Sunday, August 31, 2014
Eight months ago, I came across a passage in a book that has haunted me since. It was in Michael Ignatieff’s biography of Isaiah Berlin, and it concerns a night Berlin spent in Leningrad in 1945. Berlin was hanging out when a friend asked if he’d like to go visit Anna Akhmatova. Not knowing much about her, Berlin said yes.
Twenty years older than Berlin, Akhmatova had been a great pre-revolutionary poet. Since 1925, the Soviets had allowed her to publish nothing. Her first husband had been executed on false charges in 1921. In 1938, her son was taken prisoner. For 17 months, Akhmatova had stood outside his prison, vainly seeking news of him.
Berlin was taken to her apartment and met a woman still beautiful and powerful, but wounded by tyranny and the war. At first, their conversation was restrained. They talked about war experiences and British universities. Visitors came and went.
By midnight, they were alone, sitting on opposite ends of her room. She told him about her girlhood and marriage and her husband’s execution. She began to recite Byron’s “Don Juan” with such passion that Berlin turned his face to the window to hide his emotions. She began reciting some of her own poems, breaking down as she described how they had led the Soviets to execute one of her colleagues.
By 4 in the morning, they were talking about the greats. They agreed about Pushkin and Chekhov. Berlin liked the light intelligence of Turgenev, while Akhmatova preferred the dark intensity of Dostoyevsky.
Deeper and deeper they talked, baring their souls. Akhmatova confessed her loneliness, expressed her passions, spoke about literature and art. Berlin had to go to the bathroom but didn’t dare break the spell. They had read all the same things, knew what the other knew, understood each other’s longings. That night, Ignatieff writes, Berlin’s life “came as close as it ever did to the still perfection of art.” He finally pulled himself away and returned to his hotel. It was 11 a.m. He flung himself on the bed and exclaimed, “I am in love; I am in love.”
Today we live in a utilitarian moment. We’re surrounded by data and fast-flowing information. “Our reason has become an instrumental reason,” as Leon Wieseltier once put it, to be used to solve practical problems.
The night Berlin and Akhmatova spent together stands as the beau ideal of a different sort of communication. It’s communication between people who think that the knowledge most worth attending to is not found in data but in the great works of culture, in humanity’s inherited storehouse of moral, emotional and existential wisdom.
Berlin and Akhmatova could experience that sort of life-altering conversation because they had done the reading. They were spiritually ambitious. They had the common language of literature, written by geniuses who understand us better than we understand ourselves.
The night also stands as the beau ideal of a certain sort of bond. This sort of love depends on so many coincidences that it only happens once or twice in a lifetime. Berlin and Akhmatova felt all the pieces fitting amazingly into place. They were the same in many ways. There was such harmony that all the inner defenses fell down in one night.
If you read the poems Akhmatova wrote about that night, you get the impression that they slept together, but, according to Ignatieff, they barely touched. Their communion was primarily intellectual, emotional and spiritual, creating a combination of friendship and love. If friends famously confront the world side by side and lovers live face to face, Berlin and Akhmatova seemed to somehow enact both postures at once. They shared and also augmented each other’s understanding.
For Berlin, this night was the most important event of his life. Akhmatova was stuck in the Soviet Union, living under a regime of manipulation, fear and lies. She suffered horrendously for it. The regime decided that she had cavorted with a British spy. She was expelled from the Writers’ Union. Her son was thrown into prison. She was desolated but never blamed Berlin, speaking of him fervently and writing movingly about the numinous magic of that night.
I’m old enough to remember when many people committed themselves to this sort of life and dreamed of this sort of communion — the whole Great Books/Big Ideas thing. I am not sure how many people believe in or aspire to this sort of a life today. I’m not sure how many schools prepare students for this kind of love.
Text by David Brooks
Thursday, August 21, 2014
Thursday, August 14, 2014
Wednesday, August 6, 2014
Tuesday, August 5, 2014
Every city is reimagined and rebuilt as a result of a spectacle. Whether it is to boost tourism, to complete political promises or to encourage nationalism, the architecture of a city is often ornamented to demonstrate progress. Ever since the representation of nations at the World Fair´s from the XIX century, to the post-war urban renovation projects, buildings raise as artificial monuments that later become obsolete even when they disguise the urban reality.
The Theater of the World looks into the work of different artists interested in architecture as a place for political and social representation. Although, more than revealing the failed utopias from the past, this exhibition reflects on the world as stage, where the monuments, palaces, ruins and social housing projects coexist and renovate under the same façade of nation and apparent development.
Artists : Alexánder Apostol,Yto Barrada, Marcelo Cidade, Nathan Coley, Livia Corona, José Dávila, Marjolijn Dijkman, Gardar Eide Einarsson, Angela Ferreira, Andreas Fogarasi, Meschac Gaba, Carlos Garaicoa, Terence Gower Pedro Reyes, Pablo Hare, Heidrun Holzfeind-Christoph Draeger, David Maljkovic, Olivia Plender, Anri Sala, Kostis Velonis
Curated by Andrea Torrenblanca.
Curatorial Assistant Ixel Rion.
Museo Tamayo, Mexico City