Review: The Desert of Forbidden Art

Written by Louise Evans

The Desert of Forbidden Art tells the story of the extraordinary Igor Savitsky, prolific collector of Soviet avant-garde art. The film is a sweeping look at the decades of the Soviet repression of the arts, and one man’s pursuit of capturing a legion of forgotten or politically volatile artists, and in doing so creating one of the most important collections of Western art ever made.

A painter himself, the turning point for Savitsky in his career came when he became an artefact and site artist for archaeological digs. During this time he created works of the landscapes in remote regions of Uzbekistan. Scathingly criticised for these works when he returned to civilisation, he turned his back on the Soviet art world and moved to Karakalpakstan, an independent republic in Uzbekistan. Here he became captivated by the local culture and began to collect the folk art and objects of the Central Asia – particularly textiles, jewellery and yurt adornment. From his folk art beginnings, he began collecting works of avant-garde artists from this part of the world, and undertook the incredible task of convincing the authorities in Nukus to build a local art museum.

These were the days of artists being commissioned to romanticise the Soviet Way in socialist realism. In fact, this was a lucrative business to get into. To depict anti-soviet sentiments in art could mean imprisonment, detention, or even execution. From the stunning and vibrant depictions of Uzbek life, to the bleak and despairing depictions of the Kremlin regime, the works within the film provide poignant explorations of the darker sides of communism and resulting repression of cultures. These works present a world view so different from the government’s construct that we realise just the sort of danger Savitsky put himself into by collecting so many avant-garde works.

Savitsky managed to run his museum through public funds, though his seeking of this money was often cunning and selective in the works that he presented – indicative of the dangerous balance he kept with the authorities. At one visit from funders he showed painfully beautiful black and white illustrations by Nandezha Borovay, who had been detained a Gulag work camp with her children for 7 years. The scenes of despair and degradation are haunting, and Savitsky was determined that future generations should be able to see such works. However, he led museums funders to believe the works to be of Nazi concentration camps and in doing so managed to acquire more financial support.

One marvels at the extent of the trust that he gained from people in order to acquire large bodies of works from significant artists. He would travel for days on the trains, visiting artists and their families or widows to convince them to part with their works. More often than not he would take the paintings prior to payment, and then bit by bit send back small amounts of money. His dogged pursuit of accumulating his vast collection seems at times questionable, and the documentary doesn’t always succeed in reassuring us, or in clarifying his intentions.

Ben Kingsley and Edward Asner’s narration is delivered emotively and with respect ; Sally Field’s voiceovers fall somewhat flat. Some of the initial story editing is slightly confusing, though still entertaining. The film would have benefited from more footage of the landscape of Uzbekistan in order to put in context the isolated haven Savitsky sought.

Regardless of this one is still entranced by the epic journey that has made the collection of the museum at Nukus - known as Karakalpak Museum of the Arts, and one is left yearning for the story of every artist whose works are housed there – and this is much more than any documentary can ever provide.

The Desert of Forbidden Art is part of the 2010 Documentary Edge Festival. Screenings in Auckland are on Tuesday 2 March, Friday 5 March, Sunday 14th March, at Rialto Cinemas. For more information visit www.documentaryedge.org.nz