the charm, yet again, of Sofia!

After 4 years of familiarity with Sofia (almost 3 years in residence) it is typical that I stumbled yesterday on a well-established (and prestigious) gallery focussing on Bulgaria’s old masters - hidden away in a charming and old part of Sofia between Prague Bvd and Bvds Makedonia/Totleben. It’s the Tzennotsi Gallery and has the richest collection (in more senses than one) of all the galleries I have visited here.
The picture above is a Russi Genchev which the gallery would not deign to keep. This Boris Denev which adorns its spacious display walls is a more appropriate exemple of its exhibits.

And, like, the current exhibition at the City Gallery, there were so many painters of whom I hadn’t heard. Some of the paintings seem to have been there for several years (eg some Vladimir Dmitrov’s at 20,000 euros in the 2009 Antiques Price Guide) – which makes one wonder about their business model. Clearly they cater for bigger spenders than me! Probably an institutional market ie the banks! Talking of which, one of the nice features of many hotels here in Bulgaria is their display of (in many cases local) paintings.

In the same street as the Gallery (Buzludja) we also found an enticing little Weinstube (Vestibule Wine Ambassador) which turns out also to be a producer and seller of "bourgeois" furniture. Definitely worth a visit – both in winter for its cosy, traditional interior and in the summer for its garden area at the back. Also in the same street a patisserie with a great range of its own products - including a large apple and walnut cake round for 5 euros!

And we also had an interesting encounter in Tsar Samuel with the sinister Masons. One of the many tiny shops in the area between Hristov Botev and Vitosha with the products of imaginatively-crafted dresses, shawls etc enticed us in and to the purchase of an embroidered cardigan. We were so pleased we readily accepted several small calendar cards which marketed its 50-or so year-old artisan – only to discover when I accessed the website that it had very strong masonic connections. I was so horrified I contemplated returning the cardigan – since, in Scotland, the Masons are a highly divisive force – in the 1970s with a strong and corrupt presence in the police forces. And I remember my (highly tolerant) father – a Scottish Presbyterean Minister – railing against their influence amongst his “Elders”. But, in this part of the world where there was so much repression, perhaps they played a different role? They were certainly outlawed by the fascist forces here in the early 1940s and its members persecuted under the communists. Sadly the intrinsic secrecy of the organisation makes that difficult to check out properly . Their apologists are full of good-sounding rhetoric about freedom and democracy but I cannot take seriously anyone who associates with their silly tribal initiation rituals with trousers at half-mast and quasi-religious artefacts.

Fear the Greeks

Many of us wondered how on earth Greece managed to gain entry to the EU - let alone the euro. And many of us missed a blistering report issued by the OECD in August which blasted the Greek bureaucracy.
Going by the rather bland title Greece: Review of the Central Administration, the 127-page report can be quickly summed up: The government apparatus in Athens is virtually unable to implement reform.

"It is not clear how existing and new entities of (the government) will work together in order to secure the leadership needed for reform, including the necessary strategic vision, accountability, strategic planning, policy coherence and collective commitment, and communication" 

reads the damning report to which my attention was drawn only today by the marvellous Der Spiegel when it reported on the initial phase of the work of the European technocrats headed by a German who descended recently on the capital -

"For the first time, we wanted to show -- systematically and with proof -- what isn't working at the administration level and what is preventing Greece from making progress on structural reforms,"

Caroline Varley, OECD senior policy analyst and co-author of the report, told the German daily Die Welt. "So far, Greece's central governmental apparatus has neither the capacity nor the ability to undertake large reforms."

The report was commissioned by the Greek Ministry of Administrative Reform and E-Governance and provides a detailed examination of the state of central administration in the government. It focuses on efficiency and effectiveness as Athens struggles to introduce necessary reforms.

It found that communication among the country's 14 ministries was appallingly paltry. Furthermore, the huge number of departments within ministries -- many of them consisting solely of a department head and others with just one or two subordinates -- results in widespread inefficiency and lack of oversight.

"Administrative work is fragmented and compartmentalized within ministries," the report writes. "Ministries are not able to prioritize ... and are handicapped by coordination problems. In cases where coordination does happen, it is ad hoc, based on personal initiative and knowledge, and not supported by structures."

Were such coordination even to take place, the report indicates that administrators do not have access to the necessary data, nor does such data exist in many cases.

"The administration does not have the habit of keeping records or the ability to extract information from data (where available), nor generally of managing organizational knowledge," 

the report found.

The problems found in Greece's central administration, says the OECD, are the result of decades of clientelism and the sheer volume of the laws and regulations that govern competencies within the ministries. The report found 17,000 such laws, decrees and edicts.
How, then, should Greece solve the problem? The OECD proposes a "big bang approach" -- meaning a massive administrative restructuring. And, co-author Varley says, it needs to happen quickly.

"Greece has only a small window of time to change and reform itself," she told Die Welt. "And it is getting smaller."

A year ago, I was lamenting the lack of social democratic vision.

