Posts Tagged ‘Fine art’

Moscow has been a very familiar name since childhood and one had heard about the Red Square, Kremlin etc. from a young age. In November 2019, I had an opportunity to spend a couple of days at Moscow. The fascination with the USSR and consequently Moscow, had started with some of the Soviet publicity books that I had read when I was young. Kerala, with its Communist roots, was always interested in the USSR and the stories of the October revolution, Lenin etc. were quite commonplace.

Naturally, my first port of call was the Red Square. Given the Communist history of Russia, my impression was that the origin of the name Red Square must have been connected somehow with the revolution. However, I understand this is not the case. This has been the main commercial square in Moscow since many centuries and it has been called so since 1662 or so. It separates the Kremlin (palace of the Tsars and currently of the Russian President) and the historic merchant area. This has been a very important location in Russian history and many ceremonial activities including coronation of the Tsars took place in the Red Square.

This rather large square borders the Kremlin on one side and the main attractions are the most famous icon of Russia, the St. Basil’s Cathedral, Lenin’s mausoleum etc. There is a very large department store (called the GUM) that occupies one side of the Red Square where the erstwhile commercial quarter was located. This store is more than a hundred years old, I understand.

 

On one side of the Red Square is the Kazan Cathedral. After defeating the Polish army in 1612, Prince Dmitry Pozharsky entered the Kremlin through the Red Square and in commemoration of that success, he built this Cathedral and consecrated it in 1625. The original building was of wood and burned down in a fire in 1632 and was rebuilt using brick and consecrated in 1636. It was considered as one of the most important churches in Russia and on the anniversary of liberation of Moscow from the Polish forces, the Tsar and the Patriarch of the Russian Orthodox Church used to lead a procession around the Red Square. As part of removing religion from public life, Stalin ordered the demolition of the church in 1936 and a temporary building to host the offices of the Communist International was constructed on the site. After the fall of USSR, this was the first church to be reconstructed (1990-1993) and has been made to look like the old church.

 

St. Basil’s Cathedral is arguably the most reproduced image from Moscow and is regarded as a cultural symbol of the country. It is now a museum. its original name was The Cathedral of Vasily the Blessed. Ivan the Terrible, the first Tsar of Russia (1547 to 1584), constructed this church to celebrate the capture of two cities – Kazan and Astrakhan. The construction took six years from 1555 to 1561 and it had nine chapels with eight chapels around the central ninth one. A tenth chapel was added later, in 1588, to honour a local saint named Vasily (Basil in English). In the Soviet era, this church was taken over by the state and converted to a museum and all religious activities stopped. After the collapse of USSR, some church services have been resumed since 1997.

This building has a very unique architecture and resembles a fire rising up to the sky. Supposedly, there is no other building with a similar architecture in Russia. I read somewhere that an old mosque in the captured city of Kazan may have been the inspiration for this architecture and to the untrained eye, the building does look more like a mosque than a church, with its massive domes.

 

The interior of the Cathedral is very beautiful and richly decorated with icons, altars and nice paintings.

 

 

The GUM department store is a very impressive looking building and the roads outside were all decorated, possibly in anticipation of the New Year and Christmas (Russian Orthodox Church celebrates Christmas on 7th January).

 

The next day morning, I decided to visit one of the most popular monuments in Russia – Lenin’s Mausoleum. It seems this monument attracts the highest number of visitors in a year. Lenin’s body has been embalmed and displayed here since his death in 1924; except for a brief period during the Second World War when the body was moved to a city in Siberia as it was feared that the Germans might capture Moscow. The mausoleum stands on one side of the Red Square; the square, squat red marble tiled building on the left side of the image below. When I arrived, there was a queue waiting for the museum to be opened; Mercury had fallen below zero and it was extremely cold, with a wicked wind, but people waited patiently.

 

After Stalin died in 1953, his body was also embalmed and displayed right next to Lenin’s. However, Stalin’s body was removed in 1961 as part of the de-Stalinization drive and buried in the Kremlin wall along with other leaders. Photography was not allowed inside the Mausoleum and so I could not take a picture of the body. It looks as if Lenin is sleeping on his back, with a blanket covering the lower half of his body. It looks very life like and you wouldn’t think almost a hundred years have passed since his death.

