Art

‘Porcelain War’ Review: Intimate Reflection on Making Art in Wartime Ukraine Is Beautiful but Frustrating

Published

8 months ago

January 27, 2024

Watching Brendan Bellomo and Slava Leontyev’s visually confident, intellectually insecure documentary Porcelain War is like listening to a recitation from a brilliant poet while somebody sitting next to you is whispering what the poems are actually about. And the person sitting next to you explaining what the poet is trying to say is… twist… also the poet!

There’s a great deal of beauty in Porcelain War and there’s a potent artistry behind it, but I’ve never watched a documentary with so many running visual metaphors and so little faith that the audience will be able to grasp them. It’s a bit stunning and a bit insulting all at once. That it often tends more toward the former explains its top award in the U.S. Documentary Competition at this year’s Sundance Film Festival.

The documentary is the story of Slava (the co-director) and Anya, partners in life and in art. He makes porcelain objects — snails, reptiles, owls — and she covers their white surfaces with intricate and whimsical paintings. They live in Crimea, surrounded by artists and friends, but when the Russians attack, rather than fleeing their homeland, they go from the country into Kharkiv, a city just 25 miles from the Russian border.

In Kharkiv, Anya and Slava continue to make their art, placing their porcelain figures amid the rubble, while Slava is simultaneously serving as a weapons instructor for a military squad of civilians now forced to take up arms against the invading Russians. The artist couple is also accompanied by their bouncy dog Frodo, a terrier of some sort, and A VERY GOOD DOG.

The third (or fourth, if you count Frodo, which you truly must) member of their little society of artists in extremis is their longtime friend Andrey Stefanov, a painter who has turned his attentions to photography during the war, when he isn’t lost in thought about his wife and daughters, who fled to Lithuania.

The responsibility of the artist to continue to produce art in the darkest moments and the capacity of art to add beauty and levity in that darkness are just a few of the undercurrents in Porcelain War.

Art is, as the documentary makes clear and then repeats, in and of itself a rebellious act and an act of creation to ward off destruction. It’s hard to dispute this contention, and the directors and Stefanov, the documentary’s primary cinematographer, do a moving job of capturing the contrasts between the bucolic countryside and the rubble left in urban centers by Russian bombing.

The documentary shifts back and forth, often in hard cuts, from activities like a mushroom-hunting trip in the forest (or just Frodo leaping through sun-drenched fields) to the harsher realities of war. Except that both are reality, as we can see when one of their porcelain owls is placed on a decimated city wall or when Frodo very nearly happens upon a mine on one of their walks.

But can war — at least from a defensive posture when what you’re protecting is your generational homeland and all you hold dear — be an act of creation and art? This is the complicated thesis that Porcelain War dances around while never necessarily committing to it.

The necessity of fighting back against the Russians is never in doubt for the furniture salesmen and dairy farmers Slava is training. And once rebellion is happening anyway, we see Anya painting one of their bomb-equipped drones.

That drones have become a crucial piece of documentary vernacular in the past decade is made clear in several shots in which the filmmaking drone is filming the war-making drones in action. That one is making art and the other is contributing to carnage (however righteous) is a conversation Porcelain War instigates without directly addressing. Perhaps the filmmakers are hoping to avoid questions of whether or not they explicitly view this as Ukrainian propaganda or just as a story.

And you know that if the filmmakers felt comfortable making the topic explicit, they would, because the documentary is so very explicit in spelling things out at so many points. Like if you, dear reader, hear porcelain described as “fragile, yet everlasting” in a documentary about Ukraine, I’m betting there’s a connection you would be able to make without Slava’s voiceover coming out and saying, “Ukraine is like porcelain, easy to break, but impossible to destroy.”

Everything in Porcelain War is a metaphor, including little Frodo, of whom Slava says, “Everyone says that he is gentle, but courageous,” before Anya adds, “a small embodiment of the Ukrainian spirit.” Over and over again, the documentary does this, planting a seed that might be perceptive or poignant or just witty and then denying the viewer the chance to make a not-too-large leap.

Comparably to another Sundance prize winner, Angela Patton and Natalie Rae’s Daughters, Porcelain War suggests that having a co-director who is also a featured subject in your documentary may be good for intimacy, but isn’t always ideal for dramatic clarity. Expecting Slava Leontyev the Director to agree that probably 75 percent of Slava Leontyev the Subject’s voiceover — thoroughly poetic and thoroughly duplicative — could be cut is a big ask.

It’s my sense that in the absence of that voiceover, none of the documentary’s themes would be lost or weakened. It would be so much easier to marvel at Stefanov’s photography, to have your heart break at the tragic juxtapositions made by the editors, to celebrate the animation that flows out of Anya’s tiny paintings, to wait breathlessly through a harrowing sequence shot on a military body-cam. Or just to get carried along by the score from Ukrainian quartet DakhaBrakha as Frodo frolics obliviously on the edge of war.

Source link

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

[unable to retrieve full-text content]

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

Source link

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.

Source link