘แƒ”แƒข แƒ›แƒฃแƒ แƒ˜ แƒ˜แƒงแƒ•แƒœแƒ”แƒœ แƒ’แƒ”แƒแƒ”แƒแƒ แƒ˜แƒก แƒ แƒ”แƒ–แƒ˜แƒ“แƒ”แƒœแƒชแƒ˜แƒ˜แƒก แƒกแƒขแƒฃแƒ›แƒ แƒ”แƒ‘แƒ˜ 2011 แƒฌแƒšแƒ˜แƒก แƒ˜แƒ•แƒšแƒ˜แƒกแƒจแƒ˜.

Elizabeth White and Anne Elizabeth Moore were residents at GeoAIR residency in July 2011.


แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜ แƒขแƒแƒ แƒ“แƒ”แƒ‘แƒ "แƒแƒ แƒขแƒ˜แƒกแƒขแƒ”แƒ แƒ˜แƒฃแƒ›แƒ˜", แƒ—แƒ‘แƒ˜แƒšแƒ˜แƒกแƒ˜แƒก แƒกแƒแƒ”แƒ แƒ—แƒแƒจแƒแƒ แƒ˜แƒกแƒ แƒ—แƒแƒœแƒแƒ›แƒ”แƒ“แƒ แƒแƒ•แƒ” แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ˜แƒก แƒ’แƒแƒ›แƒแƒคแƒ”แƒœแƒ˜แƒก แƒคแƒแƒ แƒ’แƒšแƒ”แƒ‘แƒจแƒ˜

31 แƒแƒฅแƒขแƒแƒ›แƒ‘แƒ”แƒ แƒ˜-10 แƒœแƒแƒ”แƒ›แƒ‘แƒ”แƒ แƒ˜, 2011, แƒ—แƒ‘แƒ˜แƒšแƒ˜แƒกแƒ˜, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒ

Project is shown in the framework of Artisterium, 4th Tbilisi International Contemporary Art Exhibition and Art Events

October 31- November 10, 2011, Tbilisi, Georgia

Thursday, October 13, 2011

Intersection of Parallels

14-16 October 2011
Armenia, Yerevan


A weekend of discussions, lectures and presentations as part of an international contemporary art seminar titled “Intersection of Parallels” took place in Yerevan from October 14–16, 2011.
The aim of the seminar was to create a new international network of alternative institutions of contemporary art. The founding member countries of the network are Armenia, Georgia and Germany.
The weekend seminar, coordinated by independent curator Eva Khachatryan, took place at the Suburb Cultural Center (Mekhitar Sebastatsi Eduactional Complex, Media Center, 57 Raffi St.), the Cafesjian Center for the Arts (Cascade Complex), and The Club (40 Tumanyan St.).
Participants were: Ruben Arevshatyan (Armenia), Anna Barseghian (Utopiana, Armenia/Switzerland), Wibke Behrens (NGBK, New Society for Visual Arts, Germany), Berit Fischer (Germany), Susanna Gyulamiryan (Art and Cultural Studies Laboratory, Armenia), Nazareth Karoyan (AICA Armenia), Art Laboratory artists’ collective (Armenia), Azat Sargsyan (Gyumri Center of Contemporary Art, Armenia), Sophia Tabatadze (GeoAIR, Georgia), Wato Tsereteli (Center of Contemporary Art – Tbilisi, Georgia).

Monday, September 26, 2011

ARTISTIC CITY TRIPS, 6–9 October, Krakow

ARTISTIC CITY TRIPS


Are We Again Travellers or Still Tourists? An Encounter with the Other or Looking Through Another’s Eyes.
Artistic City Trips is a project featuring artists from Armenia, Azerbaijan, Belarus, Georgia, Moldavia and Ukraine.

Curator: Nini Palavandishvili (GeoAIR, Tbilisi)

Time
6 – 9 October

Starting Point
Pod Baranami Palace

Description
For many contemporary artists and cultural operators, global mobility is an essential part of their lives and work. The network in which artists operate, which increasingly determines the modern society’s organization and production, also sheds light on the image of globalism - a world of people on the move. The guided trips that artists from 6 countries of the Eastern Partnership (Armenia, Azerbaijan, Belarus, Georgia, Moldova, Ukraine) will offer in the city of Krakow, without their prior being there, will deal with these issues. This will be an encounter of two aliens when a guest claims to be a guide in a host country. On the basis of their own research and interests, the artists will design their own city tours, referring to the place of their origin and departure. The willingness to delve deeper and to understand better will lead to manifold results. Generally, a tour includes the act of leaving and then returning to the starting point, and therefore, one who undertakes such a journey can be called a tourist. How much of a tourist we will become by coming back to the original starting point or how far we travel, is always up to us, individuals permanently on the move.

ARMENIA: AJZ SPACE (HARUTYUN ALPETYAN AND NVARD YERKANIAN)

Title: Seven Krakow Narrations (the unknown history of a known city)
Start time: 13:00
Duration: 90 min



Have you ever thought to be part of the history of your city? Do you think you are just an inactive, transient element in world history, or do you consider yourself more or less as someone who can contribute to shaping it? Do you believe the history of a certain place can be told or written down?

