Souad Khalil | Libya

This article presents a critical reading of the trajectory of artistic modernity and its transformations between East and West, through the example of the Weimar art exhibition and the extensive controversy it generated within European critical circles. It reopens the debate on the concept of “postmodernism” not merely as an artistic movement, but as a contested space where ideology intersects with aesthetics, and history with cultural politics.

It also highlights the perspective of the critic Edward Beaucamp, who defended the exhibition of East German art, revealing the underlying tensions between Western and Eastern conceptions of art, and between modernity as a liberating project and its use as an ideological instrument of classification. Through this approach, the article re-examines the relationship between art and power, as well as between creativity and freedom of expression within shifting historical contexts.

Postmodern art is a set of artistic movements that sought to challenge certain aspects of modernism or developments that emerged in its aftermath. In general, movements such as installation art, conceptual art, and multimedia art—especially those involving video—are described as postmodern. This is the scholarly definition of postmodern art. However, in previous years, the Weimar exhibition of East German art was subjected to harsh criticism, which led the art critic Edward Beaucamp to defend the exhibition.

Although the article is old, what this critic wrote and the important points he clarified prompted me to republish it in Arabic.

Art critic Edward Beaucamp, in defense of the Weimar exhibition of East German art as part of a three-part exhibition that was at one point heavily criticized, expresses his commitment to East German art, which is not highly appreciated in the West. Here he explains his view on why the exhibition was considered a failure.

He says: We have been overwhelmed in every way by talk of the millennium, its evaluations, and the pursuit of gains at the expense of modernity. The beginning came from Weimar, which celebrated and mourned itself at the same time. But this exaggerated attempt at self-exploration suffers from lack of clarity and distortion, and reflects a flamboyant, masculine, and ostentatious mentality.

“Rise and Fall of Modernity” is a comprehensive overview of more than one thousand works divided into three chapters. It is presented through a striking contrast between modernity and non-modernity, between the refined idea of abstraction held by the pioneers of art and a vulgar conservative vision, both of which were strongly criticized by both sides.

The noble first idea—and at the same time the largest part of the exhibition—was devoted to the emergence of modernity from the rural, bourgeois, and feudal system of cultured Weimar. Figures such as Count Kessler, some artists around him, and Henry van de Velde sought to transfer it, in a spirit of refinement and elitism after the turn of the century, to the center of the Belle Époque art world, through international efforts. The result is well known: the rapid acceleration of new beginnings and flights of artistic imagination was followed by defeats and setbacks. In the rural palace burdened with taxes and under an unenlightened duchess, there were urgent conflicts, revolutionary turmoil, and resignations of leading figures.

The exhibition in the Schloss Museum forms the first chapter and presents three hundred paintings by pioneers of Weimar art, including everything that was seen in the city—or rather everything that was produced there. This is thanks to the flourishing exhibitions during three periods full of hope. In this opening section, there is even a small structure that brings together works by Manet, Monet, Cézanne, Gauguin, Rodin, and others. While these artists were celebrated in Weimar, their reputation was being undermined in Berlin.

The exhibition was a living representation of the Schloss Museum’s collections and a reflection of earlier exhibitions. The atmosphere and setting reveal contrasts between different roles, particularly the arcade decorated with arches used for works by Rodin, Maillol, and others.

In a small hall, fourteen striking nude watercolor paintings by Rodin were assembled, dedicated to Weimar. Their exhibitions in cities and provinces caused scandal, which led to Kessler’s resignation.

However, the reform carried out by van de Velde at the School of Arts and Crafts was comprehensive, and the new artistic breakthroughs were largely reformative. After 1918, the most important cultural project and the most future-oriented plan in Weimar was the founding of the Bauhaus. In fact, this was the only project that imposed itself in Weimar until 1925, affirming the city’s place in art history.

Van de Velde’s Bauhaus House was fundamentally divided between rationalists, romantics, engineers, and poets. In the Schloss Museum, the attractive exhibitions of the 1920s reappeared through Impressionists from Munich such as Kandinsky and others, as well as Weimar artists such as Molzahn, Robert Michael, Ila Bergmann, Walter Dexel, and members of the “Vereinigung” group, Klee and Kandinsky.

There are also reminders of Weimar as a base for donors and constructivists who gathered in the city for the 1922 conference. Karl Peter Taemid considered the Bauhaus House the first artistic deviation and opportunistic movement.

At the beginning of the 1930s, it turned toward traditionalism, then returned again to its progressive roots in 1946.

