Soviet mosaics as artwork can tell a lot about Georgia’s recent history and its socio-cultural transformation. Reducing them to communist propaganda to erase their artistic value is a destructive attempt to wipe out the legacy of the Soviet past from cultural memory.

The style of the late Moldovan artist Mark Verlan is not easy to classify. According to his nephew, the artist created a style that cannot be found in any other movement. He coined the term “ultra-stiobanism” to describe his uncle’s artistic approach.

Talk to anyone who met Mark Verlan and they will have a story to tell. Like that time when the famous Swiss curator, Harald Szeemann, travelled to Chișinău just to meet him and offer him the opportunity to exhibit his work in BLUT & HONIG (Blood and Honey), a retrospective hosted by the Vienna Essl Collection. During the time that Szeemann spent in Chișinău, Verlan was nowhere to be found, but 25 of his paintings (more than any artist’s present at the exhibition) made it to the retrospective. His friend and fellow artist Pavel Brăila recalls that, at the same exhibition, someone asked Verlan why he did not speak English and the artist sarcastically replied: “It was already difficult for me to learn Russian.”

A conversation with Nini Palavandishvili, a curator and researcher involved in the process of documenting and mapping Soviet-era Mosaics in Georgia. Interviewer: Natalia Mosashvili

NATALIA MOSASHVILI: Can you say a few words about the meaning of Soviet-era mosaics and why they are often reduced to propaganda of the Soviet system?

NINI PALAVANDISHVILI: I would like to start by saying that my position is the following: of course, these mosaics were created during the Soviet times, but they are not necessarily “Soviet” mosaics. During this period mosaics were created in Mexico, America, France, Spain, Portugal, and many other places. Emphasising them as "Soviet mosaics" is not right.