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We are together in the fight against fascism – Park Pobeda – Moscow

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We are together in the fight against fascism
We are together in the fight against fascism

More on the USSR

We are together in the fight against fascism

This particular sculpture, impressive as it is, poses and challenge to me when being asked ‘What is a piece of Socialist Realist art?’ Art can be realist without having any reference to socialism even though it might represent a worker or workers sympathetically. But what takes one piece of work from a mere representation of a person or an event to a different level, to imbue it with a meaning that is over and above what is merely in front of the viewer.

My simple interpretation of that has been the intention of the artist at the time of the work’s creation, the intended audience and what was hoped would be achieved by it’s presentation to the public. But these intentions and hopes are not concrete. They can exist in one period of time but can just disappear if (and unfortunately) or when the social system reverts to what it was pre-Revolution – as happened in the Soviet Union (and all the other post-Socialist societies).

But if, as it did, Revisionism took control soon after the death of Joseph Stalin in 1953 can those works of art produced after that date until 1991 still be considered works of Socialist Realism? They were still produced for the same audience as were the target in the 1930s and 1940s but for a different purpose, after the mid-50s the aim was to project an image of being in favour of revolutionary change whilst at the same time doing everything practically to avoid such a transformation occurring.

The history (or more accurately to say, its genesis) of this particular monument is quite unique and exceptional, fitting in more with the political agenda of the Russian Government at the time rather than a desire to remind future generations of the sacrifice made by those during the Great Patriotic War or the desire to foment a willingness of self sacrifice amongst a population who are attempting to build Socialism.

On 19th December 2009 a Soviet era monument, the Kutaisi Glory Memorial, which had been unveiled in 1981, was blown up by Georgian fascists under the cloak of ‘nationalism’ and ‘reconstruction’ of the city. The location of the monument was to be the site of the new Parliament building.

The original plan was for the monument to be destroyed on 21st December (coincidentally the anniversary of Stalin’s birth) and a mass demonstration had been planned to oppose this desecration of the memory of all those Soviet citizens (including those from Georgia) who had died in the fight against fascism. The decision the destruction should take place two days earlier than originally planned is considered to have made to circumvent any opposition. Because the task was rushed it was botched with pieces of concrete flying all over the place, some of it killing a woman and her eight year old daughter who lived close by.

But the destruction of this monument also has to be taken in the context of what was happening in the region at the time. This was just after the short war between Russia and Georgia, in 2008, over the separatist regions of South Ossetia and Abkhazia – one started by Georgia under the encouragement of the US. This was all part of a strategy to surround (with hostile NATO states) and eventually dismember the Russian Federation – which had been the intention of the neo-liberals in the west since the fall of the Soviet Union in 1991.

For that reason the demolition of the memorial was more than an attack on the memory of all those who died fighting fascism it was part of the present war against Russia. This created a sense of urgency, an advert for the commission was circulated and by July 2009 there were already six maquettes of the proposed statue to be erected on a site in Park Pobeda (Victory Park) in Moscow. These designs were on display in the Great Patriotic War Museum, awaiting a popular vote.

At the same time the maquettes were on display in Moscow Hilary Clinton was visiting Tbilisi, adding fuel to the conflict and mouthing her meaningless phrases about the US in support of national liberation of those countries ‘occupied’ and vowing never ending US support for ‘the fight for freedom’. Similar declarations, before and subsequently, ultimately led to the situation we have in the Ukraine at the moment and have led to continued efforts by the US to destabilise other countries in eastern Europe – cut short recently by Trump’s rethink on how to allocate resources to maintain the US’s ‘full spectrum dominance’ in the region.

So a somewhat unique genesis of a World War II monument.

The design of the monument follows many, well established tropes for such statues. In general it depicts the events surrounding the Fall of Berlin, the occupation of the fascist liar by Soviet troops, the raising of the Red Flag over the Reichstag and the first ever Victory Day Parade in Red Square in Moscow.

A common theme of the three, separate components of the statue is the dominance of Soviet over Nazi weaponry, imagery and culture. At the very top two Soviet soldiers are in the process of raising the Red Flag, one of the soldiers pointing his weapon at the pile of German weapons that lay discarded on the ground. Amongst this pile of weapons and debris is a toppled German eagle. We’ve won, you’ve lost!

