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The Art, Artist and The Pandemic

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Vincent van Gogh, Starry Night, 1889

Irrespective of how many times one visits, a spontaneous trip to Paris is always a good idea. That is because perennially alluring city of lights never disappoints.

Palatial building houses of centuries gone past us offer a contemporary aesthetic fusion of French sophistication with oriental grandeur. The enchantment of Paris is gilded with rich, jewel-toned shopping arcades, Haute couture-inspired artworks and ornate vases filled with freshly-cut camellias. A mist of tranquillity prevails in the city which stretches from the lush greenery of the glorious gardens. Paris and her pleasures exude a special kind of serenity and tranquillity. While Parisian pleasures cannot be fully roistered, art, which can fill the void of empty walls and souls alike, comes to the rescue. Paris dawns a mystical ensemble of history and art. And, art, despite the world being in a global lockdown has not stopped admirers from drooling over mastery of expression.

Evidence to support my claim and love for the human ingenuity and the love for expression are limitless. Museums and auction houses have retaliated by banding together to ride out the crisis. A plethora of blue-chip biennale like the Art Basel Hong Kong are being virtually conducted with complete oral narration. Eminent auctioneers such as Sotheby’s, Christie’s and Phillips’ are accepting bids online.

Artists like Spanish painter Silvestre Santiago recently recreated van Gogh’s Starry Night directly on the hood of iconic British marque, the Jaguar. Speaking van Gogh, for whom the world was an imagination painted 150 paintings as an inmate of a mental hospital facility. His madness is depicted in his drawings through broad strokes and brush movements depicting his vision of the world around him. One is tempted to simulate the spectacle which took place in the summer of 1889in the south of France, St. Remis.

His unorthodoxy married his fascination of the night sky. The expression of the turmoil in the artist’s imagination found resonance and familiarity with the night sky.van Gogh’s added a spark to the dead and dull night sky. Unlike his previous works, van Gogh is said to have created ‘The Starry Night’ from memory and imagination rather than mere observation of reality. Critics feel that the 30-inch x 36-inch canvas painted 13 months before its maker’s death held motifs that symbolised his frame of mind, sense of isolation and a search for hope during a period of great distress. They see ‘The Starry Night’ not just as an image bursting with uncontrollable emotional energy, but also of van Gogh’s struggles and insanity at the time of its creation.

It is evident that van Gogh was always enthralled by the mysteries of the night, the dark sky and shining stars provided him with space for meditative reflection and soothing comfort for his mentally disturbed condition. “The moon comes out of eclipse, the stars blaze and heave, and the cypresses move with them, translating the rhythms of the sky into the black writing’s of the flame-like silhouette,” writes art critic Robert Hughes. The remarkable ‘Starry Night’ encapsulates intensely blue and vibrant sky which is excited yet at the same time, agitated. The sky and the stars have radiating concentric rings of light. The moon has the same set of rings around it. They are set in the sky which is not like the sky which one looks up to at night but rather is the vivid depiction of van Gogh’s imagination. The sky has swirling patterns which force the viewer to imagine the circles to move in the most psychedelic fashion possible. “It often seems to me that the night is much more alive and richly coloured than the day,” he wrote to his brother and confidante, Theo. “When I look at the night sky, I see the mysterious brightness of a pale star in the infinite… then life is almost enchanted after all.”

Art historian and curator Joachim Pissarro writes, “Starry Night has an imaginative force and that the night was a very big catalyst in van Gogh’s mind; van Gogh lived his life by the night. He didn’t sleep until three or four in the morning. He wrote, read, drank, spent nights in cafés…or meditated over the very rich associations that he saw in the night. It was during the night hours that his experiments with imagination and memory went the farthest”. For scholars like Pissarro, The Starry Night stands out as a truly iconic image — an emblem not only of van Gogh’s work but also of art and the mind’s unimaginable creative ingenuity.

