The art of dissent: political resistance through Tbilisi’s streets

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 with 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 how artistic protest challenges the status quo and mobilizes civic society.  

Georgia falls among the definition of post-Soviet, and according to the Electoral Democracy Index, which leverages on five main components that represent the institutions and conditions of “polyarchy,” the country can be categorized under the umbrella of unstable democracies. According to the Electoral Democracy Index’s charts, the country has shown fluctuating progress since the USSR’s collapse, peaking in 2016 before experiencing a steady decline following the rise of the Georgian Dream party. This regression has intensified Georgia’s shift towards autocracy, renewing its closeness to Russia and straining its European aspirations. 

Concerns about democratic backsliding materialized with the approval of the 2024 “foreign agents” law, a measure mirroring Russian policies designed to suppress dissent, leading critics to fear for the law’s impact on civil society, independent media, and political opposition. Both international partners and Georgian citizens have voiced their alarm, with civil society turning to protest and street art as a means of resistance. Murals and graffiti have emerged as powerful tools to counter political apathy and mobilize public engagement. 

The distinction between opposition and resistance is key in understanding this movement. While opposition functions within institutional boundaries, resistance is decentralized and thrives in cultural spaces, using art, literature, and alternative expressions to challenge authority. In Tbilisi, street artists have transformed urban landscapes, creating thought-provoking murals to stir collective consciousness. This form of non-verbal resistance stands as a testament to public dissent against authoritarianism, ensuring that even in the face of repression, the fight for democracy and freedom remains visible. 

According to Hanauer, graffiti fulfill 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. 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 the 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, that symbolizes a scream of resistance that every citizen can express.  

In contrast with the random location of the amateur graffiti, Gagosh, one of Georgia’s most politically engaged muralists, places most of his works along Rustaveli Avenue, ensuring they catch the eye of passersby while remaining semi-hidden in alcoves and recesses. His murals often blend Georgian folklore with political symbolism, addressing issues like the war in Ukraine (picture b) and Georgia’s democratic backsliding (picture a).

Beyond Gagosh, other artists engage with political themes differently. Tina, for instance, focuses on advocating for women’s and LGBTQ+ rights, using art to spread messages of love rather than direct provocation.   

Graffiti and street art reshape urban spaces, challenging dominant narratives and redefining public spaces. In Georgia, artists use these forms of expression to critique political and social issues, yet their work often faces swift erasure or censorship. Despite this, the digital documentation of street art preserves its impact, creating a “hybrid space of resistance” that allows messages to persist even after removal. 

According to Gagosh, almost 90% of his nearly 200 works have been erased, often for political or religious reasons. Similarly, Mariam Natroshvili faced informal pressure after her critique of government funding for the Orthodox Church appeared on the Patriarchate’s gates.  

Attempts to suppress street art can sometimes backfire, as seen in Gagosh’s “Mother of Kartli,” where a police officer was later depicted aiming a rifle at the revered figure—turning an act of censorship into a powerful statement on police brutality. Suppression and censorship afflict also amateur expression, as seen in the EU and Ukrainian flags painted alongside Georgia’s, which have been crossed out in attempts to erase messages of unity (picture c).

Protest graffiti serves as a voice for the marginalized, resisting government attempts to silence dissent. Though often erased, these visual statements symbolize the enduring fight for free expression and political resistance in Georgia. 

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. 

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.