On the left hand side we have a group of Soviet soldiers who are greeting others, unseen, as they stand beside the burnt out dome of the Reichstag building. Under their feet and before them, discarded on the ground, are Nazi weapons, ruined machinery, barbed wire, destroyed Nazi standards (with the swastika broken) and on top of all this detritus a dove of peace is in the process of alighting.

On the right hand side we have the depiction (the only example I’ve seen in a monumental form) of an episode that took place during the first Victory Parade where Soviet solders entered Red Square with dozens of captured Nazi banners, marched to the Lenin Mausoleum, upon which Comrade Stalin and other members of the Soviet leadership were standing to review the parade, and there the troops threw the Nazi standards down into the mud at the door of Lenin’s resting place. In the background of the monument can be seen the Spasskaya Tower and the building that used to be the Lenin Museum but which is now the Museum of the Patriotic War of 1812.

However, there are two aspects which differentiate this monument from those that would have been created even in the Revisionist period of the Soviet Union. And both these are on the right hand side. Amongst the group of soldiers cheering there is one face that is looking out directly at the viewer whilst all the rest are looking to the front. Also, tucked behind the folds of the flag on that side is an incongruous figure on a horse. This figure is long haired and bearded and is totally out of place. A Christ figure? And I couldn’t work out what he has in his hand.

At the rear of the monument are two plaques. One explaining the reason for its existence and the other with the names of those involved in its creation.

Translation of the plaques on the rear of the monument. (Machine translated so apologies for any eccentricities.)

Monument to the Unity of the Peoples of the Soviet Union who fought and won together in the Great Patriotic War.

Symbolising the inviolability of monuments to victorious soldiers

It was opened in 2010 in memory of the Glory Memorial which was barbarously destroyed in the city of Kutaisi on December 19, 2009

Built with folk remedies

Sculptors/Architects; – the names listed. However, I don’t know the exact level of their involvement but assume that Shcherbakov was the principal sculptor.

S A Shcherbakov

A N Kovalchuk

I N Voskresenskiy

B V Perfiliev

V V Seliverstov

A A Ustenko

E H Zhivotinsky

G J Gattenberger

In the centre of the concave, stone wall set back a few metres from the statue the high structure pays homage to the monument that was blown up in Tbilisi. The large letters (in Russian) declare the name of the ensemble – ‘We are together in the fight against fascism’. Lower down and on either side are smaller images of other memorials from other Soviet Republics. I can identify Mother Armenia in Yerevan, the original monument in Kutaisi and the Motherland Calls! in Stalingrad but have problems with the others.

On either side of the installation stand two pillars upon which is place a horizontal, large, golden star.

Closest public transport;

Park Pobeda Metro station

Location;

In Victory Park (Park Pobeda), Moscow

GPS;

55.72845 N

37.50152 E

How to get there:

From the metro station head towards the obelisk and main museum but take a path off to the left which goes beside the church. Keep on this track as it goes past the entrance to the Military Weapons Museum (on your left) and then rises as it skirts around the left of the principal, circular structure. The monument is on the left hand side of the track.

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Spa Resort, Tskaltubo, Georgia

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Spa Resort, Tskaltubo - 06

Spa Resort, Tskaltubo – 06

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Spa Resort, Tskaltubo, Georgia

Tskaltubo’s a strange place. The village itself is, to say the least, nondescript and if it had any purpose at all in the past it was to serve the resort hotels and spa complexes which were built on top of the hot springs and the (foul-smelling) curative mud.

All the hotels and spas are either close to or inside a huge park that is (very roughly) 2 kilometres long and about 500 metres wide (at it’s greatest) with a north-south orientation. When this place was at its busiest there must have been thousands of people here and would have resembled the holiday resorts on the Costas in Spain. Walking around the, now mostly abandoned, hotels you come across corridors going off corridors with rooms on either side. Although all of them have large restaurants they would have been unable to cope with all the residents at the same time so there must have been a very strict and organised rota at meal times.

In a previous post, Tskaltubo’s abandoned Spas, Springs and Sanatoria, I attempted to give the background of this area and a feeling of the abandoned faculties which would have had many happy memories, I’m sure, for thousands of Soviet citizens.

Information is somewhat contradictory but what is almost certain is that the heyday of the area would have been from the 1960s to the end of the 1980s – and I imagine the crash would have been as sudden as the collapse of the Soviet Union at the end of 1991. The whole infrastructure which would have moved so many people back and forth from the Soviet Union to Georgia would have fallen apart; the people had too much of an uncertain future to consider going on holiday; money quickly became scarce; and Georgian nationalists would not have been that welcoming when they saw the weakness of the once powerful Socialist entity.

