#soviet masters of landscape

[jacensolodjo]

Life is political, not because the world cares about how you feel, but because the world reacts to what you do. The minor choices we make are themselves a kind of vote, making it more or less likely that free and fair elections will be held in the future. In the politics of the everyday, our words and gestures, or their absence, count very much. A few extreme (and less extreme) examples from the twentieth century can show us how.

In the Soviet Union under the rule of Joseph Stalin, prosperous farmers were portrayed on propaganda posters as pigs—a dehumanization that in a rural setting clearly suggests slaughter. This was in the early 1930s, as the Soviet state tried to master the countryside and extract capital for crash industrialization. The peasants who had more land or livestock than others were the first to lose what they had. A neighbor portrayed as a pig is someone whose land you can take. But those who followed the symbolic logic became victims in their turn. Having turned the poorer peasants against the richer, Soviet power then seized everyone’s land for the new collective farms. Collectivization, when completed, brought starvation to much of the Soviet peasantry. Millions of people in Soviet Ukraine, Soviet Kazakhstan, and Soviet Russia died horrible and humiliating deaths between 1930 and 1933. Before it was over, Soviet citizens were butchering corpses for human meat.

In 1933, as the starvation in the USSR reached its height, the Nazi Party came to power in Germany. In the euphoria of victory, Nazis tried to organize a boycott of Jewish shops. This was not very successful at first. But the practice of marking one firm as “Jewish” and another as “Aryan” with paint on the windows or walls did affect the way Germans thought about household economics. A shop marked “Jewish” had no future. It became an object of covetous plans. As property was marked as ethnic, envy transformed ethics. If shops could be “Jewish,” what about other companies and properties? The wish that Jews might disappear, perhaps suppressed at first, rose as it was leavened by greed. Thus the Germans who marked shops as “Jewish” participated in the process by which Jews really did disappear—as did people who simply looked on. Accepting the markings as a natural part of the urban landscape was already a compromise with a murderous future.

On Tyranny: Twenty Lessons from the Twentieth Century by Timothy Snyder

[about-kazakhstan]

Kazakhstan Travel Tips

Table of Contents:

Introduction to Kazakhstan

Is Kazakhstan Safe for Travelers?

Mastering the Basics of the Kazakh Language

Essential Kazakhstan Travel Tips

Exploring Kazakhstan: Top Destinations

Cultural Insights for a Deeper Connection

Conclusion & Next Steps

1. Introduction to Kazakhstan

About Kazakhstan: Located at the crossroads of Europe and Asia, Kazakhstan is the world's largest landlocked country, boasting a diverse landscape of steppes, mountains, and deserts. Rich in natural resources and steeped in history, from the ancient Silk Road to the Soviet era, Kazakhstan offers a unique blend of traditional and modern experiences.

Key Takeaway: Kazakhstan's vast territory encompasses a wide range of climates and cultures, making it a fascinating destination for intrepid travelers.

2. Is Kazakhstan Safe for Travelers?

Safety is a top concern for any traveler. Kazakhstan, like many countries, has its areas of caution, but overall, it is considered safe for tourists. Petty theft and traffic violations are more common than violent crimes against visitors.

Safety Tips:

Be Aware of Your Belongings: Especially in crowded areas and public transportation.

Respect Local Customs: Dress modestly when visiting mosques or attending cultural events.

Stay Informed: Check the latest travel advisories from your home country's foreign office.

Key Takeaway: With basic precautions and an understanding of local norms, Kazakhstan can be a very safe and rewarding travel destination.

3. Mastering the Basics of the Kazakh Language

While many Kazakhs speak Russian and an increasing number speak English, especially among the younger population, learning a few Kazakh phrases can greatly enhance your experience.

Pronunciation Guide

Hello

Сәлем (Sälem)

Sah-lem

Thank You

Рахмет (Rahmet)

Rahk-met

Yes/No

Ия/Жоқ (İya/Joq)

Ee-yah / Jok

Key Takeaway: Showing an effort to communicate in Kazakh can lead to warmer interactions and a more immersive experience.

4. Essential Kazakhstan Travel Tips

Best Time to Visit: Spring (April-May) and Autumn (September-October) for mild weather.

Getting Around: A mix of taxis, public transport, and domestic flights for longer distances.

Accommodation: From budget-friendly hostels to luxury hotels, especially in Almaty and Astana.

Currency: Kazakhstani Tenge (KZT), with USD and EUR widely accepted in tourist areas.

Key Takeaway: Planning ahead with the right information can make your Kazakhstan adventure seamless and enjoyable.

5. Exploring Kazakhstan: Top Destinations

Almaty: The southern gem with its stunning Tian Shan mountains backdrop.

Astana: The futuristic capital, a marvel of modern architecture.

Turkestan: Home to the Mausoleum of Khodja Ahmad Yasawi, a UNESCO World Heritage Site.

Kyzylarai Mountains: For trekking and experiencing nomadic life.

Key Takeaway: Each destination in Kazakhstan offers a unique window into the country's rich history, culture, and natural beauty.

6. Cultural Insights for a Deeper Connection

Respect for Elders: Greet older individuals first, as a sign of respect.

Table Manners: Wait for the host to start eating, and try a bit of everything.

Gift Giving: Opt for items like chocolates, tea, or small souvenirs from your home country.

Key Takeaway: Embracing local customs can transform your visit into a meaningful cultural exchange.

7. Conclusion & Next Steps

Kazakhstan, with its breathtaking landscapes, rich history, and welcoming people, is a treasure trove for travelers. By following these Kazakhstan travel tips, you're not just preparing for a trip, you're opening yourself to unforgettable experiences.

[simplicius-simplicissimus]

Out of Africa (Jenseits von Afrika)

David Livingstone

The name “David Livingstone” is closely linked to the Victoria Falls because he discovered this natural wonder of the earth. But not only that - he is one of the white people who is still fondly remembered in Africa. Zambia's first president Kenneth Kaunda once described Livingstone as "Africa's first freedom fighter" in 1964 (when Zambia gained independence). Livingstone witnessed the massacre of 400 blacks by Arab slave traders. A diary entry by Livingstone about this event, later published by the journalist Morton Stanley, contributed significantly to the closure of the most important slave trading center in East Africa on the island of Zanzibar. Great Britain forced the ruling Sultan to do so by force of arms. Livingstone's pioneering work, his love for this continent and his fight against the slave trade are the reasons why he is revered in Africa - even the bus driver who drove us to a boat trip on the Zambezi in Victoria Falls expressed this reverence in his words.

His goals - to prove that the Zambezi could be used as a transport route and to find the source of the Nile - Livingstone could never achieve. However, his achievement is that he brought Africa closer to the Europeans. His descriptions, his observations and his notes about animals, plants and people expanded knowledge about the previously largely unknown continent. We traveled to Africa because of the animals and the unique landscapes. We got to know many ordinary, but satisfied and friendly people who presented their country and their way of life to us with pride and often with humor (“you get an African massage when driving over the bumpy African roads”). But we also saw the negative side of the coin: poverty and people who will do almost anything to survive.

The tour guide and bus driver on our trip was such an ordinary and friendly man - and very proud of his Herero origins, which he often emphasized. From 1884 to 1915, Namibia was part of what was then the German Empire as German South West Africa. The Herero and Nama rose up against their colonial masters in 1904. This uprising was brutally suppressed by German troops under the command of Lothar von Trotha. Most of the Herero fled to the almost waterless Omaheke Desert. Trotha had it blocked off and chased away the refugees from the few waterholes that existed there, so that thousands of Herero, along with their families and herds of cattle, died of thirst. Trotha's actions are considered by scholars to be the first genocide of the 20th century. The Herero still remember this today with a day of remembrance. A strange scene: The Herero, whose ancestors were so harassed by Germans, now had the task of driving and accompanying a German tour group safely through Zimbabwe, Botswana and Namibia.

Germany has been working on a reconciliation agreement in this matter with Namibia for some time - which was pushed forward by Namibian President Hage Geingob, who died earlier this year. However, an official agreement with Namibia on “reparations payments” has not yet been reached. Africa is sometimes “complicated” - depending on which ethnic group is “in charge” in the country and sometimes does not necessarily focus on the interests of other ethnic groups.

The UN Genocide Convention of 1948 emerged as a direct reaction to the mass atrocities committed by the German Reich in World War II. The Soviet Union ensured that the destruction of entire layers or classes – later called sociocide – was not included in the definition. What is hardly known, however, is that Great Britain and France, but also the USA, Canada and Australia, as old colonial powers, ensured that the systematic cultural destruction of a group and the forced assimilation of indigenous peoples and national minorities were not included in the definition as well. It's easier to point the finger at others than to admit or deal with your own crimes. The Africans have regained sovereignty over their land - the indigenous peoples in America and Australia were less fortunate.

There is still a monument in Swakopmund today that commemorates the German soldiers who died in the 1904 conflict described above. Namibia has been independent from South Africa since 1990 - and I couldn't help but wonder why the monument hasn't been torn down long ago? Maybe because every death in a conflict is one too many? Swakopmund is generally a very “German” city - with many buildings, its flair and street names from the former colonial era. You go to the chic, expensive restaurants and cafes in Swakopmund and you almost only meet “white” customers there. “Blacks” often cannot afford this - which is why “blacks” almost exclusively serve “whites”. Inwardly I thought to myself: “Somehow not much has changed in this regard in the last hundred years!” It was a depressing situation for us. African countries are free today - but are they really independent? A statement from our tour guide: “We are still so dependent on South Africa. When truck drivers go on strike in South Africa, the shelves in Namibia's supermarkets are empty. When Namibia was still part of South Africa, life was even better.” The African continent has raw materials and quite clever people - but somehow they often can't get the horsepower on the road there. There is still a lot to do - and I think the ex-colonial powers have a special responsibility to help this continent which they have plundered for decades.

