Starts: February 24, 2011 at 7:00 PM
Location: Muscarelle Museum of Art
Event URL: http://www.desertofforbiddenart.com/
Contact: firstname.lastname@example.org, email@example.com
This award-winning 2010 documentary highlights the life and achievements of Igor Savitsky (1915-1984), who rescued 44,000 works of unsanctioned Soviet art and founded a museum to display them. Today, the Nukus Art Museum, located in Karakalpakstan, Uzbekistan, holds the second largest collection of Soviet avant-garde art in the world. This collection, suppressed during Stalinism and the following decades, offers fresh perspectives on the art and history of the USSR.
How does art survive in a time of oppression? During the Soviet rule artists who stay true to their vision are executed, sent to mental hospitals or Gulags.
Their plight inspires young Igor Savitsky. He pretends to buy state-approved art but instead daringly rescues 40,000 forbidden fellow artist’s works and creates a museum in the desert of Uzbekistan, far from the watchful eyes of the KGB. Though a penniless artist himself, he cajoles the cash to pay for the art from the same authorities who are banning it. Savitsky amasses an eclectic mix of Russian Avant-Garde art. But his greatest discovery is an unknown school of artists who settle in Uzbekistan after the Russian revolution of 1917, encountering a unique Islamic culture, as exotic to them as Tahiti was for Gauguin. They develop a startlingly original style, fusing European modernism with centuries-old Eastern traditions.
Ben Kingsley, Sally Field and Ed Asner voice the diaries and letters of Savitsky and the artists. Intercut with recollections of the artists’ children and rare archival footage, the film takes us on a dramatic journey of sacrifice for the sake of creative freedom. Described as “one of the most remarkable collections of 20th century Russian art” and located in one of the world’s poorest regions, today these paintings are worth millions, a lucrative target for Islamic fundamentalists, corrupt bureaucrats and art profiteers. The collection remains as endangered as when Savitsky first created it, posing the question whose responsibility is it to preserve this cultural treasure.