Spa Resort, Tskaltubo - 01

Spa Resort, Tskaltubo – 01

But if citizens from the rest of the Soviet Union lost a favoured holiday destination the Georgians didn’t benefit. Many of them would have lost their jobs overnight. And this wouldn’t have been just those who worked directly in contact with the visitors in the hotels and the spa complexes. A whole host of ancillary jobs would have gone as well in the greater Kutaisi area.

For example, there used to be a railway station (close to which is now the Tourist Information Office) and at the bottom of the park, on the exit road leading to Kutaisi, there was a not insignificant hospital. The latter would have served not only the visitors (with so many statistically there would have been a number of accidents and emergencies) but those locals who worked in the resort, many of whom I imagine lived in the apartment blocks and houses to the east of the main road to Kutaisi.

Recently there’s been renovation of some of the spas (especially Spring No. 6, which houses Stalin’s ‘private bath house’) but many of the accommodation blocks have been (partly) taken over by refugees from Abkhazia, who are living in disgusting slums. Although I’m sure that few in the Georgian government care about these refugees they will probably be ‘safe’ in their squatter status as there’s no way that the area will ever return to it’s illustrious past and there will never be enough money to return all the resort hotels to their former glory.

Spa Resort, Tskaltubo - 02

Spa Resort, Tskaltubo – 02

However, there has been major investment to restore (at least in part) probably one of the biggest hotels, if not in the number of bedrooms at least with its surrounding grounds. This is now called the Legends Spa Resort and is located to the east of the park, half way from the entrance to the resort area on the way to the village of Tskaltubo.

At the height of its popularity this must have been one of the most impressive complexes in the area. The three accommodation buildings of the complex are set along its own private road, quite high above the public road that passes on the way to the village of Tskaltubo, and is reached via two portico entrances from which wide steps lead up to a viewpoint. The trees here are now very much established but forty or so years ago, from these vantage points, the visitors would have been able to look across to the park and a walk from the hotel to the park, or even the spas, would have been a common activity for the visitors.

Although in its prime there would have been on site spa/health facilities these have still yet to be completed (if ever) and those present day visitors on an accommodation and health package get bussed to one of the restored spas in the area of the park, a few minutes away.

Of the three buildings only one has had any substantial work carried out to bring it up to present day standards (and expectations) to open as a hotel – and that only partially – and is the only building currently in use. This is the northern most of the three which has an interesting Socialist Realist bas relief frieze above the front door. I’ve read various articles suggesting that the renovation of the rest of this building is some time in the distant future.

One of the other two buildings (the one with statues above the main entrance) appears to have had some work carried out in the relatively recent past, although it definitely looked like a budget option – but this looks as if it hasn’t been used for some time. The third looked as if it had not been touched at all since the last Soviet visitor left and although not in the best of condition – and difficult to see clearly due to the sprawling vegetation – it also has a Socialist Realist frieze on the façade.

Spa Resort, Tskaltubo - 05

Spa Resort, Tskaltubo – 05

Only very few people were staying there when I visited at the very beginning of June 2024 but I got the impression that large groups would arrive from time to time so perhaps my stay wasn’t indicative of the occupation levels – and anyway it was still relatively early in the summer season.

Having walked around derelict and completely uninhabitable (although some people are forced to live there as they have nowhere else) ex-hotel buildings in other parts of Tskaltubo it was interesting to see what these places were like when they were such a popular destination for Soviet workers. But, as stated above, not all of this particular hotel has been fully restored – so dereliction was only just (literally) around the corner. Go up one staircase and everything is what you would expect in such a hotel but go up another and you see what a lot of work is needed to bring the whole building up to scratch.

A picture paints a thousand words so it is hoped that the slide show will provide a better idea of the whole of the complex. Here I just want to point out a few aspects which stuck out in my mind as I explored all the (sometimes) dark and dusty corridors. For someone who wants to get an idea of the place the fact that there was no restriction on where you could go was quite refreshing, so-called ‘health and safety’ – often used as an excuse to prohibit access – gone mad certainly in the UK (if not other countries in Western Europe).

