Samassamotsdakhuti

We apply as a collective of independent art book publishers from Tbilisi, Georgia. Each of us has our own style and perspective on book publishing. As publishers from a small country with its own language and writing, we release pages to present our art and thought. The group contains:
- "Three Hundred Sixty-Five" is an art newspaper publisher until recently, when their bilingual book - REVOLVED about artists from Georgia is soon to be released in Berlin.
- "Xaraxaura" is a non-profit community - the only risograph printshop and publishing in Georgia. They run workshops and community gathering events in Tbilisi.
- "De:nostalgia" – non-commercial annual, bilingual, research and interdisciplinary magazine focusing on the revaluation and deconstruction of the past of Georgia and connecting the local cultural scene and experience with the global. The magazine brings diverse and overlooked voices that question the status quo.
- "Kona Books" is a publishing house and a bookstore focusing on contemporary visual and interdisciplinary projects. They are dedicated to publishing bilingual editions of Georgian and international artists in a dialogue with writers, poets, and other practitioners situated in Georgia or with a shared connection in their practice.

Elene Chantladze, Gift to Irma, Kona Books, 2025, © Elene Chantladze

A selection of works Elene Chantladze gifted to her daughter Irma, accompanied by a text by Miciah Hussey, Stories in Stones: The Art of Elene Chantladze.
Editor: Nina Akhvlediani, Lisa Offermann, Dan Solbach
Text: Miciah Hussey
Design: Timur Akhmetov
Language: EN / GE

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Mariam, Turning Square, Xaraxura, 2025, © Mariam

Printed on a risograph, hand-bound.

This publication is dedicated to my beloved square located at the turnoff to Nutsubidze Plateau I, which, by decision of the City Hall, has been under restoration for the past three months.
Language: GE

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The magazine was intended to speak about various forms, experiences, and senses of Nostalgia locally and globally. Georgian people feel nostalgia towards theatre and the feeling is justified. Without analyzing and delving into the reason as to why that may be, I have decided to offer the platform to theatre theory, as I identify the lack of it to be the primary reason for the lack of the broader vitalism in theatre. Theatre can be vital in Georgia, but only in small pockets and crevices, which are not safeguarded but shunned by the government and increasingly used as a tool for political manipulation and control and not vice versa.

Language: GE/EN
Graphic design: Mariam Epitashvili
Editor and founder: Mariam Megvinyte

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