Political dissent is one of the highest forms of political participation, offering citizens a channel to provoke authority, question governance, and advocate for change. In Georgia, alongside the civic protests of 2024, graffiti and street art emerged as vibrant tools to express public discontent. Often associated to vandalism, graffiti must be regarded as a meaningful form of political participation that aims to oppose the conventional order.
Identified by Waldner and Dobratz as a type of political discourse, street art is used to spread ideas and values, as well as to voice grievances and disputes. Graffiti, as a medium of protest, has long been an emblem of resistance, especially in contexts where traditional avenues of opposition are restricted.
By intersecting the theoretical concept of autocratization — the gradual decline of democratic freedoms in favor of authoritarian rule — with the powerful meaning of visual representation, it is possible to better understand artistic protest. This form of expression, recently embraced extensively by Georgia, serves as a counterforce, challenging the status quo and mobilizing civil society.
Georgia is, by definition, a post-Soviet state, characterized by common legacies, such as close ties to Russia, extensive use of the Russian language, and short-lived experiences of nation-state independence. According to the Electoral Democracy Index, which leverages on five main components that represent the institutions and conditions of “polyarchy”, Georgia can be categorized under the umbrella of unstable democracies. The country’s democratic instability is evident in the Electoral Democracy Index’s charts, which shows a fluctuating, yet improving, trend since the collapse of the USSR. The country experienced a period of stability in the three years following the Rose Revolution, reaching its peak in 2016, before the Georgian Dream came to power. Since then, a steady and constant decline has been observable, continuing through to the data recorded in 2023.
Georgia’s democratic diversity was partly due to its exposure to Western influence, which has helped balance the country’s drift toward authoritarianism. Unfortunately, ties with the West have not been enough to prevent the noticeable shift toward autocratic tendencies, which led to a renewed closeness with Russia and a wavering in its European ambitions. The idea of returning under an authoritarian state had been a long-standing concern among pro-European citizens, becoming a reality after the approval of the controversial 2024 "foreign agents" law. The bill, approved by Parliament, closely mirrors Russian measures to suppress dissent, prompting critics to fear the restraint of civil society and the silencing of dissenting voices, including NGOs and independent media.
These developments have been critically observed not only by Georgia's international partners but also by the Georgian civil society, which finds itself cornered by a repressive law. In response, it has chosen to manifest its opposition to both the legislation and a ruling class by which it no longer feels represented, using street art as a non-verbal form of resistance to reach and stir the subconscious of the population. Aiming to push the boundaries of aesthetics, Tbilisi’s street artists have created numerous murals across the city centre, using visual expression to break through political apathy and inspire public engagement in their cause.
In political discourse, when talking about such phenomena, the terms opposition and resistance are often used interchangeably; yet they differ remarkably. On the one hand, opposition typically involves balancing forces like action and reaction, as seen in democratic governments where the opposition is recognized and operates within established institutions. Resistance, on the other hand, is more fluid and decentralized, navigating around power structures rather than directly confronting them. It thrives in cultural spaces, where expression is more ambiguous and multifaceted. Unlike opposition, which tends to communicate its message clearly and directly, resistance often manifests in subtler ways—through literature, art, or alternative forms of expression that challenge dominant narratives without overt moralism.
According to Hanauer, graffiti fulfil three critical functions: they provide a platform for ideas ignored by mainstream media, offer individuals a means to publicly express controversial opinions, and create a space for marginalized voices. These messages are often not just unofficial but outright anti-official, and frequently illegal. They are created for the population which is able to use critical thinking to receive the message. Described as “an inherently political act,” graffiti can be understood as a unique form of political expression that stands in contrast to statements conveyed through more conventional forms of discourse.
One of the peculiarities of graffiti is anonymity, a fundamental safeguard that allows whoever to express their political view publicly. This feature can be observed in the multitude of walls throughout Tbilisi that have been marked by the same writing, but unique in its making. The numerous 'Fuck Ruzzia', where the 's' is provocatively replaced with a 'z' in reference to Russian military uniforms, is a scream of resistance that every citizen can express, leaving their mark and joining the fight without being an esteemed artist or having to show their face.
The random location of amateurs’ discontent creates a stark contrast with the more meticulously planned ubication of street artists’ works, such as Gagosh, one of the most well-known and politically engaged muralists. In fact, his art is strategically placed along Tbilisi’s main street, Rustaveli Avenue. This careful positioning is evident in how his works are not displayed on the main walls but rather hidden in recesses and corners, designed to catch the eyes of passersby and draw them in with provocative details. Moreover, a quick glance at his social medias is enough to see that his commitment extends beyond the capital, but it extends to the major cities of the country and even abroad, leaving his mark on the walls of Barcelona, Florence, and Brussels.
in Vitiello’s interview, the artist affirms:
[…] When I was a student, I was demonstrating on the main square and screaming. Then I understood I could start screaming another way.
