Art

Art and Music of Russia’s Indigenous Peoples Comes Into Spotlight in Amsterdam

Published

12 months ago

September 26, 2023

Amsterdam’s bustling Red Light District has plenty to offer to visitors on a Saturday evening, but a showcase of art and music of Russia’s indigenous non-Slavic communities might just have been the most unique event that took place there last weekend.

Held at a local Walloon Church and organized by Netherlands-based anti-war collective Free Russia NL, a charity event called [Mirrors]: Reflections of the Unseen attracted dozens of locals and members of the Russian diaspora. They came looking to learn more about Russia’s ethnic and cultural diversity and support victims of Moscow’s invasion of Ukraine.

“I think many people in the West don’t necessarily see Russia as an empire…And I would like to make them question this,” said Lana Pylaeva, an ethnic Komi activist and board member of Free Russia NL.

“We want to say to Westerners: ‘Yes, we are Russians, but not ethnically. We exist. And we are against this war,” Pylaeva told The Moscow Times.

At the core of the journey across Russia’s ethnic republics was the display of prints by indigenous illustrators from Buryatia, Kalmykia, Khakassia, Sakha (Yakutia) and Tuva.

All the works on display were united by the artists’ shared heritage of shamanism, Turko-Mongolic folklore and myth-making and — in some cases — elements of Buddhism. But these creations also tell a common tale of the trauma inflicted by Russia’s colonial policies — policies that have facilitated cultural and linguistic erasure among non-Slavic ethnic groups living within its borders.

Sargylana Cherepanova's "Oyuun" ("shaman" in the Sakha language) Courtesy of the artist — Sargylana Cherepanova’s “Oyuun” (“shaman” in the Sakha language)Courtesy of the artist

This trauma is also reflected in the event’s title, [Mirrors], where the brackets represent an invitation for each artist to fill in this space with the word in their respective mother tongue. But in most cases this space would have to remain blank.

“When I asked fellow illustrators if we could make a bilingual exhibit in English and their native languages, most said that they don’t know their native language [but know Russian],” said Seseg Jigjitova, a Berlin-based artist from Buryatia. “So the illustrators from our republics are reflecting on both their cultural and linguistic identity,” she added.

The only display featuring an indigenous language was by Sakha artist Sargylana Cherepanova, who looks to reconcile with her ancestral traditions and re-embrace her native culture in her work.

“I was neglecting my Sakha ancestors, my language, my culture because that’s what the russian system taught me to do, because the system spent so much money and effort to russify me,” Cherepanova writes of her work, choosing to spell “russia” with a lowercase letter to show contempt for its policies.

Sargylana Cherepanova's "Min uonna kini" ("I and they" in the Sakha language) Courtesy of the artist — Sargylana Cherepanova’s “Min uonna kini” (“I and they” in the Sakha language)Courtesy of the artist

In addition to printed works, Cherepanova also uses videogames as a medium for reflection on Russia’s colonial policies. Her upcoming game Uhuktuu (“awakening” in the Sakha language) uses as its starting point the discrimination Russia’s ethnic minorities and indigenous peoples experience at home and their disproportionate share of military casualties in the war in Ukraine.

Seseg Jigjitova was also influenced by Russia’s ongoing invasion of Ukraine.

On display in Amsterdam were excerpts from Jigjitova’s upcoming graphic novel that documents her personal transformation in the wake of the war and focuses on her deeply personal trauma of racial discrimination and marginalization in her native Siberia.

“My comics were supposed to start from 24 February, but when I started drawing, I realized that I need to go back to my university years when the war in Chechnya started…I try to understand why I didn’t question certain things then,” Jigjitova told The Moscow Times.

“After the war in Ukraine started, I suddenly realized that we don’t exist in the picture of the beautiful Russia of the future that is painted by the liberal opposition — and that we were never there,” Jigjitova explained.

“So I decided that we need to create our own vision of the future literally and figuratively.”

Another major highlight of [Mirrors] was a concert of traditional folk tunes and classical music from Russia’s ethnic republics performed by Netherlands-based concert pianists Maria Nemtsova and Aliya Iskhaki, saxophonist Vitaly Vatulya and violinist Yulia Gubaydullina.

The musicians performed works by Mari composer Andrei Eshpai, Komi composer Mikhail Gertsman, Sakha composer Nikolay Berestov, trailblazing female Dagestani composer Jennet Dalgat and her compatriot Gotfried Gasanov, as well as Tatar composer Almaz Monasypov — all of them rare musical treasures largely unknown to both foreign and Russian audiences.

“I didn’t want to play just classical music, but wanted to find pieces with folk elements,” pianist Aliya Iskhaki told The Moscow Times.

“I have been playing Tatar music in the West for several years and I know that the general public here is open and interested in hearing something they don’t know,” she said, adding that finding the sheet music had been “an adventure of its own.” Few copies of the music were printed in the Soviet Union and only some of the works were later digitized by devoted fans. Happily, they were willing to share them for this charity event.

All funds raised at the Saturday event were donated to a children’s hospice in Ukraine. The resilience of Ukrainians was also recognized by musicians who began the concert with a piece by Ukrainian composer Myroslav Skoryk, “Melody in A Minor,” which has become the unofficial spiritual hymn of the nation.

“Ukrainians are fighting for the right to be Ukrainian, to speak the Ukrainian language. They are fighting for their culture,” said Pylaeva of Free Russia NL.

“This resonates with many ethnic non-Russians in Russia.”

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

3 days ago

September 13, 2024

Harry Miller

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.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

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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