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The Resurrection of a Russian Wooden Church

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This article is from a series by the invaluable William Brumfield, (Wikipedia), Professor of Slavic Studies at Tulane University, New Orleans, USA.

Brumfield is the world’s leading historian of Russian architecture.  He makes frequent trips to Russia, often to her remote regions, and records the most unusual examples of surviving architecture with detailed, professional photography.  

His most recent book is a real treasure, Architecture At The End Of The Earth, Photographing The Russian North (2015). (Amazon).  This truly beautiful book was made possible by the support of a US philanthropist, and its true cost is 3 times its retail price, and we can’t recommend it highly enough.  Here is our 2015 review of it.

Bravo to RBTH for making Brumfield’s work possible, and providing such a great platform for his beautiful photography.  We recommend visiting the RBTH page, which has a slide show for each article with many more pictures than we can fit in here.

Don’t believe in miracles?  Well, we can assure you, Brumfield’s work is undoubtedly just that.  You can find a complete list of his articles on RI here.

The original title of this article was: Miracle at Tsypino: The resurrection of a Russian wooden church


The wooden churches of the Russian North are among the most remarkable creations of traditional Russian artistic culture. Unfortunately, the passing years have taken their toll on these structures, and a number of the best examples have been lost over the past few decades.

There is, however, a recent extraordinary example of the large-scale restoration of a northern log church — the Church of Elijah the Prophet at Tsypino in the Vologda Region. Appropriately, this monument is located near one of Russia’s most revered cultural and spiritual landmarks, the Ferapontov-Nativity Monastery, designated a UNESCO World Heritage site for its complement of early 16th-century frescoes by the Moscow master painter Dionisy.

The village of Tsypino is now tiny (a population of one, according to the 2002 census), but its origins date at least to the 16th century,however, and in the late 19th century, it was the center of a thriving agricultural parish that included over 20 villages.

At that time, the village was adjacent to a sacred territory known as Tsypinskii Pogost, which consisted of the Elijah Church as well as a brick church built in 1800 with altars dedicated to St. George and St. Demetrius of Thessaloniki. The entire territory of the pogost, which included parish houses and a cemetery, was surrounded by a solid wooden fence painted white.

The priest of the Elijah Church for much of the late 19th century (1862-1895) was Father Ivan Brilliantov, two of whose sons, Alexander and Ivan, became specialists in Russian history. Ivan in particular played a leading role in the study and preservation of the extraordinary artistic legacy surrounding the Ferapontov Monastery, Tragically, both succumbed to the wave of Soviet repression directed against historians in the early 1930s.

The Elijah Church, as it stood in the 19th century, was built of pine logs in 1755 and consecrated in 1756. Then, as now, its tall, spacious form consists of three ascending octagonal tiers over an octagonal base, from which extend four arms of the cross. The east arm contains the main altar and the west arm serves as the main entrance. The base structure of the church is encompassed on the south, west and north sides by a raised gallery resting on extended logs. The structural design is a marvel of functional ingenuity and aesthetic harmony, enhanced by an ideal site overlooking the small Elijah Lake.

The interior of the church was centered on a large icon screen that rose into the canopy formed by the upper tiers. Four ​majestic rows of sacred images looked down upon those assembled in the church’s wide octagonal space, unencumbered by columns or piers.

Closed in 1935, the church fell into decay. The cupola collapsed in 1958, and the two upper tiers fell soon thereafter. By that time, the icons had already been collected in the nearby local history museum in the former St. Cyril Belozersk Monastery in the small regional center of Kirillov.

Fortunately, this remarkable example of Russian wooden architecture had been documented in photographs and was not totally forgotten. In 1995, a presidential order included the Elijah Church in the list of architectural monuments of national significance. When I first photographed the structure, in the summer of 1996, work had just begun on clearing the overgrown site around the surviving log courses of the base structure.

