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THE WORLD OF CONSTANT CONNECTION // 3(59)2013

TbilisSi saxviTi xelovnebis muzeumi Sendeba
THEY ARE BUILDING A FINE ART MUSEUM IN TBILISI

gia joxTaberiZe:

isini me mendnen...
GIA JOKHTABERIDZE:

They just trusted me...

T

bi­ lis­ Si bev­ ri miT­ qmamoT­ qma ga­ mo­ iw­ via sax­ vi­ Ti xe­ lov­ ne­ bis mu­ ze­ u­ mis jer ga­ mo­ uq­ vey­ ne­ bel­ ma pro­ eq­ tma. zo­ gi am­ bob­ da Su­ Sis Se­ no­ ba Sen­ de­ bao, zo­ gic _ Se­ no­ ba­ ze ru­ su­ li or­ Ta­ vi­ a­ ni ar­ wi­ vi un­ da da­ id­ ga­ so. mag­ ram, es­ a­ se ar aris! xom iciT, sa­ qar­ Tve­ lo­ Si mTa­ va­ ria su­ bi­ eq­ ti an obi­ eq­ ti iyos, To­ rem maTze zRap­ re­ bis mo­ yo­ la ar gvi­ Wirs. sax­ vi­ Ti xe­ lov­ ne­ bis mu­ ze­ u­ mis aSe­ ne­ bis ga­ daw­ yve­ ti­ le­ bam­ de ase mi­ ve­ di... da­ ax­ lo­ e­ biT 18 wlis win Se­ vit­ yve, rom sa­ qar­ Tve­ lo­ Si da­ ba­ de­ bu­ li da Cven­ Si moR­ va­ we

Rumours began to circulate in Tbilisi over a project not yet published. Some were saying that it was going to be a glass building; others went on to claim that the building would be topped with a Russian double-headed eagle. But they were only rumours. Anything or anyone can become a source of gossip in Georgia and cause rumours to come thick and fast… It was how I came up with the idea of building a fine art museum: about 18 years ago I learned about one of the outstanding Georgian painters whose works were bought in large quantities and exported to neighbouring

erT-er­ Ti cno­ bi­ li mxat­ vris na­ mu­ Sev­ rebs ma­ sob­ ri­ vad yi­ du­ lob­ dnen da me­ zo­ bel qve­ ya­ na­ Si gah­ qon­ daT. am di­ di mxat­ vris ti­ lo­ e­ bi xe­ lov­ ne­ bis mu­ ze­ um­ Sia da­ cu­ li mci­ re ra­ o­ de­ no­ biT. rac mo­ as­ wres da ga­ i­ ta­ nes, Cven­ Tvis sa­ mu­ da­ mod da­ kar­ gu­ lia. ima­ ve pe­ ri­ od­ Si ase­ Ti ram me­ o­ re cno­ bil mxat­ var­ zec ga­ vi­ ge... mis STa­ mo­ mav­ leb­ Tan sas­ wra­ fod mi­ ve­ di da gar­ dac­ vli­ li Se­ moq­ me­ dis na­ mu­ Sev­ re­ bi Se­ vi­ Zi­ ne. Ce­ mTvis zo­ gi­ er­ Ti su­ ra­ Ti `ko­ mer­ ci­ u­ lia~, zo­ gi ki _ ara. `ko­ mer­ ci­ uls~ ve­ Za­ xi imas, ro­ me­ lic yvel­ gan Se­ iZ­ le­ ba Ca­ mo­ ki­ do _ sax­ lSi, ofis­ Si da a.S. `ara­ ko­ mer­ ci­ u­ li~ ki, ro­ mel­ sac yvel­ gan ver ga­ mo­ fen. mas au­ ci­ leb­ lad sa­ ga­ mo­ fe­ no siv­ rce, ga­ le­ rea an mu­ ze­ u­ mi sWir­ de­ ba. im dros Se­ Ze­ ni­ li 13 na­ mu­ Sev­ ri­ dan ume­ te­ so­ ba `ara­ ko­ mer­ ci­ u­ li~ iyo, ami­ tom ga­ dav­ wyvi­ te su­ ra­ Te­ bi Se­ me­ na­ xa. mog­ vi­ a­ ne­ biT sxva mxat­ vre­ bis na­ mu­ Sev­ re­ bis sa­ qar­ Tve­ lo­ dan ga­ ta­ nis mcde­ lo­ bis Se­ sa­ xe­ bac Se­ vit­ yve da isi­ nic Se­ vi­ Zi­ ne. ase nel-ne­ la vcdi­ lob­ di ga­ da­ mer­ Ci­ na da Se­ me­ nar­ Cu­ ne­ bi­ na su­ ra­ Te­ bi Cve­ ni qvey­ nis­ Tvis. sax­ vi­ Ti xe­ lov­ ne­ bis ni­ mu­ Si Tu qvey­ ni­ dan ga­ i­ ta­ nes, is sa­ mu­ da­ mod da­ kar­ gu­ lia... ro­ de­ sac mxat­ vris na­ mu­ Se­ va­ ri mu­ ze­ um­ Si xvde­ ba, is da­ cu­ lia da mas `fes­ ve­ bi~ aqvs. Tum­ ca Se­ saZ­ le­ be­ lia su­ ra­ Te­ bis ra­ Rac na­ wi­ li Sem­ dgom­ Si saz­ Rvar­ ga­ re­ Tac

