Georgy Molodtsov has been a VR programmer and director for many years, active in Russia and Eastern Europe in particular. Today, he is continuing his programming work with the Tbilisi VR Days in Georgia, a very French-speaking first edition in a country where VR still needs visibility. And a form of continuity for Georgy Molodtsov, who talks to us about a region of the world where VR still has everything to gain.
Cover by Vlad Maleev, technical director of Tbillisi VR Days
Navigating a troubled Eastern Europe
Georgy Molodtsov – Since leaving Russia in 2022, I’ve been lucky enough to continue my work with VRROOM and Jean-Michel Jarre, notably last year on Webby Award winning OXYMORE. It was a much more ambitious project than WELCOME TO THE OTHER SIDE, with a hybrid production based around a physical concert in Paris and a VRChat version that enabled us to meet a multiple audience. We continue to work together on the VRROOM platform and concerts in virtual worlds. I’m also developing my own productions, notably MORMOVERSE: UNDER THE PILLOW. It’s great to be able to count on his support in these troubled times, and to continue to exist in a very supportive ecosystem.
G. M. – Tbilisi VR Days was born out of my relocation to Georgia last year, where a few close friends and some of my family live. Georgia is an interesting country, where XR is still in the early days of development. I’ve done a lot of work in Russia and Germany around larger and smaller events, festivals or more ephemeral pop-ups (goEast Film Festival, CannesXRussia showcase with French Institute, VR_SciFest, etc), and it seemed possible to organise a modest festival that would showcase virtual reality experiences. In reality, with Tbilisi VR Days, everything is up for grabs, and that’s exciting. I was fortunate that the French Embassy and the Institut Français were quick to lend me their support.
Tbilisi VR Days 2023 – Line-up
- GLOOMY EYES
- THE DAWN OF ART
- BIOLUM
- GOLIATH: PLAYING WITH REALITY
- THE HANGMAN AT HOME
- ON THE MORNING YOU WAKE
- OXYMORE
- ISLE OF THE DEAD
- THE REAL THING
- MEET MORTAZA
- I PITY THE GARDEN (see our article)
- VIRTUAL TBILISI 360
- MORMOVERSE: UNDER THE PILLOW
Building a new event in Georgia
G. M. – Georgia is a very European country in the middle of Asia Minor, surrounded by Turkey, Armenia and Azerbaijan. The country has developed a banking stability unprecedented in the region, which facilitates import/export, but also has a strong interest in new technologies (notably via GITA – Georgia’s Innovation and Technology Agency). There’s a lot of ambition around robotics, AI and so on. I’m more involved in the cultural side of things, because there’s a film industry that’s just waiting to grow, and a lot of intentions for XR to grow in parallel. One of the key parts is to involve local art community in the project. That’s why I’m really happy that we were able to invite Georgian art director of the exhibition – Mariam Natroshvili. She is a well established art figure in the Georgian and international art community. Working in duo with Detu Jincharadze, they’ve created several VR projects, one of which, “I pity the garden” was presented at the Venice Architectural Biennale in 2022 in Georgian Pavilion. We would showcase this work at our event as well.
G. M. – The contribution of the Institut Français via their catalogue was key. They are able to offer a diversity and number of works that have helped me a lot. I really try to plant a seed each time in the countries and places where I create an event. The ambition is to be able to last, and develop a proposal on the spot that is coherent with the context. The first step is to go and meet the public and explain to them what XR is, what immersive artworks are… Only then can we imagine more events and scenography. First of all, we need to understand the local context (with schools, businesses, cultural support…). These are still relatively virgin territories for immersive initiatives, where we need to find the right resources.
G. M. – And I think a lot about the audience. Many will come for pure entertainment, others for innovation. It’s vital to be able to put together a first edition so that everyone understands what you want to do. We have to think carefully about this in the selection of works we offer, between some “classics” and other more difficult-to-access experiences. Year after year, we can then make more audacious proposals, if we want to!
G. M. – Then you have to be cunning to get the equipment and headsets together. Partners are essential in a region where resources are limited. Personally, I’ve been able to assemble some of the equipment. But you also have to think about a minimum of scenography to best welcome the works and the public in a cultural spirit. This is the hardest part of starting up a new event, but it’s what can make all the difference.
https://filmxr.ee/tbilisivrdays2023
Supporting WIP projects
G. M. – Through my work with the goEast Film Festival, it seemed obvious to me to support the development of projects. And to refocus programming efforts on works that have production or distribution needs. That’s why last year we only programmed “work-in-progress”, because we wanted to bring our resources to bear on projects that really needed them. We’re always keen to offer authors prizes or grants that could give them greater visibility, notably to facilitate their access to the international scene or to co-producers or financiers.
Previous articles
From Bloodbath to Hammam: goEast explores new territories of XR and awards WIP Projects
“I want to give more exposure to east-european talents” – Georgy Molodtsov (goEast Film Festival)
goEast’s Open Frame 2020 goes fully VR for its award ceremony