Two thoughts crossed my mind as I stood there looking at the great leader’s body. This was a man who had changed the world and made a new order of society and politics possible. John Reed, an American Journalist and Communist, was a witness to the October Revolution and he saw the whole event unfold, from close quarters. In about a year from then, he published his book “Ten days that shook the world”, which is an eyewitness account of the revolution. This was an unbiased account as it was published in 1919, before the people that came to power after the revolution had any opportunity to influence what was written. As you go through the book, it becomes very evident that the two people that made the revolution possible were Vladimir Ilyich Lenin and Leon Trotsky. It is also equally evident that Josef Stalin did not have much of a role in the revolution. In the whole book, he is just mentioned in two places and that too as passing references. From the two, the body of one lies preserved in all this grandeur as a sign of respect and gratitude of the state while the other, Leon Trotsky, lies buried in a small grave in a non-descript cottage in Mexico City; after he was murdered by the KGB agents sent by the usurper, Stalin.

 

The second thought was about the seeming absurdity of making a shrine out of a Communist leader’s dead body. In a strange way, I was reminded about the relics and preserved dead bodies of Christian saints. I am sure that the state benefits from the symbolism of Lenin’s dead body but somehow I felt it was not in keeping with what this great leader stood for. After all, he was the proponent of a philosophy which was rooted in logic and not symbolism.

Next stop on the agenda was The Cathedral of Christ the Saviour. This church was built in the nineteenth century and was demolished in 1931 on the orders of Stalin. It was rebuilt between 1995 and 2000, after the fall of the USSR. It is an imposing building and stands right on the banks of the Moscow river. You can walk up to the terrace there are some very beautiful views of the Moscow city from there.

 

The Pushkin State Museum of Fine Arts is just a short walk from the Cathedral. It has the largest collection of European art in Moscow and is a visual treat. There were works by many masters like Van Gogh, Cezanne, Picasso, Monet, Gauguin etc.

Solomon and the Queen of Sheba: Hans Vredeman De Vries

View of the old market in Dresden: Bernardo Bellotto

Bucentaur’s return to the pier by the Palazzo Ducale: Canaletto

View of the Grand Canal in Venice from the Fondamenta Del Vin: Michele Marieschi

The bridge across the Marne at Creteil: Paul Cezanne

Nude woman sitting on a couch: Pierre Auguste Renoir

White water lilies: Claude Monet

Luncheon on the grass: Claude Monet

A mother’s kiss: Eugene Carriere

Girls on the bridge: Edvard Munch

Young acrobat on a ball: Picasso

Spanish woman from Majorca: Picasso

Old jew and a boy: Picasso

Jaguar attacking a horse: Henri Rousseau

The muse inspiring the poet: Henri Rousseau

Mirror above a washstand: Pierre Bonnard

The King’s wife: Paul Gauguin

Her name was Vairaumati: Paul Gauguin

Gathering fruit: Paul Gauguin

What, are you jealous: Paul Gauguin

The ford: Paul Gauguin

Landscape at Auvers after the rain: Van Gogh

The red vineyard at Arles: Van Gogh

The prison courtyard: Van Gogh

 

Bolshoi Theatre is a very well known Russian icon with the Bolshoi Theatre Company having been founded in 1776. The company operates in various cities in Russia and the building in Moscow itself is very well known and is even featured in the Russian One Hundred Ruble note. I was staying very near the Theatre and used the opportunity to watch a short performance. This was on one of the side stages and not the main one and was an orchestra. It lasted for about 40 minutes and was quite enjoyable.

 

The State Tretyakov Gallery has the best collection of Russian fine art and was started by a merchant from Moscow by name of Pavel Mikhailovich Tretyakov in 1856. Having seen some works by Nicholas Roerich in the gallery in Mysore; I was quite keen to visit this collection of Russian art. I found that many of the works from the 19th Century had very relevant and interesting social themes; especially those by an artist named Vasily Grigorevich Perov. Interestingly, the Gallery did not have many works from the Soviet era; not sure why.

 

This painting is titled “The appearance of Christ to the people” by the artist Alexander Ivanov. It is a huge work measuring 5.40m x 7.50m and this was the most important work in the life of Ivanov. It took him twenty years to finish this painting and he died within a few months of finishing the painting. John the Baptist is the central figure in the painting (wearing an animal skin) and points to the Christ who appears in the distance. Ivanov has painted himself into the portrait as the wanderer with a staff, sitting right in front of John the Baptist. The artist made several small works, probably as studies for the painting, and these were also exhibited at the museum.