There are these “perfect days” - and our second day in Chobe National Park in Botswana was one of them. On the morning safari in an open off-road vehicle, we not only saw one of those red African sunrises - we also saw two male lions walking completely unperturbed, almost tactile, in front of us. In the afternoon we took a boat along the Chobe River and were able to observe many animals up close in their natural behavior: grazing water buffaloes, hippos and crocodiles dozing in the afternoon sun. There were also two elephant bulls who were playfully competing against each other. And an elephant matriarch who led her family swimming across the Chobe River. You don't see anything like that in a zoo. The icing on the cake was that our boat was steered to the perfect spot to photograph the sunset. All highly emotional moments.

The majestic Namib Desert stretches along the 1,500 km long Namibian coast (also called the “skeleton coast” because of the many whale skeletons there). The coast is therefore almost deserted (there are only 4 small coastal towns there - including Swakopmund)… and is lined with shipwrecks because there is often dense fog, treacherous currents and shifting sandbanks. The coast includes three national parks, each extending approximately 50 km inland: Namib Naukluft National Park, Dorob National Park (with Cape Cross) and Skeleton Coast Park. These are intended to preserve the unique nature there - probably out of wise foresight, because Namibia is one of the leading mining nations for diamonds, uranium, zinc and fluorspar. The Namib Desert was my first desert with a wide dune landscape. The wind creates an incredibly majestic and beautiful scenery there. Every picture taken is like a painting in sand colors.

Apart from Africa, there is probably no other continent where the wilderness is so well preserved and can be experienced up close. It's definitely not the last time we've been to Africa. Maybe that's the magic of this continent - once you've visited it, you come back with longing.

Der Name „David Livingstone“ ist eng mit den Victoria Falls verbunden, denn er entdeckte dieses Naturwunder der Erde. Aber nicht nur das - er ist einer der Weissen, an den man sich in Afrika immer noch gern erinnert. Sambias erster Präsident Kenneth Kaunda bezeichnete Livingstone 1964 einmal als „Africa's first freedom fighter“ (als Sambia seine Unabhängigkeit erlangte). Livingstone wurde Zeuge an der Massakrierung von 400 Schwarzen durch arabische Sklavenhändler. Ein vom Journalisten Morton Stanley später veröffentlichter Tagebucheintrag Livingstones über dieses Ereignis hat wesentlich dazu beigetragen, dass der wichtigste Sklavenhandelsplatz Ostafrikas auf der Insel Sansibar geschlossen wurde. Grossbritannien zwang den herrschenden Sultan mit Waffengewalt dazu. Livingstones Pionierarbeit, seine Liebe für diesen Kontinent und sein Kampf gegen den Sklavenhandel sind der Grund dafür, dass er in Afrika verehrt wird - selbst der Busfahrer, der uns in Victoria Falls zu einem Bootstrip auf dem Sambesi fuhr, lies diese Verehrung in seinen Worten spüren.

Seine Ziele - zu beweisen, dass der Sambesi als Verkehrsweg nutzbar sei, sowie die Nilquelle zu finden - konnte Livingstone nie erreichen. Sein Verdienst aber ist es, dass er den Europäern Afrika nahe brachte. Seine Beschreibungen, seine Beobachtungen, seine Notizen über Tiere, Pflanzen und Menschen erweiterten das Wissen über den bis dahin weitgehend unbekannten Kontinent. Wegen der Tiere und der einzigartigen Landschaften reisten wir nach Afrika. Wir lernten dabei viele einfache, jedoch zufriedene und freundliche Menschen kennen, die uns mit Stolz und häufig mit Witz („eine afrikanische Massage bekommt man, wenn über die holprigen afrikanischen Strassen fährt“) ihr Land und ihre Lebensweise präsentierten. Die negative Seite der Medaille sahen wir aber auch: Armut und Menschen, die fast alles tun, um zu überleben.

Der Reiseleiter und zugleich Busfahrer unserer Reise war ein solch einfacher und freundlicher Mann - und sehr stolz auf seine Herkunft als Herero, die er oft betonte. Namibia gehörte von 1884 bis 1915 als Deutsch-Südwestafrika zum damaligen Deutschen Reich. Die Herero und Nama erhoben sich 1904 gegen ihre Kolonialherren. Dieser Aufstand wurde brutal durch deutsche Truppen unter dem Kommando von Lothar von Trotha niedergeschlagen. Der größte Teil der Herero floh in die fast wasserlose Omaheke-Wüste. Trotha ließ diese abriegeln und Flüchtlinge von den wenigen dort existenten Wasserstellen verjagen, so dass Tausende Herero mitsamt ihren Familien und Rinderherden verdursteten. Trothas Vorgehen gilt in der Wissenschaft als erster Völkermord des 20. Jahrhunderts. Die Herero erinnern noch heute mit einem Gedenktag daran. Eine eigentümlich Szene also: Der Herero, dessen Vorfahren durch Deutsche so drangsaliert wurden, hatte nun die Aufgabe, eine deutsche Reisegruppe sicher durch Simbabwe, Botswana und Namibia zu fahren und zu geleiten.

Deutschland arbeitet in dieser Angelegenheit seit geraumer Zeit an einem Aussöhnungsabkommen mit Namibia - das durch den Anfang dieses Jahres verstorbenen namibischen Präsidenten Hage Geingob vorangetrieben wurde. Eine offizielle Übereinkunft mit Namibia über „Reparationszahlungen“ konnte jedoch bisher noch nicht erreicht werden. Afrika ist manchmal „kompliziert“ - je nachdem, welche Ethnie im Land „das Sagen“ hat und dabei die Interessen anderer Ethnien manchmal nicht unbedingt im Fokus hat.

Die Genozidkonvention der Uno von 1948 entstand als unmittelbare Reaktion auf die Massenverbrechen des Deutschen Reiches im Zweiten Weltkrieg. Die Sowjetunion erreichte, dass die Vernichtung ganzer Schichten oder Klassen – später Soziozid genannt – nicht in die Definition einfloss. Kaum bekannt ist hingegen, dass Grossbritannien und Frankreich, aber auch die USA, Kanada und Australien als alte Kolonialmächte dafür sorgten, dass die systematische kulturelle Zerstörung einer Gruppe und die Zwangsassimilation von indigenen Völkern und nationalen Minderheiten auch nicht Eingang in die Definition fanden. Es ist eben leichter auf andere zu zeigen, als sich selbst seine Verbrechen einzugestehen oder aufzuarbeiten. Die Afrikaner haben die Souveränität über ihr Land wieder zurückerlangt - die indigenen Völker in Amerika und Australien hatten da weniger Glück.

In Swakopmund gibt es heute noch ein Denkmal, das an die deutschen Gefallenen des oben beschriebenen Konflikts von 1904 erinnert. Namibia ist seit 1990 von Südafrika unabhängig - und ich fragte mich unwillkürlich, warum man das Denkmal nicht längst abgerissen hat? Vielleicht, weil jeder Tote in einem Konflikt einer zu viel ist? Swakopmund ist generell eine sehr „deutsche“ Stadt - mit vielen Gebäuden, seinem Flair und Straßennamen aus der ehemaligen Kolonialzeit. Man geht in die schicken, teuren Restaurants und Cafes in Swakopmund und trifft dort fast nur „weisse“ Kunden. „Schwarze“ können sich das nämlich oft nicht leisten - deshalb bedienen „Schwarze“ fast ausschliesslich „Weisse“. Innerlich dachte ich mir: „Irgendwie hat sich in den letzten hundert Jahren diesbezüglich dann nicht viel geändert!“ Es war eine bedrückende Situation für uns. Die afrikanischen Länder sind heute frei - aber sind sie wirklich unabhängig? Eine Aussage unseres Reiseleiters: „Wir sind immer noch so abhängig von Südafrika. Wenn in Südafrika die LKW-Fahrer streiken, sind in Namibias Supermärkten die Regale leer. Das Leben früher war sogar besser, als Namibia noch Teil von Südafrika war.“ Der afrikanische Kontinent hat Rohstoffe und durchaus clevere Menschen - aber irgendwie bekommt man oft dort die PS nicht auf die Strasse. Es ist noch viel zu tun - und ich denke, die Ex-Kolonialmächte haben hier eine besondere Verantwortung, dem Kontinent zu helfen, den sie jahrzehntelang ausgeplündert haben.

Es gibt diese „perfekten Tage“ - und unser zweiter Tag im Chobe Nationalpark in Botswana war ein solcher. Auf der morgendlichen Safari im offenen Geländewagen sahen wir nicht nur einen dieser roten afrikanischen Sonnenaufgänge - wir sahen auch zwei männliche Löwen, die vollkommen unbeirrt, fast greifbar vor uns entlang spazierten. Am Nachmittag fuhren wir im Boot den Chobe River entlang und konnten viele Tiere aus nächster Nähe in ihrem natürlichen Verhalten beobachten: grasende Wasserbüffel, in der Nachmittagssonne dösende Flusspferde und Krokodile. Auch zwei Elefantenbullen, die sich spielerisch miteinander im Kräftemessen übten. Und eine Elefanten-Matriarchin, die ihre Familie schwimmend durch den Chobe River führte. So etwas sieht man in keinem Zoo. Das Sahnehäubchen war dann noch, dass unser Boot an den perfekten Spot gesteuert wurde, um den Sonnenuntergang zu fotografieren. Alles höchst emotionale Momente.

Der 1500 km langen, namibischen Küste entlang (aufgrund der vielen Wal-Skelette dort auch „Skelettküste“ genannt ) erstreckt sich die majestätische Namib-Wüste. Die Küste ist deshalb fast menschenleer (es gibt dort nur 4 kleine Küstenstädte - u.A. Swakopmund)….und ist gesäumt von Schiffwracks, weil es dort häufig dichten Nebel, tückische Strömungen und wandernde Sandbänke gibt. Die Küste umfasst drei Nationalparks, die sich jeweils ca. 50 km ins Landesinnere erstrecken: Namib Naukluft National Park, Dorob National Park (mit Cape Cross) und Skeleton Coast Park. Diese sollen die einzigartige Natur dort erhalten - wohl aus weiser Voraussicht, denn Namibia zählt zu den führenden Bergbaunationen für Diamanten, Uran, Zink und Flussspat. Die Namib-Wüste war meine erste Wüste mit einer weiten Dünenlandschaft. Der Wind formt dort eine unglaublich majestätische und schöne Szenerie. Jedes geschossene Bild ist wie ein Gemälde in Sandfarben.

