Art

The Belfry decision and the role of art in our society

Published

8 months ago

January 5, 2024

A commentary by Dr. Lincoln Z. Shlensky, an associate professor in the Department of English at the University of Victoria. He is also vice-president of Congregation Emanu-El.

What is the role of art in a free society? That is the question posed by the Belfry Theatre’s recent decision to cancel a one-act play, The Runner, which had been scheduled to be performed in the theatre’s Spark Festival in Victoria this spring.

According to its announcement of the cancellation, the Belfry asserted that “presenting The Runner at this particular time does not ensure the well-being of all segments of our community.”

The announcement offered no further rationale for the cancellation, leaving unanswered questions such as what form this putative harm would take, or how the theatre would avoid doing even greater harm to broad principles of artistic freedom by bowing to community pressures unrelated to artistic merit.

We can safely assume, after all, that The Runner was deemed artistically worthy of being performed when it was chosen by the Belfry last year.

The play, written by Christopher Morris, has been performed frequently across Canada since its debut in 2018. It won the prestigious Dora Mavor Moore Award for Outstanding New Play in 2019 and has been lauded by critics like J. Kelly Nestruck in The Globe and Mail, who gushed that The Runner “will make your heart rate soar and leave you breathless” and Jose Teodoro in Toronto’s Now magazine, who implored readers to “run, don’t walk, to get tickets to riveting solo show The Runner.”

The Runner is an experimental play that delves into universal human motives, using the Israeli-Palestinian conflict as its deeply riven context.

In a “Playwright’s Note,” Morris writes that he intended “to create theatre that explores the extremes of the human condition.” He was inspired to write the play by stories he heard from a longtime Israeli friend, Yakov Mueller.

Mueller, who died of cancer in 2018, was a member of ZAKA, an Orthodox Jewish emergency response organization whose volunteers serve as standby paramedics and collect severed body parts after terror incidents in Israel.

In the play Morris crafted around a fictional ZAKA volunteer, Jacob, human “extremes” are explicitly presented. As his narrative begins, Jacob (the anglicized version of Yakov) performs mouth-to-mouth resuscitation on a wounded young woman who, we learn, may have stabbed an Israeli soldier.

The woman he saves is Palestinian. In keeping with the character’s class, religious, and social background, he refers to her only as “the Arab girl.” In one stream-of-consciousness section of the monologue, he remarks:

“I can’t, won’t call them Palestinians, they’re stateless they don’t have a country, it’s not bad to call them Arabs, they’re ‘Arabs’….”

Perhaps unwittingly channelling Albert Camus’s novel The Stranger, whose Algerian characters are only ever referred to as unnamed “Arabs,” Morris’s Jacob cannot bring himself to refer to the young woman as a Palestinian, which could evoke the possibility of a national identity his narrow-minded community rejects.

Jacob seems to recognize this as a disavowal and, more importantly, so do we. But Jacob then continues to argue with himself:

“— OK, OK, OK, I won’t say it, I won’t call them that anymore, I won’t. I won’t do it. I won’t do it.”

What is the “it” he won’t call “them” anymore? Is he coming to terms with Palestinian national identity? Or is he chastising himself for calling her any name at all, other than “human”?

The latter is more likely.

Morris wrote his play shortly after the ZAKA organization announced, in 2015, that it would treat Jewish victims before Palestinian attackers regardless of the severity of their injuries, violating the rules of ethical triage according to the Israel Medical Association, while demonstrating how even life-saving has become politicized in Israel.

Jacob’s apparent refusal to call “them” by any epithet, whether “Palestinian” or “Arab,” that would reinforce their division from “us” may indeed be his first authentic recognition of the transcendent need to honour a shared humanity.

After saving the young woman’s life, Jacob is the target of ceaseless racist taunts by other ZAKA volunteers, who insinuate that he now has an “Arab girlfriend.”

Such bigoted divisiveness contrasts with Jacob’s supposedly naïve humanitarianism; it also ironically reinforces his pain as a closeted gay man whose late father, on his death bed, asked Jacob’s forgiveness for never accepting him.

Grappling with — and potentially learning from — the ambiguity of lines such as those I’ve quoted above is evidently not the intellectual and emotional labour the Belfry Theatre seeks to encourage.

Its high-minded claim to present “ideas that often generate dialogue” appears to be a hollowed out ideal.

In response to serious questions the Belfry leaves unanswered, we must ask: are we not all harmed when our great public arts institutions prefer to approach complexity by simply shutting down the show?

>>> To comment on this article, write a letter to the editor: letters@timescolonist.com

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Art

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

Published

2 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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