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Risking being denounced as an 'enemy of the people,' Igor Savitsky rescues 40,000 forbidden fellow artists' works and creates in a far desert of Soviet Uzbekistan a museum now worth millions.
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00:00Welcome to Independent Lens. I'm America Ferreira.
00:03Who hides 40,000 banned works of art from the KGB in plain sight?
00:08So how did this happen, the fact that there's such a collection in this place?
00:12These are independent filmmakers Amanda Pope and Chavdar Georgiev.
00:16They stumbled across an art collection in Islamic Uzbekistan,
00:20created single-handedly by a penniless man in a land suspicious of Western art.
00:25A story of Islam, Stalin, the Silk Road, and the Russian avant-garde
00:29are hidden in some of the greatest art the world has barely seen.
00:32The Desert of Forbidden Art. Next.
00:45This program is made possible by the Corporation for Public Broadcasting,
00:50the National Endowment for the Arts,
00:52and by contributions to your PBS station from viewers like you.
01:41I found these paintings rolled up under the beds of old widows,
01:48buried in family trash,
01:54in dark corners of artists' studios,
01:59sometimes even patching a hole in the roof.
02:06I ended up with a collection that no one in the Soviet Union would dare to exhibit.
02:15These were forbidden works by artists who stayed true to their vision at a terrible cost.
02:41It is an art of a lost generation of people,
02:44of whom no one, in fact, did not remember, did not know,
02:48and of whom the Soviet Union opened.
02:54They said, why couldn't we do this museum here?
02:59We couldn't do it here.
03:00We couldn't do it here.
03:01Only there in the rocks,
03:03where no one can reach and reach,
03:06could we do it?
03:37Maybe we couldn't do it.
03:37in Uzbekistan, God knows where.
03:46It really wasn't that long ago
03:48when what we now call Uzbekistan
03:51was one of the most spectacular
03:53centers of world culture.
03:55The Silk Road ran
03:57right through that region.
03:59But for a period of
04:01almost a century, Uzbekistan
04:03had been just distant
04:05province of the Soviet Union.
04:08When the Soviet Union
04:09collapsed, I was asked
04:11to cover this region that
04:13nobody in the world really ever thought
04:15about.
04:18For those people
04:19who consider Uzbekistan
04:21to be hopelessly exotic and remote,
04:24how about Karakalpaksdahn?
04:26It's an independent
04:28republic within
04:29Uzbekistan.
04:33The
04:33principal city in
04:35Karakalpaksdahn is
04:37Nukos.
04:42I had, I guess, assumed
04:43that the Nukos Museum
04:45would be, to museums
04:47in the world, what Nukos
04:49is to the world.
04:51Kind of a dusty,
04:53provincial town.
04:55It didn't take me more than a few
04:58minutes of walking around
04:59around this museum
05:00for my jaw to drop.
05:12The fact that there's such a collection
05:14in this place
05:16and such a concentration
05:17of art
05:18makes it far more interesting
05:20than if you would see
05:21these same paintings
05:22in a series of galleries
05:23in Germany or in New York.
05:25So how did this happen?
05:36I was born into a life
05:38of privilege.
05:40I even had a proper
05:41governess imported
05:42from France.
05:45The little girl with the bow
05:46is me,
05:48groomed in the high fashion
05:49of the times.
05:52My father was a wealthy lawyer
05:55while my mother spent her days
05:57presiding over tea.
05:59My brother went to military school
06:01and I was supposed to follow
06:02in his footsteps
06:04and serve the Tsar.
06:07But then the revolution broke out.
06:11Our life turned upside down.
06:14We were no longer
06:16the ruling class.
06:18One by one
06:19our friends and relatives
06:21began to disappear.
06:24We had to hide
06:25our aristocratic roots
06:27and blend in
06:28with the proletariat
06:30who were now in power.
06:34I had to prove
06:36that I was ideologically pure.
06:39so I took a working-class job
06:41as an electrician.
06:44But I dreamed
06:45of becoming an artist.