 

This piece by Konstantin Flavitsky is titled Princess Tarakanova and is based on the story of a young woman named Tarakanova from Italy, who claimed a right to the Russian throne. Catherine II lured her to Russia and imprisoned her in Petropavlovskaya fortress in a cell that was known to flood every time the waters in the nearby river rose. The painting shows a desperate Tarakanova standing up on her cot as the flood waters have reached almost up to the bed. There is no evidence of whether Tarakanova was indeed killed like this but the painting caused a lot of public outcry and Ivanov was later forced to announce that he had made up the subject from a novel.

I liked this painting (The Unequal Marriage by Vasily Pukirev) quite a lot and it seems it was received with a lot of enthusiasm when it was painted as it did not stick to conventional subjects used till then, but instead chose to show a social issue that was common at that time – old, rich men marrying young women who are unwilling, but are forced into the marriage. A young man, supposedly, the girl’s lover, looks on from the back.

 

Painting titled “Easter Procession in a Village” by VG Perov. I quote from the description provided by the museum: “In the early 1860s, Perov created a series of anticlerical paintings. Its main theme was the clergy that forgot their duty. A bored and drunken procession carrying icons and gonfalons is passing by the viewer. The peasants with half-closed eyes are wading towards a precipice as if they were blind. Their leader, a drunken priest, who has crushed an Easter egg underfoot, has abandoned them. Not far from him we see a woman holding an icon whose image is effaced. Farther off there is a poor man carrying an icon upside down. But the All-Seeing eye on the gonfalon is there as a reminder that these people won’t escape the Supreme Judgment. The dull landscape, dissonant movements of the participants in the procession and bleak dawn emphasise the ugliness of the whole scene. The painting was removed from an exhibition of the Society for the Encouragement of Artists in St Petersburg on grounds of it being an “immoral” work. Its reproduction in the press was banned, and P.M. Tretyakov was advised not to show it to visitors.”

 

This painting titled “Troika” by Perov was the one that touched me the most. It was painted in 1865 and in those days, peasants used to migrate to the city in search of work, because of extreme poverty and their children used to work as apprentices. Perov used three such children as his models in this painting. The boy in the middle was living with his mother and he had no father; they were very poor as well. Shortly after modelling for the painting, the boy contracted some disease and died. The mother was distraught and heart broken and she sold all her belongings and took the meagre amount she had to Perov and asked for him to sell the painting to her as she wanted to be able to see her boy whenever she wanted. By that time, Perov had finished the painting and it was displayed at the The Tretyakov Gallery. Perov took the mother to the gallery and showed her painting.

Funeral Procession: VG Perov

 

Yet another work by Perov that speaks about the social issues of the time: “Tea-party at Mytishchi near Moscow”. I quote from the description provided by the museum: “Ordinary on the face of it, the scene of tea drinking under the shade of a tree is transformed by Perov into an accusatory picture that deals with an acute social issue. The table turned cornerwise to the viewer with a samovar on it halves the small canvas, which is almost square-sized. The world of the painting’s characters also breaks into two parts: on one side, we see a fat, well-fed priest, on the other side – a poor old man and a boy. The impression of social drama is reinforced by the Order of the Hero of the Crimean War on the old man’s chest. At the same time, the idyllic background landscape and the circular rhythm of the painting’s composition embody the idea that justice and harmony lost should be restored in the world.”

 

This painting is titled “Landscape Steppe” and is by an artist named Arkhip Kuindzhi. This work was so very different from the other paintings and I was curious to note that it was painted between 1890 and 1895. I am not sure whether there were many paintings in this style at that time. I was reminded of a photo by Andreas Gursky, which is among the most expensive photos ever sold, having fetched a sum of $4.3 Million in 2011.

 

This work titled “There is Life Everywhere” by Nikolai Yaroshenko was yet another image that I liked a lot. I quote from the description provided by the museum: “ The topic of social contradictions was one of the most important for Yaroshenko. This painting was inspired by Leo Tolstoy’s story What Men Live By. The artist originally planned to title his work as Where There Is Love, There Is God. Prisoners have huddled up together at the window of a convict car to feed pigeons. The painting’s idea was to show humanity maintained in inhuman conditions. The central group reminds the Holy Family. Like many other Wanderers, Yaroshenko used parallels with the Gospel to enhance the social resonance of his canvas. “This speaks so much to the heart,” said Leo Tolstoy about this painting.”