countries. A few of his canvases are held in the collection of the Art Museum. Others that have already been carried abroad are lost to us. Later I heard about the same thing going on with the works of another gifted painter, now deceased, that prompted me immediately to contact his offspring and acquire a number of his paintings. To my way of thinking, some paintings clearly fall into the category of being “commercial”. Such are the paintings that blend effortlessly into any surrounding whether it be a home, an office or any other place. “Non-commercial” paintings, on the contrary, defy any attempt of being broadly displayed and confine themselves strictly to an exhibition space – museum or gallery. Most of the 13 paintings I had bought by that time were of the “Non-commercial” category, hence my decision to set them aside for a later use. Then I chanced to prevent another series of paintings from being exported from Georgia, thus enriching the collection I already had. The task before me was to help my country secure its treasury and I did it step by step. A work of art once carried out of the country becomes forever lost, while, if kept in a museum it is safely preserved and begins to put down “roots”… some of the paintings may still be sold abroad but this can only serve the goal of promoting Georgian culture. As I started to assemble a collection I was seriously considering

xedi rusTavelis gamziridan. View from Rustaveli Avenue

muzeumis fasadi. The museum facade ga­ i­ yi­ dos, rac xels uw­ yobs qar­ Tu­ li kul­ tu­ ris po­ pu­ la­ ri­ za­ ci­ as. ro­ ca ko­ leq­ ci­ is Seg­ ro­ ve­ ba da­ viw­ ye, vfiq­ rob­ di, rom gar­ kve­ u­ li dro­ is Sem­ deg, ro­ me­ li­ me mu­ ze­ ums va­ Cu­ qeb­ di. sam­ wu­ xa­ rod aR­ mo­ va­ Ci­ ne, rom mu­ ze­ u­ me­ bis sa­ ca­ ve­ bi sa­ va­ la­ lo mdgo­ ma­ re­ o­ ba­ Sia da iq ar­ se­ bul na­ mu­ Sev­ rebs sa­ Ta­ na­ dod ver uv­ li­ an. ga­ dav­ wyvi­ te Ce­ mi pa­ ta­ ra ko­ leq­ cia Ta­ vad­ ve Se­ me­ na­ xa. mog­ vi­ a­ ne­ biT Cem­ ma me­ uR­ lem ma­ na­ nam da me ram­ de­ ni­ me ga­ mo­ fe­ nis or­ ga­ ni­ ze­ ba­ Si mi­ vi­ ReT mo­ na­ wi­ le­ o­ ba. ga­ mo­ ve­ ciT qar­ Tu­ li sax­ vi­ Ti xe­ lov­ ne­ bis oT­ xto­ me­ u­ li da di­ mit­ ri Se­ var­ dna­ Zis ka­ ta­ lo­ gi. am saq­ mem Za­ li­ an ga­ mi­ ta­ ca. ko­ leq­ ci­ is Sev­ se­ ba­ ze, fer­ we­ ru­ li ti­ lo­ e­ bis sa­ qar­ Tve­ lo­ Si da­ to­ ve­ ba­ ze mu­ dam vfiq­ rob­ di. da­ viw­ ye na­ mu­ Sev­ reb­ ze `na­ di­ ro­ ba~. moq­ med mxat­ vreb­ Tan miv­ di­ o­ di da maT