Es gibt neben Afrika wohl keinen weiteren Kontinent, wo die Wildnis noch so gut erhalten und hautnah erlebbar ist. Wir sind bestimmt nicht das letzte Mal in Afrika gewesen. Vielleicht ist das die Magie dieses Kontinents - wenn man ihn einmal besucht hat, kommt man mit Sehnsucht zurück.

-Simplicius Simplicissimus

[longlistshort]

Wealthy figures gaze into the distance while holding strange pets in AES+F’s exhibition of paintings Inverso Mundus: Chimeras at Sargent’s Daughters. The Russian artist collective’s creations act as a commentary on the excesses of the privileged class.

From the press release-

Inverso Mundus: Chimeras, will present a series of never before seen paintings, correlated to images and themes from Inverso Mundus, their video installation and performance work that premiered at the 56th Biennale di Venezia in 2015.  This marks the first presentation of the group’s work to feature exclusively paintings. Produced in the style of the Old Masters, these works present the groundbreaking and challenging work of AES+F in a new medium for a new audience.

AES+F works in photography, video production, sculpture, and painting with the goal of creating large-scale narratives that explore our contemporary global landscape and its culture, vices, and values.  First founded in the former Soviet Union in 1987, they have shown at major institutions across Europe, Asia, and the United States.  Their painting practice, produced collectively in the group’s Berlin studio, employs hyper-realistic oil painting techniques to mimic the digital glossiness of their video and digital work, tethering their complex renderings to the two-dimensional and the handmade.

Inverso Mundus takes as its initial reference point the sixteenth-century Carnivalesque engravings in the genre of ���world upside down,” an early form of populist social critique that emerged with the advent of the Gutenberg press. This body of work presents contemporary life turned “upside down,” depicting a tragi-comic apocalypse where social conventions are inverted to highlight the unspoken premises of our social contract.  In the Chimeras series, various archetypes of contemporary life are portrayed cradling uncanny monsters on their laps like cherished pets. The series asks viewers to confront the monstrous contradictions we all hold dear in contemporary society.

In the wake of Putin’s re-election, the violence against dissidents such as Aleksei Navalny, and the recent amplified persecution of artists across Russia, AES+F’s critiques of the oligarchy, power, and military aggression are particularly pointed. Their public stance against the war in Ukraine has made them a target, and informed their decision to leave Moscow and relocate to Berlin in 2022.  This exhibition brings AES+F’s groundbreaking and urgent work to New York, adding new context to the international conversation.

This exhibition closes 6/1/24.

[roamanddiscover]

The Kite Runner Book Summary

The Kite Runner Book Summary

The Kite Runner by Khaled Hosseini is a captivating novel that takes readers on a journey through Afghanistan and the complex issues faced by its people. The story revolves around the protagonist, Amir, and his childhood friend Hassan who come from different social classes and have contrasting personalities. The book explores themes such as redemption, guilt, and betrayal, which are woven into the fabric of the story in a powerful and engaging way. Set in the 1970s, before the Soviet invasion of Afghanistan, the novel unfolds against a backdrop of political turmoil and change. Amir, the son of a wealthy Pashtun businessman, is haunted by his past mistakes and struggles to find redemption. His relationship with Hassan, a Hazara boy from a lower social class, is fraught with tension and ultimately tragedy. The Kite Runner is a stunning literary achievement that portrays Afghan culture and tradition in an insightful and nuanced way. The author's use of language is masterful, and his descriptions of the landscape and people of Afghanistan are vivid and evocative. Hosseini's portrayal of the relationships between his characters is also deeply moving, and readers are sure to be emotionally engaged throughout the book. The Kite Runner is a thought-provoking and emotionally powerful novel that explores the complexities of human relationships and the impact of personal choices on our lives. Whether you are a fan of literary fiction, historical novels, or simply love a good story, The Kite Runner is a must-read book that will stay with you long after you turn the final page.

Character Analysis

The Kite Runner provides a fascinating array of characters, each with their own backstory, personality traits and motivations. Amir, the protagonist and narrator, is a complicated character that the reader can both sympathize with and condemn. As a child, Amir is often overshadowed by his father's expectations and neglect, leading to feelings of inadequacy and a desire for redemption. His relationship with his best friend Hassan is also a central component of the novel, as the two navigate the complicated social hierarchy and ethnic tensions in Afghanistan. Hassan, the son of Amir's father's servant, is a loyal and brave character despite being marginalized by society due to his Hazara ethnicity. His friendship with Amir is tested throughout the novel, as Amir struggles with jealousy and betrayal and Hassan grapples with his own internal turmoil. Their fathers, Baba and Ali respectively, are also complex characters. Baba is a pillar of the Afghan community, but his past mistakes and shortcomings are revealed as the novel progresses. Ali, on the other hand, is a gentle and kind person, but his life is overshadowed by the trauma he experienced during his childhood. The secondary characters in The Kite Runner also play important roles in the story, including Assef, a bully with a penchant for violence; Rahim Khan, Amir's father figure and confidant; and Soraya, Amir's love interest and wife. The interactions between these characters reveal the complexities of human relationships and the impact of personal choices. - The characters in The Kite Runner are dynamic and multi-dimensional. - Amir's relationship with Hassan is a central component of the story. - Baba and Ali are complex characters whose past mistakes and trauma are explored. - The secondary characters provide unique perspectives on Afghan society and culture.

Analysis

The Kite Runner by Khaled Hosseini is a novel that delves into complicated themes of redemption, guilt, and betrayal. These universal themes are explored through the story of a young boy in Afghanistan, Amir. One of the significant themes in The Kite Runner is family dynamics. The complex relationship between Amir and his father, as well as the bond between Amir and Hassan, his friend, is explored in great detail. Another critical theme in the novel is political unrest in Afghanistan. The story is set in a tumultuous period in the country's history, following the Soviet invasion and the rise of the Taliban. Hosseini sheds light on the devastating impact of war on the lives of ordinary people and the brutal oppression under Taliban rule. Throughout the novel, Hosseini employs various literary devices to convey his themes, including symbolism, motifs, and foreshadowing. The kites in the story act as a potent symbol, representing freedom, innocence, and the friendship between Amir and Hassan. The motif of storytelling is also pivotal to the novel as it emphasizes the importance of sharing stories as a means of healing and redemption. The characters in The Kite Runner are well-developed and complex, with their motivations and personalities influenced by their experiences and circumstances. The protagonist, Amir, is a flawed character whose actions have significant consequences. Hosseini expertly weaves his characters' stories together to create a heartbreaking and insightful portrait of Afghanistan and the human condition as a whole. The Kite Runner is a thought-provoking novel that delves into complex issues and themes such as family dynamics, political unrest, and personal redemption. Hosseini's use of literary devices and well-developed characters creates a powerful and emotional story that resonates with readers long after the last page has been turned.

Reviews

The Kite Runner has received widespread acclaim from both critics and readers since its first publication in 2003. The novel's powerful storytelling and portrayal of Afghan culture have captivated the hearts of all who have read it. The New York Times called it a "beautiful and haunting novel" that "not only brings to life the landscape and history of a troubled land, but also explores the strength of family bonds and the possibility of redemption." Similarly, Publishers Weekly wrote that the book is a "sonorous, sensitive narrative" that "unfolds against the tumultuous backdrop of modern-day Afghanistan." In addition to these critical accolades, The Kite Runner has also been a hit with readers. On Goodreads, the novel has an impressive 4.3 out of 5-star rating, based on over 2 million ratings and reviews. Readers have praised the book for its emotional depth, superb writing, and memorable characters. The Kite Runner's reviews speak volumes about the book's impact and importance in modern literature. It is a must-read for anyone interested in exploring complex themes like guilt, redemption, and betrayal, all while gaining a greater appreciation for Afghan culture and history.

Details

The Kite Runner, written by Khaled Hosseini, is a fictional story set against the backdrop of tumultuous events in Afghanistan in the late 20th century. Hosseini, a former physician turned writer, drew heavily on his own experiences growing up in Kabul and his family's experiences with political upheaval, including the Soviet occupation in the 1980s and the rise of the Taliban in the 1990s, to write The Kite Runner. In interviews, Hosseini has credited his mother as a source of inspiration for the novel, particularly the character of Amir's mother. He has also spoken of his own guilt over leaving his homeland and his hopes that The Kite Runner can help to bridge gaps in understanding between Afghanistan and the rest of the world. The novel has been praised for its vivid depiction of Afghan culture and its exploration of universal themes such as loyalty, redemption, and betrayal. Hosseini's use of imagery and symbolism, from the kites of the title to the pomegranate tree in Amir's childhood home, has also been noted by critics. Since its publication in 2003, The Kite Runner has become a global phenomenon, with translations into dozens of languages and millions of copies sold worldwide. The novel has also been adapted into a successful stage play and a major motion picture. The Kite Runner is a powerful exploration of complex themes and personal relationships set against a backdrop of historical events that have shaped modern-day Afghanistan.

News about The Kite Runner

The Kite Runner is a novel that has garnered a great deal of attention since its publication. As a result, there is always news about the book and its author, Khaled Hosseini. One of the most significant pieces of news related to The Kite Runner is the film adaptation of the book. Directed by Marc Forster, the movie was released in 2007 and starred actors such as Khalid Abdalla and Homayoun Ershadi. In addition to the film adaptation, there have been interviews with Hosseini in which he discusses his inspiration for the novel and the impact it has had on readers. Hosseini has also released several other books, including A Thousand Splendid Suns and And the Mountains Echoed, which have also been critically acclaimed. The Kite Runner has also been the subject of numerous academic studies and discussions, particularly in relation to its portrayal of Afghan culture and themes of redemption and betrayal. The book's continued relevance today is testament to its lasting impact on readers and its enduring place in the literary canon. news about The Kite Runner is always of interest to its fans and readers. Whether it is updates on adaptations or interviews with the author, this section provides a comprehensive overview of what's happening in the world of The Kite Runner.

