Friday, April 26, 2019

At the think tanks: Russia's political prisoners, a talk

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 Izabella Tabarovsky, the moderator, and Sergey Davidis at the Kennan Institute, Woodrow Wilson International Center for Scholars, Washington, D.C., April 23, 2019/Photo by Patricia Leslie

 At the Kennan Institute at the Woodrow Wilson International Center for Scholars on Tuesday afternoon, the head of Russia's Political Prisoners Support Program said the nation has 263 "political" persons in jail, arrested on vague charges stemming from Russia's Criminal Code

It is an “incomplete number,” said Sergey Davidis, also a member of the Council at the Memorial Human Rights Center in Moscow. Since “we are conservative in our approach,” the actual number is probably two or three times 263, he said.


The prisoners support group determined the number 263 by researching official documents and other materials.

Among those jailed are two journalists and many persons from Ukraine One prisoner, Mr. Davidis said, has been sentenced to 20 to 22 years for participating in the "Chechen war." (Wikipedia identifies two Chechen wars: 1994-1996 and 1999-2006.)

Another prisoner, a “random person,” was sentenced to eight to ten years.  Researchers have identified four others on the list who are jailed for “random” reasons. Some have lawyers.

Of the 263, 186 have been identified as religious minorities; 60 are affiliated with Jehovah's Witnesses. So far, the maximum prison sentence has been 24 years.

None of the prisoners condone violence, often mentioned in the Russian Federation Criminal Code as a reason for arrest. The prisoners have expressed “no signs of violence.” They practice opposition peacefully, 
Mr. Davidis said, when they disagree with authorities.

“The aim of the state is scare the society …and frighten people,” he said. “It’s important for the state to send [the people] a signal.” Persecution in the Russian Federation is “rather uneven.”

Izabella Tabarovsky, the moderator, and Sergey Davidis at the Kennan Institute, Woodrow Wilson International Center for Scholars, Washington, D.C., April 23, 2019/Photo by Patricia Leslie

He cited several articles from the Criminal Code which are used to arrest political prisoners: Article 212.1 is related to punishment for those engaged in “mass riots,” and Article 318, for violence against an officer.

Article 354 ("Public Appeal to Unleash An Aggressive War”) is "seldom used" to arrest anyone, but still it is “obviously dangerous” and can be used to arrest those who attempt to incite the public.

Articles 280 and 282 (“not widely cited”) concern extremist activity, behavior, and freedom of expression. Article 205 describes acts of terrorism, punishment and recruiting others to commit terrorist activities. 

Questions from the audience were invited near the close of the one hour session. One person asked if Russia has prisoner quotas and Mr. Davidis answered that several factors are involved but sometimes, yes, there are “real quotas” which “vary from region to region.”

Another questioner asked about prisoner exchanges between Russia and Turkey. Mr. Davidis confirmed that Turkish president
Recep Tayyip Erdogan 
had exchanged two Russian criminals jailed in Istanbul for murdering four Chechens, for two Tatars jailed for religious beliefs, an uneven exchange the questioner noted.

The Kennan website states: Mr. Davidis was educated in sociology at Moscow State University and in law at Moscow State Law Academy. For many years, he was a participant and one of the organizers of the democratic opposition movement. His research interests are closely related to activities to support political prisoners in Russia, and he studies the sociological and legal aspects of politically motivated deprivation of liberty, in particular, in the context of world practice and international norms.


patricialesli@gmail.com


Monday, April 22, 2019

Electric cherry blossoms light D.C.


All hail the power of flowers!  Lift your hands and watch flowers move in the design made by Akiko Yamishita with Sachiko Yamashita & Mikitype, Hana Fubuki, 2019 at Artechouse/Photo by Patricia Leslie
A little girl atop a man's shoulders is mesmerized by the power she weaves at Artechouse.  Digitized art reflects a pond of colors /Photo by Patricia Leslie

And you just thought they were gone.

At Artechouse, you can still see them, an inside, electric visualization with womanmade flowers which fill walls from floor to ceiling in a dream-like world.

And the floor reflects them.  

It's like skating on a frozen pond of glass, with colors and shapes to cover the floor and take you to fantasy land in a psychedelic swirl.
Flowers, flowers everywhere at Artechouse /Photo by Patricia Leslie
He raises his arms and like swim strokes making waves, he moves flowers at Artechouse /Photo by Patricia Leslie
Bend this way and that at the Artechouse and command the universe/Photo by Patricia Leslie

Artechouse is not only for adults; children are welcome and encouraged to visit this "new age" experiment in "augmented reality," a different expression of art, digitized with music to deepen the experience.
 
Here visitors weave magic with a sweep of their hands or arms. Watch synchronized flowers move with human motion. See them sway with the "wind."  Or, dance a jig and observe the power of humans to make blossoms respond.
 
Not mannikins but figures enveloped by surround sights and sounds in a starry night at Artechouse/Photo by Patricia Leslie
By Lisa Park, Blooming, 2018. This is a hi-tech cherry blossom tree with changing colors in its very own gallery at Artechouse/Photo by Patricia Leslie
If we point that way, the flowers follow our movements. At Artechouse /Photo by Patricia Leslie
 
And if we point both ways, they match us in floral movements. At Artechouse/Photo by Patricia Leslie

Touch a plant and turn on a light.