na­ xa­ tebs, zog­ jer mTel ko­ leq­ ci­ as, vi­ Zen­ di. mxat­ vre­ bi, nu miw­ ye­ nen da, co­ ta eW­ vi­ a­ ni xal­ xia. pir­ vel xa­ neb­ Si Cems wi­ na­ da­ de­ bas isi­ ni ga­ o­ ce­ biT xvde­ bod­ nen. me ma­ Tic kar­ gad mes­ mis _ Zne­ lia er­ Tba­ Sad Se­ e­ lio mTe­ li cxov­ re­ bis man­ Zil­ ze Seq­ mnil ti­ lo­ ebs. mag­ ram aq mTa­ va­ ri ndo­ bis faq­ to­ ri gax­ da _ isi­ ni me men­ dnen! dRes sa­ qar­ Tve­ lo­ Si sax­ vi­ Ti xe­ lov­ ne­ ba Za­ li­ an ma­ Ral do­ ne­ zea. vfiq­ rob, Cve­ ni mxat­ vre­ bi ev­ ro­ pel da sxva uc­ xo­ el ko­ le­ gebs bevr ra­ me­ Si us­ wre­ ben ki­ dec. Ce­ mi az­ riT, amas sab­ Wo­ Ta kav­ Si­ ris daS­ la­ mac Se­ uw­ yo xe­ li. im epo­ qa­ Si bevr maT­ gans sab­ Wo­ Ta ide­ o­ lo­ gia bo­ Wav­ da, ar aZ­ lev­ da Ta­ vi­ su­ fa­ li Se­ moq­ me­ de­ bis sa­ Su­ a­ le­ bas da ma­ Ti na­ mu­ Sev­ re­ bi iS­ vi­ a­ Tad ifi­ ne­ bo­ da. amis ma­ ga­ li­ Tad donating it to a museum. However, I soon found out that the state of museum deposits were nothing short of lamentable, so I decided to maintain the collection through my own efforts and resources. In subsequent years, my wife Manana and I lent a hand with putting up a number of exhibitions and we also published a four-volume set of Georgian fine art and a catalogue of Dimitri Shevardnadze’s works. I completely absorbed myself with this work, and even became obsessed with trying to complete my collection and with barring Georgian paintings from going abroad. And then the “hunt” for paintings began! I set off for painters to buy up more and more of their works, sometimes even entire collections, and was often met with a mistrustful mood that generally characterizes artists. At first they were uncertain and wary about accepting my proposal, which is wholly understandable – it is hard to part with a world that has been taking shape all through your life. And it was finally the factor of trust that tipped the scales in my favour – they just trusted me! Fine art has reached great heights in Georgia today. In some respects Georgian artists even excel over their foreign colleagues – a success which, in my opinion, is a tribute to the break-up of the Soviet Union. The Soviet regime tended to stifle the inspiration of many Georgian painters depriving them of the opportunity to exhibit their works and an outlet for their creative talents. Temo Japaridze, Otar Chkhartishvili, Jibson Khundadze and a number of other artists are among those whose path had to proceed under growing ideological pressures.

