Preserving Soviet-era mosaics in Georgia

Photo courtesy of Nini Palavandishvili

If we divide them thematically, we can say that one stylistic line has been created as a characteristic of socialist countries. What is the most characteristic of these mosaics is that they were monumental art, and monumental art in the public space is a way of bringing about certain messages to as many people as possible. Monumental art reflects the spirit of that time.

Can you tell us more about their artistic significance, including their significance for that era?

One of the most important aspects of 20th-century Georgian mosaics is that they span a period of 30 years. So it has a historical significance as well. This is a field of art which developed with great intensity during a specific period, intensively creating monumental art, a field we no longer have today, or at least has become a great rarity. Also, the smalt – the glass that was used to create the mosaics – is almost no longer produced, since it is very expensive material; it is almost no longer utilised, nor popular. Many factors characterise the mosaics, which shows the importance why we must maintain and save them. Works of art made with this technology, on this scale and with this quantity, I doubt very much will ever be created again in Georgia.

I have noticed there is somewhat of a disrespectful attitude towards the mosaics, as many perceived them as Soviet propaganda and therefore do not care much about their fate. Their artistic or historical significance is lost. What do you think is the reason for this?

For most people the mosaics are associated with the Soviet period. There is this common attitude in society: “since it is Soviet, we do not want it”. People do not look at the iconography, they do not look at it as art, they look at it emotionally. This emotion is associated with the Soviet Union – and because the Soviet Union was bad, we do not want it. But we need to reflect a little and focus on what is depicted in these mosaics and how important they are to us today. If we look attentively at the mosaics in Georgia, we find out that very few things are propagandistic. There are no great representations of communist ideals, neither glorification of leaders, nor waving of flags, and so on.

Instead we encounter people reflecting on everyday life. And, as I have mentioned, since mosaics are a reflection of a specific time: we encounter themes like equality between people, equality between the sexes, tolerance, strength, boldness – all these are still relevant and important today, but we do not look deep into the actual images and depictions. Even the fact that they have a Soviet legacy is equally important, it adds value to them. And if we delve deeper we will discover many more values. I would like to also note that many of these mosaics are made by famous and respected Georgian artists whose other work we value and preserve. We should not look at this in a primitive way – it is a very complex subject that requires deeper reflection.

There are frequent reports of the deliberate destruction of the mosaics, and, of course, negligence by the state. Who is responsible for this?

Unfortunately, most people do not perceive the true meaning and value of the mosaics, and, to be sure, it should receive more media coverage and more public awareness-raising. But first, I would start with the fact that the state and parliament do not understand the importance of this legacy. The biggest problem was that the monumental art was presented by larger public institutions and on industrial buildings and now all these buildings are in the hands of private owners. At the time of the privatisation, the state did not consider it necessary to include, in the terms of contracts, anything that would impose an obligation on new owners. Therefore, we cannot hold new owners legally accountable. Unfortunately, at this point, it is only goodwill that can protect the mosaics.

The mosaics do not have any special status such as cultural heritage?

Unfortunately, no. Although a status like this would only protect them against arbitrary treatment, even in cases of privatisation. There are examples in other countries – in Germany and Poland – where mosaics are protected by the state. I also understand very well that not all mosaics can be granted such special status. However, much of the research and description is complete, and to begin with it is a big step forward. Ninety-five per cent of the mosaics in Georgia are mapped out and I can share this material at any time. It is necessary to start with categorisation – defining values, material, regions, subject matters, etc. And then to decide which ones should be given special status.

You are actively involved in the process of documenting and mapping mosaics in Georgia, analysing their artistic value and raising awareness around them. Have you received any feedback from the state so far?

No. Unfortunately, we have not received any. However, with our active engagement, we were able to save one of the most important mosaics in Batumi.

And finally what should be done to avoid the absolute destruction of this cultural heritage? Is it possible and who should be involved in this process? Who should take the responsibility?

The state should take a step on the legislative level. The involvement of the national agency of heritage preservation is necessary and should be done in communication with the new owners. If they cannot be preserved in their original place, they should be moved to an alternative space. This issue must be decided at the state level because the state is the heir of this cultural legacy, so first and foremost it should be its primary interest to protect and preserve these mosaics.

Nini Palavandishvili is a curator and researcher actively involved in the process of documenting and mapping Soviet-era Mosaics in Georgia.

Natalia Mosashvili is a freelance writer, researcher and cultural guide. She has worked on various social and humanitarian projects, including projects with IDPs in a post-conflict zone, the “Tbilisi Migrants Stories” project and a reintegration programme for emigrants returning to Georgia.

Art, Georgia, history, Soviet mosaics