Blacksmiths of Modernity and Soviet-era Mosaics

 

Blacksmiths of Modernity and Soviet-era Mosaics

Grace Campbell

ARTH1132: Modern to Contemporary Art and Design

Professor Joanne Kesten

Oct 22, 2023

Figure 1. Zubchenko, Halyna. Pryshedko, Hryhorii. Blacksmiths of Modernity. 1974, Institute for Nuclear Research, Kyiv.

Figure 2. Zubchenko, Halyna. Pryshedko, Hryhorii. Blacksmiths of Modernity. 1974, Institute for Nuclear Research, Kyiv.

Blacksmiths of Modernity is a Soviet-era mosaic located outside of the Institute for Nuclear Research, Ukraine, Kyiv. Most Western audiences can identify this piece because of its appearance in HBO’s Chernobyl, a limited series that portrays the horrors of the Chernobyl nuclear accident.

Like most mosaics from this period, the key component of the piece is the smalti. Smalti are tiny pieces of opaque glass in various shapes. The history of mosaics and smalti extends far before the Soviet Union. Mosaics themselves have been an art form found all the way back in Mesopotamia. However, most mosaics in history seem to portray mythology or Christianity. Art in general is very connected with religion throughout history, even having certain governments require art to revolve around the church. Meanwhile, the USSR’S mosaics focused heavily on romanticizing the Union workers, while also portraying various Soviet figures like Vladimir Lenin and Joseph Stalin. This could come back to Karl Marx’s Communist Manifesto, which Vladimir Lenin, the father of the USSR, was inspired by. Which distances its ideology away from religion. 

Coming back to the smalti, when examined further, viewers can see the small pieces of glass populating the wall. An art form that can last years without human involvement creates a 3D effect. When looking at the two figures portrayed, they protrude off the wall more than other elements of the piece, allowing for some areas to fall back into space a little. Creating depth and allowing the eye to rest some. The piece itself depicts two well-built men pushing rays of light into an orb that centers the pieces. The man on the right cups the orb with a free hand, studying it intently. In contrast, the man on the left focuses on the task at hand. Furthermore, while the color does vary from photo to photo— you can’t always trust the true color of a piece like this— it is supposed to be highly saturated. This goes back to the soviet-era with those in power wanting to brighten up the bland and lifeless landscapes, As well as push propaganda subconsciously by having these bright colors. This makes the scenes portrayed more appealing. If—for example— these scenes of Union workers had a dull, desaturated color palette, it would not have the same effect. If anything, it would change the entire meaning, looking like a bleak life. Furthermore, the piece utilizes a mostly triadic color palette. A deep blood orange is used for the men and the orb, while blues, yellows, and greens are used to highlight the sheer power the orb appears to have. In addition, the composition forces the eye onto the orb, further extending to the light rays and then the men. The men stick out heavily due to having the darkest values as well as taking up the most surface area, extending almost throughout the whole mosaic. This composition is so successful because it uses a simple but effective composition, the X composition. The two rays the men hold as well as the yellow rays overlapping their legs naturally make an X, once again forcing the viewer to focus on the orb. But the men also follow this X form, making them a point of attention and forcing them further to the forefront of the viewers eyes. 

Continuing on, like previously stated, this piece is outside the Institute for Nuclear Research in Ukraine. A mosaic made around the prime of the idea of using nuclear energy. Many countries began using nuclear power plants and spent a lot of research on it. This was because it was thought to be an unlimited, clean source of energy. This reflects the mindset of the USSR at the time, wishing to capitalize on a promising source of energy. As well as power with the making of nuclear weapons. However, this ideology does not reflect Ukraine today. Since the USSR fell, Ukraine was able to leave the Soviet Union and become a sovereign nation. And ever since the first nuclear weapons were made, nuclear war has always been at the forefront of threats from other countries. But Ukraine does not use these weapons to try to conquer other countries. In fact, they seem to only use threats when they are threatened. This is seen with the ongoing war with Russia, in what humanity sees as a post-USSR Russia still trying to take control of Ukraine and tear it down just like in the Holodomor genocide. 

Figure 3. Untitled. Riviera Park, Sochi.