sak­ ma­ ri­ sia Te­ mo ja­ fa­ ri­ Zis, oTar Cxar­ tiS­ vi­ lis, jib­ son xun­ da­ Zis da mra­ va­ li sxva xe­ lo­ va­ nis da­ sa­ xe­ le­ ba. Cem­ Tvis ram­ de­ ni­ me mxat­ va­ ria gan­ sa­ kuT­ re­ biT ga­ mor­ Ce­ u­ li. ese­ ni ari­ an dRes moq­ me­ di, nam­ dvi­ lad ge­ ni­ o­ se­ bi ed­ mond ka­ lan­ da­ Ze da jib­ son xun­ da­ Ze; gar­ dac­ vlil­ Ta­ gan ki daviT kakabaZes, elene axvledians, Te­ mo ja­ fa­ ri­ Zes, rom­ lis Se­ moq­ me­ de­ bis 90%-i Cvens ko­ leq­ ci­ a­ Sia, irak­ li far­ ji­ ans da me­ rab ab­ ra­ miS­ vils da­ va­ sa­ xe­ leb­ di. Cvens ko­ leq­ ci­ a­ Si qar­ Tvel mxat­ var­ Ta da­ cu­ li, Car­ Co­ Si Cas­ mu­ li, mo­ wes­ ri­ ge­ bu­ li, ga­ mo­ sa­ fe­ nad gam­ za­ de­ bu­ li 3 000-mde na­ mu­ Sev­ ri dag­ rov­ da. uk­ ve vi­ ci, rom qar­ Tu­ li sax­ vi­ Ti xe­ lov­ ne­ bis gan­ vi­ Ta­ re­ bis is­ to­ ri­ a­ Si wyve­ ta aRar iq­ ne­ ba... me­ a­ ma­ ye­ ba! er­ Ti pa­ ta­ ra dar­ ba­ zi da­ eT­ mo­ ba arap­ ro­ fe­ si­ o­ nal, moyvarul mxat­ vrebs _ sa­ qar­ Tve­ lo­ Si cno­ bi­ li pi­ rov­ ne­ be­ bis na­ mu­ Sev­ rebs, bev­ ri uk­ ve maqvs, ki­ dev mi­ vu­ ma­ teb... sa­ in­ te­ re­ so da sa­ xa­ li­ soa. mu­ ze­ u­ mi Sps mag­ Tis (da ara mag­ Ti­ ko­ mis) da­ fi­ nan­ se­ biT Sen­ de­ ba. mas­ Si 30 dar­ ba­ zi da 3 ki­ bis uj­ re­ dis

jibson xundaZis saxelosnoSi. At Jibson Khundadze's studio di­ di siv­ rce iq­ ne­ ba. dar­ ba­ zebs xe­ lov­ nu­ riT, ki­ be­ e­ bis siv­ rces ki _ dRis Su­ qiT ga­ va­ na­ TebT. pir­ vel sar­ Tul­ ze, rus­ Ta­ ve­ lis gam­ zi­ ris mxri­ dan, 300 kv/m-is sa­ ga­ mo­ fe­ no siv­ rce mo­ ew­ yo­ ba, sa­ dac mok­ le­ va­ di­ a­ ni, ara­ mud­ miv­ moq­ me­ di ga­ mo­ fe­ ne­ bi gaimarTeba. ima­ ve sar­ Tul­ ze kon­ fe­ ren­ ci­ e­ bis, se­ mi­ na­ re­ bis da mas­ ter­ kla­ se­ bis Ca­ sa­ ta­ reb­ lad 250 kv/m-is far­ To­ bis dar­ ba­ zic I can single out a few artists whose work I feel is particularly outstanding to me: Edmond Kalandadze and Jibson Khundadze – both presently working geniuses. Among now-deceased artists: David Kakabadze, Elene Akhvlediani, Temo Japaridze - 90 percent of whose paintings are part of my collection, Irakli Parjiani and Merab Abramishvili. Our collection is made up of 3000 works by Georgian artists all elegantly framed and ready for display. I already know there will be no gap in the history of development of Georgian fine art… and I’m so proud of it! A small hall will be devoted to amateur “painters” – offering an exciting line-up of paintings by famous Georgian personalities, many of which I have already acquired and I keep obtaining them, which will add a dash of interest and amusement to the museum. The construction of the museum will be funded by Magti Ltd (not by MagtiCom). It will consist of 30 halls and 3 spacious staircase enclosures. Artificial light sources will be installed to illuminate the halls, the staircase area will be built as daylight facilities. A 300 square metre first-floor venue with an access from Rustaveli Avenue will be dedicated to short-term, non-permanent exhibitions. A hall of 250 square metres on the same floor will be equally suitable as a conference/ seminar space and a masterclass room. Museum administration and repository will be set up on the second floor. Exhibition space will occupy the third, fourth and fifth