 

This painting “Christ in the Wilderness” by Ivan Kramskoi immediately catches the eye because of the very desolate nature. I quote from the description provided by the museum: “The artist looks upon the Sacred history in the context of the issues of his day. Gospel themes and images served at the time as a way to express ideas of what was good and just. Christ’s personality was understood as the “perfect human being” embodiment; the life journey of a progressive person was a reflection of His earthly path. Kramskoi wrote: “…There is a moment in the life of every human being, who is created in the image of God however slightly or greatly, when they are in a quandary – whether to take the ruble and deny the Lord or not to yield a single step to the evil.” The painting took on a topical nature thanks to the resemblance of Christ’s pose on Kramskoi’s canvas to the pose of Fyodor Dostoevsky in the famous portrait by V.G. Perov. Both paintings were made in 1872 and both were shown at the very same travelling exhibition. Eternal, panhuman problems are the central theme of the painting.”

 

This is a huge work titled “The Princess of a Dream” by an artist named Mikhail Vrubel. It measures 7.5m x 14m and was painted in 1896 with the help of two others. It speaks about a love affair between Geoffroy Rudel and Princess Melisandre. Supposedly, Rudel heard about the beauty of the Princess and travelled across the sea to meet her. Unfortunately, he contracted some illness during his voyage and died at the time of their first meeting and with this, the Princess became a nun. I am not sure whether this is fiction or true story. I was not very exposed to Russian art in the past and Tretyakov definitely set that right. It was quite a beautiful experience.

Moscow has very wide roads and walking around the city itself is a pleasure. I was staying close to the Red Square and many buildings around that area were very impressive. There is some more to see in Moscow and two days were not enough. I hope to be back one day.

 

Yet another version of the Kochi  Muziris Biennale is around the corner and I suddenly remembered that I had not finished the note I had started writing about KMB 2014. So, here goes…

I had really enjoyed Kochi Muziris Biennale 2012 and it was with barely suppressed excitement that I waited for KMB 2014 to begin. The lead up to the event was very well done with lot of functions happening in Kochi. Unfortunately, I couldn’t attend any of those as I am based at Bangalore but one got all the information through FaceBook. This time, there wasn’t any controversy about whether we should have KMB at all and I was quite pleased with that. To me, this was an indication of the success of KMB 2012 and the public’s interest in the event. Hats off to Bose Krishnamurthy and Riyas Komu, the main organisers of KMB!

The show started on December 12, like last time and went on till March 29, 2015. The theme of the event this time was “Whorled Explorations”. The curatorial note spoke about how the show was about bringing in various elements connected with exploration and travel. So, maritime trade, conquests, mathematics, navigation, colonialism, globalization etc. have all found their way into KMB 2014. A few sentences from the curatorial note struck a chord in me: “…. like exaggerated extensions to gestures we make when we try to see or understand something. We either go close to it or move away from it in space, to see it clearly; we also reflect back or forth in time to understand the present. Whorled Explorations draws upon this act of deliberation, across axes of time and space to interlace the bygone with the imminent, the terrestrial with the celestial.”

I arrived at Kochi on the morning of December 29th and went straight to Aspinwall House, the main venue of KMB 2014. There cannot be a better location for the KMB than Fort Kochi with its wonderful buildings like Aspinwall House, Pepper House etc. These are just great locations that really add character to the event. You can really feel the difference when you go to Durbar Hall (which is also a venue of KMB), which is more like a conventional gallery; it just doesn’t have the character or ambience of locations like Aspinwall House or Pepper House.

In a repeat of KMB 2012, I could not understand the first installation at all. These were minimalist poems from an American poet – Aram Saroyan – but it was well beyond me. Actually, I was reminded of the candy “m&m” when I saw one of the “poems”.

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Next was a work by Mona Hatoum. When I saw her name in the exhibition catalogue, I had great expectations as I had seen one of her videos (Measures of Distance) at an exhibition at Bangalore and that had left quite an impression on me. The installation at KMB consisted of light bulbs laid out in a circle with a wires crossing each other and snaking out to the bulbs. While there was an element of visual attractiveness around the work, I could not connect with it. It somehow reminded me of Diwali lights!