Finally, like me in New York’s Museum of Modern Art, the chances are you are not standing in front of this painting alone, you are probably surrounded by quite a few people looking at exactly what you are. That, to my mind is the magic of art. I look back fondly and realise that the painting compels one to realize the part of the reason for the paintings’ status as of a‘treasure’ and love from people has to do with van Gogh’s way of touching one’s emotional well-being and vergangenheitbewältigung. Vergangenheitbewältigung, which, from German to English roughly translates to coping with the past. This offers a deeply philosophical and stoical resemblance towards times which bear semblance to the life of van Gogh whose life like ours in such times is marred with ennui.

Ankit Malhotra is a student of Law at the Jindal Global Law School at O.P Jindal Global University.

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UNESCO open exhibition “The World in Faces” at its Paris headquarters

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On Thursday, July 8, at the headquarters of UNESCO (The United Nations Educational, Scientific and Cultural Organization) in Paris, the exhibition “The World in Faces” of the famous Russian photographer Alexander Khimushin opened. The author personally presented a collection of more than 170 artistic photographic portraits of representatives of different peoples of the world, shot in authentic national dress in places of residence. The exhibition is dedicated to the upcoming International Decade of the World’s Indigenous Peoples and Their Languages. It is a celebration of multiculturalism and our incredible ethnic diversity at its best.

“In the photographs from the project “The World in Faces” I express my philosophy of life, which has been formed over the years of travel. It was through meetings with representatives of different nationalities, contact with their cultures, that I came to understand that all of them – with an incredible ethnic diversity – are people just like you and me. They are simply trying to artificially divide us by borders and ideologies,” explains Khimushin.

The exhibition is a great way to tell the world about indigenous peoples and draw attention to their problems.

The people in Khimushin’s portraits managed to preserve their originality, traditions and former way of life. But it is more and more difficult for them to do this – small peoples are rapidly approaching complete extinction, the languages ​​and traditions of their ancestors are forgotten. “The world in Faces” reminds how important it is not to let them disappear without a trace.

The idea to create a collection of photographic portraits of indigenous peoples in national dress and in their native environment was born in 2014, when Alexander had already accumulated a considerable amount of work done in the most exotic locations – from Samoa and Fiji to Swaziland. Since then, he has never stopped traveling around the world, and his project is growing and becoming a phenomenon.

“Initially, when I started working on the project, I had a dream – to exhibit at the UN. UNESCO is a UN structure that deals specifically with cultural issues and, accordingly, since I am engaged in the preservation of cultures, traditions, languages ​​that are disappearing today – it was important and honorable for me to exhibit my works at UNESCO. I don’t know what will happen next. In principle, I think that these should be large international platforms, since the project goes beyond Russia. The project is worldwide. I’m not going to complete the project. I plan to travel and collect stories, photographs, from all over the world – and I will be glad to consider proposals for global exhibitions that would show us – humanity – that we live in this world are different, each has its own culture, traditions, we must respect people who belong to other cultures. At the same time, the general humanistic component is that the whole world is one and all people are brothers,” notes Khimushin.

In 2018, Khimushin went to the Russian Arctic – Taimyr. The result was a series of portraits of the region’s indigenous inhabitants – Dolgans, Nganasans, Enets, Nenets, Evenks.

“Taimyr is unique in that it is a distant, cold place. For me, this was not something new, since I grew up in Yakutia (the Far East of Russia is the cold pole on the planet), but it is the peoples living there – the Nenets, Dolgans, Nganasans, they have a unique culture, their way of life and reindeer husbandry have been preserved. It was interesting to visit, thanks to Norilsk Nickel (The world’s largest high-grade nickel and palladium producer), to get to these places. I would like to return to Taimyr, shoot more there, if there is such an opportunity,” the artist noted.

The Norilsk Nickel company, which takes an active part in the fate of the small peoples of the Arctic, supported the Khimushin project.