06:58I got my opportunity
07:00when I joined the famous
07:02Horezm archaeological expedition.
07:05It was the greatest dig
07:07in Soviet Central Asia
07:08as important
07:09as the discovery
07:11of Tutankhamen's tomb.
07:16The
07:17people
07:17were
07:17in the
07:17desert.
07:20They
07:20were
07:21in the
07:22paper
07:22and
07:22they
07:22in the
07:24The
07:25water
07:25was
07:26even more
07:27and
07:28there was
07:28a
07:28piece of
07:29and
07:30suddenly
07:30they
07:31were
07:31in the
07:32police
07:32and
07:33they
07:34came to
07:34the
07:35clean
07:35paper.
07:36How
07:37he
07:37was
07:37washing
07:38everything
07:39and
07:39they
07:40started
07:41to
07:41to kill them.
07:46The Soviet Union took the table,
07:48and there is a dog.
07:49He comes and leaves the table.
07:52Then he leaves the table clean,
07:54and the second one leaves the table.
07:57Then they came and said,
07:58what are you doing?
08:00This is a dog!
08:02And I said,
08:03during the war,
08:05the dogs were left,
08:06and the dogs were left,
08:07and they were healed.
08:10While everybody slept during the midday heat,
08:15I painted.
08:17The desert trains the eye to be especially sensitive
08:20to subtle and intense variations in color.
08:25It is the best school for the painter
08:27who strives to grasp the full power
08:29of how color sounds.
08:32But then Igor Vitalich came to Moscow
08:35and showed these works
08:36to his teacher,
08:37Falk,
08:38Robert Raffaele,
08:39a famous master
08:40to whom he loved.
08:42And Falk greatly criticized him.
08:45Falk said that this is a mess.
08:47That he does not understand what color is.
08:51That he does not feel color.
08:57If an artist of Falk's stature tells you,
09:00you're no good,
09:02you know you'll never be great.
09:06We were scared of him.
09:08We were scared of him.
09:09We were scared of him.
09:10He would do something with himself.
09:11Because he did not understand
09:13another life he would ever understand.
09:16I destroyed all my works
09:18and cut my ties to the art world.
09:22I decided to return to the desert
09:24and start a new life.
09:27You can imagine what it means
09:29to leave a house in Moscow
09:31and leave a house in this country
09:35and live in this famous people
09:38and live in this famous world.
10:00I knew Savitsky from my childhood.
10:06My grandmother was always full of irony
10:09when she saw Savitsky saying,
10:11oh, again he came to ask for this old stuff.
10:20This is the classical costume
10:22of Caracal Park's fiancé,
10:24which is exactly the same denim cloth
10:27that is popular all over the world now.
10:30And Caracal Park's were using this cloth
10:33for more than three centuries.
10:35Do you wear jeans?
10:37Yes, of course.
10:38Do you wear American jeans?
10:41Yes, American jeans.
10:42And now you're wearing jeans
10:44that made your ancestors.
10:47When the Soviets were in power,
10:50they felt that the ethnic traditions
10:53of all these nationalities
10:56in what was then the Soviet South
10:58should be repressed.
11:00And if you had traditional clothing,
11:03you should hide those.
11:04You should get rid of those.
11:06Savitsky saved a lot of that stuff
11:09that might otherwise have disappeared.
11:22These treasures would remain forever in my garage,
11:27unless I found a way
11:29to get the local Communist Party boss
11:31to go against party policy.
11:36Savitsky brought me in the cabinet
11:38with the materials
11:40and asked him,
11:44that I would have a support for him,
11:46to finance him.
11:48And he took 10 years
11:50he collected these things
11:52and was supposed to help him.
11:57He took over...
11:58to finance him...
12:04...
12:05He took a seat
12:05to finance,
12:09that he was asking for...
12:13What did he say?
12:22He took a seat
12:24I will give you the money from my head the Minister of Finance of Uzbekistan.
12:29I will tell him what is the difference between your head or the Minister of Finance of Uzbekistan, or I
12:38will take him.