edmond kalandaZis saxelosnoSi. At Edmond Kalandadze's studio

xedi qaSveTis eklesiidan. View from Kashveti Church gan­ Tav­ sde­ ba. me­ o­ re sar­ Tul­ ze mu­ ze­ u­ mis ad­ mi­ nis­ tra­ cia da sa­ ca­ vi mo­ ew­ yo­ ba. sa­ ga­ mo­ fe­ no siv­ rce me­ sa­ me, me­ oT­ xe da me­ xu­ Te sar­ Tu­ lebs da­ ikavebs, ro­ mel­ Ta We­ ris si­ maR­ le 4. 2 m-ia, far­ To­ bi ki da­ ax­ lo­ e­ biT 7 000 kv/m-i. rus­ Ta­ ve­ lis gam­ zi­ ris mxa­ res, mu­ ze­ u­ mis pir­ vel sar­ Tul­ ze, ram­ de­ ni­ me pa­ ta­ ra pro­ fi­ li­ re­ bu­ li `bu­ ti­ ki~ ga­ ix­ sne­ ba, sa­ dac su­ ra­ Te­ bi, rep­ ro­ duq­ ci­ e­ bi, wig­ ne­ bi, al­ bo­ me­ bi, su­ ve­ ni­ re­ bi ga­ i­ yi­ de­ ba. miwis qveS, sam sar­ Tul­ ze 150 av­ to­ mo­ bil­ ze gaT­ vli­ li fa­ si­ a­ ni sa­ zo­ ga­ do­ eb­ ri­ vi av­ to­ sad­ go­ mi mo­ ew­ yo­ ba. gu­ di­ aS­ vi­ lis qu­ Cis mxri­ dan Ta­ na­ med­ ro­ ve sti­ lis Se­ no­ bis pir­ vel da me­ o­ re sar­ Tu­ leb­ ze ram­ de­ ni­ me res­ to­ ra­ ni imu­ Sa­ vebs. gar­ da ami­ sa, iq­ ve mo­ sas­ ve­ ne­ be­ li kuT­ xe­ e­ bic mo­ ew­ yo­ ba, sa­ dac mu­ ze­ u­ mis stum­ rebs `Ca­ is da­ le­ va da xe­ lov­ ne­ ba­ ze sa­ u­ ba­ ri~ Se­ eZ­ le­ baT. me­ sa­ me sar­ Tul­ ze fit­ nes cen­ tri, spa da so­ la­ ri­ u­ mi gan­ Tav­ sde­ ba, me­ oT­ xe­ ze ki sa­ cu­ rao au­ zi, ro­ me­ lic cud amin­ dSi mo­ men­ ta­ lu­ rad ga­ da­ i­ xu­ re­ ba. mu­ ze­ u­ mis cen­ tra­ lu­ ri Se­ sas­ vle­ li am Se­ no­ bis me-2 sar­ Tuls ukav­ Sir­ de­ ba. mu­ ze­ u­ mis mSe­ neb­ lo­ ba mTli­ a­ nad qvel­ moq­ me­ de­ baa. ax­ la sa­ Wi­ roa Sev­ kra ise­ Ti cik­ li, ro­ me­ lic mu­ ze­ ums Se­ i­ na­ xavs. mo­ gex­ se­ ne­ baT, mu­ ze­ u­ mis ar­ se­ bo­ ba da Se­ nax­ va did xar­ jeb­ Ta­ naa da­ kav­ Si­ re­ bu­ li da es, pi­ ro­ bi­ Tad, `dam­ xma­ re obi­ eq­ te­ bi~ _ av­ to­ sad­ go­ mi, res­ tor­ ne­ bi, spor­ tu­ li dar­ ba­ zi da au­ zi _ swo­ red am saq­ mes mo­ em­ sa­ xu­ re­ ba. mu­ ze­ u­ mis da mi­ si `dam­ xma­ re~ Se­ no­ ba-na­ ge­ bo­ be­ bis pro­ eq­ tis av­ to­ re­ bi sa­ qar­ Tve­ lo­ Si cno­ bi­ li ar­ qi­ teq­ tu­ ru­ li di­ nas­ ti­ is war­ mo­ mad­ gen­ le­ bi, ma­ ma-Svi­ li ar­ Cil da gi­ or­ gi qur­ di­ a­ ne­ bi ari­ an. maT stu­ dia-sa­ xe­ los­ no­ sac xom `di­ nas­ tia~ hqvia. ar­ Ci­ lis di­ di ba­ bua gi­ go qur­ di­ a­ ni qar­ Tu­ li ar­ qi­ teq­ tu­ ru­ li sko­ lis pi­ o­ ne­ ria