Weimar’s artistic leadership was shaped by the reactions of progressive forces. By 1929, the National Socialists had come to power, and Interior Minister Frick—who came from Weimar—was one of the first advocates against “black culture” and in favor of German national tradition. Paul Schultze-Naumburg, director of the United Art School, promoted modern tendencies in art before later expelling its pioneers.

This introduction leads us to the second part of Weimar’s studies within the century: an epic selection of National Socialist art.

What is presented in the exhibition is nothing but derivatives of Weimar.

There are 120 paintings out of 700 purchased by Hitler himself or through his personal photographer Heinrich Hoffmann for the Government Art Exhibition in Munich. These heroic landscapes, mythological scenes, nude studies, and local paintings were all linked to the academies of Munich and Vienna. They were traditional and mediocre works, but they appealed to Hitler’s taste, expressing a hostile and provocative vision. He preferred ornate and exaggerated styles to pacify and mesmerize the educated public. Thus, the regime turned to traditionalists and conservatives who had been defeated and pushed aside by modernism.

This second part of the exhibition—and the third as well—was dedicated to East German art. It had been temporarily moved to the National Assembly Hall in the Nazi Koforam section, a massive space once used to hold twelve thousand people and still in use since 1968 as a multipurpose hall.

This scandalous arrangement brought together Nazi art and East German art, aiming to link both through hostility toward modernism. Yet the artworks clearly show that both systems are engaged in a struggle similar to that of fire and water. Nazi painting appears empty and devoid of feeling, while East German art reflects anxiety, hysteria, deviation, and fragmentation—ultimately stripped of meaning.

This confrontation serves a populist purpose. The contrast between the refined treatment of Nazi paintings on the ground floor and the rough handling of East German works—where five hundred paintings were crammed into a circular hall and left to “find their way to the trash of history”—is evident. The massive quantity was intended to provoke disgust and ridicule, recalling Nazi techniques used in exhibitions of “degenerate art.”

In this context, the “trash” becomes more than propaganda. High-quality works, commercial works, museum pieces, creative works, and even ideological productions were all mixed into a chaotic mass, rendered useless.

The rhythm and composition of this display symbolize a need for freedom and individuality, yet they also lead conflicting perspectives into a void. Nothing constructive emerges from Weimar in this regard. On the contrary, the Schloss Museum carefully selected the quality of East German works acquired.

A preparatory section under Hermann Henselmann documented Weimar’s post-1945 reality, including attempts to revive Bauhaus traditions. Later, abstract East German art was inserted into the circular hall, though it had little effect compared to the many outstanding works.

The issue is not about victims of East German cultural policy being judged in Weimar; rather, the exhibition was organized by West Germans, many of whom held academic and museum positions in the East.

Their treatment of modernism—derived from Cold War binaries of abstraction versus realism—was biased. Under such conditions, both Beckmann and Dix, as well as Medner or Kruse, were also discarded.

While the East developed its art within this type of modernity, the West preferred to examine authoritarian links to Soviet constructivism and the Bauhaus.

Similarly, a vast number of Western works from avant-garde artists and commercial galleries could easily be presented. However, the goal of this controversial exhibition was not dialogue but downfall.

If modernity is merely a fading spark requiring artificial support, then it is on the wrong path. Independent art should not be subject to social systems or regimes. What matters is the rejection of censorship and manipulation, and allowing fair comparison between East and West. The East does not fear competition; for example, in Berlin, historical folk songs often surpass Western contributions in strength.

Source: German magazine KULTURCHRONIK

Article by Edward Beaucamp, translated by Khaled Abu Al-Ruz

Issue 5, 1999

Read: Between the Ambiguity and Clarity

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Souad Khalil, hailing from Benghazi Libya, is a writer, poet, and translator. She has been writing on culture, literature and other general topics.

The post Rise and Fall of Modernity in Art first appeared on Sindh Courier.

• As part of the East-West international transport corridor, the railway is a vital artery for trade and passengers between Asia and Europe, researcher Vladimir Prozorov tells Anadolu
• ‘Whether for trade, travel, or historical significance, the Trans-Siberian Railway remains one of the world’s most iconic transportation marvels,’ says Prozorov

Elena Teslova 

MOSCOW

The Trans-Siberian Railway, historically known as the Great Siberian Route and often shortened to Transsib, is the world’s longest railway line, stretching across the vast expanse of Russia.

Spanning 9,289 kilometers (5,772 miles) from Moscow in the west to Vladivostok in the east, the railway serves as a vital artery for trade, travel, and economic integration between Europe and Asia.