C'est la Vie - et La Mort

In the summer I predicted that a bid with which I was involved for a Structural Fund project would be judged as failing to meet the admin requirements – since this is the easiest way for evaluation panels to get rid of unwanted competition in the EC’s procurement system. A few weeks ago I had that prediction confirmed – but with a bonus. None of the 8 or so companies which bid for the project satisfied the onerous and bureaucratic administrative requirements! Little wonder that new member countries find it so difficult to spend the money which has been allocated to them!
Also in the summer I was told, at the start of the tendering process (!), who would emerge as the winner of a significant 4 year EC project in a large country with oil (and temperature extremes). And hey presto – that French company has duly emerged the victor. With at least two of its 3 key experts having no real experience in the required field but the Team Leader having spent time there and having all the tight contacts (let alone nationality) to grease the necessary parts of the machinery. I had decided at the start that the project (and capital) were not for me – and turned down several approaches. We were all wasting our time. The process was a foregone conclusion.

As I watch the images (on French television) from Vaclav Havel's funeral in Prague, it is fitting to give yet another quotation - this time from a 2002 address in which he was musing on his time in power -

And I’ve discovered an astonishing thing: although it might be expected that this wealth of experience would have given me more and more self-assurance, confidence, and polish, the exact opposite is true. In that time, I have become a good deal less sure of myself, a good deal more humble. You may not believe this, but every day I suffer more and more from stage fright; every day, I am more afraid that I won’t be up to the job, or that I’ll make a hash of it. It’s harder and harder for me to write my speeches, and when I do write them, I am more fearful than ever that I will hopelessly repeat myself, over and over again. More and more often, I am afraid that I will fall woefully short of expectations, that I will somehow reveal my own lack of qualifications for the job, that despite my good faith I will make ever greater mistakes, that I will cease to be trustworthy and therefore lose the right to do what I do.
And while other presidents, younger than me in terms of their time in office, delight in every opportunity to meet each other, or with other important people, to appear on television or deliver a speech, all of this simply makes me more fearful. At times, the very thing I should be welcoming as a great opportunity I deliberately try to avoid in the almost irrational fear that I will, in one way or another, squander the opportunity and perhaps even harm a good cause. In short, I seem more and more dubious, even to myself. And the more enemies I have, the more I side with them in my own mind, and so I become my own worst enemy

.

Repressed Art

A decade or so ago, I was on a 3 year project in Uzbekistan and saw a temporary exhibition of stunning paintings in one of Tashkent’s few public galleries. I was not then in collection mode but was sufficiently impressed to photograph some of them – sadly without noting the names of the painters. Yesterday I was googling “socialist realism” and stumbled across an amazing story of artistic gems hidden in the (western) Karakalpak region of Uzbekistan. One man, Igor Savitsky, saved a treasure trove of Russian and Uzbek art by “hiding” it in a museum in Nukus near the infamous Aral Sea -

A tireless collector of paintings that the Soviet government wanted destroyed, Savitsky traveled thousands of miles in the post-war period scheming, plotting, pleading, doing whatever it took to get his hands on the art he so passionately wanted to preserve.
A frustrated artist, Savitsky was working as an archaeologist when he became fascinated by the indigenous cultures of Western Uzbekistan. He began to collect jewelry, coins, handmade clothing, and other items in danger of being lost as the Soviets sought to devalue distinctively ethnic artifacts. Savitsky even succeeded in convincing government officials to provide funding for a museum in Nukus, far from Moscow’s prying eyes. But then Savitsky discovered his true calling. Pretending to buy state-approved art, he daringly rescued thousands of works by artists banned during the Stalin era for speaking out against authority, for being gay, or for simply refusing to paint in the style they were told. Risking torture, imprisonment, and death, this small group remained true to their artistic vision. Savitsky even managed to cajole the cash to pay for the art from the same authorities who had banned it.
Savitsky’s greatest discovery was an unknown school of artists who settled in Uzbekistan after the Bolshevik Revolution of 1917. There they encountered an Islamic culture as exotic to them as Tahiti was for Gauguin, and they developed a startlingly original style that fused European modernism with centuries-old Eastern traditions.

It all came to wider light apparently in 1998 when the New York Times published this article.
And all of this was celebrated in a special film earlier this year. Desert of Forbidden Art uses this story of Savitsky and the artists by juxtaposing images from the collection with rare Soviet archival film and stills. Ben Kingsley, Sally Field, and Ed Asner voice the diaries and letters of Savitsky and the artists and bring to life a dramatic journey of sacrifice for the sake of creative freedom.

But late last year Uzbek officials abruptly gave the Nukus Museum 48 hours to evacuate one of its two exhibition buildings, so staff members ended up stacking hundreds of fragile canvases and paper works on the floor of the other space. The building has since stood empty, its fate unknown, and more than 2,000 works are no longer on view at the museum. The museum’s director, Marinika M. Babanazarova, who has fiercely guarded the collection for 27 years since Savitsky’s death in 1984, was not permitted to travel to the United States for a trip that was to include a screening of the documentary at the National Gallery of Art in Washington.
And over the last year Ms. Babanazarova’s staff members have undergone 15 government audits, in which they have repeatedly been asked to explain their travels overseas and the nature of their contacts with foreigners, she said.
The irony is that the art Savitsky saved — beginning with traditional Uzbek folk art and textiles and blossoming to comprise art by ethnic Russian avant-garde artists — was at the time under fire for not being Soviet enough. Now it seems, 20 years after Uzbekistan won its independence — it is being targeted by the new regime for not being Uzbek enough.