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Next one that caught my eye was a series of 90 charcoal drawings by Madhusudhanan titled “Logic of Disapperance”. These show some historical figures with connections to some incidents as well and were quite interesting. I particularly liked an image with Lenin’s head the body being made up of the skeleton of a Trojan Horse kind of structure. With the military helmet thrown in, it looked to me to represent Stalin sneaking into power on the back of the Revolution led by Lenin and Trotsky. Interesting aside: In the book “Ten days that shook the world” written by American journalist and Communist John Reed who witnessed the Russian Revolution firsthand, Stalin’s name comes up only twice and that too as passing reference.

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It seems the word “journey” owes its origin to “a day’s travel” and there was a work by David Horvitz on this theme. This was a video installation running simultaneously on two mobile phones titled “The Distance of a Day”. The artist created this work by shooting a sunrise in Maldives while his mother shot the sunset in California at precisely the same time. So, at the same instant, sun is rising and setting and being watched by two people separated by distance but united by a bond. To me, this felt like the expression of how what is perceived as truth is a function of location. A sunrise is the truth for me at a given location whereas at the same time, it is the sunset that is the truth for someone else at a different location. If we abstract physical location to locations of the mind, the work achieves an even more interesting dimension.

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On the grounds of Aspinwall House, there was a large sized installation called “Backbone” by Shanthamani Muddiah. This was a long spinal column made of cement and cinder. It seems the artist likes work with charcoal quite a lot because of its connection with remnants of prehistoric times. While it was a interesting sight, I could not connect with the work.

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Janine Antoni’s video installation “Touch” was riveting and I sat in the room and watched it for quite some time. The artist is from Bahamas and she had tied a tightrope in the seashore in front of her house and in the video, she is seen walking on the rope. The rope is interestingly positioned and so it looks as if the artist is walking on the horizon. I felt it connected well with the theme of KMB and man’s desire to reach the horizon which was forever slipping away. On another level, I felt that the work was about our desire to conquer what is essentially an imaginary entity.

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It was in a pensive mood after watching our desire to reach the imaginary that I stepped into the next room, which had another video installation titled “Standard Time” by Mark Formanek. In this video, workers continuously modified wood pieces to accurately reflect the current time. This meant that they were at it each minute as time ticked by; seemingly an exercise in futility. The video was recorded over 24 hours and as I watched it go along with its absurd sequence, I was reminded of the rat race that most of us are engaged in.

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Next was a room with paintings on large pieces of fabric that looked like the sails of ships. This was a work by Lavanya Mani titled “Travellers Tales – Blueprints.” The paintings and the shape of the fabric brought forth thoughts of voyages across seas. The link between colonialism and textiles was quite evident in this work.

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The theme of man’s progress or journey continues on to the next work that caught my interest, a triptych titled “Building a Home; Exploring the World” by Sudhir Patwardhan. The first panel shows the start of migration, perhaps the first long journey, as man started on his trek out of Africa. The second panel has images of Pieter Bruegel’s “Tower of Babel” and Vladimir Tatlin’s “Monument to the Third International” reproduced in a coastal landscape resembling Kochi. This was a depiction of man’s deepfelt desire to build and grow and the third panel shows the continued expansion and extension of the journey as we move to conquer space.

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Artist Nikhil Chopra held a live performance in one of the rooms of Aspinwall House. The performance lasted 50 hours and was about a colonial character named Black Pearl being incarcerated in a cell. He draws the sights he sees from his cell on the walls of the cell. The work was titled “Le Perle Noire: Le Marais”. I did not see the live performance but the cell, with its paintings, was available as an exhibit. I cannot clearly explain what I felt when standing in that room but it was somehow captivating.

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There was a very large (79 ft long) painting by NS Harsha titled “Punarapi Jananam Punarapi Maranam” depicting the universe as one continuous entity. The work itself was beautifully executed with very many interesting details. This one was a bit above me and I could not get a grasp of it.

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“Sea Power” is a work by Hew Locke that explores early stage of globalisation and its connectivity with sea voyages. While the images made out of plastic beads were interesting to look at, I did not feel any connect with the work.