Discover a part of the city history through the unfolding of its inhabitants’ personal stories: seven narrations from Krakow are drawn together to give a glimpse of the infinite number of life stories a city can enclose.

AZERBAIJAN: TORO MANAFOV

Title: Krakow Veni Vidi Vici
Start time: 13:00
Duration: 90 min



Have you always felt there is something royal about you? Can nothing stop you if you get a chance to do some shopping? Is there a little of Genghis Khan in you (they say that 1 out of every 100 Europeans is his direct descendant)? Do you get sooo excited when you see fortified walls of a medieval town? Everybody has a chance to be king for 2 minutes, shop in style and try to conquer (but obviously fail) Krakow with Toro from Azerbaijan and his creative history project. Re-live history with Toro!

MOLDOVA: VLADIMIR US

Title: Krakow Shapes Us & We Shape Krakow
Start time: 12:00 noon
Duration: 180 min



The tour is about ideology and how it shapes public space, about the role that public authorities play in this process along with citizens' responses to it in particular historical, cultural and social contexts. Taking as example the Krakow built environment we will discuss the situations in the cities we come from.

On the way, starting in the Krakow Old Town and ending in the Nowa Huta district, you will walk through various gates and cross invisible borders that used to separate different communities and worlds. You will be given a chance to perform as readers on public transportation (don't forget to take a newspaper, magazine or a book with you) and recite proletarian or any other type of slogan on the sites of former monuments (pick up a slogan or a message of your personal choice). Please also wear a hat, a cap or just cover your head with a scarf during the tour.

UKRAINE: ANNA ZVYAGINTSEVA

Title: This (That) Place
Start time: 12:00 noon
Duration: 120 min



This guided city trip by Anna Zvyagintseva is devoted to people, events, processes, experiences and locations which have no chance to go down in history. The tour is a sliding view of the migrating artist-observer mentioning the reflections of some places in others, twin situations, the same actions repeated independently in different locations. The artist travels between places and times, and also between poetic observations and political conclusions. The artist uses the story of 'this' single place to tell about 'that' one, and represents differences and similarities of social conditions through rhymes of singularities.

BELARUS: ALEXEY LUNEV

Title: Life Is So Simple. The Way of Multiplication
Start time: 17:30
Duration: 90 min





Modestly shining in the sky, SERGEI SHABOHIN, a young progressive star of Belarusian art, comes back to Krakow! Artist, curator, critic, art activist, the Son of his Father - go find HIS way of MANDORLA! Talk to him! His Communion Soup! Be Him!

Alexey Lunev’s trip is dedicated to the project of a Belarusian artist Sergei Shabohin, which was completed a couple of years ago in the streets of Krakow. The visitors will be able to recall the story of that project and get an idea of it in a new interpretation.

GEORGIA: GROUP BOUILLON

Title: Rendez-vous
Start time: 18:00
Duration: 120 min



In this artistic city trip you will be able to visit a couple of Polish families and in a short period of time see and hear not only their family histories but the history of the city and the country as well as look through old family photo albums, listen to their love stories, happy and sad moments, take photos with them, and last, but not least, have some tea with them. We promise you will spend a great time.


For more please visit: http://www.ietm.org/

Tuesday, September 20, 2011

Autumn Gallery Tour - Georgia as special guest

LIA, Spinnereistr. 7, hall 18, 2nd floor, Leipzig
Opening: Saturday, September 17, 3 pm

LIA in cooperation with GeoAIR would like to cordially invite you to the Autumn Gallery Tour taking place at the Spinnerei Leipzig. The focus of exhibition this year is Georgia. The show will be inaugurated by Her Excellency Gabriela von Habsburg, Ambassador of Georgia to the Federal Republic of Germany. There will be Georgian food and drinks on the opening.

As always the gallery tour takes place on two days, the 17th and the 18th of September, on Saturday from 11am until 9pm and on Sunday from 11am until 6 pm.

We would be pleased to welcome you.
Kind regards Anna-Louise Kratzsch (LIA) and Sophia Lapiashvili (GeoAIR)

Georgian participants of the exhibition are:
Guram Tsibakhashvili, Sophia Lapiashvili,
Luiza Laperadze, Tamar Botchorishvili.
and LIA-Artists
The Netherlands Fonds BKVB: Machiel van Soest
Iran: Golnar Tabibzadeh
Australia:Cameron Tauschke
Serbia: Dragan Zdravkovic



We cordially thank the BMW plant Leipzig, LIA main sponsor, as well as the Fonds BKVB Amsterdam, the Department of Culture of the City of Leipzig, the Embassy of Georgia in Berlin and the Ministry of Culture and Cultural Heritage Protection Tbilisi Georgia for their kind support.