12:39You will still stay without your head.
12:44So, without the law, they gave him the money.
12:53I finally had my museum.
12:57But as an artist, I still longed to see paintings.
13:04Around that time, I came across an art catalogue from the early days of Soviet Uzbekistan.
13:12On the first page, there were photographs of the most bright artists who determined the development of Uzbekistan's art.
13:23And in the end, Alexander Nikolaevich Volkov, who was the center of this exhibition.
13:30Because Granatovich was the center of the work.
13:34I was surprised that I had never heard of Volkov.
13:39If a work so haunting had fallen victim to censorship, what else was out there?
13:47And he started to collect artists who were forgotten, abandoned, and no need to be.
13:56The first work, the number one, which has the number one, was my father, Alexander Nikolaevich Volkov, in the Nukovsk
14:03Museum.
14:05He was on the belt, he was in a belt, he was in a position, he was in a position,
14:09he just died.
14:12I travelled all over Uzbekistan, searching for masterpieces that the history of our times had condemned to obscurity.
14:29I found a whole multinational collective of artists.
14:35Some were Uzbeks, others came from distant parts of our Soviet Union.
14:42They came here after the revolution.
14:45For a brief period of time, in the 20s and 30s, they painted freely, far away from the Kremlin's censorship.
14:56Uzbekistan became their second motherland.
15:18The artists strove to find the most contemporary methods and forms to depict the Uzbek people and their culture.
15:36So you began to have a kind of a cross-fertilization of one of the great world-class schools of
15:44art, the Russian avant-garde, with this other, more interesting, locally-based school.
15:49And the influences that created the Russian avant-garde merged and melded with the influences that came out of Central
15:57Asia.
16:05Mihael Kurzin came also to Uzbekistan in the beginning of the 1920s.
16:11If we look at his first impressions of Uzbekistan, this was the new, this is the old.
16:18The old symbolized the tradition of Islamic country, when man was allowed to have up to four wives.
16:27We can see two wives following their master, and they are wearing veils, these paranjas.
16:38Sarcasm of Kurzin is in the fact that the two traditional wives are combined with the new Soviet kind of
16:45wife, in the new clothes, in the new way of behavior.
16:54Part of the revolution that Soviet rule brought to Central Asia was the liberation of women.
17:04Part of the revolution of activists or lên
17:09Part of the revolution!
17:24Tell your person, that he didn't come here.
17:27Dear women!
17:30The revolution has freed you.
17:33There is no owner.
17:35There is no sir.
17:36And call me just a friend.
17:40Don't forget your sins.
17:43You will be free to work.
17:46And everyone will be a single wife.
17:54And when the Soviets arrived, it was like a dawning of a huge new era.
18:00Life changed in every way for the people that lived there.
18:28My father, Alexander Volkov,
18:31поставил целью
18:33отразить жизнь
18:34такой, какая она вокруг происходит,
18:38со всеми ее изменениями.
18:53И вот эта работа людей,
18:56радостные отношения к труду,
18:58и женщины, которые открыли лицо,
19:01это же был факт.
19:17Массажир
19:18Союз
19:18Канг
19:21Канг
19:21into the region where all the cotton for the entire Soviet Union was going to be produced.
19:32Cotton is a very water-intensive project.
19:36And so the Soviets built a huge network of extremely inefficient irrigation channels.
19:43And they sucked this water principally out of the rivers that fed into the Aral Sea.
19:49This was one of the world's largest inland seas and had been since time immemorial.
19:56It just dried up.
20:04This Aral Sea disaster is truly one of the great environmental catastrophes of the 20th century.
20:20As I was walking across the wasteland of our Soviet dream,
20:27I pitied Volkov for his idealism.
20:39The artist Volkov, more than anybody else, has gone astray.
20:46Volkov doesn't see anything but colors.
20:51The audience saw staring at them from the walls roughly sketched monsters,
20:59a deliberate distortion of reality.
21:03Volkov sounds that he would fall outside of the Uzzbev.