The restoration proper was begun in 2003 under the direction of Alexander Popov, a leading practitioner of historic restoration methods with an emphasis on log structures. The first task in the restoration process was to completely disassemble and study the remaining structure. An examination of stroke marks on the original logs led to the creation of extended, narrow-bladed axes replicating those used in the construction of this 18th-century structure.

The careful, methodical rebuilding of the church by master craftsmen extended through the summer of 2009, when the monument was reopened to visitors. As in the 19th century, the exterior is clad in plank siding painted white. This was typical practice in the 19th and early 20th centuries, but post-war Soviet restorers of wooden architecture made a practice of removing the siding for a more “authentic” appearance and to better appreciate the construction techniques. A new approach recommends recreating the siding in specific cases where it is clearly documented. Some have argued that this helps preserve the log structures.

Work has continued on the interior of the Elijah Church. In 2010, a reconstruction of the carved wooden icon screen was completed with photographic reproductions of the icons.. The original icons remain in the excellent museum at the St. Cyril Belozersk Monastery, where they are preserved in a secure and regulated environment. The gallery of the Elijah Church contains museum displays on the region and its folk culture.

The sublime Elijah Church has now been joined by a tiny log chapel brought from the nearby village of Pasynkovo. Its square logs, tightly joined by a dovetail technique, were reassembled in 2010 by a team of Polish restorers.

Although not fully recreated in its pre-revolutionary form, the Tsypinskii pogost site has been resurrected as a worthy addition to the masterpieces at Ferapontov Monastery and the St. Cyril Belozersk Monastery. The town of Kirillov is now the headquarters of the “Russian North” National Park, closely linked to tourist destinations such as White Lake (Beloe Ozero), the neighboring historic town of Belozersk and the Tsypina Gora ski resort.

Despite the continuing loss of monuments of Russian wooden architecture, the Church of Elijah the Prophet at Tsypino is stunning testimony to what can be accomplished with the proper combination of historical documentation, technical expertise and financial support.

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Sex education: The creator of CLIMAX: ‘Good sex is like cooking, but there aren’t recipes for female pleasure on the internet’ | Society

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Our ways of watching television have changed. No longer do we sit down to see what’s on TV, instead subscribing to platforms where we can watch our favorite content. But can that formula translate to content beside series, documentaries and movies? Can it be used to change the way we experience sex education? CLIMAX, a platform of sex education videos, is trying it out.

The platform started as an explicit educational series dedicated to female pleasure. Far from pornography, it was particularly directed towards women and sought to give advice and ideas for greater self-knowledge and sexual enjoyment. But that was just the beginning. As Camille Mariau, CLIMAX’s director of projects, explains, they are currently working on “a monthly membership platform dedicated to sexual wellbeing. The users will ahve access to periodic new content, ordered by topic (pleasrue for people with vulvas, for those with penises, tantric sex, oral sex, post-partum sex, etc.). We really want to create the perfect guide to help our users deconstruct their ideas about sexuality.” Currently, the platform has partnerships with educational and healthcare institutions, in order to bring education about female sexuality to all parts of society.

Laurène Dorléac is an expert in the technology market and co-creator of CLIMAX. “Not only is female pleasure little understood, but I also realized that taboos around the subject are still very present.” That’s why, despite her lack of experience in the area, she decided to venture into the topic. “Good sex is like cooking: it’s a creative process that requires practice, experimentation and care to have a good flavor. There are plenty of recipes and cooking classes, but we can’t find anything satisfactory about female pleasure on the Internet! That’s what led me to create the platform, so that we can all have access to better sexual education.”

The project brought together international studies, advice from psychologists and sexologists and over 100,000 testimonies. “Pleasure is a very serious thing, and it deserves a very rigorous approach,” she says.

CLIMAX comes to Spain

While the project was founded in France, currently, 40 percent of its subscribers are outside of the country, largely in the United States and United Kingdom. The team is optimistic about the Spanish market. “The market seems to be ready for a project like this. More than talking about pleasure, we really want people to have easy access to safe information about sexual education,” says Camille Mariau. Since the project launched in Spain just a few months ago, most of its users are between 28 and 45 years old, and, surprisingly, they are divided 50/50 between men and women.