Sunday, August 21, 2011

แƒ“แƒ แƒ แƒ›แƒแƒ›แƒแƒ•แƒแƒšแƒ˜, แƒ“แƒ แƒ แƒฌแƒแƒ แƒกแƒฃแƒšแƒ˜ / Time future in the time past




แƒ“แƒ แƒ แƒ›แƒแƒ›แƒแƒ•แƒแƒšแƒ˜, แƒ“แƒ แƒ แƒฌแƒแƒ แƒกแƒฃแƒšแƒ˜
แƒ”แƒ แƒ—แƒ“แƒฆแƒ˜แƒแƒœแƒ˜ แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜ แƒกแƒแƒฏแƒแƒ แƒ แƒกแƒ˜แƒ•แƒ แƒชแƒ”แƒจแƒ˜: แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ, แƒแƒ แƒฅแƒ˜แƒขแƒ”แƒฅแƒขแƒฃแƒ แƒ, แƒ™แƒแƒœแƒชแƒ”แƒ แƒขแƒ˜ แƒ“แƒ แƒกแƒฎแƒ•แƒ

แƒœแƒ˜แƒœแƒ˜ แƒคแƒแƒšแƒแƒ•แƒแƒœแƒ“แƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜แƒก แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜, “แƒ’แƒ”แƒแƒ”แƒแƒ แƒ˜”


29 แƒแƒ’แƒ•แƒ˜แƒกแƒขแƒ, 2011 แƒฌ.
แƒ“แƒแƒกแƒแƒฌแƒงแƒ˜แƒกแƒ˜ 4 แƒกแƒ—. – แƒ“แƒแƒกแƒแƒกแƒ แƒฃแƒšแƒ˜ แƒ‘แƒแƒšแƒ แƒกแƒขแƒฃแƒ›แƒ แƒ˜แƒก แƒฌแƒแƒกแƒ•แƒšแƒแƒ›แƒ“แƒ”
แƒงแƒแƒคแƒ˜แƒšแƒ˜ แƒ™แƒแƒคแƒ” “แƒคแƒแƒœแƒขแƒแƒ–แƒ˜แƒ”, “แƒฃแƒ แƒฉแƒฎแƒฃแƒšแƒ˜”, แƒ‘แƒแƒ—แƒฃแƒ›แƒ˜แƒก แƒ‘แƒฃแƒšแƒ•แƒแƒ แƒ˜, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒ

แƒแƒ แƒฅแƒ˜แƒขแƒ”แƒฅแƒขแƒแƒ แƒ˜: แƒ’แƒ˜แƒแƒ แƒ’แƒ˜ แƒฉแƒแƒฎแƒแƒ•แƒ (1923-2007)
แƒ›แƒแƒ–แƒแƒ˜แƒ™แƒ: แƒ–แƒฃแƒ แƒแƒ‘ แƒ™แƒแƒžแƒแƒœแƒแƒซแƒ” (1924-1989)

แƒ›แƒแƒœแƒแƒฌแƒ˜แƒšแƒ” แƒ›แƒฎแƒแƒขแƒ•แƒ แƒ”แƒ‘แƒ˜: แƒ™แƒแƒฎแƒ แƒ”แƒ›แƒ˜แƒ แƒ˜แƒซแƒ”, แƒšแƒ”แƒ•แƒแƒœ แƒ™แƒแƒ™แƒแƒ‘แƒแƒซแƒ”, แƒกแƒแƒšแƒแƒ›แƒ” แƒ›แƒแƒฉแƒแƒ˜แƒซแƒ”, แƒ“แƒแƒ•แƒ˜แƒ— แƒ›แƒ”แƒกแƒฎแƒ˜, แƒœแƒแƒขแƒแƒšแƒ˜แƒ แƒกแƒแƒšแƒฃแƒฅแƒ•แƒแƒซแƒ”, แƒ›แƒแƒ˜แƒ แƒกแƒฃแƒ›แƒ‘แƒแƒซแƒ”, แƒ—แƒแƒ›แƒฃแƒœแƒ แƒฅแƒแƒ แƒฃแƒ›แƒ˜แƒซแƒ”, แƒ แƒ”แƒ–แƒ แƒฆแƒšแƒแƒœแƒขแƒ˜, แƒ’แƒ˜แƒ–แƒ แƒฉแƒ˜แƒ’แƒแƒ’แƒ˜แƒซแƒ”, แƒแƒœแƒ˜ แƒฉแƒแƒ แƒ’แƒแƒšแƒแƒจแƒ•แƒ˜แƒšแƒ˜, แƒ’แƒ”แƒšแƒ แƒซแƒœแƒ”แƒšแƒแƒซแƒ”

แƒ›แƒฃแƒกแƒ˜แƒ™แƒ: แƒ—แƒแƒ›แƒ แƒฉแƒแƒšแƒแƒซแƒ”, แƒ˜แƒ แƒแƒ™แƒšแƒ˜ แƒจแƒแƒœแƒ˜แƒ, แƒฏแƒแƒ›แƒแƒ˜แƒ™แƒ แƒฏแƒ”แƒ™แƒ˜

แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜แƒก แƒ›แƒฎแƒแƒ แƒ“แƒแƒ›แƒญแƒ”แƒ แƒ”แƒ‘แƒ˜: แƒ”แƒ•แƒ แƒแƒžแƒ˜แƒก แƒ™แƒแƒ›แƒ˜แƒกแƒ˜แƒ˜แƒก แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ˜แƒก แƒคแƒแƒœแƒ“แƒ˜ (EACEA), แƒฅแƒแƒšแƒแƒฅแƒ˜ แƒ‘แƒแƒ—แƒฃแƒ›แƒ˜, แƒแƒญแƒแƒ แƒ˜แƒก แƒแƒ•แƒขแƒแƒœแƒแƒ›แƒ˜แƒฃแƒ แƒ˜ แƒ แƒ”แƒกแƒžแƒฃแƒ‘แƒšแƒ˜แƒ™แƒ˜แƒก แƒ’แƒแƒœแƒแƒ—แƒšแƒ”แƒ‘แƒ˜แƒก แƒ™แƒฃแƒšแƒขแƒฃแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒกแƒžแƒแƒ แƒขแƒ˜แƒก แƒกแƒแƒ›แƒ˜แƒœแƒ˜แƒกแƒขแƒ แƒ, แƒ‘แƒแƒ แƒแƒ›แƒ‘แƒ, แƒ‘แƒแƒ’แƒ แƒแƒขแƒ˜แƒแƒœแƒ˜, แƒ‘แƒšแƒ”แƒฅ แƒ‘แƒแƒ แƒ˜


Time future in the time past

One-day project in a public space: art, architecture, concert and more

A project by Nini Palavandishvili, GeoAIR


August 29, 2011

4 pm. – open end

Former Mosaic cafรฉ “Fantasy”, “Octopus”, “Dragon”, Batumi Boulevard, Georgia


Architect: George Chakhava (1923-2007)

Mosaic by: Zurab Kapanadze (1924-1989)

Participants: Gizo Chigogidze, Ani Chorgolashvili, Gela Dzneladze, Kakha Emiridze, Rezo Glonti, Levan Kakabadze, Tamuna Karumidze, Salome Machaidze, David Meskhi, Natalia Salukvadze, Maya Sumbadze


Music by:

Tomma Chaladze, Irakli Shonia (GE), Jamaika Jack (London, UK)


This project is kindly supported by: City of Batumi, Ministry of Education, Culture and Sports of Autonomous Republic of Adjara, Barambo, Bagrationi, Black Bar






แƒ“แƒฆแƒ”แƒก, แƒ แƒแƒ“แƒ”แƒกแƒแƒช แƒ‘แƒแƒ—แƒฃแƒ›แƒก แƒแƒฎแƒแƒšแƒ˜ แƒกแƒ˜แƒชแƒแƒชแƒฎแƒšแƒ” แƒ“แƒ แƒ›แƒœแƒ˜แƒจแƒ•แƒœแƒ”แƒšแƒแƒ‘แƒ แƒ”แƒœแƒ˜แƒญแƒ”แƒ‘แƒ, แƒฎแƒแƒšแƒ แƒซแƒ•แƒ”แƒšแƒ˜ แƒ“แƒ แƒแƒ˜แƒก แƒ’แƒแƒœแƒกแƒแƒ™แƒฃแƒ—แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒœแƒแƒ›แƒฃแƒจแƒ”แƒ•แƒ แƒ”แƒ‘แƒ˜ แƒฎแƒ”แƒšแƒแƒฎแƒšแƒ แƒคแƒแƒกแƒ“แƒ”แƒ‘แƒ แƒ“แƒ แƒแƒฆแƒ˜แƒแƒ แƒ”แƒ‘แƒแƒก แƒžแƒแƒฃแƒšแƒแƒ‘แƒก (แƒ™แƒแƒคแƒ” „แƒคแƒแƒœแƒขแƒแƒ–แƒ˜แƒแƒก“ แƒแƒ แƒฅแƒ˜แƒขแƒ”แƒฅแƒขแƒแƒ แƒ˜แƒก, แƒ’แƒ˜แƒแƒ แƒ’แƒ˜ แƒฉแƒแƒฎแƒแƒ•แƒแƒก แƒงแƒ•แƒ”แƒšแƒแƒ–แƒ” แƒชแƒœแƒแƒ‘แƒ˜แƒšแƒ˜ แƒจแƒ”แƒœแƒแƒ‘แƒ, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒกแƒแƒแƒ•แƒขแƒแƒ›แƒแƒ‘แƒ˜แƒšแƒ แƒ’แƒ–แƒ”แƒ‘แƒ˜แƒก แƒงแƒแƒคแƒ˜แƒšแƒ˜ แƒกแƒแƒ›แƒ˜แƒœแƒ˜แƒกแƒขแƒ แƒ แƒ—แƒ‘แƒ˜แƒšแƒ˜แƒกแƒจแƒ˜, แƒจแƒ”แƒ•แƒ˜แƒ“แƒ แƒชแƒœแƒแƒ‘แƒ˜แƒšแƒ˜ แƒกแƒแƒ’แƒแƒ›แƒแƒ›แƒชแƒ”แƒ›แƒšแƒ แƒกแƒแƒฎแƒšแƒ˜แƒก TASCHEN-แƒ˜แƒก แƒแƒฎแƒแƒš แƒ’แƒแƒ›แƒแƒชแƒ”แƒ›แƒแƒจแƒ˜ Frรฉdรฉric Chaubin, Cosmic Communist Constructions Photographed). แƒฉแƒ•แƒ”แƒœแƒ˜ แƒ’แƒ•แƒกแƒฃแƒ แƒก, แƒแƒ› แƒžแƒ แƒแƒ”แƒฅแƒขแƒ˜แƒ— แƒ‘แƒแƒ—แƒฃแƒ›แƒ˜แƒก แƒ”แƒ แƒ— แƒ™แƒแƒœแƒ™แƒ แƒ”แƒขแƒฃแƒš แƒจแƒ”แƒœแƒแƒ‘แƒแƒก, แƒ แƒแƒ›แƒ”แƒšแƒ˜แƒช แƒฉแƒ•แƒ”แƒœแƒ˜ แƒ‘แƒแƒ•แƒจแƒ•แƒแƒ‘แƒ˜แƒก แƒ“แƒ แƒ›แƒแƒ’แƒแƒœแƒ”แƒ‘แƒ”แƒ‘แƒ˜แƒก แƒกแƒ˜แƒ›แƒ‘แƒแƒšแƒแƒ“ แƒ“แƒแƒ แƒฉแƒ, แƒ”แƒ แƒ—แƒ˜ แƒ“แƒฆแƒ˜แƒ— แƒ“แƒแƒ•แƒฃแƒ‘แƒ แƒฃแƒœแƒแƒ— แƒซแƒ•แƒ”แƒšแƒ˜ แƒกแƒ˜แƒชแƒแƒชแƒฎแƒšแƒ”.