Figure 1 does not portray a particular figure, if anything it appears the two figures are supposed to represent Russian minds working towards building knowledge about nuclear power. While this can not be said for every mosaic, most mosaics do not portray the most detailed faces. Detailed figures usually seem reserved for political figures like Vladimir Lenin in Figure 3. These kind of mosaics focus on Vladimir Lenin or Joseph Stalin and always portray them in a good light. While Lenin was a tad more accepting of people creatively expressing themselves, Stalin did heavily censored art during his reign. And in general, any resistance or protest against the USSR was not tolerated. Due to this, these public mosaics never portray the Soviet Union negatively. This is the same with mosaics that focus on the workers like Figure 1. These mosaics romanticized union workers, often wanting to lift them up. So you’d be hard-pressed to find public mosaics tearing down the union workers that the USSR claimed to love and appreciate. And negativity is the last way the USSR would want their people to be seen. That’s why Figure 1 has the men fit–lacking clothing– but pushing these rays into the orb effortlessly because the USSR did not want to be viewed as weak.

In a modern context, Soviet-era mosaics are shrouded in controversy due to their function as communist propaganda. However, they became a way to brighten up the dull landscape and buildings of the USSR. Plenty of restaurants, metros, and even factories were and still are mostly adorned with these mosaics. They were much more favorable to the USSR rather than painted murals, which were assumed to be damaged by the harsh winters. 

“In the 1960s, mosaics became a popular way of decorating public buildings in the Soviet Union. They displayed the whole range of Soviet values, ideas, and ideals: they glorified the working class, presented a clear vision of scientific progress, celebrated the value of education, and showed women as active members of society.”-Karolina Kluczewska

To understand why these mosaics divide those specifically in Ukraine, grasping the Soviet Union's history is pertinent. The Soviet Union came to be after an accumulation of problems that were initiated by the previous Tsars. Those ruling could often get away with mistreating their citizens when they were poor and uneducated. However, as the decades and centuries passed, access to newer technologies advanced. Allowing people to become educated and therefore, fight back against their rulers. This was documented with Tsar Alexander II, who was assassinated by rebels. Furthermore, as discontent arose, groups of revolutionaries took action against their then Tsar, Alexander III. Once again attempting to assassinate the ruler. The attempt failed and those who refused to acknowledge their wrongdoing were hanged. However, killing a few political activists never gets rid of the discontent of the population. These issues only worsened after a pitiful loss against Japan in the Russo-Japan War. With Western powers often looking down on Asian armies at the time, the loss was felt heavily by Russia. To add insult to injury, right before the Russo-Japan war ended, Bloody Sunday occurred. An event where unarmed civilians were shot and killed after voicing displeasure about the treatment of soldiers. Bloody Sunday would kick off the 1905 Russian Revolution. Not long after World War 1 ended, a coup de ta would be enacted and Vladimir Lenin would find himself in power and birthing the Soviet Union. 

Figure 4. Untitled. Oktyabr Theater, Moscow.

So, what did the USSR do for Ukraine and many other countries to shun them? Well, the horrors and injustices committed by the USSR are extensive, and only a basic overview of the Soviet Union is needed to understand the history behind mosaics like Blacksmiths of Modernity. However, the Holodomor is a particularly horrifying event in Soviet history. From 1932-1933 a premeditated, man-made famine became inescapable to Ukarainians. During the USSR’s reign, Ukraine was under the regime’s control. However, Stalin soon began to feel ‘threatened by Ukraine's strengthening cultural autonomy.’ In addition, Ukraine had a history of resisting Soviet policies, and Stalin wished to enforce collective farming. So, Stalin enacted a genocide that would kill millions of his own for power. It is unknown how many perished from the famine, however, some historians state the death toll could be as low as three million, or higher than seven million. The horrors of this genocide expand further than a paragraph, however, what needs to be understood is Vladimir Lenin’s idea of a utopia was far from what Soviet Russia was. With those in power willing to kill off their civilians in mortifying ways purely for power and to push their ideal Russia. Furthermore, Figure 4 becomes hypocritical once realizing even the slightest of information about the genocide - a mosaic made to celebrate the union workers of the time. The same ones who were murdered by their government with little care.