To spread the news about the project, they have the help of Teresa Riott, known for her role as Nerea in the Netflix series Valeria, who narrates the videos. “It seems to me like a new idea in education, and it’s very necessary in order to better understand all the possibilities of our pleasure. CLIMAX has also had success in other countries. I’ve learned a lot about female sexuality in the process,” the actress explains.

She emphasizes that “they are videos that you can watch alone, in private, and you can experiment,” which “gives people confidence to explore their bodies without concerns.”

The platform’s content is explicit, but tasteful; obvious, but well-presented. It repeats explanations we have read in plenty of books, but which acquire a new dimension when we can see them on a screen: without drawings, diagrams or taboos, simply showing how to stimulate a vulva. The videos are meant to educate, not to excite, and they have no resemblance to porn. The images are accompanied by Riott’s voice, which explains each step in a clear and simple way, adding touches of scientific information. It explains not only how to stimulate the vulva, but also how and why the stimulation works.

We’ve learned that it’s much easier to exercise at home, or even to do home improvement projects, with the help of a Youtube tutorial video that shows us each step. So it makes all the sense in the world that we can use tutorials to learn how to excite our bodies, moving step-by-step over each part of our anatomy.

The platform is also notable for its diversity, not only in the appearances of the vulvas on screen, but also in the techniques proposed. It includes videos of 19 different masturbation techniques. In Spain, female masturbation has experienced a revolution in recent years. The brand Lelo, specialized in clitoral suction toys, increased its sales by 440% in 2019. The Satisfyer toy was even more popular: it registered an increase in sales of 1,300% in 2020, to the point that it had to resort to European countries to restock the toys during one of the busiest months of the year. Those toys finally normalized female masturbation. Vibrators themselves have also experienced their own revolution. Their technology and shapes have become more sophisticated, and they have become more effective and discreet. And Gwyneth Paltrow’s website Goop now features Viva la Vulva, an “extra-silent” vibrator model that can be used at any time without making any noise. Such devices are proof that manufacturers have taken pains to innovate their products for female pleasure, until recently a forgotten sector. Gone are the old dildos and penis replicas.

Beyond masturbation, with or without the help of toys, the content of CLIMAX “is like an encyclopedia of ideas that you can choose and use to enrich your sexual life. It can help you be more creative, learn moves that women with vulvas might like, etc. It can also be used as a basis to start a conversation with your partner about what you like, what you want to try or not. We want to give people the opportunity to get to know their own body or the body of their partner better,” explains Mariau.

To that end, the first two seasons are entirely scientifically based. To develop the content, 74 international scientific studies, widely referenced and accepted by the scientific community, were consulted. “There is one study that I find special: Shere Hite’s ‘The New Hite Report,’ a bestseller that has sold tens of millions of copies, which describes how women feel during different sexual activities and when they orgasm with greater frequency,” Mariau says.

In addition to a surge in vibrator sales, women have been consuming more porn than ever in recent years. According to a study by Pornhub on porn consumption in the pandemic, women increased the amount of porn they consumed by 17.5%. Audio porn, one of the latest developments in the industry, is particularly popular among women. And websites for pornographic content aimed at women, taking into account the tastes and aesthetics that female arousal requires, have proliferated in recent years.

Mission: equality in pleasure

The work of Shere Hite is one of the great sources of inspiration for CLIMAX. The late writer and sexologist was especially interested in the female orgasm. She interviewed some 3,500 American women, from prostitutes to former nuns, to create ‘The Hite Report: A Nationwide Study of Female Sexuality’ in 1976. Among her conclusions stood out two ideas: first, that few women reached orgasm through intercourse (only 30%), although they did through masturbation. Secondly, the clitoris was the key to climax.

CLIMAX is organized into several themes, which are available in different subscription packs: external pleasure (10 episodes), internal pleasure (11 episodes) and tantra exercises (7 episodes).