The railway has played a crucial role in Russia’s development, facilitating military movements, trade, and settlement expansion. From its inception in the late 19th century to its modern-day advancements, the Trans-Siberian Railway remains an essential element of Russia’s infrastructure, bridging cultures and economies across the continent.

The idea of a railway connecting the vast Russian Empire took shape in the late 19th century, driven by the need to unify the country, facilitate economic growth, and improve military logistics. Construction began in 1891 under Emperor Alexander III, with his son, the future Nicholas II, ceremonially laying the first stone.

The motivations behind this grand project were clear. The railway would strengthen administrative control over the distant regions of Siberia and the Russian Far East. It aimed to facilitate trade by connecting industrial hubs with raw material sources and international markets.

Militarily, the railway enhanced troop mobility, ensuring a swift response to potential threats. Additionally, it encouraged population movement eastward to make use of the region’s untapped resources.

However, building the Trans-Siberian Railway was no easy feat. Engineers had to overcome extreme climates, treacherous terrains, and supply shortages. Thousands of laborers — including peasants, prisoners, and foreign workers — worked under harsh conditions to lay the tracks. Despite these challenges, the railway was officially completed in 1916, marking a significant milestone in Russia’s modernization efforts.

Throughout history, the Trans-Siberian Railway has served as more than just a transportation route; it has been a strategic asset. During World War I, the railway was used to transport troops and supplies across the empire. In the Soviet era, it played a crucial role in industrialization and the movement of resources.

World War II further emphasized its importance, as it enabled the movement of weapons and troops to the Eastern Front. The Cold War saw the railway become a key component of Soviet logistics and defense strategy.

Electrification efforts began in the 1930s and continued well into the late 20th century, increasing efficiency and speed. Today, modernization efforts continue to transform the railway into a high-speed, technologically advanced transportation network.

The modern Transsib

In an interview with Anadolu, Vladimir Prozorov, a researcher at the Russian University of Transport, highlighted the railway’s ongoing significance in global trade and economic cooperation.

Prozorov explained that the Trans-Siberian Railway remains Russia’s most crucial transport artery, connecting over 20 of its regions with one another and with foreign nations. Today, it is a technically advanced railway, where many innovative transportation management and infrastructure maintenance technologies are being tested and introduced.

The railway serves as a vital link for economic exchange between Europe and Asia, facilitating the transportation of goods. Notably, China has leveraged the route for freight shipments, making it a key component of the Belt and Road Initiative.

As part of the East-West international transport corridor, the Trans-Siberian works alongside other major railway routes, including the Baikal-Amur Mainline and the South Siberian Railway. These connections ensure the efficient distribution of cargo between Western Siberia’s resource-rich deposits, Pacific ports, and border crossings with Mongolia, China, and North Korea.

Prozorov also pointed out ongoing infrastructure projects aimed at improving railway efficiency, including upgrading sections and stations to eliminate “bottlenecks” and improve traffic flow. “For example, the bridge crossing the Amur River, completed in 2022, now connects the Russian Mikhailo-Semenovskaya station with the Chinese Tongjiang. Another notable project is the new Kerak tunnel in the Amur region, which was built through challenging geological conditions,” he said.

The Trans-Siberian Railway is more than just a commercial route — it is the backbone of countless cities and settlements that have developed along its tracks.

Beyond freight and passenger travel, it is also a crucial channel for communication. Mail wagons are included in passenger trains, and several separate trips to carry mail and baggage also travel the route. In recent years, collaboration between railway workers and the Russian Post has strengthened, particularly in organizing postal services container between the Moscow region and the Primorye, also known as Primorsky Krai, on the Pacific coast.

Traveling the Trans-Siberian

For travelers, the Trans-Siberian Railway offers an unparalleled experience — a journey across seven time zones through breathtaking landscapes.

Prozorov described the allure of the route, noting that from the bustling streets of Moscow to the Pacific shores of Vladivostok, passengers witness the Ural Mountains and “vast Siberian taiga and Lake Baikal, the world’s deepest freshwater lake.”

“Passengers can choose from luxurious cabins to budget-friendly third-class accommodations, each offering a unique window into Russian life and culture,” he added.

As global trade evolves and transportation technology advances, the Trans-Siberian Railway remains a cornerstone of Eurasian infrastructure — bridging distances, fostering development, and upholding its legacy as one of the world’s greatest engineering feats. Whether for trade, travel, or historical significance, Prozorov concluded, the Trans-Siberian Railway remains one of the world’s most iconic transportation marvels.