21:09He said, he's a weird person.
21:12He's a weird artist.
21:17He's a weird person.
21:19He's a weird person.
21:24He's a weird person playing in the environment.
21:25than what was happening around as official art,
21:31which they called the socialist realism.
21:36The art should explain the people,
21:50what is the revolution, what is the new government.
21:56For this it was not the avant-garde art.
22:00The Soviet government said that the people need a different art.
22:06Art, which tells us about their lives,
22:10but not the same, as it is in the reality,
22:14but in such a romantic,
22:15it is in the classical,
22:16it is in the modern art.
22:34You had these paintings of hard-working peasants
22:38and factory workers, all of whom would be very healthy and vibrant.
22:42They were supposed to convey the satisfaction
22:45and the thrill that people felt of being Soviet citizens.
23:00If an artist wished to work outside the system of Soviet socialist realism,
23:06then that artist would inevitably be removed from that system,
23:12like a microbe from the healthy body.
23:19In my dream, I saw a creature,
23:24his eyes like the barrels of a gun.
23:29I called the painting,
23:31Fascism is Advancing.
23:44It was a kind of a future vision of the threat that was coming.
23:52The fact that Lysenko finished his life in mental hospital means a lot.
23:58Many artists were forced to be sent to mental hospitals.
24:01We don't know anything about him.
24:03No one or another museum of his paintings are not.
24:05But they are in Nukusi.
24:08Sovitsky was criticized for this very painting
24:10when it was hung on the walls of the museum.
24:14The inspection came and said,
24:16you must take away this anti-Soviet work.
24:20It's degenerate painting,
24:22so there is no place for it in the museum.
24:27Anti-Soviet?
24:29Of course.
24:31Degenerate?
24:33No way.
24:35The next day after the commissioner left,
24:38I put it on the wall again.
24:41It was too great a work of art to hide.
24:46Here is another painting from our collection done by Komarovsky.
24:51He was studying icon painting.
24:59Unfortunately, his life was ended during Stalin's repressions
25:04for the only reason that he believed in God.
25:25Alexander Nikolaev was also repressed.
25:28The reason was his non-traditional sexual orientation.
25:33He was arrested and imprisoned for homosexuality,
25:38which was considered to be a crime in Stalin's Russia.
25:49Two years ago,
25:50a new information about this painting came to us.
25:54We realized that this was only part of the painting
25:58made by Mikhail Kursin.
26:00And the whole painting looks like this.
26:04So it was a big discovery for us.
26:08Very unexpected.
26:10We don't know who cut the painting.
26:14The photograph came from the KGB archives.
26:18And now we look at this painting with new eyes.
26:25In Kursin's caricature of Western capitalism,
26:30the millionaires cradle their symbols of power
26:33against the background of exploited workers.
26:38At first glance, it's hard to understand
26:41why the Soviet secret police objected to this criticism of capitalism.
26:47But as you take a closer look,
26:51Kursin's workers bear a striking resemblance to the ones in Stalin's labor camps.
26:58You see the self-portrait of Kursin holding a coffin.
27:04So this is annihilation of hopes,
27:07of the dreams of an artist in that society.
27:15November 16th, 1936.
27:19Interrogation of the defendant Mikhail Ivanovich Kursin.
27:24Question.
27:27Tell the investigator about your anti-Soviet speech
27:30at the exhibition of the artist Malt.
27:34Answer.
27:35I don't remember the matter of my anti-Soviet speech,
27:41because I was drunk.
27:45There was such a story, when Kursin,
27:48выпив, went somewhere to the street,
27:51on his head was dressed as a wife's pants,
27:55and he shouted, go to Kremlin.
27:59Mikhail Kursin tried to follow the Soviet path,
28:03painting fake, joyous peasants,
28:06but he couldn't stand it.
28:09He used to say that even in the capitalist world,
28:13the artists are living better than here.
28:17From the interrogation of the witness,
28:21Alexander Nikolaevich Volkov,
28:23encouraged to testify against his fellow artist
28:27and friend, Kursin.