Ratings

The Kite Runner has received critical acclaim since its publication in 2003, and has garnered high ratings from both readers and literary critics. On Goodreads, the book has an average rating of 4.3 out of 5 based on over 2 million ratings. Readers have praised Hosseini's writing style and the emotional depth of the story, with many citing it as a favorite novel. On Amazon, The Kite Runner has over 9,000 customer ratings with an average of 4.6 out of 5 stars. Customers have called it a "must-read" and a "powerful and thought-provoking novel." Critics have similarly praised the book, with The New York Times calling it "an astonishing debut" and The Guardian stating, "Hosseini's narrative gifts have deepened over the years." The Kite Runner has also been a finalist for several prestigious literary awards, including the National Book Critics Circle Award and the Book-of-the-Month Club's First Fiction Award. In addition to critical acclaim, The Kite Runner has been widely read and recommended by book clubs and educators. It is frequently assigned as required reading in high school and college courses, and has been translated into over 40 languages. The Kite Runner's enduring popularity and critical success showcase its impact on readers and the literary community.

Book Notes

The Kite Runner is a novel written by Khaled Hosseini that tells the story of Amir, a young boy from Afghanistan, and his journey of friendship, betrayal, and redemption. This section aims to provide a brief summary of the novel's plot and characters, making it a helpful resource for students and casual readers who want to understand the book's key points. The novel is divided into three parts, and the first part introduces the main characters and their relationships. Amir is the son of a wealthy businessman, and his friend Hassan is the son of their family's servant. Despite their different social statuses, Amir and Hassan are close friends who share a love for kite-fighting. However, their relationship changes after a traumatic incident that alters their lives forever. Part two of the novel takes us to America, where Amir and his father flee after the Soviet invasion of Afghanistan. Amir grows up, goes to college, and starts a new life, but he can never forget the past and the guilt he carries inside. He receives an opportunity to atone for his past mistakes when he receives a call from Rahim Khan, an old family friend who asks him to come back to Afghanistan and help him find Hassan's son, Sohrab. In part three, Amir returns to Afghanistan and finds a country torn apart by war and violence. He confronts his past, faces his fears, and risks everything to find Sohrab and bring him to safety. This section of the novel is full of powerful scenes and emotional moments that showcase the character's growth and development. The Kite Runner is a powerful novel that explores complex themes and offers a rich portrayal of Afghan culture and history. This section aimed to provide a brief summary of the book's plot and characters, but we encourage readers to dive into the novel and experience it for themselves. Read the full article

[officialexhibitionposter]

10 Famous Hasui Kawase Paintings

As an artist, Hasui Kawase is widely recognized for his mastery of the woodblock printing technique. Born in 1883 in Tokyo, he went on to study painting and later apprenticed under the master printer, Shozaburo Watanabe. Hasui Kawase was one of the leading artists in the shin-hanga ("new prints") movement, which focused on traditional techniques and subjects, but with a modern twist. In this article, we will explore 10 of his most famous paintings and delve into the stories behind them.

"Moon at Magome" (1930)

This woodblock print depicts a tranquil scene of a full moon shining above a small village nestled among the mountains. The intricate details of the village's rooftops and trees are typical of Hasui Kawase's Painting style. The print is notable for its use of soft blues and greens to create a peaceful atmosphere.

"Rain at Maekawa" (1928)

In this print, the artist captures the beauty of a rainy day in the countryside. The trees and bushes are rendered in vivid shades of green, while the raindrops are depicted as delicate lines. The overall effect is a serene and calming scene.

"Morning in a Pine Forest" (1939)

This print is part of a series that Hasui Kawase created for the Soviet Union's "Exhibition of Japanese Prints" in 1939. It depicts a group of deer grazing in a forest of tall pine trees. The artist's skill in capturing the texture of the trees and the movement of the deer make this print a standout piece.

"Evening Glow at Kiyomizu Temple" (1925)

Kiyomizu Temple is one of the most famous landmarks in Kyoto, Japan. In this print, Hasui Kawase captures the temple at sunset, with the orange glow of the sky reflected in the water below. The intricate details of the temple's architecture are highlighted, making this print a true masterpiece.

"Mt. Fuji Seen from Kiyomizu Temple" (1935)

Another print inspired by Kiyomizu Temple, this piece features Mt. Fuji in the background. The snow-capped mountain is rendered in shades of blue and white, while the temple's red buildings stand out in the foreground. The contrast between the two elements creates a striking image.

"Winter Moon at Toyamagahara" (1931)

In this print, Hasui Kawase captures the stark beauty of a winter landscape. The moon shines bright in the sky, illuminating the snow-covered fields below. The artist's skill in creating depth and texture is on full display in this piece.

"The Moon over a Ruined Castle" (1927)

This print depicts a haunting scene of a full moon shining above the ruins of an old castle. The artist uses shades of gray and blue to create a sense of melancholy and nostalgia. The print is a testament to Hasui Kawase's ability to convey emotion through his art.

"Spring Evening at Inokashira" (1930)

In this print, the artist captures the beauty of cherry blossoms in full bloom. The soft pink hues of the blossoms are set against a backdrop of green trees and a tranquil pond. The overall effect is a serene and peaceful scene.

"Ushibori in Shinano Province" (1922)

This print is one of Hasui Kawase's earliest works. It depicts a snowy landscape in the Shinano Province, with a small village nestled among the trees. The artist's skill in capturing the texture of the snow and the movement of the trees is remarkable for such an early piece.

"Night Rain at Miyajima" (1928)

Miyajima is a small island off the coast of Japan, known for its iconic torii gate that appears to float on the water during high tide. In this print, Hasui Kawase captures the island at night, with raindrops falling gently on the torii gate and the surrounding buildings. The use of dark blues and grays creates a moody and atmospheric scene.

In conclusion, Hasui Kawase's woodblock prints are a testament to his skill as an artist and his ability to capture the beauty of Japanese landscapes and architecture. Each of these 10 famous pieces showcases his unique style and attention to detail, from the tranquil scenes of "Moon at Magome" and "Rain at Maekawa" to the haunting "The Moon over a Ruined Castle" and the serene "Spring Evening at Inokashira". Hasui Kawase's legacy as a master of the shin-hanga movement lives on through his timeless works of art.

Check out our website for buying exhibition posters and Paintings. Merch Fuse.

[jonathanferraragallery]

ALEXANDER STOLIN, born and raised in Kiev, Ukraine (under the former Soviet Socialist Republic), where he received intensive training and a master of fine arts degree in his homeland’s traditional art academies. As art critic D. Eric Bookhardt suggested in 2002, “Stolin is more accomplished than he is famous.” His art, often exhibited in thematic series that incorporate a variety of media, ranges from intimate portraits to large-scale murals (one measuring twelve feet by seventy-two feet). He has worked on a progressively larger scale, most recently designing and painting projects for the Louisiana film industry. Stolin’s technically proficient and complexly layered art reflects a unique fusion of the academic training he received in Kiev and his evolving response to the very different culture, lifestyle, and subject matter he has discovered in New Orleans, Madisonville, and the Gulf South.

Stolin’s Face to Face series of portraits, completed from 2000 to 2002, featured New Orleans artists including Douglas Bourgeois, Jeffrey Cook, and Margaret Witherspoon and the architect Jimmy Lamantia, as well as his Madisonville neighbors, including Bud Goldate, Hascal Agee, and Willie Lee Marshall. These were important works, exhibited at the Ogden Museum of Southern Art when it opened in 2003. “There are portraits—and there are portraits,” said Bookhardt, referring to the series. “The best tell us something essential about the subject. The rest are just pictures.” Observing that Stolin’s work “offers insights into the processes of perception,” Bookhardt concluded that “his images distill something of the subject’s life essence filtered through the eye and hand of an unusually skilled, sensitive, and increasingly accomplished painter.” A diversified range of works followed, including an exploration of his childhood memories of Kiev, enhanced by family photographs and a series of letters from Kiev to relatives in America. Stolin juxtaposed the historic and vernacular architecture of Kiev with New Orleans buildings of the same period, as is evident in a painting such as Waiting II. Another series explored the marshes and landscapes of the north shore of Lake Pontchartrain. Stolin also painted genre scenes of small-town life in Madisonville, becoming, in his own way, a southern regional painter. Works in this series included Bayou Lacombe, Breakfast at Badeaux’s, and Jr. High at Madisonville, which featured a painted image of the school’s retired bus and metal from the actual bus, fusing art, history, memory, and reality.

The art Stolin began to create in New Orleans demonstrated his technical skills, knowledge of art history, and the evolving range of his subject matter, reflected from one series and exhibition to the next, yet it was challenging for critics to classify his work. This was evident in the series Stolin exhibited during his first decade in the city, beginning with Byzantium on the Bayou (1993–1994), which combined historical Byzantine art references with New Orleans and Mardi Gras subjects, such as Mardi Gras Madonna and Adoration of St. Gator. In his Midnight Dessert series (1995–1997), he created works such as Tea in Manhattan and Rembrandt and Nathan, a large painting that Bookhardt described as “a vision of Rembrandt and various Dutch masters promenading down the sidewalk past Nathan’s Deli in New York.” Following that, he completed The Water Series (1998–1999), featuring reflective and heavily worked surfaces in paintings such as Reflections #2 and Study of Fish and Swimmers.

Stolin exhibited for years with the Marguerite Oestricher Gallery in New Orleans. After its closing he became associated with the Taylor-Bercier Gallery in New Orleans and continues to exhibit his art across Louisiana. His works are included in the collection of the Ogden Museum of Southern Art in New Orleans as well as in numerous corporate and private collections.

[the-paintrist]

Vilhelms Purvītis (3 March 1872 – 14 January 1945) was a landscape painter and educator who founded the Latvian Academy of Art and was its rector from 1919 to 1934.

