On The Edge

Friends, you have a time machine in front of you. Fasten your seat belts, the roads are not entirely commendable: so, first there was a rally, other things happened later. It's the 90s after all - Vandam, Chuck Norris, tycoons on burning tires, colorful old boys, policemen in swissocks and thieves in ties, out-of-control robbers and outlaws, alternative poetry and completely alternative rock... politics too was. Rather, it was mostly politics. My father used to put me on his shoulders and take me to rallies. There were loud shouts, raucous speeches, gau--maarjos-jos-jos-s, "take heart, David"s, and most importantly, the convoluted, monotonous, exalting - zvi-a-di! Zvi-a-di! Zvi-a-di! We even lived between political breaks. In its own way, of course. Then televisions? However, I'm not sure if I should use the plural or not? In any case, if media pluralism did not lead the country, I remember it well. Ungodly karate artists (Vandam, Chuck Norris, Bruce Lee, etc.) would beat the whole neighborhood or block and finally waved their hands from the screens with the signature "Hiyaaa" shout together with their girlfriends. We imitated, we loved... we loved Chuck, Van, Bruce and, if necessary, Dolph Lundgren. Who else should you love at that time! It was either them or Mark Rivkin on TV. Well, we loved them, not Rivkin. Sorry, Mark! In fact, when we look back on the 90s, we should also say that this is not a date, but a symbol, a conventional sign, by which we celebrate a state, not a time. More precisely, an unstable transition state. Therefore, from my point of view, the 90s began in the 80s, crossed chronologically and ontologically into the 90s, and ended in 2000. However, reliable people also say that for those who lived through the 90s, that time is not over. i followed However, it would not have turned out otherwise. Guram Tsibakashvili's photo thriller "On the Edge" is a real time machine, a brutal guide to the brutal 90s. One pre-90s writer even says, "Nobody knows more than you can find on the shelves of a public library," but don't trust writers. Guram Tsibakashvili's lens knows more than you will find in any public library. In any case, he definitely knows about the 90s. - Paata Shamugia Tsibakha's vision is like that of a lizard - it is peripheral. Some of the pictures are as if they were seen with a twisted eye - the eye of a lizard sitting on a sip stone... This lizard lives in a cemetery. The mood of the cemetery or "Hades" episode in Joyce's novel seems to permeate the entire photo-series. Everything in these pictures is masked by death. In the urban environment, death has its own citizenship: here it no longer appears as a stage of renewal of life, as in pastoral or hunting cultures. Death in the city is primarily a self-evident and unconditional phenomenon that drags everyone equally into its hole - this hole is called Farandola. Tibakha also creates a photo-farandola... The flow of faces speaks of the passing of faces, moreover – these individual faces themselves speak of their passing. - Zurab Karumidze