floors, stretching over an area of 7000 square metres, with a ceiling height of 4.2 metres. Small specialized shops on the first floor offering a broad selection of paintings, reproductions, books, albums and souvenirs will attract art lovers via Rustaveli Avenue. The museum will possess a 150-car pay parking lot on the first three floors of the building. Several restaurants will operate on the first and second floors of a contemporary style building with access from Gudiashvili Street. Also, break-rooms for visitors “to reflect on art over a cup of tea” will be at their disposal. A fitness centre, a spa and a solarium will be located on the third floor, and a swimming pool on the fourth floor with an automatic cover to keep one sheltered from bad weather. The atrium of the museum will be connected to the second floor of this building.

The construction of this museum is entirely a charitable project. Now I need to create a certain cycle that will keep the museum running. This involves tremendous expenses and all the auxiliary facilities mentioned above - parking lot, restaurants, gym and pool - are meant to contribute towards the museum costs. The museum and the building spaces for “auxiliary facilities” were designed by the father-son architect duo Archil Kurdiani and Giorgi Kurdiani - representatives of the veritable architectural dynasty in Georgia. Their studio is known by the name “Dynasty”. Archil’s great-grandfather was Gigo Kurdiani, the pioneer of the Georgian architectural school, whose heirs Archil (Junior) and Giorgi (Junior) continue to carry on his legacy. Note, that the design of the projects for the old and new buildings of the Dynamo Stadium is also credited to architects from the Kurdiani dynasty. The museum has been designed by Archil and Giorgi Kurdiani as a complex of four buildings, which are a mix of different architectural styles. Giorgi Kurdiani (Junior), 23, who is currently proceeding with his studies in Liechtenstein, is the author of the frontal façade décor, which is very interesting and spectacular.

xedi aleqsandres baRidan. View from Alexander Garden

xedi lado gudiaSvilis quCidan. View from Lado Gudiashvili Street da mis mi­ er daw­ ye­ bul saq­ mes, ager uk­ ve sa­ u­ ku­ ne­ ze me­ tia mi­ si STa­ mo­ mav­ le­ bi ar­ Cil, gi­ or­ gi, ar­ Cil (um­ cro­ si) da gi­ or­ gi (um­ cro­ si) qur­ di­ a­ ne­ bi ag­ rZe­ le­ ben. Se­ gax­ se­ nebT, rom ma­ Ti Ses­ ru­ le­ bu­ lia `di­ na­ mos~ sta­ di­ o­ nis Zve­ li da axa­ li pro­ eq­ te­ bi. ar­ Ci­ li­ sa da gi­ or­ gis mi­ er Seq­ mni­ li mu­ ze­ u­ mis pro­ eq­ ti oT­ xi sxva­ das­ xva di­ za­ i­ nis da sti­ lis Se­ no­ bis kom­ pleq­ sia. gi­ or­ gi (um­ cro­ si), ro­ me­ lic mxo­ lod 23 wli­ saa da dRes lix­ ten­ Sta­ in­ Si ag­ rZe­ lebs swav­ las, mu­ ze­ u­ mis ga­ re fa­ sa­ dis, mar­ Tlac sa­ in­ te­ re­ so de­ ko­ ris av­ to­ ria. The building project was put on the table by the German W+P and PLAN FORWARD companies, which are also responsible for construction quality control according to the contract. These companies boast valuable experience and vast competence in museum design and construction. The building will be resistant to a magnitude 9 earthquake. Experienced Georgian builders visiting the construction site often say that they have never seen such an amount of steel reinforcement involved in a building, which would more than suffice for a dam system…