28:34In conversations with me,
28:36Kursin said that the USSR
28:37doesn't allow freedom of expression,
28:40pointing out that there are greater opportunities
28:43for artists' creativity in capitalist countries.
28:49My father never said that.
28:52My father was waiting for the arrest every day.
28:55Our father was like this,
28:57in the KGV.
29:01When I was a boy,
29:03I understood that he was always in pressure.
29:07My father was a nervousness.
29:09He had a throat.
29:12Witness Alexander Nikolaevich Volkov.
29:15I am convinced that Kursin
29:19is an anti-Soviet artist
29:22and human being,
29:24hostile to the Soviet rule
29:27and the politics of the party.
29:31It's a scary thing,
29:34when you are in your hands
29:36like these documents.
29:40It's a moment of a great feeling
29:44for the fact that
29:45it was a close to me,
29:47in this case,
29:48in this case,
29:48in this case,
29:50this scary thing
29:51of the NKVD.
29:53It's all-таки
29:54historically,
29:54we need to understand,
29:55what a scary time was.
30:00And there is only one thing,
30:02or to sign up for yourself
30:03or to try to save yourself
30:06and save yourself
30:07and save your family.
30:07Who can judge this person?
30:09I don't know.
30:22We are speaking so much
30:24about the artists
30:25who were repressed
30:27in Stalin's time,
30:29all those terrible stories,
30:30how they were sent to gulags
30:32or some were driven mad.
30:34But when we come to our own personal life,
30:39I realized that we also have
30:42very many tragic stories around us.
30:51My father had a very difficult life.
30:54His father was shot in 1938
30:58as the enemy of people,
31:00being the president of Karakal, Pakistan.
31:03And he just wanted his people
31:05to blossom,
31:06to flourish.
31:35and guineaим.
31:35I will get some of these of us
31:36because I'm taking care of
31:37You're so beautiful.
31:41Nadezhda Barovaya was sent to concentration camp as the wife of an admiral who was repressed.
31:55Even children were sent to concentration camps, to women's colonies.
32:07Once in 1983, Savitsky prepared a big portion of the works for the attention of the commission
32:16from the Ministry of Culture.
32:19He was to persuade them to give money to the museum so that he could pay the owners.
32:26One of the artists that was put on the agenda was Nadezhda Barovaya.
32:35Savitsky was very tricky.
32:38He said that these were Nazi concentration camps, showing all those people who were at the drawings
32:46with the numbers on their foreheads and terrible sins of lives of those prisoners.
32:56So the commission was persuaded.
32:59They decided to pay money to Nadezhda Barovaya.
33:02And after the commission went away, Savitsky came to me and whispered into my ear with a smile
33:12on his face that these were Stalin's concentration camps.
33:17And I was so shocked.
33:23Later I realized the extent of danger he exposed himself.
33:35Barovaya's works were unique visual evidence of the repressions.
33:41I had to make sure that one day people could see them.
33:52My father was invited to work for the regional Communist Party department.
33:59And he advised Savitsky to be careful.
34:03My father was saying, oh, one day you will get into the jail.
34:06But Savitsky's obsession was so strong, he couldn't stop.
34:21Savitsky heard about this artist, Ural Tancetbaev, who was recognized by the regime as the master
34:28of socialist realism.
34:30He was awarded many state prizes.
34:34At first, I didn't want to go to Tancetbaev.
34:38He was a fat cat, enjoying all the perks of a people's artist of the USSR.
34:45In return, he painted what he was told.
34:53But then, I discovered that Tancetbaev had been one of Volkov's favorite students.
35:04So I went to Tancetbaev's studio.
35:09The works were boring, but I saw immediately the hand of someone who knew how to paint.
35:20He was a bit suspicious of my motives, until we found that we both admired Uzbek folk culture.
35:34He showed me watercolors of village life that he'd done as a young man.
35:41I asked him if these were all he had.
35:45He was able to convince Tancetbaev that it was difficult.