Vilhems Purvītis was born in Zaube Parish (now Cēsis Municipality), Kreis Riga, in the Governorate of Livonia in a family of a miller. He studied in a local parish school until his family moved to Vitebsk Governorate. Until 1888 Purvītis studied in a municipal school in Drissa (Today: Belarus). It was here where his drawing skills were noticed for the first time. When his family returned to Vidzeme Purvītis worked in his father's mill in Smiltene parish for two years.

In 1890 Purvītis started studies at the Imperial Academy of Arts in Saint Petersburg, Russia from 1890 to 1897, primarily under Arkhip Kuindzhi, graduating with the Grand Gold Medal. While in the academy he studied paintings of old Dutch masters and became close friends with two other Latvian painters- Janis Rozentāls and Johan Valter. In 1898, Purvītis, Rozentāls, and Valter took a study trip across Europe, and his paintings were exhibited in Berlin, Munich, Paris, and Lyon to great acclaim. In 1899 he returned to Riga and started to give private lessons in painting. In 1902 he traveled to Spitzbergen in Norway to study the painting of snow.

After the Revolution of 1905 Purvītis traveled to Tallinn where he worked as a drawing teacher in a local Realschule. In 1909 Purvītis returned to Riga and became director of a Riga city art school.

After the First World War started in 1915, Riga city art school was evacuated to St. Petersburg where it was closed in 1916. After the Russian revolutions of 1917 Purvītis went to Norway to improve his health and held his first solo exhibition in Oslo.

In 1918 Purvītis returned to German-occupied Riga. In 1919 he became director of a Riga city art museum (Today: Latvian National Museum of Art) and also was one of the founders of the Art Academy of Latvia and was elected as its first rector. As the leader of the landscape painting workshop at the Latvian Academy of Art from 1921 to 1944, of visual arts in the architecture department at the University of Latvia from 1919 to 1940, and director of the Riga City Art School from 1909 to 1915, Purvītis had a host of followers and was the acknowledged leader of a whole school of Latvian painting.

During the period of the Republic of Latvia Purvītis also organized many exhibitions of Latvian art in Europe. After the Soviet occupation of Latvia in 1940 Purvītis was dismissed from the post of museum director but continued to work in the Art Academy. In 1942 his last exhibition in Riga was held.

In 1944 Purvītis lost all of his belongings and many of his works when his house and workshop were destroyed during the Battle of Jelgava in the summer of 1944. Purvītis was forced to evacuate to Liepāja and from there to Danzig. Wilhelms Purvītis died on 14 January 1945 in Bad Nauheim, Hessen. Purvītis' remains were reinterred at the Riga Forest Cemetery in 1994 after Latvia regained its independence. He was awarded the Order of three stars (III and II class) and many more decorations.

Constantly experimenting and becoming a master of snow scenes, Purvītis began as a Realist painter, turned to Impressionism, and was later influenced by Cézanne and Munch. His painting Winter (1910) also suggests the influence of Art Nouveau. He is considered one of the greatest Latvian painters during the first half of the 20th century. His landscapes are full of local motives and Latvian nature is portrayed in the neo-romantic atmosphere. During his lifetime he produced more than a thousand paintings and drawings and many of them were never exhibited because he preferred to collect them in his apartment.

Vilhelms Purvītis. Sunset (early 20c)

Oil on cardboard. 68 x 93 cm. Collection of Andris Kļaviņš.

[sonchas]

 A.A. Rylov (1870 -1939) “In the blue vastness” 1918 canvas, oil 

[russianshavefun]

Russian Artists you should know. Part 2

To read Part 1 click here

Vasily Vereshchagin

A battlefield artist, Vereshchagin painted what he saw with his own eyes. He visited many wars and traveled the world from India to Syria. His exhibitions in New York and London, he himself organized - often displaying there and trophies from the battlefield.

But his "Apotheosis of War" is an exception, a subject entirely invented by him. On the frame the artist wrote: "Dedicated to all the great conquerors - past, present and future."

Karl Bryullov

Was one of the best portrait painters of his time. He painted ceremonial and chamber portraits of Russian aristocracy, went to receptions with the emperor, and was acquainted with Pushkin. But all this was after twelve years in Italy: for six of these years Bryullov worked on his monumental work "The Last Day of Pompeii". The artist received a grand prize at the Paris exhibition and recognition in Europe and Russia.

Ivan Kramskoy

It has not yet been established who the young woman depicted in the portrait of the ideologue of Russian Itinerantism is. The artist chose to preserve the intrigue and did not reveal her identity even in the diaries and notes discovered after his death. Today one of the most emblematic portraits in Russian painting is called the "Russian Mona Lisa"

Konstantin Korovin

A vivid representative of "Russian Impressionism," Korovin was inspired by Paris and painted many of his best landscapes there. Not surprisingly, he had great success in France: there he became a Chevalier of the Legion of Honor and received gold and silver medals for his works.

But after the revolution in his homeland, the artist decided to flee the country of the Soviets - the policy of the new government, he gravitated. In 1922 he received permission to leave - for medical treatment and a personal exhibition - but never returned. He stayed, of course, in Paris.

Isaac Levitan

Levitan was in love with the Russian countryside and became a master of the "mood landscape" - for this he was eventually given the title of academician. But the way to this for a Jewish artist was long: some of Levitan's teachers thought that a Jew should not touch the Russian landscape, it was the destiny of native Russian artists. Because of his Jewishness, he was also expelled from the capital by tsarist decree.

Yuri Pimenov

Pimenov faithfully served the policies of the Communist Party in the arts. He painted idyllic pictures of Soviet life and heroized factory and factory workers during the darkest times of Stalin's purges. His "New Moscow" is one of the best examples of socialist realism: a woman, as a symbol of the new era, rides through a blooming Moscow. It is supposed to be about an equally bright and beautiful future.

Kuzma Petrov-Vodkin

He was the son of a shoemaker who wanted to paint icons. Although he did not succeed in icon painting, his Messiah in the form of a young man on a red horse brought him worldwide fame. Created a few years before the Russian Revolution, this painting is considered prophetic and has many interpretations. According to one version, the horse is Russia, which in the 20th century awaited a "red" fate.

[dimalink]

Eighties Wide Screen Racing

 Pixel art for today. Based on screenshot from videogame Knight Rider Special. For system Turbo Grafx. This is like some racing videogame with elements of action.

I have made this style of drawing by myself. And I want to tell about it. About idea, that is connected with drawing.  Just now it is only a drawing. This is racing about eighties. Style of eighties. Of course, it is also about a music of eighties – it is Lian Ross, Fancy, Ozzy Osbourne, Bon Jovi. And retrowave music, Johnny Ola, Nothern Lights, Night Habit, and many many others. Retrowave, there are lots of  them. Music – is going very good to describe a style. So music- is very important. Game is in genre of racing.  City racing, just like street racing. Night and day. This is 8 bit need for speed in my version. So, you are in a city, and it is a city traffic. Casual drivers. Casual drivers, they ride by theirs own way, while you are in a racing. So, be careful!

One more theme – wide screen picture format. I mean, this black lines top and down. For style. Just like widescreens movies of old times. So, I have seen these in a movies. This is element for style. So in terms of wide screen I mean only these black lines.

I think, that racing will be around the world. This is like globalization, internationalism. Racing will be in Japan, America, Europe, Soviet Union. So this is my 80s. Personally, I am very upset about collapse of Soviet Union. Eighties- it is also unique car style. And some cities, village landscape, nature, big cities.

So we have here a stylization for eighties here. So pink or dark blue texts. Of course, at now, I am not a master of programming, in order to give everything that I draw on format of videogames. But I wish that I will make this jump in intelligence, at one time, someday. Someday this will happen. So just now, I stay more as a drawing.

[steliosagapitos]

        “Dreaming Of Snow White And The Seven Dwarves” by Maria Szantho (Hungarian artist, 1897-1998).

     ~ Maria Szantho was born on July 31, 1897 in the city of Szeged which is in the south part of Hungary. She was born with a caul. According to the Hungarian tradition anyone born with a caul will have a lucky life. Indeed, she had an extraordinary life, gifted in arts, and achieved fame and international appreciation and honour. Her paintings are well known at the best galleries and auction houses, and are valued parts of any collection.

Her full name with correct Hungarian spelling is “bácsai Szánthó Mária”. The forename “bácsai” should be written with lower case ‘b’ as this part of the name is a title of nobility.

She married three times. All three of her husbands passed away and she never had any children. Her third husband was Dr. Ferenc Klauschek, hence some sources mention her as Klauschek Ferencné (“né” is the equivalent of Mrs. in Hungarian). She signed all her paintings with her maiden name.

    Szantho Maria’s first love was music, she was a talented piano player and finished her music studies as a teacher. She earned her Diploma at the Hungarian Music Academy on piano faculty. Her Diploma was signed by Zoltán Kodály the famous Hungarian composer.

Shortly after completing her music studies she had decided to pursue her interest in painting. Went on several study tours to France and Italy, I recall her talking about the Parisienne atmosphere . Her rich and detailed naturalist paintings were inspired by the hedonism of Károly Lotz and the joie de vivre of Gyula Benczúr. She studied with and from famous Hungarian painters such as Géza Kukán, Bertalan Karlovszky, Pál Fried and Mátyás Vitéz.

Maria Szantho exhibited from the mid 1920’s at major art galleries such as the Mucsarnok in Budapest. She had a collected exhibition in Budapest in 1936. Her work is timeless. She specialized in portraying women posing nude against a landscape, also still lives and portraits. Her models are hedonistically portrayed, she used elements of impressionism and romance. Since her first love was music, her portraits and nudes often permeated with musical themes and idyllic environments enhanced with rich draperies and musical colour accords. Banjo, violin or tambourine were some of the musical instruments she depicted. I recall when I was a child, I often played with these instruments she used to copy on her paintings.

In 1939 she represented Hungary with three paintings on the New York World’s Fair. The paintings sent to the New York World’s Fair have never been returned to her, or to Hungary because of the beginnings of WWII.