xedi lado gudiaSvilis quCidan. View from Lado Gudiashvili Street

marcxnidan: giorgi qurdiani arCil qurdiani diter daixzeli iens balke From the left: Giorgi Kurdiani Archil Kurdiani Dieter Deichsel Jens Balke rac Se­ e­ xe­ ba sam­ Se­ neb­ lo pro­ eqts, is cno­ bil­ ma ger­ ma­ nul­ ma kom­ pa­ ni­ am W+P-m da mis­ ma Svi­ lo­ bil­ ma kom­ pa­ ni­ am PLAN FORWARD-ma Seg­ vis­ ru­ les. kon­ traq­ tis mi­ xed­ viT, gar­ da pro­ eq­ ti­ sa, ger­ ma­ ne­ lebs mSe­ neb­ lo­ bis xa­ ris­ xis kon­ tro­ lic eva­ le­ baT. am kom­ pa­ ni­ ebs sa­ mu­ ze­ u­ mo na­ ge­ bo­ be­ bis dap­ ro­ eq­ te­ bis da mSe­ neb­ lo­ bis di­ di ga­ moc­ di­ le­ ba aqvT. Se­ no­ ba 9 bal­ zea gaT­ vli­ li. roca ga­ moc­ di­ li qar­ Tve­ li mSe­ neb­ le­ bi mSe­ neb­ lo­ ba­ ze mo­ di­ an, am­ bo­ ben _ cxov­ re­ ba­ Si am­ de­ ni ar­ ma­ tu­ ra er­ Tad ar gvi­ na­ xavs, hid­ ro­ e­ leq­ tro­ sad­ gu­ ris kaS­ xal­ Si ar de­ ben am­ den­ so... mu­ ze­ ums qar­ Tu­ li sam­ Se­ ne­ b­ lo kom­ pa­ nia imk+ aSe­ nebs. mi­ si dam­ fuZ­ ne­ be­ li da mmar­ Tve­ li Te­ mur sa­ riS­ vi­ lia, ro­ mel­ Ta­ nac TiT­ qmis oci we­ lia vTa­ nam­ Srom­ lobT. rus­ Ta­ vel­ ze mSe­ neb­ lo­ bas omar Zi­ ap­ Sipa xel­ mZRva­ ne­ lobs. sa­ mu­ Sa­ o­ Ta mwar­ mo­ eb­ le­ bi ari­ an go­ gi Co­ Ce­ li da ka­ xa fir­ cxa­ la­ va. am kom­ pa­ ni­ a­ Si da­ saq­ me­ bu­ li pro­ fe­ si­ o­ na­ le­ bi mSe­ neb­ lo­ bas Za­ li­ an ma­ Ra­ li xa­ ris­ xiT as­ ru­ le­ ben da mo­ ce­ mul sit­ yvas arasdros texen. bo­ lo dros, Cve­ ni dak­ ve­ TiT Tbi­ lis­ Si, da­ viT aR­ ma­ Se­ nebelis 152-Si maT mi­ er aSe­ ne­ bu­ lia Zalian lamazi, ma­ Ra­ li xa­ ris­ xis Se­ no­ ba. The museum is built by the Georgian IMC+ construction company founded and administered by Temur Sarishvili, with whom we have been cooperating for nearly 20 years. Omar Dziapshipa is responsible for managing building works on Rustaveli Avenue. Gogi Chocheli and Kakha Pirtskhalava work as contractors. The company professionals provide high quality