35:50Because Tancetbaev was even afraid of this.
35:52He hid them, he didn't show them.
35:54Ural Tancetbaev took Savitsky into the attic, opened a big chest,
36:00and Savitsky couldn't believe his eyes.
36:15I had stumbled upon a world created by the mind of a genius.
36:24These works that hadn't been exhibited for many years shocked me with their originality.
36:38We can see his real soul in his early paintings.
36:44He told me how much he admired Van Gogh, Gauguin and Seurat.
36:54But his subjects came from the oriental culture around him.
37:13Tancetbaev said you can take everything what you like, and you can pay when you can.
37:22I quickly took every single work before Tancetbaev changed his mind.
37:31Nukus was so far away, far from political, cultural centers.
37:36Maybe Tancetbaev thought that who will see these paintings there.
38:01When Savitsky started to collect the work of famous artists,
38:05then he came to us and returned to my mother.
38:15Yelena Karabay was very much interested by the life of Jews of Bukhara.
38:22Not the fact that they were isolated and living in ghettos,
38:27but she saw the beauty of their occupation.
38:30We can see wonderful indigo colors of her dyers.
38:38Or tailors of Bukhara.
38:42Who have the whole series of these works that were created by her
38:46during her stay in Uzbekistan.
39:00In the middle of the 1930s, she created something like a paper mask.
39:10My mother helped me to create art.
39:18They closed the face like this.
39:20They closed the face like this, like this, like this, and they give the image.
39:24And this, it turns out that everyone is different.
39:27And the person is so different.
39:32And the person is so different.
39:33And this, for example, the new goddess, the divine goddess,
39:41and the female goddess who was born in XIX.
39:44And this, for example, this is a宿 MRS.
39:50One of the Russian stories is to meet him with a bulldog and he's not sure where he is.
39:54He's a smart guy.
39:59When we arrived in Moscow, she was gathered in a lot of masks.
40:03She brought them to an editor, looked at them,
40:07laughed at each other.
40:10But it didn't happen.
40:13It didn't happen.
40:14It didn't happen.
40:16Savitsky in her life, her heritage, played a big role.
40:20Because before he took some work in a museum,
40:25it was absolutely forgotten.
40:30For me, Caralcopacs are invented creatures
40:34with their city Nukus in a land far away.
40:40And they're Savitsky
40:41with the eyes of a hooligan,
40:45persuading me that I am obliged to donate to his museum.
40:52He looks at the paintings attentively,
40:57meticulously,
40:59examines them again and again,
41:03at a distance and up close,
41:07but doesn't get tired.
41:10As any fanatic,
41:12he's boring a little,
41:15pretending to be interested in what I have to say.
41:20But I know the only thing on his mind is getting all my works for his museum.
41:28I would leave Moscow with piles of aging canvases and boxes of drawings.
41:35I was such a sight that no taxi would stop for me.
41:39And the porters grumbled when I appeared at the train station.
42:06I traveled across Mother Russia for three days.
42:15Until the train tracks ran out.
42:22Then I'd camp out and wait for a truck
42:25to transport me and my treasures across the desert to Nukus.
42:51To be continued...
42:57It seems very strange that he would have such enough money
43:01to have bought all the paintings that he bought,
43:03which are thousands of paintings.
43:05Yes, he had state subsidies for his museum,
43:08but those state subsidies were meant to be used
43:09for financing expeditions into the desert,
43:12not to be buying silly Russian art.
43:15He gives me any money.
43:20He gave me any money.
43:20Maybe he bought it somewhere,
43:22then he would have to buy it somewhere.
43:23Then he took me money and paid for it.
43:27Then he took me money,
43:27It's a great thing,
43:29that he created a museum
43:32for the state-based money,
43:35but it was a museum for the feeling that he wanted.
43:41He was a museum.
43:45He was a costume for the parade.
43:49The rest were completely different.
43:52Where to live,
43:53what to eat,
43:54what to do,
43:55what to do,
43:55what to do,
43:56what to do.