Around 1942 she created the historic master piece ‘Legend of the Mythical Stag’ (original title: ‘Rege a csodaszarvasról’). The painting created a lot of press echo and it earned her the prestigious Esterházy Prize. This wall size epic and erotic painting depicted an ancient Hungarian historical scene. Unfortunately it was destroyed in WWII. I recall seeing a photograph of the painting in the 1970s. At the time I was a child spending an afternoon at the painter’s home. I do not remember if the photo was in a book or else, and I have not come across since another photo of this short lived but historical painting. If anyone who has an illustration or photo of this painting are reading this, it would be interesting to hear from them.

In the early 1950's the Embassy of the Soviet Union contacted her and asked her to paint a huge portrait of Stalin. She objected saying that materials are scarce, she did not have access to a large canvas. The Soviets arranged to ship her a huge canvas from Moscow. Stalin passed away unexpectedly in 1953, so she did not have to paint the portrait. They have never asked her to give back the canvas which she put to better use.

   Maria Szantho’s main foreign markets were Japan and the United States of America. She also had many private orders from abroad and Hungary. After WWII in the communist Hungary one was not allowed to sell privately to western countries, so she had to use the government owned foreign trading company “Artex” to export her paintings. Some of her then exported and her pre WWII paintings can be found periodically at Christie’s and other fine auction houses.

She is listed in The Bénézit Dictionary of Artists, although with incorrect date of birth and death. In 2008 I contacted an editor at Bénézit regarding the entry, it will be corrected in the next edition.

On her 100th birthday on July 31, 1997 a Minister of the Hungarian Republic greeted her on her birthday party at Nagymágocs, Hungary. On October 23, 1997 she received one of the highest official Hungarian recognitions. Árpád Göncz then President of the Republic of Hungary awarded her with the decoration of the Officer’s Grand Cross of the Hungarian Republic to honour her lifetime achievement.

Bácsai Szánthó Mária passed away at the age of 100 and half year on March 11, 1998 in Nagymágocs, Hungary at the Castle Karolyi (Károlyi Kastély). She is buried at the local cemetery together with her brother Dr. Kalman Szantho. ~

[vitapictor]

Marta, Flourish | Oil | 39" x 78"

An artistic moment frozen in time is but a flash. This original canvas is proof of the mastery of international artist, Daud Akhriev. The wonderment continues in the abstract realism as shadow in the lower right corner. A swirling flourish of lace casts beautiful shapes on the wall behind the dancer as her emotional performance flies toward the viewing public and onto this glorious original oil painting.  Daud Akhriev delights in the act of painting and the dance, capturing the emotional energy and vitality found in the traditional flamenco.  

Flamenco

Flamenco, in its strictest sense, is an art form based on the various folkloric music traditions of southern Spain in the autonomous community of Andalusia, specially in areas of Sevilla, Cádiz, Huelva and Jerez de la Frontera, as well as in some areas of the Region of Murcia and Extremadura. Wikipedia

History

The roots of flamenco, though somewhat mysterious, seem to lie in the Roma migration from Rajasthan (in northwest India) to Spain between the 9th and 14th centuries. These migrants brought with them musical instruments, such as tambourines, bells, and wooden castanets, and an extensive repertoire of songs and dances.

BIOGRAPHY

Daud Akhriev was born in the former Soviet Union in 1959.  He studied classical painting and drawing for 14 years, graduating with honors from the Repin Institute (Russian Academy of Fine Art) with a masters degree in fine art, under the tutelage of the late painter and Academic, Piotr Fomin.  In 1991 he emigrated to Chattanooga, Tennessee.  Akhriev, now a U.S. citizen, shares his time between Andalusia, Spain and Chattanooga, Tennessee with his artist wife.

Akhriev is internationally sought after as an instructor for figure and landscape painting and for his monumental work. The Four Seasons, his four 9 foot bronze figures completed for the city of Chattanooga, are listed on the national Public Art Registry. 

Daud Akhriev, Stylistic Pluralism was published in 2002 by Common Place publishing.  He is also featured in Traditions Rediscovered, the Finley Collection of Russian Art.  Akhriev’s drawings are in several books about the Repin Institute, both in Russian language and in Chinese, and in numerous magazines such as Artists Magazine, Pastel Journal,  Island Journal, Chattanooga Magazine, Southern Living and American Art Collector.

Source:https://www.cutterandcutter.com/art/daud-akhriev/marta-flourish/

[trashmenofmarvel]

Branded - Chapter 27

Pairing: Demon!Bucky Barnes x Reader

Summary: The Soldier wakes up in Hell.

(This is a fan AU of Falling’s Just Another Way to Fly by araniaart​ . Please check out this incredible series for all of your demon Bucky needs.)

Chapter Warnings: Memory loss, PTSD

AO3

The Soldier gasped, followed by immediate coughing and gagging as if his lungs were being seared from the inside-out. The air was so hot it burned and he wheezed as the dryness of it irritated each breath he took.

Opening his eyes did absolutely nothing to clue him in as to where he was, or assuage his growing panic. The sky was dusty and red along the horizon, but straight above him was a strange nightscape. There were two moons or small planets, close enough that their circumferences were hidden past the horizon.

It was the spattering of stars that made him go still with shock. The Soldier didn’t recognize a single constellation, nor could he tell where the light around him was coming from. Only that there was a circle of darkness that blocked out the stars, as if the sun itself was a void.

He carefully sat up and looked down at himself, finding his uniform was tattered, singed with burn marks and spattered with bullet holes. Even now he could hear the echo of close-range gunfire and the impact of his body being riddled with Soviet slugs. The Soldier lifted his tac vest and traced his hand along his stomach. The skin was smooth and clean, no trace of wounds or blood.

He raised his head to take in his surroundings, confirming what his training told him. He was dead, and this was Hell. A sandy landscape, dotted with jagged outcroppings of rocks, went as far as the eye could see. In the distance was a range of craggy mountains, but he had no way of knowing how far it was or how high the peaks truly rose.

What was most disturbing was the color of this world. From the claylike soil to the volcanic rock, everything was a various shade of red. Rose, crimson, dusky, blood. Even the stars above him seemed to be tinged with the harsh color.

The Soldier coughed again, wincing as the hot wind wiped at his face and stung his eyes with sand. As he rose to his feet he expected to feel sore at best, in agony at worse. Instead, he was… full. Sated with energy in a way he only felt the hours after a feeding. After the healing he’d just done, he should have gone into a severe heat almost immediately.

Instead, he felt… he felt… good. Strong. At least, the parts of him that were truly demonic. The weak human parts, the parts that belonged to the HYDRA soldier who had donated his body to the cause, those parts of him were not meant to survive in a place like this.

You’re in the demon realm.

The Soldier jerked up his head but couldn’t identify the source of the voice. It had been… internal. Coming from within. It wasn’t a voice he recognized.

Sometimes, when the Soldier grew confused, he would sense… an other within himself. His master (he couldn’t remember which, he’d had so many) would grow angry if the Soldier spoke of it.

But this was not the same voice that had spoken. This one was different. Unfamiliar.

You have to move. Find shelter. It isn’t safe here.

The Soldier didn’t know the purpose or agenda of the voice, but it spoke the truth in this instance. He couldn’t sit here in the sand until it covered all trace of him. The Soldier knew how to survive in hostile, unknown terrain.

Step one: find the highest vantage point.

Step two: Establish shelter within walking distance of water.

Step three: Secure the shelter so enemies can be spotted before being alerted to the Soldier’s presence.

Shelter. Water. Safety.

Food was the last priority. He didn’t need to worry about staying in one place for an extraction. No one was coming for the Soldier. Perhaps considering what he had done, that was for the best.

What was it like to kill him? The great Howard Stark?

His fists curled at his side, nostrils flaring as anger flooded his body.

That’s over now, the voice said. Not the low voice of his master. This was the new voice, the one he didn’t know. They can’t hurt you anymore. But things here can. Please, be careful.

The voice was kind. Gentle. Did the Soldier know kindness, once?

You will. One day, I promise, you will.

The Soldier didn’t trust the voice, but chose to ignore it for now. After he had secured a shelter and established a parameter, then he would investigate the source of the strange other.

Expanding his wings, the Soldier flexed them experimentally and found them likewise whole and strong. He gave several test strokes before leaping, taking to the air as naturally as any bird. The wind buffeted him but he easily adjusted, and he couldn’t help but revel in the feeling. The last time he’d gotten to free-fly was to claw out the tire of Stark’s vehicle—

The Soldier shook away the disturbing thoughts. His last mission to retrieve the briefcase and assassinate the Starks had filled him with so many confusing emotions. His fury at the Colonel seemingly came from nowhere, and he decided it was best to put the entire matter out of his mind.

The Soldier spent the better part of an hour flying, scanning the horizon for a location that would provide shelter, and he found it. A large series of hills and boulders that hid an opening, and inside he found a system of caves where he could take refuse from the relentless, dry wind. Once he landed, he explored the weaving tunnels, lit either by openings to the surface or by glowing fungus. Where there was fungus, he knew there was moisture, and he soon found that too.

Underground rivers. The Soldier expected the water to kill him, but it didn’t, and he found he wasn’t very thirsty. The fungus was sustaining, and further in the cave system he found strange shoots that resembled bamboo. The fleshy fibers inside made him believe it was an animal rather than a plant, but it didn’t matter. He ate it raw, and that didn’t kill him either.

At this point, he wasn’t sure if he could die. Or if he did, where would he go, then? Shivering, he pushed out the thought before it could take hold.

Satisfied with a source of food and water, he found a hollow that was hidden from the river but dotted with small holes along the ceiling to let in light. Having nothing but the ragged clothes on his back, he laid down to rest.

Against his will, he dozed off. He didn’t remember sleeping before. Just the cryo-chamber. When the Soldier awoke, still plagued by strange and horrible images of what he knew were nightmares, he decided he didn’t like sleep.

Over the next few days of adjusting to his new life, the Soldier began to remember the missions more clearly now that the Machine no longer burned away his thoughts. With nothing else to do, he reflected on these missions, and especially on the one that changed everything. He still didn’t understand why the name Howard Stark had filled him with such raw agony. Even now, it hurt to recall the memory of killing the human and his mate, staging their death to resemble an alcohol-induced crash.

