OF TEMPORARY ART
ASIAN FIRST PEOPLES'
Such a museum doesn't exist anywere. 2nd)
As an interesting and active meetingpoint it will be noted by foreign
the museum done well the visitors will cause verbal propaganda and thus
more paying people. 3rd)
This will bring more cash for the museum's and 'CENTER's survival. 4th)
Do we have a museum of good standart it will be recognized
by traveler's guides and tourist-agencies. A reason more to ask for
Many hugh cultural institutions have started small and step by step
to become great when the idea was right and the investments well. That
means, it makes sense found and build such museum, to ask for financial
As ones the 'GUGGENHEIMS' have
brought jobs to a political and economical instabile region, I talk
about the Spanish Baskian region that owns today a high visitor-rate
in 'culture-tourism', also we could have more jobs in such way. Is
the museum's set up happen east of Lake Baykal (Buryatia) or at Lake
Hubsegul (Mongolia), both places are good to give the whole region an
economical input. That the chosen place is connected with a 'National
Park' can only underline the theme of such
museum. The theme
"NATURE & MAN".
The museum should have the possibility to communicate with other
cultural institutions, within northern Asia and worldwide, to spread
knowledge and advertisment and to exchange expositions or other cultural
seminaries, events, etc. can be held. Everything shall be happen in
close connection with the 'CENTER.
The main building should stay in arrangement with other buildings
which include: Art-Shop, Magazine, Office, Café, Guard-House,
W.C.. An open air place for cultural events can be builded, protected
against bad weather.
MUSEUM: As I like to have the
'CENTER's buildings in native architecture here I have
chosen the paleo-siberian Chukchi style to manifest the 'CENTER's and museum's
target. General impressions I've got in Canada and Finnland. Their
architectural way I admire very much.
museum's construction (design and statics are done by my self) base
on the traditional fur covered 'yaranga'. Today seldom but still in
use by Chukchi reindeer-herders. How ever, I like to keep the ancient
Siberian style of 'biomorphic architecture'. Such
term is a
recent term and the present 'trill' for western architects.
Steel and wood construction; Floor, wall, stair, circular gallery,
cover & top-light material: Wood, loamy plaster, coat &
glass; Wall & cover isolation: Sheepwool (less flammable);
Heating system: Traditional done stove (for wood); Lights:
Solar-power low-voltage system (spots & firmament lights) by
western standart. For emergency: Smoke-alert and 4
Base: Rocks & waterproof cement; Wall material: Wood &
natural left loam, waterproof; Roof material: Wood & painted
sheet metal. One section of the double-glass toplight will be
The double-door & outer entry shall own a useful sculpture-group
(at the top: A fishing-boat and two hooked fishes as door-handle) and
the entry's glass shall offer shelter against wind, rain and snow as
well catch sunrays to warm up the southern side of the museum. The
rest shall be done in wood and cement in mix with rocks (base &
Shall come from a solar-system in combination with wind-energy.
Low-voltage system of western standart.
MUCH IT WILL COST? All inclusive: 300.000 USD.
OF THE MUSEUM
MUSEUM IN CHUKCHI-STYLE
OF THE MUSEUM
THE MUSEUM'S ECONOMY: The museum should be able to exhibit,
to collect and to sale artworks by customary international standart.
General the musem could take artworks alike commission agents of art
handle such goods. When the museum prosper we can talk about buying artworks.
I like to keep culture alive and give our artists a chance but the
museum must survive too.
PROGRAM: I like to have our artists and future buyers reading
following excerpts of my written thoughts:
'CENTER in cooperation with the museum shall teach the use of traditional and modern technics.
Inspirations, themes and style should be the matter of each single
student. As for me I never have
had follow western rules in art or the dictate of the Soviet artist Jevgeni
Samjatin when he proclaimed ones: 'We will straighten this damn
wild, crooked lines...'. Lines which are given by nature.
admire and adore the art of our ancestry and those of Asian
majorities which had much influence on the history of the European
artscene. In this case I name Japanese, Korean and Chinese art.
But our First Peoples' artist's classical power of art was magical
shall continue. We must continue in following dreams which can be the only true teacher.
me give a warning: 'Indigenous Soviet Art' or 'Chinese
Western-Style-Paintings and Western-Style-Theme' or 'Russian
Still-Wet-Oil-Paintings' all released because of western applause
("..see they are creative as we are!", "Bravo!")
and money - such art doesn't suit our artists and the 'market or a
longlasting international recognitions. Such art have no chance to be shown in
- have you ever observe how a Chinese master of art let fly or
stamp his brush, how expressive old day's Japanese wood-carver made
their beautiful prints or how the Nanay's knife create without any
scetch spiritual stories into a simple piece of birchen bark and
Nganasan's hands show how a reindeer moves? So why shall our native artists try to copy western art when our
Asiatic anciently colleagues of art are in us ?
have found my own unique style. Same should be happen for others
of us to have such works shown in the museum. I think such thoughts suit
all of us.