แƒ™แƒแƒคแƒ” „แƒคแƒแƒœแƒขแƒแƒ–แƒ˜แƒ“ แƒแƒ แƒ˜แƒก แƒ›แƒแƒ–แƒแƒ˜แƒ™แƒฃแƒ แƒ˜ แƒคแƒฃแƒœแƒฅแƒชแƒ˜แƒฃแƒ แƒ˜ แƒœแƒแƒ’แƒ”แƒ‘แƒแƒ‘แƒ˜แƒกแƒ˜ แƒ˜แƒจแƒ•แƒ˜แƒแƒ—แƒ˜ แƒœแƒ˜แƒ›แƒฃแƒจแƒ˜ แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒจแƒ˜. 2000 แƒฌแƒšแƒ”แƒ‘แƒ˜แƒก แƒ“แƒแƒกแƒแƒฌแƒงแƒ˜แƒกแƒแƒ›แƒ“แƒ” แƒฏแƒ”แƒ  แƒ™แƒ˜แƒ“แƒ”แƒ• แƒคแƒฃแƒœแƒฅแƒชแƒ˜แƒแƒœแƒ˜แƒ แƒ”แƒ‘แƒแƒ“แƒ˜ แƒ™แƒแƒคแƒ”, แƒ“แƒฆแƒ”แƒกแƒ“แƒฆแƒ”แƒ˜แƒกแƒแƒ‘แƒ˜แƒ— แƒฃแƒ™แƒ•แƒ” แƒกแƒ™แƒฃแƒšแƒžแƒขแƒฃแƒ แƒฃแƒš แƒœแƒแƒ›แƒฃแƒจแƒ”แƒ•แƒ แƒแƒ“ แƒแƒฆแƒ˜แƒฅแƒ›แƒ”แƒ‘แƒ. แƒ แƒ•แƒแƒคแƒ”แƒฎแƒแƒก (แƒ‘แƒ˜แƒแƒšแƒแƒ’แƒ˜แƒฃแƒ แƒแƒ“) แƒแƒฎแƒแƒกแƒ˜แƒแƒ—แƒ”แƒ‘แƒก แƒ›แƒ”แƒฎแƒกแƒ˜แƒ”แƒ แƒ”แƒ‘แƒ˜แƒก แƒกแƒ˜แƒกแƒขแƒ”แƒ›แƒ, แƒ แƒแƒ›แƒ”แƒšแƒ˜แƒช แƒ˜แƒขแƒ”แƒ•แƒก, แƒ แƒแƒ’แƒแƒ แƒช แƒ›แƒแƒ™แƒšแƒ” แƒแƒกแƒ”แƒ•แƒ” แƒ’แƒ แƒซแƒ”แƒšแƒ•แƒแƒ“แƒ˜แƒแƒœ แƒ›แƒ”แƒฎแƒกแƒ˜แƒ”แƒ แƒ”แƒ‘แƒแƒก. แƒ”แƒก แƒ แƒ•แƒแƒคแƒ”แƒฎแƒแƒช แƒ”แƒ แƒ—แƒ’แƒ•แƒแƒ แƒแƒ“ แƒ“แƒ แƒแƒ˜แƒก แƒ›แƒแƒฌแƒ›แƒ”แƒ“ แƒ’แƒ•แƒ”แƒ•แƒšแƒ˜แƒœแƒ”แƒ‘แƒ, แƒแƒ แƒกแƒ”แƒ‘แƒแƒ‘แƒ˜แƒก 30 แƒฌแƒšแƒ˜แƒก แƒ›แƒแƒœแƒซแƒ˜แƒšแƒ–แƒ”, แƒ˜แƒ’แƒ˜ แƒ˜แƒงแƒ แƒ›แƒแƒฌแƒ›แƒ” แƒ›แƒ˜แƒก แƒ’แƒแƒ แƒจแƒ”แƒ›แƒ แƒ›แƒ˜แƒ›แƒ“แƒ˜แƒœแƒแƒ แƒ” แƒชแƒ•แƒšแƒ˜แƒšแƒ”แƒ‘แƒ”แƒ‘แƒ˜แƒกแƒ, แƒ แƒแƒ›แƒ”แƒšแƒ—แƒแƒช แƒ›แƒ˜แƒก แƒ’แƒแƒ แƒ”แƒ’แƒœแƒแƒ‘แƒแƒกแƒแƒช แƒ“แƒแƒแƒ›แƒฉแƒœแƒ˜แƒ”แƒก แƒ™แƒ•แƒแƒšแƒ˜. แƒแƒฎแƒšแƒ แƒ™แƒ˜ แƒ“แƒ’แƒแƒก “แƒฃแƒ แƒฉแƒฎแƒฃแƒšแƒแƒ“” แƒฌแƒแƒ“แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒ แƒ•แƒแƒคแƒ”แƒฎแƒ แƒ“แƒ แƒ”แƒšแƒ˜แƒก แƒ›แƒแƒ›แƒแƒ•แƒแƒšแƒก.