44:06One can find art anywhere.
44:10All you have to do is look.
44:12.
44:18Советский
44:19кипятил
44:20бронзовую
44:21старинную посуду
44:23старинным же способом
44:26формолиньей,
44:27которые очень токсичны.
44:30Это опасная вещь,
44:32но он совершенно игнорировал
44:34все советы,
44:36которые касались его личного здоровья.
44:38Игорь Итальевич,
44:39в общем-то,
44:40был в некоторой степени
44:41упрямым таким вот человеком.
44:45Он, значит,
44:46брал целый мешок
44:46сухого формолина
44:48и начинал кипятить,
44:49и дышал этими парами.
44:52В конечном итоге
44:53у него легкие сгорели.
44:56И вместо легких
44:58осталось два таких вот
44:59черных комочка.
45:01Советский
45:02был снял
45:03от доктора Яфуния
45:05и привез в Москву
45:07в Москву.
45:08И, когда они
45:09проверили его слухи,
45:10они поняли,
45:12что это конец.
45:15В целом
45:16это необычный пациент
45:19и они даже позволили
45:20его оставить
45:21это место,
45:21если он нуждался.
45:23Поэтому мы знаем,
45:23что Советский
45:25успел
45:26собрать
45:27два контейнера
45:28из картинок
45:29и графиков
45:30во время
45:31он стоял
45:31в хоспитале Яфуния.
45:35Умирая,
45:36он мне говорил,
45:37Сергей Наумович,
45:39я не могу умереть,
45:40у меня долг
45:41частным лицам
45:43более полутора миллионов.
45:46Это невозможно.
45:48И он продолжал работать,
45:50умирая он продолжал.
45:50Ему приносили рисунки,
45:52ему приносили
45:54картины.
45:58СПОКОЙНАЯ МУЗЫКА
46:02СПОКОЙНАЯ МУЗЫКА
46:15СПОКОЙНАЯ МУЗЫКА
46:21СПОКОЙНАЯ МУЗЫКА
46:24СПОКОЙНАЯ МУЗЫКА
46:25СПОКОЙНАЯ МУЗЫКА
46:25СПОКОЙНАЯ МУЗЫКА
46:27СПОКОЙНАЯ МУЗЫКА
46:28СПОКОЙНАЯ МУЗЫКА
46:30Мы используем эти
46:32треи,
46:32потому что
46:33климата
46:34очень мягкая
46:35в зале.
46:36Они могут быть
46:36плюс 50 в зале.
46:39И
46:41нам нужно
46:42какие-то
46:42помидоролики
46:44для пакетинок.
46:45Это не помогает,
46:47мы знаем,
46:47но нет.
46:49И сейчас
46:50мы используем
46:51этот примитивный
46:52метод
46:52поставить
46:54воду
46:54everywhere.
46:56Когда Савицкий
46:58пришел к мне
46:59и сказал,
47:00«Я хочу
47:00быть директором»,
47:02я не могла
47:03сказать ему
47:03что-то.
47:08Музеум
47:09был
47:1025 лет
47:15пакет journeys.
47:17КАРАКА ПАКСТАН
47:18КАРАКАЛ ПАКСТАН
47:18изада
47:19в две
47:19недели
47:19монасты нового
47:23СПОКОЙНАЯ МУЗЫКА
47:30КАРАКАЛ ПАКСТАН
47:31он
47:32был
47:32very turbulent area, of course it borders on Afghanistan. Some of the same trends that
47:37you see in Afghanistan have also emerged in Uzbekistan.
47:40Remembering the events in Afghanistan when those radicals destroyed Buddha's statues
47:47in Bamiyan, this means danger for our collection.
47:56The influence of Islamic fundamentalism could grow substantially. How that would affect
48:02a collection of art that is abstract, modernistic, and that is run by a woman
48:09could be a little bit disturbing.
48:16You can see piles of canvases that are hanging like this.