The Soldier survived. And he waited. He didn’t know what for. He never did find the owner of the voice. It spoke to him often, telling him to be careful, to not give up hope. He ignored it, sometimes to the point where it was only a buzzing in his ear, like an annoying insect.

Eventually, he realized it had stopped talking to him. He didn’t know how long it had been since he’d last heard it speak, and something about that filled him with unease.

“Are you…” He cleared his throat, raw with disuse. “Are you… still there?”

The minutes, according to his internal clock, ticked by. It was six minutes and seven seconds before he got a response.

Yes. I’m here.

“You sound…” He struggled with the word. “Tired.”

I am, it replied with that same soft quietness. It hadn’t been so quiet before. Distant. We’ve been here a while. I’m starting to forget things.

“Things?” The voice said nothing. The Soldier grew frustrated. “What—who are you?”

I can’t tell you that.

The Soldier leaned back against the wall, frowning down at the cave floor as if he could make the voice appear. It did not.

But I can tell you who you are.

The Soldier scoffed, scratching an itch along the back of his neck. It had been a few days since he’d bathed in the river. He’d have to do it again soon.

“I’m a demon. Summoned to serve my masters.”

That’s a lie.

He tilted his head, interest piqued. Not at the words, but at the sudden flare of anger he sensed.

You weren’t always a demon, and HYDRA didn’t summon you. You were born human.

“Now who speaks lies?”

He sensed the wave of anger again, and something about it made his tail flex and his lips twitch upwards. He was… smiling?

Your name, the voice proclaimed, is James Buchanan Barnes.

“What a ridiculous name.”

Blame your mother, not me.

The Soldier snorted and rolled his eyes, but the ghost of a smile remained on his lips.

“If you know so much, then how do I leave this place?”

He could feel its hesitation. It seemed the longer he spoke to the voice, the stronger it became. It was beginning to feel like an actual presence rather than just words in his head.

I don’t… know.

“Then you are useless to me.”

The Soldier stood and walked to its hollow entrance, already stripping off what was left of his uniform to bathe.

Wait! You will escape, eventually, but I just need to figure it out!

The Soldier ignored the voice. He knew if he ignored it for long enough, it would go away again. It seemed to realize this too from the sudden desperation in its tone.

I can prove that you were human! Howard Stark!

The Soldier froze in his tracks, his wings ruffling as the plates on his arm shifted.

You… you knew him. Back during the war. He helped rescue you from HYDRA the first time they captured you. You admired him, idolized him. You even went to the Stark Expo to see him with Steve Rogers—

Pain ripped through his chest and he growled as he bent forward. That name, something about that name. It held power, or it had once. Now, it just hurt.

“Witch,” he hissed, teeth bared. “Sorcerer! Leave me alone!”

No, no, I’m not! Please, listen! the voice in his head cried. HYDRA captured you. Tormented you. Did unspeakable things to you! It’s their fault; they did all of this to you!

He gripped his head, claws digging into his scalp hard enough to sting. His tail lashed and his wings flapped open in a panic, knocking chips off the cave wall.

“Shut up!”

His scream rang hollow against the cave walls, echoing back until fading into silence.

The silence stayed. The voice was gone, and it didn’t return for a very long time. It might have been days, weeks, or months. Time didn’t mean much on this world where the day cycle lasted for eternity.

Or it seemed to. One day, the strange sunless light vanished, and the Soldier was left in the dark to wonder if he would see it again.

The Soldier had been scratching tally marks on the wall, trained to mark the passage of time. He sensed he’d done something similar before, but he didn’t know where. According to his marks, night had finally fallen after the tenth week. He hoped the night didn’t last as long as the day. It was beginning to grow cold.

The Soldier hated the cold.

It was in a moment of weakness, as he lied shivering on the bare floor, that he finally spoke.

“Are you there?”

The voice didn’t answer. He didn’t expect it to. It had been so long since he’d screamed at it to go away. He regretted that now.

“Please…” He gave a harsh shiver and wrapped his wings tighter around his miserable body. “…Please, come back.”

He had nearly accepted that the voice was truly gone, when he heard a faint, I’m here.

The Soldier shuddered in relief. He wasn’t alone.

No, you’re not alone.

Had he said that out loud? He couldn’t remember.

You didn’t. But sometimes, I can hear you anyway. The voice made a noise of amusement, but it was sad too. I don’t think I could leave, even if I wanted to.

It sighed, still sounding too weak. He didn’t like that it sounded that way.

And I don’t want to leave. Not without you.

The Soldier curled his fingers tighter around his wing, seeking warmth and comfort where there was none. He’d never needed it before. What was wrong with him? He was a loyal soldier, an obedient slave, the very Fist of HYDRA. He wasn’t this weak, quivering thing. Huddled on the floor like a beaten mongrel.

And yet, he couldn’t stop talking to the voice once he’d started.

“Why?” he rasped. “Why are you here? Who are you? Where did you come from?”

The voice made the amused sound again. This time, it wasn’t as sorrowful.

So many questions. I’m happy they didn’t kill your curiosity. The voice grew serious. I think I got lost. Or trapped. Or… I don’t know. It doesn’t matter where I came from. Just that I’m not going anywhere without you. Okay?

The voice was growing stronger again. There was warmth there, life. A person?

Yes, it answered.

“What’s your name?”

Can’t say.

The Soldier released a sharp snort, and for a reason he couldn’t identify, the voice laughed. He didn’t remember it ever laughing before.

If everything happens as it should, you’ll find out soon enough, Bucky.

“Bucky?” he asked, brows furrowed. “Who the hell is Bucky?”

Instead of a verbal answer, warmth filled his limbs, effectively chasing away the chill and the shivering wretchedness that had owned him since the light had died.

It felt as if… someone where embracing him, enveloping him in their body heat, but when he opened his eyes he was still alone. He found he no longer minded, and the fear had vanished along with the chill.

That’s you, the voice hummed. You’re Bucky.

It sounded happy. The Soldier was glad for that, he thought. Perhaps the voice could be an ally, a way for him to survive. Whether it spoke the truth about who, and what, he was, that remained to be seen.

But the voice also sounded tired, as if the conversation had been draining, and he could certainly feel it had less energy than it had had before.

The Soldier knew, deep down in a place he dared not look at for too long, that he wouldn’t send away the voice again.

“I’m… Bucky,” he repeated, unsure.

Yes.

The voice said nothing more for the remainder of the night, though with the warm comfort wrapped around his limbs, the Soldier knew it was still with him. By the time the sun rose a few hours later, he had fallen into a deep and mercifully dreamless sleep.

Next Chapter

[banashee]

I wasn't tagged but @sinister--potato said who feels like it should join in so here I am. 😁

Rules: you can usually tell a lot about a person by the type of music they listen to. put your favourite playlist on shuffle and list the first ten songs then tag ten people!

And once again I'm having too much fun to stop at 10.

Also I'm tagging whoever wants to do this, as well as you Folks (no pressure tho)

@stufenlosregelbar @asamandra @hopelessly-me @lilolilyr @spectralarchers @cruciatusforeplay

1) The Longest Johns - "Ashes"

2) Wardruna - "Helvegen"

4) Lebanon Hanover - "Hard Drugs (Qual Remix)

5) The Last Dance - "Frozen"

6) The Devil and the Universe - "Black Harvest"

7) The Weekend - "Blinding Lights"

8) Boy Harsher - "Pain"

9) Clan of Xymox - "It's all a lie"

10) Bauhaus - "Telegram Sam"

11) The Mechanisms - "Laid in Blood"

12) Lacuna Coil - "End of Time"

13) New Today - "Savior dot com"

14) Frayle - "If you Stay"

15) Lebanon Hanover - "Gallowdance"

16) The Beauty of Gemina - "Trapped"

17) The Mechanisms - "Sigyn"

18) Project Pitchfork - "Drums of Death"

19) The Real McKenzies - "Old Becomes New"

20) The Mechanisms - "Sunrise"

21) Lebanon Hanover - "Dark Hill"

22) Clan of Xymox - "Stranger"

23) Sunrise and the Banshees - "The Killing Jar"

24) The Cure - "Hey You"

25) Faith and the Muse - "Plaguedance"

26) The Sisters of Mercy - "Body and Soul"

27) Lebanon Hanover - "Petals"

28) Lebanon Hanover - "Du Scrollst"

29) Rammstein - "Sonne"

30) Fields of the Nephilim - "Last Exit for the Lost"

31) The Beauty of Gemina - "Kingdom of Cancer"

32) Brandi Carlile - "What can I say"

33) The Wailin' Jennys - "Keep me in your heart"

34) This Cold Night - "Self-deception"

35) Project Pitchfork - "Contract"

36) Bootblacks - "Gone"

37) Murder by Death - "The Big Sleep"

38) Wind Rose - "To Erebor"

39) Siouxsie and the Banshees - "Cities in Dust"

40) Amon Amarth - "Live for the Kill"

41) The Invincible Spirit - "Push!"

