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Fonm Quarterly Newsletter No. 8

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Fonm Quarterly Newsletter No. 8 Quarterly Newsletter No. 11 February, 2010 1. This Newsletter is devoted almost entirely to a during Marinika’s planned visit in October, 2010. major new event in the life of the Nukus Museum— Dates and venues will be announced in due course. the long-awaited and much anticipated completion of the film “The Desert of Forbidden Art” directed by 3. Synopsis1. How does art survive in a time of FoNM member Amanda Pope and Tchavdar Georgiev oppression? During the Soviet era, artists who stay (cf. Quarterly Newsletter No. 9). This is the first, full true to their vision are sent to mental hospitals, labour length (80 minutes), professionally made documentary camps, even executed. Their plight inspires Igor about the life of Igor Savitsky and the history of the Savitsky. He pretends to buy state-approved art, but Museum. It was filmed on location in Russia and instead bravely rescues 40,000 works of forbidden Uzbekistan and includes rarely seen images from fellow artists and creates a museum in the desert of Russian film and stills archives, interviews with art Uzbekistan—far from the watchful eyes of the KGB. historians, artists, contemporaries and friends of Though an impecunious artist himself, he cajoles the Savitsky, especially with Marinika cash to pay for the art from the same Babanazarova, and beautiful shots of authorities who are banning it, and selected paintings from the amasses an eclectic mix of Russian Collection―all in stunning high avant-garde art. But his greatest definition (HD). The film was formally discovery is a hitherto little known premièred at the 25th Santa Barbara school of artists who settle in Uzbekistan (California) International Film Festival after the Russian Revolution of 1917, earlier this month—and has so far been encountering a unique Islamic culture as accepted at upcoming film festivals in exotic to them as Tahiti was for Gauguin. San José (California), Cleveland (Ohio), They develop a startlingly original style, and Madison (Wisconsin) as well as the fusing European modernism with 2010 New Zealand Documentary Film centuries-old Eastern traditions. Ben Festival in Dunedin and Wellington next Kingsley, Sally Field and Ed Asner voice month. For full details, FoNM members the diaries and letters of Igor Savitsky and readers of this Newsletter are and the artists. Inter-mingling the invited to visit the film’s website― recollections of the artists’ children and www.desertofforbiddenart.com. rare archival footage, the film traces a dramatic journey of sacrifice for the sake of creative 2. Meanwhile, the following paragraphs freedom. Described as “one of the most remarkable replicate: (a) the film’s synopsis; (b) the film directors’ collections of 20th century Russian art” and located in statement, describing why and how the film was made; one of the world’s poorest regions, these paintings are (c) FAQ—frequently asked questions―about the film, today worth millions—a potentially lucrative target for and the directors’ answers; and (d) biographies of the corrupt bureaucrats and art profiteers. The Savitsky film makers. In addition to public screenings at the Collection remains as endangered now as when he first above-mentioned film festivals, and hopefully at created it, albeit for different reasons, implicitly posing several still to be confirmed—e.g. Seattle, Edinburgh, the question whose responsibility is it to preserve this London, and Prague—Amanda and Tchavdar together cultural treasure? with the FoNM are planning additional presentations later this year in Europe, tentatively in Amsterdam, 4. Directors’ Statement. “We were filming in London, and Milan, and in the United States, including Tashkent, just finishing a two year production on at the Biennial Symposium of the Textile Society of grassroots reformers in the former Soviet Union. America in Lincoln, Nebraska, as well as in New York, Rutgers University, and Washington, D.C. 1 This and subsequent paragraphs draw wholly or in part on material prepared for print and visual media use and are available in full on the film’s website. Neither of us had ever been to Central Asia and tales How many years did it take to do this film? of Uzbekistan’s ancient Silk Road and the fabled blue- tiled domes of Samarkand—one of the ancient world’s We started our research in 2003 and made our most dazzling capitals—sparked our interest. But then first filming trip to the Museum. We set out with a we were told of a cultural treasure from our own research grant from CEC Artslink, and then found time—a museum of avant-garde art, forbidden during ourselves continuing research in Russia and Central the Soviet Union, in a far off desert at the extreme Asia. At the University of Southern California (USC), western border of Uzbekistan. The improbability of we formed an interdisciplinary team, won a