marcxnidan: omar ZiapSipa, Temur sariSvili, iens balke, arCil qurdiani, diter daixzeli, giorgi qurdiani From the left: Omar Dziapshipa, Temur Sarishvili, Jens Balke, Archil Kurdiani, Dieter Deichsel, Giorgi Kurdiani

mSeneblobis procesi. Construction process da bo­ los, ori sit­ yva ar­ wiv­ ze. ro­ gorc vi­ ciT, da­ sav­ leT sa­ qar­ Tve­ lo­ Si, van­ Si aR­ mo­ Ce­ ni­ lia Zv.w. II- I sa­ u­ ku­ nis ar­ wi­ vis sa­ mi fi­ gu­ ra. es ar­ qe­ o­ lo­ gi­ u­ ri eq­ spo­ na­ te­ bi qar­ Tve­ li eris si­ a­ ma­ yea. oc­ da­ sa­ mi sa­ u­ ku­ nis win Cve­ ni wi­ nap­ re­ bi ase­ Ti do­ nis xe­ lov­ ne­ bas qmnid­ nen. da es ro­ gor ar un­ da war­ mog­ ve­ Ci­ na?! qan­ da­ ke­ ba, ro­ me­ lic ax­ la mzad­ de­ ba, war­ mo­ ad­ gens van­ Si aR­ mo­ Ce­ ni­ li sa­ mi ar­ wi­ vis sin­ Tezs da mas­ Si am fi­ gu­ re­ bis sxva­ das­ xva de­ ta­ lia ga­ er­ Ti­ a­ ne­ bu­ li. es na­ mu­ Se­ va­ ri brin­ ja­ o­ Si Ca­ mo­ is­ xme­ ba da Cve­ ni mu­ ze­ u­ mis ga­ re fa­ sads da­ am­ Sve­ nebs. qan­ da­ ke­ ba, rom­ lis si­ maR­ le 2,5 m-ia, frTe­ bis gaS­ la ki 4 m., Se­ no­ bis fa­ sad­ ze 11 met­ ris si­ maR­ le­ ze gan­ Tav­ sde­ ba. mas­ ze mu­ Sa­ o­ ben mo­ qan­ da­ ke­ e­ bi edu­ ard Sax­­ na­ za­ ro­ vi da da­ To min­­ do­ raS­ vi­ li; ya­ li­ bi _ ge­ la so­ lo­ mo­ naS­ vi­ li, Ca­ mos­ xma _ oleg da pa­ a­ ta ge­ laS­ vi­ le­ bi. ar­ wi­ vis 1 met­ ri­ a­ ni TiT­ be­ ris as­ li, ro­ me­ lic ase­ ve ze­ moT nax­ se­ ne­ bi jgu­ fis mi­ er aris Ses­ ru­ le­ bu­ li, mu­ ze­ u­ mis cen­ tra­ lur fo­ i­ e­ Si Ca­ mo­ i­ ki­ de­ ba. minda madloba gadavuxado maT, vinc maRali Sefaseba misca pro­ eqts da mxars uWers mis ganxorcielebas. construction solutions and always live up to their reputation. Recently, to our order they have built a high quality building at 152, Davit Aghmashenebeli Avenue in Tbilisi. Lastly, I would like to say a few words on the symbol of the eagle. As we know, archaeological excavations in Vani, west Georgia recently brought to the surface three eagle figures dated II-I centuries BC. These archaeological finds are the proud boast of the Georgian nation. The exquisite craftsmanship that is evident in the figures created 23 centuries ago should not be allowed to go unnoticed as something insignificant. The sculpture with height - 2.5 metres, wingspan - 4 metres, which is already in the making is designed to synthesize elements of all the three eagles unearthed in Vani. The eagle sculpture will be cast in bronze and affixed to the museum’s exterior façade at a height of 11 metres. The sculptors are Eduard Shakhnazarov and Dato Mindorashvili, the model maker is Gela Solomonashvili and the casters - Oleg and Paata Gelashvili. A one-metre replica of the eagle sculpture made of copper will be produced by the same group and hung in the atrium of the museum. I owe a big debt of gratitude to all who gave a high appraisal to this project and support its implementation.

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