“Our company supports the work of Alexander Khimushin, because thanks to his work, the whole world can see amazing, beautiful people living in remote corners of our planet. Including representatives of the indigenous peoples of the North of Russia, who managed to preserve a unique, original culture and traditions. The preservation of nature, traditions and culture of indigenous peoples, support and new opportunities for the development of ancestral activities – these are the themes that bring countries, international and commercial organizations, artists and creators together, “said Tatyana Smirnova Head of Public Relations MMC Norilsk Nickel.

Khimushin became the first Russian photographer to have an exhibition at the UN headquarters in New York. Works from The World in Faces project were exhibited at the University of Lille in France, and for six months were broadcast on the screen of the world’s largest digital art center in Bordeaux.

The exhibition at the headquarters of UNESCO will run until the end of August 2021.

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Russia, Egypt Launch the Year of Humanitarian Cooperation

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Russia and Egypt have opened the next chapter in their bilateral relations as the Assistant Foreign Minister for Cultural Relations, Ambassador Mahmoud Talaat, described the launch of the Russia-Egypt Year of Humanitarian Cooperation as a “bright spot” in the history of joint relations.

Addressing the launch ceremony on behalf of Foreign Minister Sameh Shoukry, Talaat said the event comes within the framework of strategic relations between the two countries that reflected in a humanitarian exchange document, which was signed by President Abdel Fattah El Sisi and his Russian counterpart Vladimir Putin in Sochi.

Both officials reviewed Cairo-Moscow distinguished relations that have been growing in all fields, mainly at the political, economic, scientific, cultural and social levels. They pointed out to the close historic ties binding both counties and their peoples.

Russia’s Deputy Minister of Culture Olga Yarilova who led the Russian delegation in the meeting emphasized the strength of relations between Cairo and Moscow. She added that the agenda of the Cairo-Moscow year of human exchange will include several cultural, tourism, sports, youth and educational events and activities among the two countries’ cities and regions.

Culture Minister Enas Abdel Dayem and Russia’s Deputy Minister of Culture Olga Yarilova jointly launched the kick-off event at the Cairo Opera House, in the presence of Chairman of the Cairo Opera Magdy Saber, alongside a number of ministers, ambassadors and leaders of the Ministry of Culture.

Beryozka (Berezka) Dance Ensemble, one of the internationally renowned and oldest Russian dance troupes, presented a number of artistic shows on Russian folklore. The Ensemble is a troupe of female dancers founded by Russian choreographer and dancer Nadezhda Nadezhdina in 1948 in the Soviet Union which specializes in performing in long gowns and moving across the stage as though on wheels or floating.

It is worth mentioning that Russia has been chosen as the guest of honor for the Ismailia International Festival for Documentary and Short Films, set for June 16-22.

The Egyptian culture and foreign ministries and Russian bodies concerned have prepared an agenda, including 23 cultural and artistic events throughout the whole year, with the participation of the culture ministry’s sectors and authorities. The cultural programmes will run till May 2022, and as part of the preparations for the second Russia-Africa summit planned for next year in Addis Ababa, Ethiopia.

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“Kharibulbul” festival represents a multi-ethnic, multi-confessional and multicultural Azerbaijan

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As a country of multiculturalism, Azerbaijan promotes the cross-cultural dialogue inside the country, but also at the regional level. The modern Republic of Azerbaijan regards the existence of a people as the result of the civil and political self-determination of the peoples in Azerbaijan. For the time being, Azerbaijan is populated by representatives of over 30 national minorities such as Talysh, Kurd, Lezghi, Tat, Russian, Ukrainian, Georgian, Inghiloy, Tatar, Avar, Ahyska Turk, Jewish, German, Greek and others. All of them enjoy the cultural societies. Representatives of three main religious confessions – Islamic, Christian and Judaic communities participate jointly at various public ceremonies and cultural events. Support and preservation of the cultural diversity are reflected in the State policy of Azerbaijan.