prestigious the story was arresting: an amazing art collection, Zumberge grant, then brought the current museum created single-handedly by one penniless man, in the director to Los Angeles as a USC Provost’s desert, a poor region, in an environment suspicious of Distinguished Visitor. Painstakingly, we uncovered art created by their former colonizers. We have both never before seen archival stills and film of Savitsky been drawn to stories about stubborn, unsung people and his artists as well as period images of the times. with vision who challenge the boundaries of their Grants from the Open Society Institute, the National times. We first met as professor and student at Endowment for the Arts, and others helped us along University of Southern California’s film school. Our the way. We have just now finished the film―six partnership on an equal footing across generations years later, and we are just starting our outreach to might have seemed unlikely. But we complimented help this endangered Collection. each other perfectly. Having grown up in the former USSR, Tchavdar had his roots in Eastern European Where did your explorations of the stories behind and Russian culture, while Amanda’s strength came the collection take you? from a background in teaching and making documentary films on art and the dynamics of We filmed not only at the Museum in Nukus, creativity. What we discovered in the stories a city surrounded by desert in the far Western part of surrounding the Savitsky Collection was a Uzbekistan, but also in the ancient cities of the old constellation of indomitable idealists. First, there were Silk Road―Samarkand, Khiva and Bukhara― where the artists like Yevgeny Lysenko whose painting of the the artists lived. We followed Savitsky’s path to the bull Fascism Is Advancing was labelled anti-Soviet. ruins of the Khorezm civilization, as important to His creativity landed him in a mental hospital. Central Asia as Tutankhamen’s tomb to Egypt. Here, Second, there was the original collector who defied a he developed his taste for discovering and preserving totalitarian regime and amassed 40,000 artworks for art from vanishing cultures. Then we traced his museum often by giving IOU’s, promising Savitsky’s and the artists’ lives back to Moscow and payment in 10 or 12 years. Finally, we met the current St. Petersburg. We spent days in the State Russian Museum director, Marinika Babanazarova, who has film and stills archives unearthing never before seen resisted government bureaucrats and art sharks as they images from the Soviet era. We filmed in the State tried to raid the prizes of the Collection. We realized Tretyakov Gallery with curators who had known we had the opportunity in this story to explore 80 Savitsky and at the Zagorsk Monastery that was used years of an ever-changing relationship between the as a prison for forbidden art under the Soviets. We Islamic world and the West through the lens of artists found the children of the Savitsky Collection’s artists, who lived in these times. Unfortunately, due to art historians and museum curators and elderly friends political and economic conditions in Central Asia of Savitsky who had witnessed the repressions. today, the Savitsky Collection could cease to exist in its present form at any time. We hope this film will What were some of the creative challenges specific function as an advocacy tool and a catalyst to protect to this film? this unique 20th century cultural institution”. Usually, in a historic documentary where the 5. Frequently Asked Questions. The directors’ main characters are no longer alive, filmmakers rely answers to the six most frequently asked questions on diaries and letters, but in our story this was barely about the film (below) exemplify their utter personal possible. The Soviet regime was so repressive that no and professional dedication, the artistic and practical one kept diaries. Views on art and frustration about challenges they faced, and their broader objectives and the lack of artistic freedom could not be written down. ambitions for the film—shared by the FoNM. But they could be spoken about with trusted friends and family and here is where we lucked out. We found the artists’ children, themselves in their seventies and century art treasure. The filmmakers are launching an eighties, and other close friends who recounted advocacy campaign for screenings and distribution of conversations around the kitchen table about art and the film involving museums, non-profit organizations living as an artist during Soviet times. We were also and art lovers, both in the U.S. and abroad. As part of missing images of ordinary life in Uzbekistan. We this effort, the filmmakers are working on creating the were thrilled to learn that the Soviets had sent one first book in English on the Savitsky Collection and man, Max Penson, to Uzbekistan to document the also realizing efforts to bring exhibitions from the Revolution.
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