As I recall the hours I spent in the Museum of Modern Art, I am reminded of the masterful work of Edward Hopper. Hopper, an American artist, was known for his enigmatic and melancholic paintings of urban life in America. He perfected the art of loneliness in his paintings and a representation of individuals absorbed by solitude. His paintings depict solitary figures staring into the abyss. The words of my former partner ring in my ears till this day. She felt the figures were recognition of the fleeting moments of loneliness that exist in all of us, whether we are amid a pandemic, economic recession or just in an ordinary day.
Hopper’s famous work, Nighthawks (1942), continues to be referred to and revered in today’s day and age. The painting portrays alienation and voyeurism quiet contemplation the scene depicts four people
in a New York City diner at night it’s meant to be somewhere in Greenwich Village where Hopper lived. There are one waiter and three patrons whose relationships are all ambiguous. Seated closely in an empty diner at dusk, it is assumed that these two knew each other. Somehow, their hands overlap yet don’t touch. Suggesting they’re in different phases and could be strangers if not just momentarily estranged. Prima facie, one looks at the dinner from an odd angle. From the vantage of an onlooker crossing the street. The triangular corner juts into the frame like the prow of a boat.
This is no coincidence. Not only was Hopper obsessed with the imagery of boats but he repeatedly situated his buildings’ angles like so. For Hopper, his subjects were both, behind and in front of windows. Of course, windows are the place where the separation between outside and inside becomes complicated. Not because we can physically move through them but because our sight does. One’s gaze invades these private worlds. Indeed, Hopper’s artistic romance with windows often appears as if windows are non-existent. Hopper’s windows vanish. They invite a voyeuristic look. Aware of the fact that knowing that houses like people can be penetrated with a gaze Hopper was a very slow, very deliberate painter.
Hopper wanted his devotion to each work to be mirrored by our appreciation as slowly and deliberately as he painted. He wanted his viewers to look at the vulnerable crouching in the dark in the building; Or opposite or simply crossing the street. Note, there is no door to the diner in Nighthawks. No way in except by way of sight. A sight that enters the fluorescent light of the establishment passes through the three patrons in their ennui and loneliness and exits into the dark.
In short, Nighthawks exemplifies Hopper’s style of a dramatic play of light, shadow, and a hue of mystery. Tensions and disconnections between people are exemplified in paintings such as Room in New York and Summer Evening. “We are all Edward Hopper paintings now,” I read on the internet. Alluding to the sense of isolation that has permeated societies undergoing lockdown due to the coronavirus pandemic. Hopper’s work resonates as the world remains in the shackles of lockdowns, even if partial. Without a shadow of a doubt, such expressions of emotions and feelings like loneliness mirror what so many feel inside due to the ‘new normal.
Nevertheless, Hopper’s work is far beyond the dull and melancholic mood of mundaneness that hangs over our heads. His paintings are a brilliant psychological illustration that speaks to the artist’s experience and thoughts on life. In solitude and social isolation, Hopper’s figures offer a kinship to the viewer, a recognition of the fleeting moments of loneliness that exist in all of us whether we’re amid a pandemic, economic recession or just an ordinary day.
Hopper’s paintings, like the rest of his skilful ilk, demand a story of interpretation. His paintings resemble book covers awaiting analysis, awaiting narratives. In such an amalgam of mystery and openness, Hopper’s paintings exude an exquisite and memorable sentiment. Staring at Hopper’s works, one notices the life in the subjects painted. Hopper’s work, in my analysis, in my narrative, seeks not to compound loneliness, but simply to recognise it.
UNESCO open exhibition “The World in Faces” at its Paris headquarters
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.
Russia, Egypt Launch the Year of Humanitarian Cooperation
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.
“Kharibulbul” festival represents a multi-ethnic, multi-confessional and multicultural Azerbaijan
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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