In 1910-1920-ies, the cultural life of Tbilisi is very important event in the history of modern Georgian art.
In the beginning of XX, century Georgian art was already ready for adopting new different tendencies of the modern art. Georgian artists tried to base the achievements of European and Russian modern arts on their own cultural ground. At this period in Tbilisi was going very intensive artistic and literary every-day life. There were a lot of artistic unions, organizations and avant-garde groups in Tbilisi.

Der größte Markt von Tbilisi in der Nähe des Bahnhofes, im Volksmund "Deserteurs-Markt" genannt, bietet ein überaus lebendiges und eindringliches Bild des aktuellen Lebens und Überlebenskampfes in der georgischen Hauptstadt. Aus diesem Grunde habe ich dort im Sommer 1997 eine einmonatige Feldstudie durchgeführt, die von den folgenden Fragen geleitet war:
Wie hat sich der Markt von der Sowjetzeit bis in die Gegenwartge wandelt?

Studding and researching of Transcaucasian and especially Georgian postmodern culture, defining of it’s peculiarities, tracing the specifications of it’s evolution naturally demands the revealing of cultural archetypes and pre phenomena’s, existed in mentioned countries’ culture during centuries. Take into account that in Trans Caucasian reality the national, as a semantic and structural unity, kept a determined function of stimulus of culture evolution in even very severe historical periods.

After the WW II the Russian art going over the new stage of its evolution. Radically different art trends, from soc realism till conceptual art, simultaneously existed in Soviet area and evaluated on the background of social and political collisions of "Оттепел","Застой" and "Перестройка". The multifarious of art trends were joined in two main directions: formal art, where the authority dictated art forms and images, and non-formal, non-conformist art, with its protest against the everything official. This last trend defined the evolution of new Russian art.