48:28They are real masterpieces, but they were never shown to anyone, because they need to be
48:34restored, they need to be framed. When we look at these wonderful paintings, we understand
48:40that people are missing so much, they can't see all these treasures, and we have thousands
48:46of works like this in our storages.
48:53When I found this museum store, I called the New York Times editor, and she agreed with me.
49:01This is really an exclusive. There were going to be a lot of people choking on their English
49:05muffins over breakfast on Sunday when they read this one.
49:14The collectors from the West started to come in their private planes, bringing bags of money, showing
49:23this to us. They wanted the best pieces. And all the foreigners used to say, why don't you sell
49:29one or two paintings? It was a tradition for Western museums to sell something from their
49:36collection in order to settle their problems. Remembering the biographies of the artists,
49:42they were so unhappy during their life. They found shelter in Nukus, and even to think of
49:49selling them somewhere was very difficult for us.
49:54I visited another museum in another city, full of artifacts from Uzbek history, fantastic
50:03fabrics, and weavings. Suddenly a guy came over to me, and this was the museum director.
50:09And I pointed to a weaving, and I said, this is a spectacular piece of art. And he looked
50:15at me, he said, want to buy it? And I said, what? He said, who even want to take it?
50:21How
50:21much would you pay for it? So essentially what he was saying is, come loot my museum. The
50:29idea that you'd be an impoverished director of an impoverished museum that had piles of
50:35stuff that it couldn't even exhibit, but you wouldn't sell a single piece, must have been
50:41unique to Maranica.
50:44Savitsky used to say, keep this collection together by all means. One day people will totally
50:53understand the importance of the museum.
51:03I like to think of our museum as a keeper of the artist's souls. Their works are the physical
51:17expression of a collective vision that could not be destroyed.
52:15you, everybody.
52:34I work on a painting of Lysenko.
52:39He has such a special fantasy.
52:42I, for example, nothing like that any one has seen.
52:59We are a team brought up by Savitsky, who are very dedicated to the museum work, but we are people
53:07of pre-pension age.
53:09Our curators are paid $30 a month.
53:13My husband does not work.
53:16We are turning out somehow.
53:20It is a pleasure to work in the museum for me.
53:25If I would give a better place, I would have lived well, but I would not be rich spiritually.
53:33Alvina Špada has worked at the museum for 41 years.
53:36But now she can no longer restore the art.
53:41The restoration lab and a large part of the collection have lost their home.
53:50The Uzbek government has designated one of the two museum buildings for demolition, without warning, with no alternative plans for
54:00housing the artworks.
54:02Furthermore, the NUCUS Museum director, Maranika Babanizarova, was forbidden to travel to the US for the premiere of the film
54:10at the National Gallery in Washington, D.C.
54:13At the time of this broadcast deadline, the government has declined to respond to media inquiries regarding their actions.
54:21I am really having very sad thoughts about the future of the museum, but I want to believe that this
54:35museum would be safe and people in our country will understand the value of this collection.
54:47As for me, I will try to do my best as far as I can do this.
54:54Coming soon to Independent Lens.
54:57What's your last name, sweetheart?
54:58Basquiat.
54:59Jean-Michel Basquiat was a phenomenon.
55:03The being young, black, and the world's most famous artist came with a price.
55:09The pressure of that artificial world made it difficult for him to do something.
55:13An intimate portrait of youth, passion, tragedy, and fame.
55:19Jean-Michel Basquiat.
55:21See you next time on Independent Lens.
55:25Connect with Independent Lens online at pbs.org.
55:29Meet other indie film fans.
55:31Share your thoughts.
55:32Watch videos and explore interactive features.
55:35There's always more to every program on our website.
55:38Be cool.
55:40Find half of me.
55:46I'll see you next time.
55:47Bye-bye.
55:47Take care.
55:50Bye-bye.
55:51Bye-bye.
55:52Bye-bye.
55:54Bye-bye.
55:58Bye-bye.
55:59Bye-bye.
56:01Bye-bye.
56:02Bye-bye.
56:06Bye-bye.