Spa Resort, Tskaltubo - 04

Spa Resort, Tskaltubo – 04

In no particular order;

  • the many rooms which had been renovated but not kept immediately ready for guests but would be sorted very rapidly if a big group was to book in;
  • the stacks of old spa baths, very dated in their design, which had been taken out of the hotel’s own spa area but the new baths had not yet (in the summer of 2024) been fully plumbed in and the work to do so seemingly frozen for whatever reason;
  • the covered walkway, with metal-framed windows on either side, now (and probably originally) lines with potted plants that joined the accommodation area with the dining and entertainment area of the complex;
  • the large circular dining room which wasn’t in use when I was there but looking as if it wouldn’t take too much to get it ready;
  • the circular cinema/theatre which downstairs looked as if it could be ready for a performance at any time but in the balcony the chairs were dirty and many of them broken or missing with the walls flaking;
  • the light fittings that were very reminiscent of the Moscow Metro. Whereas western metros and underground systems are industrial spaces that of the Soviet transport system was ‘domestic’, there being light fittings that you would find in other public buildings in the country, which included chandeliers, all which provides a softer lighting as opposed to the harsh, functional fluorescent strips which are the norm in the west;
  • the cinema projection room which still houses two, late 20th century 35mm projectors, one of which still had a reel of film in place. Although not very tidy and with a few things having been taken for use elsewhere you could still imagine (with a fair stretch of the imagination) that a film could be shown tonight;
Spa Resort, Tskaltubo - 03

Spa Resort, Tskaltubo – 03

  • the ‘museum’ – which is really only a higgledy-piggledy collection of items which no one could find a present day use for but didn’t want to throw them in the skip. This includes a bust of Karl Marx and one of VI Lenin, as well as some old health awareness posters and a 1980s ‘sound system’ amongst other nick-knacks. This all in what was a small café/bar in the latter days of the Soviet resort;
Spa Resort, Tskaltubo - 07

Spa Resort, Tskaltubo – 07

  • a frieze depicting industrial workers and those in working in the countryside, as well as ‘intellectuals’ necessary for the construction of Socialism – the workers of hand and brain. The frieze above the entrance of the first building – that which is in constant use – in a very good, and restored, condition. The one over building three – the building that doesn’t seemed to have received any renovation of any kind since the building was closed – needing a bit of loving care but still in a good enough condition that you can make out the story;
  • remnants of the 1980s in terms of furniture, curtains, pianos, light fittings, etc. All the renovation seems to have attempted to recreate the ambiance of the past where possible;
  • ‘Stalin’s suite’ – which is located on the first floor of the third (the least ‘luxurious’) building. As stated above there doesn’t seem to have been any work carried out in this building and for that reason is the most derelict. That is, apart from a small area on the first floor on the west side of the building. This is a small suite comprising of; a sitting room; a bedroom; a small office and a bathroom. Obviously Uncle Joe wasn’t into cooking as there are no facilities for such. This is said to have been Stalin’s residence of choice. Now whether this is true or not I cannot say. I’ve also read about a villa on the other side of the park that Stalin was supposed to have used when visiting Tskaltubo. But if we assume that it is true then what this demonstrates is how humble and undemanding a personage Comrade Stalin was. NO capitalist leader at the same time that he was the leader of the Soviet Union would have stayed in such humble circumstances – even less so now. And as with his ‘private bath house’ in Spring No. 6 it just goes to show what an unassuming man he was – a true leader of the working class.
Spa Resort, Tskaltubo - 08

Spa Resort, Tskaltubo – 08

Another thought I had when walking around this complex just reinforced what I was thinking when I first visited Tskaltubo. Yes, many of the buildings, both the hotels and hot springs/spas are ruins but that was due to neglect and not mindless vandalism. In various parts of this complex you get the impression that one day everyone just up and left – some being careless and not shutting the doors or windows. Come the winter or the rainy season the elements stared to make an impact and some of the wooden parquet floors were damaged. As there was no regular maintenance being carried out that meant that, over time, water started to get in through breaks in gutters or leaks in roofs thereby causing damage to ceilings and walls and wooden window frames started to rot. Lack of regular maintenance also meant that the exterior stonework started to stain and crumble.

Although there must have been some element of looting it wasn’t complete and although it might have caused long lasting damage in some circumstances it certainly wasn’t general. This was very different from what happened when things fell apart in Albania. In that country there was wholesale destruction and whereas, at least, some of the buildings in Tskaltubo could be brought back into use you can say that about remarkably few in Albania.