Enchanted Garden is found in another section of the gallery, created by "augmented reality" using natural and recycled materials to tell the story of a Japanese folk tale, the Rabbit in the Moon
Paige, an Artechouse employee, turns on a light by touching the plant. Must see to believe! /Photo by Patricia Leslie

The designs are creations of two Japanese sisters who were inspired by their grandfather, a poet and nature lover whose adoration of the outdoors was passed to his progeny.

Come on in and take a peek. Or a sweep, and experience art in a new way.
 
A bar is onsite.

What: In Peak Bloom

When:  Now through May 27, 2019. Sunday - Thursday, 10 a.m. - 7 p.m. After Hours, 7 - 10 p.m. Friday and Saturday, 10 a.m. - 5 p.m. After Hours, 5:30 - 11:30 p.m.

Where: Artechouse, 1238 Maryland Ave., S.W. Washington, D.C. 20024. A few steps from the Mandarin Oriental Hotel.

Admission: Adults, $16 (online), $20 (onsite); students, seniors, and military, $13 or $15; children (2-14) $8 or $10 plus tax and processing fee.

Metro station:  Smithsonian, exit 12th and Independence Avenue; walk 10 minutes (.3 mile).

The bar: Opens at 11 a.m.
   
Footcovers:  Mandatory and available. (No charge.)

For more information:  No telephone number found. Email: tickets@artechouse.com.

patricialesli@gmail.com     

Saturday, April 20, 2019

Birmingham photos close Easter at the National Gallery of Art


Dawoud Bey (b. 1953), Michael-Anthony Allen and George Washington, 2012, 
The Birmingham Project, at the National Gallery of Art, Washington, D.C. The complete photo series may be found at the National Gallery website here. 

When he was just a boy of 11, Dawoud Bey (b.1953) saw a photograph in a book his parents brought home which profoundly affected his life, haunting him, and laying the foundation for his pursuit of photography as a profession.

Now, his works are collected throughout the world and are found at the Art Institute of Chicago, the Barbican Centre in London, the Cleveland Museum of Art, the Los Angeles County Museum of Art, the Detroit Institute of Arts, the High Museum of Art, London's National Portrait Gallery, the Whitney Museum of American Art, and the National Gallery of Art in Washington where an exhibition, the Birmingham Project, by Mr. Bey is displayed through tomorrow.
 
Dawoud Bey (b. 1953) with Betty Selvage and Faith Speights, 2012, The Birmingham Project, at the National Gallery of Art, Washington, D.C., September 11, 2018/Photo by Patricia Leslie

The life-changing photograph showed a girl near Mr. Bey's age who lay in a hospital bed, her eyes covered with cotton balls, blinded in one eye, her face embedded with glass, caused by the bomb explosion at the 16th Street Baptist Church in Birmingham, Alabama on September 15, 1963.

The Ku Klux Klan attack on the church took the life of the girl's sister and three other young girls as they got ready to sing at church.
Dawoud Bey at the exhibition, The Birmingham Project, at the National Gallery of Art, Washington, D.C., September 11, 2018/Photo by Patricia Leslie


The exhibition includes diptychs of photos of four adults who are the ages the children would be today, and four children at ages the victims were in 1963.

Mr. Bey spent seven years on the project which includes a video of two screens which shows scenes in slow motion the girls might have seen from a car on their way to church that Sunday morning, and every day city sights from 1963 in Birmingham. Original music composed by Mr. Bey's son, Ramon Alvarez-Smikle, accompanies the presentation.
Dawoud Bey introducing the exhibition, The Birmingham Project, at the National Gallery of Art, Washington, D.C., September 11, 2018/Photo by Patricia Leslie


The girls who died were Addie Mae Collins (age 14), Carol Denise McNair (11), Carole Robertson (14), and Cynthia Wesley (age 14)All but Ms. McNair were born in April, 1949 which would make them 70 years old this month.

Seven hours after the Ku Klux Klan's bomb killed the choristers, two more black youths, Johnny Robinson and Virgil Ware, were shot to death in Birmingham


It took the U.S. government 14 years to prosecute the first murderer, and one of the four suspects was never tried.

The photograph of Sarah Collins is included in an 11-minute interview with Mr. Bey which is shown in a nearby gallery and may also be seen here. He says that the Sarah Collins photograph "shook me to the core." In his research, he discovered the two boys' deaths have mostly been overlooked.

The children's deaths outraged the public and helped produce more support for the passage of the Civil Rights Act the next year.

With continuing public exhibitions and education about the tragedy and infinite focus on the lives of innocents taken by intolerant extremists who live among us today, the legacies of six Birmingham children live.

What: Dawoud Bey:  The Birmingham Project

When: Now through tomorrow (Saturday, 10 a.m. to 5 p.m. and Sunday, 11 a.m.to 6 p.m.). Open on Easter.

Where:  Gallery 22 on the ground floor of the West Building between Third and Ninth streets at Constitution Avenue, N.W., Washington, D.C. On the Mall.

Admission charge: No charge

Metro stations closest to the National Gallery of Art are the Smithsonian, Federal Triangle, Navy Memorial-Archives and L'Enfant Plaza.

For more information: 202-737-4215
 

patricialesli@gmail.com