Art
Si le Nez de Cleopatre: An Art Exhibit Examining Re-Written History – Egyptian Streets
“What is history and what is our perception of it?” was one of the questions multi-disciplinary conceptual artist Esmeralda Kosmatopoulos asked herself when approaching the topic of her latest exhibition ‘Si le nez De Cleopatre’, currently on display at cultural hub Darb1718.
Walking into the avant-garde exhibition space, one will be greeted by a wall of plastic surgery notes, a sea of noses, and a faceless Cleopatra sculpture, among other such artworks – all of which are dispersed throughout the space in a way that wholly complement each other.
In her latest exhibition, Kosmatopoulos uses the famed ancient Egyptian Queen Cleopatra as a metaphor for the practice of re-writing and correcting of history throughout various eras and generations. According to the artist’s statement as to why this particular queen was chosen as a representation of this notion, it is due to the fact that, “[Cleopatra’s] image has been defaced and ‘refaced’ in Western collective imagery.”
“Every era has its own Cleopatra,” comments Kosmatopoulos in regards to the idea that this famous ancient Egyptian queen’s image has been constantly altered and re-shaped to fit different eras. The artist goes on to explain that in the 17th century, for example, Cleopatra was described as a voluptuous woman and her feminine qualities were defined and highlighted, whereas nowadays a more ‘strong and feminist’ image of her is portrayed.
Collectively, every artwork included in this exhibition brings into question who the people who seem to be writing history are. In the past, there were a limited number of people who would have qualified for a task such as this “nowadays, history is written by the mass rather than a few elite,” Kosmatopoulos goes on to say. This is in large part as a result of social media and the post-internet age we currently live in.
A particular standout piece for the artist herself is a collection of three banners which include text written about Cleopatra that Kosmatopoulos edited. “I changed some words to change the meaning of the text – I changed her to how I wanted to see her,” says Kosmatopoulos.
Following rigorous research into the subject and when looking back at various texts written about Cleopatra throughout history, Kosmatopoulos came to find a fine line between propaganda and objectivity. For instance, the Romans wrote the earliest text available in regards to the Egyptian queen and she was depicted rather negatively. And the way in which the queen has been depicted and written about has constantly changed and evolved over the years – in addition to having her image fictionalized to embody the West’s view of the ‘exotic other’, which is especially evident through her depiction in Hollywood films.
In regards as to why the artist chose to focus on Cleopatra’s nose as a main subject matter throughout her artworks, Kosmatopoulos uses the nose as way to convey the reality of how the queen looked in comparison as to how we, as a people, generally choose see her.
Cleopatra was known for having a slightly big nose and the reality of how she looked – which can be found depicted on old coins, for example – can be rather disappointing when compared to the way the general public would rather envision her. In a series of posters, in which images of Cleopatra are blown up from old coins, Kosmatopoulos got three plastic surgeons from Italy, Egypt and Greece to make notes of the ways in which they would ‘correct’ her look through various plastic surgery procedures.
Through this exhibition, Kosmatopoulos hopes to raise awareness around the idea of thinking further beyond what we think we know to be a reality. She feels as though it is important to question what we know, not in the sense that we would claim a piece of information to be good or bad, but in the sense that we would try to seek some kind of a truth.
Through a diligent artistic process – including a multitude of collaborative efforts from various people and entities such as Jamel Oubechou and Marine Debliquis from the French Institute, Yasmine Hussein who is the director of Darb1718 and artist Moataz Nasreldin who is the founder of Darb1718 – Kosmatopoulos manages to shine light on a wonderful social topic that is perfectly fitting with the over-flow of information we are exposed to in our current day and age.
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Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
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