“Our mission is to equalize pleasure in a world where women report being less satisfied than men in their sexual activities, feeling less pleasure and having fewer orgasms. Education will make it possible,” the expert concludes.



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Sonny Barger, founder of Hells Angels, dies at 83 | USA

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Hells Angels founding member Sonny Barger in 1979.
Hells Angels founding member Sonny Barger in 1979.Janet Fries (Getty Images)

Sonny Barger, the founding member of the Hells Angels Motorcycle Club, died on Thursday in California at the age of 83. Barger was the face of the biker gang that became one of the main counterculture movements in the United States in the 1960s. Barger’s family confirmed his death in a message on Facebook. “Please know that I passed peacefully after a brief battle with cancer,” the message stated.

Sonny Barger – whose real name was Ralph Hubert Barger – was born in northern California, and taught himself to ride a motorcycle when he was 11 years old. It was an American-made Cushman scooter. From that moment on, he tried to only assemble motorbikes with parts made in the US, a task that became increasingly difficult as the world became more open to international trade.

In 1957, he founded the Hells Angels chapter in Oakland, California. This chapter was founded nine years after the first one opened in Fontana, in the same state. Barger was the national president of the Hells Angels, a group that became notorious for its links to violent and organized crime. Barger was arrested more than 20 times and spent 13 years of his life in prison for different crimes. In November 1992, for example, he was released from federal prison after spending four years behind bars for organizing to kill members of the rival Outlaws Motorcycle Club. When his parole came to an end in 1994, 700 bikers came out to celebrate the news.

Rolling Stones singer Mick Jagger at the Altamont Free Concert in 1969.
Rolling Stones singer Mick Jagger at the Altamont Free Concert in 1969.

But the darkest chapter of the Hells Angels took place on December 6, 1969. That night, the biker members were hired as security guards at the Altamont Free Concert in California, where the Rolling Stones performed. Representatives of the band reportedly offered the Hells Angels $500 worth of beer in exchange for providing security. Members of the biker gang had worked without incident as security at concerts for bands such as The Grateful Dead and Jefferson Airplane. But at the Altamont Free Concert, which brought together 300,000 people, the situation became violent. During the Rolling Stones’ performance, fights broke out in the audience. Meredith Hunter, an 18-year-old concertgoer, was stabbed to death by a member of the Hells Angels after approaching the stage. The incident was caught on camera and became a central scene in the Maysles Brothers documentary Gimme Shelter, in which Barger admitted the bikers did not have the training to do security work. A few days after the concert, in a call to a local radio station, he said: “I ain’t no cop. I ain’t never gonna police nothin.’”

The incident stained the image of the Hells Angels and Barger – who had the name Hell’s Angels Oakland tattooed on his right shoulder – struggled for several years to change the gang’s violent reputation. “Catholics probably commit more crimes than we ever thought of,” he told the Los Angeles Times in 1994 after being released from prison on parole. “Probably politicians commit more crimes.”

Writer Hunter S. Thompson compared the biker gang to the student protesters of the 1960s, who paved the way for civil rights in America. “The difference between the student radicals and the Hells Angels is that the students are rebelling against the past, while the Angels are fighting the future. Their only common ground is their disdain for the present, or the status quo,” he wrote in his book Hell’s Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs.

The Hells Angels were one of America’s most striking subcultures, and their influence can be seen in many areas of society. In one of his books, Barger claims that Harley-Davidson – the motorcycle brand favored by the group – adopted the gang’s ideas into its models. Barger played himself in the 1967 film Hells Angels on Wheels, where he appeared alongside Jack Nicholson. He also had a small role in the TV show Sons of Anarchy.

Barger was a difficult character to define. He got up at 4.30am to feed his dogs and horses, then worked out for three hours, doing weights and going jogging. By 8am, he was on his motorcycle and driving down an off-beaten track. Unlike the stereotypical biker, he wore a helmet that covered his entire face. This was due to the fact that he had his vocal cords removed in 1982 after suffering from throat cancer.

