Sergey Paradjanov

“I believe you have to be born a director. It's like a child's adventure: you take the initiative among other children and become a director, creating a mystery. You mould things into shape and create. You torment people with your "artistismus" - scaring mother and grandmother in the middle of the night. You dress yourself up like Charlie's Aunt, or as (Hans Christian) Andersen's heroes. Using feathers from a trunk, you transform yourself into a rooster or a firebird. This has always preoccupied me, and that is what directing is.”

Sergey Paradjanov

It takes a certain kind of person to relate to a Coen Brothers or indeed a Wes Anderson movie, for those are the kind of people that can immerse themselves in the bizarre, the unconventional, the fantasy, the eccentricity of a particular genre of art and creativity. From the Grand Budapest Hotel to The Big Lebowski they have delighted, shocked and entertained, they’ve even inspired others to journey into their own little world of the obscure full of colour, light and magic.

But who inspires the Coen’s and the Andersons of this world? Famously Dr Peter Sloan, the lecturer and researcher at Bristol University, Latterly of the University of Texas linked Anderson with the avant-garde author and director Sergey Paradjanov in his seminal paper; “Kinetic iconography: Anderson, Paradjanov, and the Illusion of Motion.”

Sergey Paradjanov was born Sarkis Hovsepi Parajaniants, the son to artistically gifted Armenian parents, Iosif Paradjanov and Siranush Bejanova, in Tbilisi, Georgia in 1924. Paradjanov was the author of several film-masterpieces which brought him worldwide recognition: "Shadows of Forgotten Ancestors" (1964), "The Colour of Pomegranates" or "Sayat-Nova" (1969), "The Legend of Suram Fortress" (1985) and "Ashik-Kerib" (1988). Parajanov’s contribution to the art of cinema is first and foremost his original poetic film-language, highly valued by his contemporaries, peers and future prodigies such as Coen and Anderson. His aesthetic system also includes plastic art, based on traditions of Armenian, Eastern and European art.

An eccentric genius he was known for his flamboyant and radical emotional swings, Paradjanov famously disowned all the films he made before 1965 as "garbage". In 1964 his “Shadows of Forgotten Ancestors” (“Wild Horses of Fire”), brought him world fame and recognition as the artist he was. Paradoxically, this movie marked the start of his conflict with the Communist Soviet State. In 1965, in defiance of his censorship he began work on an anti-war film, “Kiev Frescos”, which was almost immediately banned. In 1966 Paradjanov was invited to Armenia where he started his work on “Sayat-Nova”. Working under great pressure from the State this film was eventually released in 1969 under the working title “The Colour of Pomegranates” which is still considered to be his best work. There was a huge gap between the poetic, surreal art found in his movies and the austere iconic art of mid-20th century Soviet era, subsequently, after the release of The Colour of Pomegranates he was banned from making movies for fifteen long years.

During this period, he was persecuted by the Soviet propaganda machine and was sentenced to five years in a hard-labour camp in Siberia for "the rape of a Communist Party member, and the propagation of pornography”. Whilst imprisoned, his artistic talents were channelled towards the creation miniature doll-like sculptures, drawings and collages, many of which were later displayed to great acclaim. He was imprisoned again in 1982 which just happened to coincide with his return to Moscow for the premiere of a play commemorating Vladimir Vysotsky at the Taganka Theatre. He was detained for some twelve months and exited prison greatly weakened and in very poor health, he died a little under five years later and was publicly mourned by many contemporaries, they collectively sent a telegram to Russia with the following statement: "The world of cinema has lost a magician"

As a tribute to this remarkable man, Ini, creator and artistic director at B.O. BlueOrange, (with help from a few friends!), has opened a new and exciting exhibition once more bringing together some of SLs artistic virtuosi! The centrepiece of the exhibition is an obeisance to one of the most iconic scenes from the much acclaimed “The Colour of Pomegranates”. Having thought long and hard and having added a sprinkle of her own artistic prowess, Ini has meticulously created a spectacular library that showcases the art of the spoken word from several Second Life contributors, contributions such as poetry, lyrics and the view into the psyche and lives of some of SLs best bloggers. The contributors include;

Moewe Winkler Lyrikmaschine

Prole (prole pinion)

Stella Maris (arsmemoria)

Kara Mellow (kara frakture)

Storm Nordwind

Cassandra (Cassandra Ushimawa)

Ernie Farstrider

Chraeloos

Eva Harley (evaharley)

GoSpeed Rasere (gospeed racer)

Chemsia

Me - not sure how I made the cut but thanks Ini :)

R. Crap Mariner

Callie Novelli

Elbe Lisle (elberouge)

Huckleberry Hax

Uxia Barcelos

Ash

Karima Hoisan

Anan Eebus

Pearl Grey and Klaus Bereznyak

In addition to the library there are a variety of installations from some of SLs most brilliant artists, some installations instantly recognisable from their style, others new and innovative.

As we know, Ini likes to keep things fresh so this exhibition won’t be around forever so, if you’re in the mood for something unique, something avant-guarde, something eclectic, something thought provoking, something full of life… head down to B.O. BlueOrange and be prepared to be amazed.