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Often what we see on the outside is not what is inside and there was a wonderful work like this titled “Background Story: Endless Xishan Mountain Scenery” by Xu Bing. This was an arrangement of old newspapers, twigs, straw etc., which when viewed through a translucent screen with back-lighting, replicated a landscape painting by Chinese artist Xu Ben who lived in the Ming Dynasty period. It was a painstakingly created work and fills one with awe. I guess one could read a whole lot of ‘internal-external” aspects into this work.

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Africa is a continent with a lot of failed dreams; independence from colonial masters filled people with hope but slowly, these dreams faded as despot after despot ruled the newly independent countries. I have travelled to many such countries in Africa and have had conversations on related subjects with people there. Hence the work titled “Independence Disillusionment” by Kader Attia was something I could understand very easily. These 26 paintings are reproductions of postage stamps that were released around the time these countries gained independence. The dreams may have been Utopian but they were good dreams to have; but unfortunately, these countries wallow in significant poverty and even civil wars as the rulers continue from where the colonialists had left off.

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Artist Namboodiri is a familiar name from his illustrations that accompanied stories and novels in Mathrubhumi Weekly and I was pleasantly surprised to see a series of drawings he had created specifically for KMB, titled “Vara/Thira”. These were scenes of Kochi, its streets, houses etc.

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Prashant Pandey’s work “Artha” is a huge diamond made up of 10,000 discarded slides that have blood drawn from various people including the artist. According to the artist, the work talks about the sacrifices made in the course of the colonial quest for wealth. To me, it immediately brought to mind the tragedy of “blood diamonds’.

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Punaloor Rajan had photographed many of the public figures in Kerala for a long time and these images and videos form an archive of sorts. Several photographs from this image had been bunched together and exhibited under the title “Perpetual Stills”. It was interesting to see the images of our familiar figures, many of whom have already passed on from this world.

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In one of the rooms a tent had been pitched – it was much like a tent used by travelling traders. This work by Francesco Clemente was titled “Pepper Tent” and was made of fabric painted by Clemente. The images inside the tent connect with trading and travel and to be inside the tent was some sort of an interesting experience. It was quite colourful and visually pleasing.

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Pepper House, as always, is a delightful place with a quaint nice café thrown in. In the courtyard, was a sculpture by NS Harsha titled “Matter”. Sculpture is often quite beyond me and this one was no different. It blended in well with the surroundings.

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Pepper House was also witness to a performance-installation wherein a huge bell was lifted out of the backwaters and installed as a leaky fountain. This was Gigi Scaria’s work titled “Chronicle of the Shores Foretold”. The bell is a symbol of European colonialisation and it was installed with the help of the traditional labourers of Beypore – the khalasis. To me, this was kind of a depiction that colonization was possible only with the help of the locals and it seemed apt to have such an installation in Kochi which had a pliant King who bowed down before the British. However, the bell itself was leaking and so the idea of colonization was never a fully secure idea, as we have seen in history.

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I happened to look at the bell from a room in the first floor and it was an interesting sight from there. The frame reminded of the paintings of Murali Cheeroth.

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A very interesting installation that I found in Durbar Hall was Julian Charriere’s “We Are All Astronauts”. The artist collected mineral samples from all recognized countries of the world and made sandpaper from these samples. He then rubbed the surface of 13 found globes with this sandpaper till all the markings had been erased from the globes. The globes were then suspended over a table on which one can see the dust that resulted from the scraping. Does it mean that international interaction (scraping) will cause boundaries (markings) to fall away? Does it mean that there are no real boundaries even now because of the interplay of civilization and cultures? I found this to be quite an interesting installation.

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In one the other art galleries in Fort Kochi, there was an installation by Murali Cheeroth. It clearly brings out the challenge of the times we live in and I felt it was a piece of art that needs to be seen and understood by everyone in India. Murali had copied Martin Niemoller’s famous poem and inscribed it on glass panels.

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One of the joys that go hand-in-hand with KMB is the chance to see various art works that spring up on the walls in and around Fort Kochi. That is a treat by itself and this time also there were many beautiful pieces of art that were quite interesting.

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Yet another version of Biennale had gone by and it was definitely an improvement over the first one. This is indeed a wonderful event for Kerala and even the whole of India. Hope the 2016 version will keep the show moving ahead.