He described the Trans-Siberian Railway as a testament to human ingenuity and endurance, connecting people, cultures, and economies.

“Whether for trade, travel, or historical significance, the Trans-Siberian Railway remains one of the world’s most iconic transportation marvels.”

Read: Russian Kremlins: Guardians of heritage and architectural marvels

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Courtesy: Anadolu Agency (Posted on 18.02.2025)  

The post Empire to modernity: Trans-Siberian Railway’s legacy and future first appeared on Sindh Courier.

Sahar Shah Rizvi, a graduate with honors from the Centre of Excellence in Arts and Design at Mehran University, is an award-winning visual artist, poet, and the founder of the Visionary Art Alliance

By Ramesh Raja

“Hundred Heroes” Exhibition: A Tribute to Pakistan’s Unsung Icons.

I had the honor of attending Sahar Shah Rizvi’s two-day exhibition, Hundred Heroes, a heartfelt tribute to Pakistan’s forgotten heroes and heroines. Organized by the Visionary Art Alliance (VAA) and hosted by the Sindh Culture Department, Government of Sindh, the exhibition was held at the Arts Council of Pakistan, Karachi on 7th-8th September. It was an enriching experience that drew a large and engaged audience.

A Journey from Pain to Paintings

Sahar Shah Rizvi’s personal statement revealed the depth of her journey, where she transformed her grief into art. Losing her brother, Paras Shah, who had been her greatest supporter, was a painful blow, but she turned her sorrow into a source of healing. “Painting became a solace,” she said, as she honored national heroes through her artistic work. Each portrait in Hundred Heroes carries the legacy of a figure who shaped Pakistan’s history, from Shah Abdul Latif Bhittai to Rasool Bux Palijo to Mai Jindo and beyond. These figures taught her lessons in observation, justice, rebellion, and resilience, all of which are reflected in her evocative works.

Sahar’s creative project took root during the global uncertainty of the COVID-19 pandemic, where she launched a campaign to honor both celebrated and unsung heroes. She streamed live sessions of her art creation, drawing an overwhelming response from millions of viewers on social media.

A Visionary Artist

Sahar, a graduate with honors from the Centre of Excellence in Arts and Design at Mehran University, is an award-winning visual artist, poet, and the founder of the Visionary Art Alliance. Her expertise in miniature painting has earned her national and international recognition, including the prestigious “Best Young Miniature Artist Award” in 2016. Her recent exhibition, inaugurated by Provincial Minister for Culture Syed Zulfiqar Ali Shah, showcased not only her technical brilliance but also her passion for preserving cultural heritage through art.

Read: Art as a Catalyst for Intellectual Growth in Children

Her work goes beyond mere portraits; it incorporates traditional motifs like the Sindhi Ajrak, adding layers of meaning to her art. By depicting iconic female figures such as Benazir Bhutto and Maryam Mukhtiar, Sahar emphasizes the pivotal role of women in shaping Pakistan’s history. She also addresses critical social issues like education, poverty, and women’s rights, using her art as a vehicle for advocacy.

A Lasting Impact

Sahar Shah Rizvi’s dedication to her craft is unwavering, even in the face of limited support for the arts in Pakistan. She invests her personal resources into her work, aiming to make art accessible and inspiring to the public. Her exhibitions, live sessions, and collaborations with cultural organizations continue to bring art to the forefront of societal conversations.

The Call to Action

It is essential that we, as a society, support artists like Sahar Shah Rizvi. By attending exhibitions, sharing her work on social media, purchasing her pieces, and offering professional guidance, we help amplify her voice and broaden her impact. Investing in her art not only strengthens her mission but also fosters the growth of Pakistan’s cultural heritage.

Sahar’s journey is a testament to the power of art in preserving history, connecting generations, and inspiring future artists. Her exhibition, Hundred Heroes, is more than just an art show—it’s a cultural revolution, a poignant reminder that art can be a tool for change, unity, and hope.

Read: Chitra Pritam – The Visionary Artist

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The author of this article, Engr. Ramesh Raja, PMP, is a Civil Engineer and visionary planner. He holds a senior position in the National Highway Authority under the Ministry of Communications, Government of Pakistan. He possesses a Master’s degree in Transportation Engineering and holds the globally recognized Project Management Professional (PMP) certification. He is also a literary enthusiast with a great passion for art and recreation. He can be reached at engineer.raja@gmail.com

The post Sahar Shah Rizvi: Bridging Tradition and Modernity Through Art first appeared on Sindh Courier.