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Art fakes: Disputed ‘Basquiats’ seized by FBI shake the US art world | Culture

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While New York surrenders once again to the genius of Jean-Michel Basquiat with an exhibition of unpublished work curated by his family, in Orlando (Florida), there is considerably more controversy over the work of the artist who died at the age of 27. An exhibition at the Orlando Museum of Art dedicated to the former close friend of Andy Warhol, entitled Heroes & Monsters, has cost the head of that gallery his job, while the FBI investigates the authenticity of 25 of the works, not to mention the threats made by the director against an expert who had been commissioned to evaluate the authorship.

Although the scandal began to take shape in February, when the exhibition opened, the FBI raid took place last Friday with the seizure of the paintings with a contested attribution to Basquiat. Aaron De Groft, director and chief executive of the museum, has relentlessly defended that these are genuine works, while emphasizing that it is not a museum’s role to certify the authenticity of the works it exhibits. “[The paintings] came to us authenticated by the best Basquiat specialists,” he told the local NBC television station in February.

De Groft had for months championed the importance of the paintings, asserting that they are worth millions of dollars, until an expert showed up who’d been hired by the owners of the paintings and she began to question his version of events. The director was fired on Tuesday, just two business days after agents seized the 25 suspicious works. The museum’s board of trustees met for hours that day, but not before warning employees that anyone who dared to discuss the matter with journalists would suffer the same fate as De Groft. Hence, it is impossible to know the version not only of the former director, but of any worker at the center. Nor can any information be gleaned at the New York exhibition, a mixture of unpublished work and memorabilia, where organizers are fearful of the devaluation caused by the Orlando scandal.

FBI agents during the seizure of the dubious Basquiat paintings at the Orlando Museum of Art on June 24.
FBI agents during the seizure of the dubious Basquiat paintings at the Orlando Museum of Art on June 24.Willie J. Allen Jr. (AP)

“It is important to note that there is still nothing that makes us think that the museum has been or is the subject of an investigation,” Emilia Bourmas-Free told the local chain on behalf of the art gallery. Cynthia Brumback, chairwoman of the museum’s board of trustees, expressed itself in similar terms in a statement, saying that the board of trustees is “extremely concerned about several issues related to the exhibition Heroes & Monsters,” including “the recent revelation of an inappropriate e-mail correspondence sent to academia concerning the authentication of some of the artwork in the exhibition,” as reported by The New York Times.

The statement refers to a disparaging message sent by De Groft to the specialist hired for the expert opinion, cited in the FBI investigation as “Expert 2″ but who the New York Times has confirmed is Jordana Moore Saggese, an associate professor of art at the University of Maryland. This expert, who received $60,000 for a written report, asked the museum not to have her name associated with the exhibition, according to the FBI affidavit. Angry, De Groft threatened to reveal the amount of the payment and share the details with her employer, the university.

“You want us to put out there you got $60,000 to write this?” wrote De Groft, according to the affidavit. “Ok then. Shut up. You took the money. Stop being holier than thou. Do your academic thing and stay in your limited lane.” The board said it has launched an official process to address the matter. The scandal was precipitated a few hours after the closing of the exhibition, which had originally been meant to travel to Italy.

Facade of the Orlando Museum of Art, with the promotional poster of the exhibition dedicated to Basquiat, on June 2.
Facade of the Orlando Museum of Art, with the promotional poster of the exhibition dedicated to Basquiat, on June 2.John Raoux (AP)

The mystery of the cardboard box

But how did the paintings get to the Orlando Museum? The museum and its owners maintain that the paintings were found in a Los Angeles storage unit in 2012. The New York Times reported that questions arose over one of the paintings, made on the back of a cardboard shipping box with FedEx lettering in a typeface that was not used until 1994, six years after Basquiat’s death, according to a designer who worked for the company.

Both De Groft and the owners of the paintings maintain that they were made in 1982 and that Basquiat sold them for $5,000 to a famous television screenwriter, now deceased, who deposited them in a storage unit and forgot about them.

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