Whether by commission or omission I still feel that the people’s of the once Socialist Republics ended up throwing out the baby with the bath water.

Location;

Rustaveli St 23, Tskaltubo

GPS;

42.321194º N

42.604205º E

Website;

Legends Tskaltubo Spa Resort

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Mayakovsky in Kutaisi, Georgia

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Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

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Mayakovsky in Kutaisi, Georgia

Vladimir Mayakovsky, was born in Baghdati, about 15 kms south of the city of Kutaisi, in western Georgia, on 19th July 1893. Described by Joseph Stalin, in 1935, as

‘the best and the most talented poet of our Soviet epoch’

he also criticised the Soviet intellectual establishment of ignoring Mayakovsky’s achievements after his death on 14th April 1930 adding

‘indifference to his cultural heritage amounts to a crime’.

Mayakovsky and Marxism

Mayakovsky got involved in the growing revolutionary movement in Russia soon after moving to Moscow in 1906 and during that time developed a passion for the works of Marxism.

‘Never cared for fiction. For me it was philosophy, Hegel, natural sciences, but first and foremost, Marxism. There’d be no higher art for me than ‘The Preface’ by Marx,’

he wrote in his autobiography ‘I, Myself’.

And when he is writing about ‘The Preface’ he means that to Marx’s 1859 book ‘A Contribution to the Critique of Political Economy’. But not all the preface, there’s one section that is almost hidden amongst some dry text which springs out at the reader as a work of poetry, beautifully constructed, with complex ideas but expressed in a clear and concise manner. It’s no wonder that, as an aspiring poet when he first read those words, they made such an impact upon the young Mayakovsky.

Mayakovsky and Russian Futurism

But for a number of years prior to the October Revolution he bounced around and, as he also wrote in his biography;

‘Revolution and poetry got entangled in my head and became one.’

In this period he was very much involved in the Russian Futurist movement, one of the avant-garde movements that developed in the early 20th century, which rejected the past and praised industry, technology, city living and speed.

Mayakovsky as a Socialist Propagandist

Immediately after the end of what became known as World War One 14 imperialist nations (who had been knocking hell out of each other for four years) invaded the young revolutionary Russia to assist the White reactionaries forces. Since the October Revolution they had been inflicting death and destruction in the Red (pro-Soviet) areas murdering anyone who had the temerity to stand up against exploitation and oppression. In this environment Mayakovsky threw his knowledge and skills into producing revolutionary propaganda to instil in Russian workers and peasants the determination to resist the re-establishment of the old order.

Ukrainians and Russians have a Common War Crime - Pan will not be the master of the worker

Ukrainians and Russians have a Common War Crime – Pan will not be the master of the worker

‘Art must be everywhere – on the streets, in trams, in factories, in workshops, in workers’ apartments’,

he stated and estimated he had created about 3,000 posters during the Civil War.

Mayakovsky and Lenin

Mayakovsky was a life long admirer of VI Lenin, the great Marxist and leader of the revolutionary Bolshevik Party. He showed his respect for the Lenin by producing a 3,000 line epic poem, called ‘Vladimir Ilyich Lenin’ which was published in October 1924, nine months after Lenin had died on 21st January of that year.

Vladimir Ilyich Lenin - a poem

 

The dual language version of the poem published by Progress Publishers, Moscow, in 1970.

 

Mayakovsky admired Lenin but such respect wasn’t always reciprocated.

On May 6th, 1921 Lenin wrote to AV Lunarcharsky (People’s Commissar for Education from 1917 to 1929);

‘Aren’t you ashamed to vote for printing 5,000 copies of Mayakovsky’s “150,000,000”? It is nonsense, stupidity, double-dyed stupidity and affectation. I believe such things should be published one in ten, and not more than 1,500 copies, for libraries and cranks. As for Lunacharsky, he should be flogged for his futurism.’

VI Lenin Collected Works, Volume 45, p138

However, on March 6th, 1922 Lenin said in a speech to the Communist Group at the All-Russia Congress of Metalworkers:

‘Yesterday I happened to read in Izvestia a political poem by Mayakovsky. I am not an admirer of his poetical talent, although I admit that I am not a competent judge. But I have not for a long time read anything qn politics and administration with so much pleasure as I read this. In his poem [Incessant Meeting Sitters] he derides this meeting habit, and taunts the Communists with incessantly sitting at meetings. I am not sure about the poetry; but as for the politics, I vouch for their absolute correctness. We are indeed in the position, and it must be said that it is a very absurd position, of people sitting endlessly at meetings, setting up commissions and drawing up plans without end.’