The ongoing clashes near Nagorno-Karabakh started after Armenia attacked Azerbaijani civilians and military on September 27. Azerbaijan won its historic Victory in 44 days, liberated its lands, dealt crushing blows to the enemy, and defeated Armenia. As a result of this defeat, Armenia was forced to sign capitulation and surrender. Thus, Armenia’s 30-year policy of aggression has come to an end. During this time, the glorious Azerbaijani Army has liberated many settlements from the enemy. Thousands of citizens have volunteered for military service across the country to fight Armenia’s increased military aggression. The volunteers come from various ethnic, religious, social backgrounds and are united around the cause to restore the country’s territorial integrity as well as justice.

Despite all this, Azerbaijanis are not the enemy of the Armenian people. Azerbaijan is a multinational state. Thousands of Armenians live in Azerbaijan, primarily in Baku. Armenia, which has created a society intolerant towards other nations and religions, has tried to completely erase the ancient Albanian, Orthodox, Muslim religious and cultural heritage that historically existed in the occupied territories of multi-ethnic and multi-religious Azerbaijan. It has either completely destroyed cultural and spiritual heritage of the Azerbaijani people or falsified their history and origins by Armenianizing and Gregorianizing it. In the occupied territories of Azerbaijan, mosques, temples and cemeteries, historical monuments, museums, libraries have been destroyed and looted, Caucasian Albanian Christian temples and Russian Orthodox churches have been Gregorianized, mosques have been turned into barns and subjected to unprecedented insults such as keeping animals forbidden in Islam in them. The Armenian regime, which has been pursuing aggressive policies for years, has ignored the norms of international law and international humanitarian law, has committed environmental crimes in the occupied territories through fires, the use of phosphorus bombs, poisonous substances and mines. Today, Armenians living in Nagorno-Karabakh region, also they can normally live only within the Azerbaijani state. The Azerbaijani people are tolerant.

It is also well known by the world public that the Republic of Azerbaijan, diverse in terms of ethnic and religious background, fought to liberate its historic territories from occupation that had nothing to do with Christianity. Secondly, Muslims, Christians, and Jews – representatives of all nations and religions living in our country – fought alongside Azerbaijanis in the armed forces of Azerbaijan. These people were united around the “ Karabakh is Azerbaijan!” slogan by Mr. Ilham Aliyev, Commander – in – Chief of the victorious army, and not false religious appeals. Among them are those who displayed unequalled heroism falling martyrs, wounded, and awarded with supreme orders and medals of the Republic of Azerbaijan. 

 As with the beginning of the conflict, there are lots of officers and soldiers – representatives of the nations and religious communities living in Azerbaijan – who serve in Azerbaijan’s national army and display outstanding valor in liberating our country from occupation. Azerbaijani nation doesn’t discriminate between its heroic sons and martyrs on ethnic and religious background.

Mr. President Ilham Aliyev, who played a major role in this historic victory of Azerbaijan, said the followings: “Our advantage lies in the fact that representatives of all nations living in Azerbaijan feel themselves as comfortable as in their families and motherland. The fraternity and friendly relationships between various nations is our big wealth and we have to protect it. Our policy will also be pursued in the future. Representative of all the nations living in Azerbaijan displayed outstanding courage and heroism in the Second Karabakh war, falling martyrs, fighting for the cause of Motherland, and embracing death under the Azerbaijani flag. This is the society we have in our country and it is our big wealth».

For your information, “Kharibulbul” music  festival, bearing the name of symbolic flower growing in Shusha, was first organized in Shusha’s fabulous Jidyr glade in May 1989.  30 years later on May, the 12th “Kharibulbul” music  festival in Azerbaijan’s cultural capital Shusha was organized by the Heydar Aliyev Foundation and will be held every year hereafter.

Musical creativity of different nations living in Azerbaijan on Jidyr glade within the festival was introduced devoted to “ Multiculturalism in Azerbaijani music” as a program comprising folk and classic musics.

Representatives of various nations living in our country demonstrated stage performance. All nations living in Azerbaijan have contributed to our joint victory. The Patriotic War once again proved that all nations live in fraternity, friendhips, and solidarity in Azerbaijan and there is national unity and solidarity in the country.We are sure that Shusha will host numerous music festivals and international conferences.

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