แƒแƒ“แƒแƒ›แƒ˜แƒแƒœแƒ”แƒ‘แƒ˜แƒกแƒ—แƒ•แƒ˜แƒก แƒ“แƒ แƒกแƒแƒ–แƒแƒ’แƒแƒ“แƒแƒ”แƒ‘แƒ˜แƒกแƒ—แƒ•แƒ˜แƒก แƒฌแƒแƒ แƒกแƒฃแƒšแƒ˜ แƒ›แƒ”แƒฎแƒกแƒ˜แƒ”แƒ แƒ”แƒ‘แƒ แƒแƒ  แƒแƒ แƒ˜แƒก แƒฃแƒ›แƒœแƒ˜แƒจแƒ•แƒœแƒ”แƒšแƒ. แƒ˜แƒ’แƒ˜ แƒ›แƒœแƒ˜แƒจแƒ•แƒœแƒ”แƒšแƒแƒ•แƒแƒœแƒ˜แƒ แƒกแƒฃแƒ‘แƒ˜แƒ”แƒฅแƒขแƒฃแƒ แƒแƒ“, แƒคแƒแƒฅแƒขแƒแƒ‘แƒ แƒ˜แƒ•แƒแƒ“ แƒงแƒ•แƒ”แƒšแƒ แƒแƒ“แƒแƒ›แƒ˜แƒแƒœแƒ˜ แƒ”แƒคแƒฃแƒซแƒœแƒ”แƒ‘แƒ แƒฌแƒแƒ แƒกแƒฃแƒšแƒก, แƒžแƒ˜แƒ แƒแƒ“แƒฃแƒš แƒ—แƒฃ แƒกแƒแƒชแƒ˜แƒแƒšแƒฃแƒ  แƒฌแƒแƒ แƒกแƒฃแƒšแƒก, แƒ˜แƒชแƒ˜แƒก แƒ“แƒ แƒแƒ˜แƒœแƒขแƒ”แƒ แƒ”แƒกแƒ”แƒ‘แƒก แƒ˜แƒก. แƒฌแƒแƒ แƒกแƒฃแƒšแƒ˜ แƒแƒกแƒ”แƒ•แƒ” แƒ›แƒœแƒ˜แƒจแƒ•แƒœแƒ”แƒšแƒแƒ•แƒแƒœแƒ˜แƒ แƒกแƒแƒชแƒ˜แƒแƒšแƒฃแƒ แƒ˜ แƒ™แƒฃแƒ—แƒฎแƒ˜แƒ—, แƒ•แƒ˜แƒœแƒแƒ˜แƒ“แƒแƒœ แƒ—แƒฃ แƒ“แƒแƒ•แƒ˜แƒ•แƒ˜แƒฌแƒงแƒ”แƒ‘แƒ— แƒ แƒ แƒ›แƒแƒฎแƒ“แƒ แƒฌแƒแƒ แƒกแƒฃแƒšแƒจแƒ˜, แƒจแƒ”แƒกแƒแƒซแƒšแƒแƒ แƒ›แƒแƒ’แƒ•แƒ˜แƒฌแƒ˜แƒแƒก แƒซแƒ•แƒ”แƒšแƒ˜ แƒจแƒ”แƒชแƒ“แƒแƒ›แƒ”แƒ‘แƒ˜แƒก แƒ’แƒแƒ›แƒ”แƒแƒ แƒ”แƒ‘แƒ.