After 2015, laws were put in place to decommunize Ukraine, outlawing symbols associated with Communism. Clearly, at least the government does not resonate or wish to be associated with these mosaics including Blacksmiths of Modernity. However, a small but strong community stands by preserving these huge pieces and still identifies with them. One of which is Izoliyasiya—their mission statement states—“A project fund dedicated to study and catalog mosaics of the Soviet period in Ukraine: their location, status, and history of the authors.” Not everyone in the community wishes to erase these mosaics from history. While these Soviet ideologies do not withstand the test of time or represent the current people of Ukraine, they still hold deep cultural significance and history. Art from the Soviet era was heavily censored and controlled, so, artists would find ways to implement themselves into the work - including mosaics. 

“What we know from history, whenever there is a new period and the new period erases the old period, in the end, you erase your own identity…and even today you should not erase this history of this tradition from your own identity.” - Philipp Meuser, publisher of Decomminzed: Ukrainian Soviet Mosaics.

However, from an outsider’s point of view, both sides are not wrong. Ukraine has a long, brutal history with Russia—One that still is continuing to this day. It’s not a surprise the government and most civilians wish to have these mosaics destroyed. Ukraine has only been free from the Soviet Union for 32 years, so the wounds are still deep from that era in history alone. Even if these artists put some of themselves into these mosaics, they still have the core ideologies from the USSR. Especially those that portray Lenin, Stalin, and other figureheads from the USSR. On the flip side, destroying them completely is not favorable. It is always taught in K-12 that we must not erase history or we are doomed to repeat it. Saving some of these mosaics, and perhaps installing them in museums could be a teaching lesson about the USSR and propaganda for generations to come. There’s also something to say about the artistry that newer generations could study. Mosaics are not a popular form of art, so displaying it for its beauty alone may be important. But, that thought may be considered insensitive and selfish. Beauty aside it is clear–and rightfully so–that those previously under the USSR–not just Ukraine– may wish to rid that period of history from their minds. And just because it may be well crafted does not mean they should be lifted up any further. 

Another thing that is fascinating about these mosaics and the Soviet Union is that it is a relatively recent happening in human history. Erik Bulatov, a Russian man born in 1933, saw the rise and fall of the Soviet Union. And despite not being a mosaic artist, he himself is an artist that lived through being an artist in communist Russia. In Gaspar Noe’s film, he interviews Erik about his life as an artist in Soviet Russia. He remarks that art was controlled by the government and that he had to rely on state commissions, something he found great displeasure with. So he took to creating children's books in the underground art scene. Now he mainly has a pop art influence, One of which deals heavily with themes of freedom, clearly circling back to his time under the Soviet Union's rule. But now Erik is able to speak a little more freely when it comes to his art and their meaning behind them. That can be assumed for other Soviet-era artists who lived past the fall of the Soviet Union. 

Figure 5. Horska, Alla. Boryviter (Kestrel). 1967, Ukraine.

Due to the ongoing Russo-Ukraine conflict, it’s been revealed many of these mosaics have been caught in the crossfire. Unfortunately, it cannot be stated how many have been destroyed due to the war. To add, it’s difficult enough to find reliable sources discussing the state of the mosaics currently. Though it’s not shocking considering keeping citizens safe is the priority, not art. The destruction of the mosaics will only be realized later on, once the conflict ceases. However, the destruction of Ukrainian culture, mosaics, and other art, has been recognized by some. UK/Ukraine Season of Culture held a digital exhibition in August 2022. The exhibit portrayed fifty-six mosaics in Ukraine, all of which were destroyed. Followed by auditory cues of strikings, indicating their destruction. 

“This project allows us to learn about Ukraine’s art that is being demolished by Russian bombs every day. It is a way to keep at least a memory of it as part of Ukraine’s rich heritage that the world has just started to discover.” - Tetyana Filevska

Figure 6. Wall Street Journal. Feb 25, 2022.

The exhibition back in August 2022 projected at least 25% of the mosaics shown in their original showcase had been destroyed. It can only be assumed that the number has grown significantly. Furthermore, due to the lack of credible information, it is unclear if Figure 1 has survived the war or has been decimated. What can be concluded is the possibility it has been hit is significantly higher considering Kyiv, Figure 1’s location, has been targeted in multiple airstrikes. It can only be hoped the piece has survived. But only time will tell, as the war between Russia and Ukraine continues. 

”...These unique objects are under threat, like the entire Ukrainian heritage. Through the display of these works in London, we will inscribe this layer of Ukrainian culture, still not sufficiently studied, in the history of world art.” – Yevgen Nikiforov.

Bibliography 

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