VI Lenin Collected Works, Volume 33, p223

Mayakovsky’s Death

Mayakovsky in 1930

Mayakovsky in 1930

On 14th April 1930 Mayakovsky committed suicide. As with any death of a ‘celebrity’ there’s a shed full of conspiracy theories surrounding the circumstance of their demise. I won’t be even going there. There is a somewhat prurient photograph of the dead Mayakovsky showing a blood stain in the region of his heart – an unusual choice of target in a suicide. Perhaps a sign of his vanity and didn’t want to destroy his looks.

Why Mayakovsky in Kutaisi?

During the period of Socialist construction – which effectively ended in 1956 after Khrushchev made his infamous speech at the 20th Congress of the CPSU – Maykovsky was praised and respected for the work he had produced in times of crisis, i.e. the Civil War from 1917-22, as well as the efforts he made in the establishment of a new sort of writers organisation where ‘intellectuals’ would serve the people and not be the lackeys of rich patrons.

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

In the period that followed the denunciation of Comrade Stalin by Khrushchev at the 1956 Congress the revisionists in the Soviet Union then turned on anything that challenged the direction they wanted to take the Soviet Union – now a post-Socialist state. This meant that Mayakovsky’s involvement in the Russian Futurist movement was played up in an inverse ratio as his role in the construction of Socialism was played down.

Then came the collapse of the Soviet Union into an openly capitalist society – the inevitable consequence of the decisions made in the 1950s. Georgia split from the erstwhile Soviet Union and gradually relationships between the two countries got worse and this exploded in a short 5 day shooting war. Although the firing stopped the animosity didn’t and as a consequence many of the manifestations of the Soviet past were either destroyed or neglected (such as the monument to the Unknown Soldier and the statue of Victory in Vake Park in Tbilisi which has just been left to rot.)

And the same fate has befallen Mayakovsky. Even though he was born in Georgia, in a small village close to Kutaisi (where he went to school until leaving for Moscow in 1906) he was, and still is, obviously too tainted with the Soviet Union to have a statue of him treated with any respect. I can’t imagine that where it is now to be found (in the courtyard of the Kakabadze Fine Art gallery in Kutaisi) was it’s original location.

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

This courtyard is sometimes called (in the crass British guide books) as a ‘Sculpture Park’ but presently it’s more of a dumping ground for statues that aren’t politically acceptable (for whatever reason) to be on real public display. The courtyard is more correctly described as the designated smoking area for the art gallery staff.

Despite the above reservations it is a place to visit if you head to the art gallery. When I went it was the only place I could visit as although the gallery was nominally open it wasn’t to the public as ‘something was being set up in the gallery space’. (I think this was just an excuse that is given by museum staff when they don’t feel like making an effort. I encountered a similar situation in the Kutaisi Military Museum.) The only place I could visit was the courtyard.

But it was worth it. I’ll talk about the other sculptures in another post but here I want to concentrate on one statue – that of Vladimir Mayakovsky.

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

It’s not in a good condition – but not as bad a condition as some of the statues who share the space. It seems to be made of stone – but not a particularly hard stone as the environment it has been living in for I don’t know how many years has not been very conducive to its preservation. There’s a fair amount of algae growing on the surface and this seems to be taking its toll. The courtyard doesn’t really get any movement of air and it’s probably quite cold and damp in winter – and even in summer the warmth from the sun is only there fleetingly and it can be quite humid.

This is where Vladimir now lives. For how long I, and I’m sure nobody, knows. As with the other damaged statues in the courtyard it might be the weather that really determines their fate. Once past a certain level of decay the expense of restoration would become prohibitive.

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

I would like to have know more about the statue; where the statue originally stood, when it was moved – but have only been unable to identify the sculptor who was Irakli Ochiauri, who was born in Tbilisi on 24th November 1924 and died on 4th December 2915 (place unknown).

Location

The courtyard of the Kakabadze Fine Art Gallery on Rustaveli Avenue 8, just across the road and slightly to the centre of town from the Information Centre in the older part of Kutaisi.

GPS

42.2709

42.7008

Opening times

Monday – Friday 10.00 – 18.00

Entrance

GEL 1

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