แƒ—แƒฃแƒ›แƒชแƒแƒฆแƒ แƒ›แƒแƒฎแƒกแƒแƒ•แƒ แƒแƒ‘แƒ แƒ“แƒ˜แƒœแƒแƒ›แƒ˜แƒฃแƒ แƒ˜ แƒžแƒ แƒแƒชแƒ”แƒกแƒ˜แƒ, แƒ˜แƒ’แƒ˜ แƒแƒ  แƒแƒ แƒ˜แƒก แƒกแƒขแƒแƒขแƒ˜แƒ™แƒฃแƒ แƒ˜ แƒแƒ แƒฅแƒ˜แƒ•แƒ˜, แƒแƒ แƒแƒ›แƒ”แƒ“ แƒ’แƒแƒฎแƒšแƒแƒ•แƒ— แƒžแƒ แƒแƒชแƒ”แƒกแƒ˜. แƒ›แƒ”แƒฎแƒกแƒ˜แƒ”แƒ แƒ”แƒ‘แƒ แƒ˜แƒชแƒ•แƒšแƒ”แƒ‘แƒ, แƒ˜แƒ’แƒ˜ แƒแƒ แƒแƒกแƒแƒ“แƒ”แƒก แƒแƒ แƒ˜แƒก แƒ”แƒ แƒ—แƒ˜ แƒ“แƒ แƒ˜แƒ’แƒ˜แƒ•แƒ”, แƒ˜แƒ’แƒ˜ แƒ˜แƒชแƒ•แƒšแƒ”แƒ‘แƒ แƒแƒกแƒแƒ™แƒ—แƒแƒœ แƒ”แƒ แƒ—แƒแƒ“, แƒ“แƒ แƒแƒ˜แƒก แƒ’แƒแƒœแƒ›แƒแƒ•แƒšแƒแƒ‘แƒแƒจแƒ˜, แƒ’แƒแƒ›แƒแƒชแƒ“แƒ˜แƒšแƒ”แƒ‘แƒแƒกแƒ—แƒแƒœ แƒ”แƒ แƒ—แƒแƒ“. แƒชแƒแƒšแƒ™แƒ”แƒฃแƒš แƒแƒ“แƒแƒ›แƒ˜แƒแƒœแƒ”แƒ‘แƒก แƒ”แƒ แƒ—แƒ˜ แƒ“แƒ แƒ˜แƒ’แƒ˜แƒ•แƒ” แƒ›แƒแƒ•แƒšแƒ”แƒœแƒ˜แƒก แƒ’แƒแƒœแƒกแƒฎแƒ•แƒแƒ•แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒแƒฆแƒฅแƒ›แƒ, แƒ˜แƒœแƒขแƒ”แƒ แƒžแƒ แƒ”แƒขแƒแƒชแƒ˜แƒ แƒ“แƒ แƒจแƒ”แƒกแƒแƒ‘แƒแƒ›แƒ˜แƒกแƒแƒ“ แƒ›แƒแƒฎแƒกแƒแƒ•แƒ แƒแƒ‘แƒ แƒแƒฅแƒ•แƒ—. แƒ›แƒแƒฎแƒกแƒแƒ•แƒ แƒแƒ‘แƒ แƒ˜แƒชแƒ•แƒšแƒ”แƒ‘แƒ แƒ“แƒ แƒ˜แƒกแƒขแƒแƒ แƒ˜แƒแƒช แƒ˜แƒชแƒ•แƒšแƒ”แƒ‘แƒ.

แƒ›แƒแƒฎแƒกแƒแƒ•แƒ แƒแƒ‘แƒ แƒแƒ  แƒแƒ แƒ˜แƒก แƒ›แƒแƒ แƒขแƒ แƒ˜แƒœแƒ“แƒ˜แƒ•แƒ˜แƒ“แƒฃแƒแƒšแƒฃแƒ แƒ˜, แƒžแƒ˜แƒ แƒแƒ“แƒ˜ แƒ’แƒแƒ›แƒแƒชแƒ“แƒ˜แƒšแƒ”แƒ‘แƒ, แƒแƒ แƒแƒ›แƒ”แƒ“ แƒ˜แƒ’แƒ˜ แƒแƒ แƒ˜แƒก แƒ™แƒแƒšแƒ”แƒฅแƒขแƒ˜แƒฃแƒ แƒ˜ แƒกแƒ˜แƒ•แƒ แƒชแƒ”. แƒ”แƒก แƒแƒ แƒ˜แƒก แƒคแƒ”แƒœแƒแƒ›แƒ”แƒœแƒ˜, แƒ แƒแƒ›แƒ”แƒšแƒ˜แƒช แƒžแƒ˜แƒ แƒ“แƒแƒžแƒ˜แƒ  แƒฃแƒ™แƒแƒ•แƒจแƒ˜แƒ แƒ“แƒ”แƒ‘แƒ แƒแƒฌแƒ›แƒงแƒแƒก, แƒฉแƒ•แƒ”แƒœแƒ˜ แƒ›แƒฎแƒ แƒ˜แƒ“แƒแƒœ แƒฌแƒแƒ แƒกแƒฃแƒšแƒ˜แƒก แƒแƒฆแƒฅแƒ›แƒ แƒงแƒแƒ•แƒ”แƒšแƒ—แƒ•แƒ˜แƒก แƒแƒฌแƒ›แƒงแƒแƒก แƒ’แƒแƒ•แƒšแƒ”แƒœแƒ˜แƒก แƒฅแƒ•แƒ”แƒจ แƒแƒ แƒ˜แƒก, แƒ แƒแƒช แƒœแƒ˜แƒจแƒœแƒแƒ•แƒก, แƒ แƒแƒ› แƒ˜แƒ’แƒ˜ แƒงแƒแƒ•แƒ”แƒšแƒ—แƒ•แƒ˜แƒก แƒ˜แƒชแƒ•แƒšแƒ”แƒ‘แƒ.