42) Clan of Xymox - "Weak in my knees"

43) The Mechanisms - "Pellinore and the beast"

44) Ashbury Heights - "Hollow"

45) Lady Gaga - "Dance in the Dark"

46) Paralysed Age - "Days that are gone"

47) Paradise Lost - "Symbol of Life"

48) The Longest Johns - "Wellerman"

49) Creux Lies - "Virginity"

50) Whispering Sons - "Waste"

51) New Today - "Girl High"

52) Editors - "No Sound but the wind"

53) She Past Away - "Sanri (Clan of Xymox Mix)

54) Xmal Deutschland - "Incubus Succubus II"

55) Project Pitchfork - "Timekiller"

56) Lebanon Hanover - "Hollow Sky"

57) The Last Dance - "Winter"

58) Selofan - "Black Box"

59) Specimen - "Wake the dead"

60) Then Comes Silence - "Animals"

61) The Sisters of Mercy - "Burn"

62) The Beauty of Gemina - "This Time"

63) Depeche Mode - "No More"

64) The Beauty of Gemina - "Haddon Hall"

65) The Devil and the Universe - "Belief Manipulation"

66) Melodicka Bros - "Enjoy the Silence (way too loud)

67) This Cold Night - "Time Bomb"

68) Switchblade Symphony - "Bad Trash"

69) (nice) The Mechanisms - "Rose Red"

70) Faith and the Muse - "Patience Worth (Piano Version)

71) Diva Destruction - "The Broken Ones"

72) Diva Destruction - "Dance Remix of Trees"

73) Lebanon Hanover - "Hall of ice"

74) Generation X - "Dancing with myself"

75) Creux Lies - "Tsavo"

76) Wind Rose - "We were warriors"

77) The Sisters of Mercy - "Dominion/Mother Russia"

78) Faithful Dawn - "She Falls down"

79) The Longest Johns - "Geberal Taylor"

80) The Real McKenzies - "The Ballad of Greyfriars Bobby"

81) Drab Majesty - "Forget Tomorrow"

82) Deine Lakaien - "The Executioner"

83) Clan of Xymox - "Louise"

84) The Last Dance - "Desperately Still"

85) The Cure - "Plainsong"

86) Clan of Xymox - "She is falling in love"

87) Soft Kill - "On the inside"

88) Amon Amarth - "The Hero"

89) Drab Majesty - "Kissing the Ground"

90) Cold Cave - "Life Magazine"

91) The Sisters of Mercy - "Marian"

92) Assemble 23 - "Outsider"

93) Nightwish - "Dead Boys Poem"

94) Dynazty - "The Man and the Elements"

95) The Real McKenzies - "Too Many Fingers"

96) Lebanon Hanover - "Gravity Sucks"

97) Specimen - "Lovers"

98) Jeremy Renner - "Stereo Love"

99) Queen - "Bohemian Rhapsody"

100) Social Station - "All I ask"

101) die ärzte - "Geisterhaus"

102) Social Station - "Endlessly"

103) Kirlian Camera - "Celephias"

104) ES23 - "Only Melodies Remain"

105) Wardruna - "Kvitravn"

106) Volbeat - "The Devils Bleeding Crown"

107) Faith and the Muse - "Rise and Forget"

108) Sopor Aeternus - "Beautiful"

109) Faith and the Muse - "The Woman of the Snow"

110) Wardruna - "Thurs"

111) Sopor Aeternus - "Goodbye"

112) The Sisters of Mercy - "Train"

113) This Cold Night - "Dog"

114) Paradise Lost - "Primal"

115) Danheim - "Hringras"

116) Amon Amarth - "On a sea of blood"

117) Vandal Moon - "Computer Love"

118) Paradox Obscur - "Broken Lies"

119) Paralysed Age - "Your coldest smile"

120) Whispers in the Shadow - "The Rites of Passage"

121) Delphine Coma - "Is this forever"

122) Brandi Carlile - "I'll still be there"

123) She pleasures herself - "The Weeping"

124) The Devil and the Universe - "Elousa"

125) Ashbury Heights - "Cry Havoc"

126) The Beauty of Gemina - "June 2nd"

127) Hapax - "A Tank for Alex"

128) Clan of Xymox - "Heroes (Cover)"

129) Faith and the Muse - "A Winter Wassail"

130) Lacuna Coil - "Kill the Light"

131) The Beauty of Gemina - "Suicide Landscape"

132) Bootblacks - "New Lines"

133) Deine Lakaien - "Because Because"

134) Clan of Xymox - "All I ever know"

135) The Beauty of Gemina - "Wonders"

136) Lebanon Hanover - "No one holds hands"

137) The Mechanisms - "Underworld Blues"

138) Faith and the Muse - "Scars Flown Proud"

139) die ärzte - "Der Graf"

140) Faith and the Muse - "Denn die Toten reiten schnell"

141) Whispering Sons - "Fragments"

142) Inkubus Sukkubus - "Memento Mori"

143) Wardruna - "IngwaR"

144) Boy Harsher - "Come Closer"

145) Danheim - "imar"

146) Drab Majesty - "Hath no Form"

147) Echoberyl - "Into the beyond"

148) Inkubus Sukkubus - "Beltaine"

149) Volbeat - "Mr. & Mrs. Ness"

150) Clan of Xymox - "Home sweet home"

151) This Cold Night - "Circuits"

152) Alien Sex Fiend - "Now I'm feeling zombified"

153) Spear of Destiny - "Liberator"

154) The Last Dance - "World Down"

155) Diva Destruction - "Subterfuge"

156) Esoterik - "Set Fire to me"

157) Tribulation - "Cauda Pavonis"

158) Esoterik - "Cup of Life"

159) Leo - "Monstermash (Metal Version)

160) Epica - "Our Destiny"

161) Nightwish - "Wishmaster Live"

162) Lebanon Hanover - "Your Fork Moves"

163) Brotherhood - "Rain"

164) Twin Tribes - "Upir"

165) Kamelot - "Under Grey Skies"

166) Paralysed Age - "Nocturne"

167) She Past Away - "Ritüel"

168) Twin Tribes - "Avalon (Bootblacks Mix)"

169) Bella Morte - "Dead of Night"

170) Drab Majesty - "Entrance and Exits"

171) Pink Turns Blue - "Your Master is calling"

172) Soviet Soviet - "Ecstasy"

173) Suspiria - "Graveyard of the undead"

174) The Cure - Just like heaven

175) Kamelot - "Abandoned (live)"

176) Amon Amarth - "Blood Eagle"

177) The Sisters of Mercy - "1969"

178) Pink Turns Blue - "Walking on both sides"

179) Shad Shadows - "The Grace"

180) Plastique Noir - "Rose of Flesh and Blood"

181) Epica - "Unchain Utopia"

182) Pink Turns Blue - Missing You

183) The Last Dance - "Regret"

184) Rosetta Stone - "Come Hell or high water"

185) Beast in Black - "No Easy Way Out"

186) Bauhaus - "Hollow Hills"

187) Breaking Benjamin - "Breath"

188) Vandal Moon - "We are electric"

189) Lyca - "Drifting"

190) Lebanon Hanover - "Bring your own wine"

191) Saigon Blue Rain - "Pearly Haze"

192) The Other - "Skeletons in the Closet"

193) Eluveitie - "Belenos"

194) Box and the Twins - "Lovesong for a Ghost"

195) Wind Rose - "Diggy Diggy Hole"

196) The Cure - "A Forest"

197) The Other - "Back to the Cemetery"

198) Storm Weather Shanty Choir - "A Hundred Years"

199) Box and the Twins - "Gravity"

200) Ash Code - "Empty Room"

[yesterdanereviews]

A Visitor to the Museum (1989)

Film review #474

Director: Konstantin Lopushanky

SYNOPSIS: In a seemingly post-apocalyptic world, a man visits the shoreline from the city to visit a museum that is only accessible one week every year when the tide is low enough. He is following the rumour that somewhere inside is a portal to another world, where one can escape the hell that is the one he lives in has become...

THOUGHTS/ANALYSIS: A Visitor to the Museum is a 1989 soviet post-apocalypse film directed by Konstantin Lopushanky. The film is set sometime after an unspecified ecological disaster has ravaged the planet: many people have become mutants and are locked up in reservations to be used as slave labour and such, while what remains of the unmutated live in cities. We aren't given too much detail on the state of the world or what happened to it, but the backstory isn't really important: like a lot of post-apocalypse films, how the world ended doesn't mean much when you're just trying to survive day-to-day in a new harsh world. A man visits the coast from the city hoping to visit a museum of relics from the old world buried beneath the sea. The path to the museum is accessible only once a year when the tides are low enough, and the man is following a rumour that within the museum is a portal to another world to escape the horrors of the one he currently lives in. The story of the film is very abstract and never hinges on definitives: a lot of the plot is casually explained as the man has tea with the family he is staying with, and they talk about the state of the world as very much matter-of-fact, in contrast to the true hell that the mutant "degenerates" are constantly experiencing.

Konstantin Lopushanky, the director of this film, worked on Andrei Tarkovsky's Stalker film, and it definitely shows: the themes of isolation and desolation in a post-apocalyptic world and trying to find a way out are shared between the two, and there are very similar camera techniques and effects used to convey this. Lopushansky, however, always feels like Tarkovsky's apprentice, and never really surpasses the master that is Tarkovsky, or offer anything different. The weak links in the film are definitely how the story reveals itself, and offers very little direction or clue to what is going on. Obviously, the film is meant to be ambiguous and centres around a loss of meaning in the post-apocalypse, but the film feels a bit too ambiguous in centring the main character and certain aspects of the film so you never know where they are or what's going on. The plot points that do offer something include the contrast between the unmutated, who are unbothered atheists, and the God-fearing "degenerates" who scream out bible verses and quotes, even though none of them know what any of it means because the meaning of the bible has been lost.

The production of the film feels very considered, and again obviously taking inspiration from Tarkovsky. The outdoor location shots looks great, particularly the mountains of garbage and rubble that our protagonist traverses, which is apparently what most of the world looks like now. The landscape shots that emphasise the isolation of the protagonist abandoned amidst nature also works well. There's also the large crowds of mutants in certain scenes give off an eerie feeling, as they move and act in seemingly genuine terror. Lopushansky uses the colour red to completely light many of the scenes, and it provides a good bit of consistency throughout.

This is definitely not a feel-good film: it is the end of the world, and we're meant to feel it, the only hope of escape is this absurd rumour the protagonist is chasing about a portal to another world, which as the only option, shows just how bad things are, but again the unmutated just sitting around and discussing over tea as just a simple matter-of-fact furthers that strange contradiction. Overall, Visitor to a Museum definitely tries to capture some of that Tarkovsky magic of slow, epic films, but it never really hits the mark completely, nor does it offer anything new or original to the Tarkovsky formula. It's not a bad film, and it received some decent recognition and awards, but again falls short of the master due to leaving things too ambiguous and without direction.