Indeed, his art can be considered as a form of impactful protest. By combining Georgian folklore with provocative allusions, Gagosh wants to capture the spectator’s attention and encourage reflection. His works demonstrate a clear stance on issues shaping the current global (dis)equilibrium, such as the war in Ukraine, which he addresses through allegories of support and unity between the two countries (picture b).
Gagosh’s political engagement becomes even more provocative when addressing issues related to his own country, such as the recent conservative backlash against the LGBT+ community, which, as a reminder, has been significantly impacted by the 'foreign agent bill'. This is evident in “First European reacts to the Russian law within his social norms” (picture a, header), where it is possible to observe the first Homo Georgicus urinating on the legislation zakon ob inoagentakh (foreign agent law). Appearing on the walls of Rustaveli Avenue before the April protests, this mural can be seen as a turning point for a louder civic engagement. This message—difficult to misinterpret—clearly represents where the population stands in relation to the proposed and approved law.
Gagosh also interprets symbols of resistance and civic upheaval, urging the population to remain resolute against government repression. This is vividly illustrated in a stencil depicting a girl showering with a shockingly cold stream of water, symbolizing a "wake-up call" for society (picture c). There are also cases where imagination blends with reality, and Georgians provide proof of this through a powerful imagery that recalls the graffiti (picture d). What they have demonstrated—and continue to do during the protests—is their determination to motivate individuals to rise against authoritarian measures and reclaim their voices in the face of oppression.
If compared to Gagosh, there are other artists who have a less aggressive approach, like Tina. She is an artist focused on advocating for women and LGBTQ+ rights who believes in the positivity of her message. Her artwork is intended to convey love rather than provocation; however, given the sensitive nature of the topics she addresses, she often finds it challenging to secure the collaboration needed to complete her projects. To overcome these obstacles, Tina has opted to use mobile panels, allowing her to share her messages more freely while remaining true to her vision.
Graffiti and street art interventions can reshape urban spaces, creating a place that both reflects and transforms the sociocultural landscape, challenging dominant narratives and the legitimate use of public space. Street artists, while vocal in their critiques, frequently encounter an environment of fear and control, where their work is swiftly erased or criticized. However, thanks to the technological advancements and the widespread use of social media, their work continues to capture the audience attention and creates a “hybrid space of resistance”, where it is possible to witness their art even after erasure. The temporary nature of street art in Georgia, often removed just days after it is created, highlights the fragile balance between artistic expression and censorship. Yet, the digital documentation of these works allows them to live on, continuing to inspire and provoke thought long after the physical pieces have disappeared from the streets.
According to Gagosh, 90 percent of his nearly two hundred pieces have been erased, often for political, religious, or unclear reasons. A more direct repression was reported by Mariam Natroshvili, who was suggested to “not continue with such actions” following an informal interrogation held after her inscription 25,000,000,000 – a critique to the allocations of funds to the Orthodox Church – appeared on the gates of the Patriarchate.
Oftentimes, attempts by the police to remove or alter these works may backfire, increasing their value. This is the case of Gagosh’s "Mother of Kartli," one of Tbilisi's religious symbols, depicted with her face concealed. The artwork was immediately covered, but the artist, rather than letting it erode over time or be permanently erased, made it even more meaningful by portraying an officer pointing a rifle at the "Mother" — a clear denunciation of police brutality. Now, the only remaining evidence of Gagosh’s work can be found on his Instagram page (picture e).
Yet not only the work of known artists experiences censorship and manipulation. A less dramatic but equally powerful case involves flags representing the EU and Ukraine, arranged next to the Georgian national flag, crossed out with red X's in a clumsy attempt to erase the message of unity and solidarity. Despite the marks, the spirit of the Georgian people’s desire to define their place within the European order and democracy shines through (picture f).
To sum up, protest graffiti gives voice to marginalized groups; they emerge as a way to question those authorities that have tried to silence them and often are followed by erasure, symbolizing governmental control over personal expression and individual voices.
Street art not only serves as an outlet for political dissent but also plays a role in shaping the political consciousness of the population.
In times when democracy is continuously undermined, it is a civic duty to mobilize and prevent an authoritarian shift. The Georgian population does not shy away from taking action, either through public demonstrations of dissent, translated into high-profile political protests, or through quieter, more discreet protests that nonetheless make an impact. The unique aspect of street art lies in its complete and unapologetic accessibility, allowing everyone to make their voice heard. Furthermore, the anonymity of street art allows individuals to express dissent without the fear of immediate repercussion — a crucial factor in environments where political repression is on the rise.
In the battle between autocracy and democracy, the walls of Tbilisi have become a testament to the enduring power of dissent. As long as there are artists willing to paint, the spirit of resistance will remain visible, reminding both the people and their government that the fight for freedom is far from over.