แƒกแƒ˜แƒขแƒงแƒ•แƒ “แƒคแƒแƒœแƒขแƒแƒ–แƒ˜แƒ” แƒ™แƒ˜ แƒ—แƒแƒ•แƒ˜แƒกแƒ—แƒแƒ•แƒแƒ“ แƒฃแƒ™แƒ•แƒ” แƒฌแƒแƒ แƒ›แƒแƒกแƒแƒฎแƒ•แƒแƒก, แƒ›แƒแƒ›แƒแƒ•แƒแƒšแƒก, แƒ˜แƒ›แƒ”แƒ“แƒก แƒ’แƒฃแƒšแƒ˜แƒกแƒฎแƒ›แƒแƒ‘แƒก.
แƒ”แƒ แƒ—แƒ˜ แƒ“แƒฆแƒ˜แƒ—, แƒ–แƒแƒคแƒฎแƒฃแƒšแƒ˜แƒก แƒชแƒฎแƒ”แƒš แƒ“แƒฆแƒ”แƒก แƒ‘แƒแƒ—แƒฃแƒ›แƒจแƒ˜ แƒแƒ› แƒจแƒ”แƒœแƒแƒ‘แƒแƒก แƒ“แƒแƒฃแƒ‘แƒ แƒฃแƒœแƒ“แƒ”แƒ‘แƒ แƒกแƒ˜แƒชแƒแƒชแƒฎแƒšแƒ”, แƒ“แƒแƒ›แƒกแƒฌแƒ แƒ” แƒกแƒแƒ–แƒแƒ’แƒแƒ“แƒแƒ”แƒ‘แƒแƒก แƒ›แƒ˜แƒ”แƒชแƒ”แƒ›แƒ แƒกแƒแƒจแƒฃแƒแƒšแƒ”แƒ‘แƒ แƒ›แƒ—แƒ”แƒšแƒ˜ แƒ“แƒฆแƒ˜แƒก แƒ›แƒแƒœแƒซแƒ˜แƒšแƒ–แƒ” แƒ›แƒฃแƒกแƒ˜แƒ™แƒ˜แƒก แƒคแƒแƒœแƒ–แƒ” แƒ˜แƒ’แƒ”แƒ›แƒแƒœ แƒœแƒแƒงแƒ˜แƒœแƒ˜, แƒ›แƒ˜แƒ˜แƒ แƒ—แƒ•แƒแƒœ แƒ’แƒแƒ›แƒแƒ’แƒ แƒ˜แƒšแƒ”แƒ‘แƒ”แƒšแƒ˜ แƒกแƒแƒกแƒ›แƒ”แƒšแƒ”แƒ‘แƒ˜, แƒ“แƒ แƒ“แƒแƒขแƒ™แƒ‘แƒ“แƒœแƒ”แƒœ แƒ‘แƒแƒ—แƒฃแƒ›แƒ˜แƒก แƒ“แƒ แƒ™แƒ”แƒ แƒซแƒแƒ“ แƒแƒ› แƒจแƒ”แƒœแƒแƒ‘แƒ˜แƒก แƒ˜แƒกแƒขแƒแƒ แƒ˜แƒแƒกแƒ—แƒแƒœ แƒ“แƒแƒ™แƒแƒ•แƒจแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒคแƒแƒขแƒ แƒ“แƒ แƒ•แƒ˜แƒ“แƒ”แƒแƒœแƒแƒ›แƒฃแƒจแƒ”แƒ•แƒ แƒ”แƒ‘แƒ˜แƒก แƒ’แƒแƒ›แƒแƒคแƒ”แƒœแƒ˜แƒ—.

Today, when Batumi gains new life and importance, and when old art pieces and works are re-evaluated and gaining recognition (Cafe "Fantasy" is a work by George Chakhava, an architect, who’s most famous building is a former Ministry of Highways of the Soviet Republic of Georgia, recently published in Frรฉdรฉric Chaubin, Cosmic Communist Constructions Photographed).We wish, just for one day, to bring life back to one building in Batumi, filled with memories and symbols of our childhood.


Cafe "Fantasy" is a rare example of functional mosaic building in Georgia. Still functioning as a cafรฉ until early 2000s, is now perceived as a sculptural work. Octopus (biologically) shows evidence of a memory system that can store both short and long term memory. This Cafรฉ Octopus,stands as a witness to 30 years of changes and turmoil leaving trace on its appearance too. Now, the so-called "Monster" Octopus is awaiting future.

For humans and the society at large , the past is not irrelevant. It’s not irrelevant subjectively; in fact everyone is rooted in the past, in the personal past, in a social past, knows it and is interested in it. Forgetting past means repeating old mistakes in the present Memory is a profoundly dynamic process in the brain; memory is not a static archive, it is a process. Memory always changes; memory is never twice the same. Memory changes with age, time, life experiences and it varies between individuals. Each person has his/her own perceptions, interpretation and therefore the memory of the same event. Memory changes thus history changes.


Memory is not just an individual, private experience but is also part of the collective domain. Memory is a phenomenon that is directly related to the present; our perception of the past is always influenced by the present, which means that it is always changing.


The word "fantasy" itself already includes the imagination, the future, and the hope.

For one hot summer day in Batumi this building will regain its life back, the audience will be able to enjoy music, eat ice cream get refreshments and reflect over the photo and video archive depicting Batumi and this building as seen by various artists.





This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.