Issues; there are several lessons from this story which, hopefully, I will pursue in future posts. First and foremost - what an exceptional, courageous individual can achieve. This is an issue which has cropped up several times in this blog eg an American who did heroic things during the Smyrna massacres of 1923; a Greek and a Turk who had in the preceding decade or so tried to stem the tide of ethnic hatred; Havel; the good German of Nanjing in the early 1940s.
And, second, the way artists have had to adjust to repressive regimes. I realised only recently just how much the Bulgarian art I admire, for eaxmple, must have been affected by that. A few migrated; many opted for design work in the cinema and theatre; a few courageous ones like Boris Denev refused to compromise and were banned from painting.

update; https://lithub.com/visiting-a-secret-museum-in-the-middle-of-the-uzbek-desert/

Gloom and doom

I don’t often refer to the deaths of public figures in this blog. But some critical comments about Vaclav Havel in this discussion thread – did inspire me to make my own contribution - "Of course there are, for those with a radical turn of mind, blemishes on Havel’s record – such as his support for the Iraq war and for NATO. But why do we expect perfection from those who are suddenly elevated to such positions of leadership – particularly when that position was so bereft of real powers? Looked at any way, the man was a tower of moral strength and courage – as can be seen by the uncompromising way he addressed the Czech politicians in 1997. In November 1997, the Czech government, led by Prime Minister Václav Klaus, was forced to resign in the wake of allegations that, among other things, the Civic Democratic Party, led by Klaus, had access to a slush fund held in an unauthorized Swiss bank account. In the period between those resignations and the appointment of an interim government, President Havel, who had recently been released from hospital and was recuperating from pneumonia, delivered what is, in effect, a state of the union speech to the Parliament and Senate of the Czech Republic -

It seems to me that our main fault was vanity. We behaved like arrogant students at the top of their class or spoiled only children who feel superior to others and think they have the right to tell others what to do. …We were hypnotized by our own macroeconomic indicators, heedless of the fact that sooner or later these indicators would also reveal what lay beyond the horizon of the economic or technocratic world view: that there are factors whose weight or significance no accountant can calculate, but which nevertheless create the only thinkable environment for any economic development—I mean the rules of the game, the rule of law, the moral order from which every system of governance derives and without which it cannot function, a climate of social concord.
The declared ideal of success and profit was defiled because we permitted a state of affairs in which the most immoral became the most successful and the greatest profits were made by thieves who stole with impunity. Under the cloak of an unqualified liberalism, which regarded any kind of economic controls or regulations as left-wing aberrations….. morality, decency, humility before the order of nature, solidarity, concern for future generations, respect for the law, the culture of interpersonal relationships—all these and many similar things were trivialised as "superstructure," as icing on the cake, until at last we realised that there was nothing left to put the icing on: the forces of economic production themselves had been undermined. They were undermined because—with apologies to the atheists among you—they were not cultivated in the strict spirit of the divine commandments. Drunk with power and success, and spellbound by what a wonderful career move a political party was, many began—in an environment that made light of the law—to turn a blind eye to one thing and another, until at last they were confronted with scandals that brought into question one of our greatest reason for pride—the privatisation process.

You can read the entire address at pages 39-47 of a paper on my website. And another (earlier) powerful address he made in 1995 about more global issues to an American audience) can be found here.
At a time when our politicians are so puny, I find it difficult to understand why there are so many people incapable of recognising courage and honesty when it is staring them in the face - particularly on the person's death? We are, indeed, pathetic and ungenerous individuals.
This extended article is a good introduction to Havel's life and work.
John Keane’s Vaclav Havel – a political tragedy in six acts (2000) was one attempt to put the man in historical context (by a prominent british political scientist) - although at least one highly critical review felt the large and well-documented book was rather light in its intellectual (particularly Czech) foundations. For example, there is apparently no mention of the great Thomas Masaryk, in 1919 the first Czechoslovak President, in Keane's book. The review is so savage that its rejoinder from the author is only appropriate. The renowned sociologist Ernest Gellner - who spent the last five years of his life teaching at the Central European University in Prague - supplied, as possibly his last paper, the comparison of the 2 intellectual Presidents and their times.

At the end of November I confessed to some “ennui” – the pall had gone off reading and blogging. Particularly relating to my professional interests. Was it the lack of wine? I have been pretty disciplined in the past month in resisting the blandishments of the tasty Bulgarian whites. But that has been more than compensated for by the tastiness of the vegetarian dishes I have been creating – eg this morning a very succulent grated beetroot, apple and carrot dish – seasoned with small dabs of olive oil, apple vinegar and salt. Probably it is just the combination of end-of-year blues and the general sense of gloom which pervades much of the (European) world. An article today on this has a quote from the political philospher John Gray which captures things very well-

We've moved from the delusional optimism of the 1990s to a sense of intractable difficulties: resource scarcity and enormous debts; the erosion of bourgeois life; the inability of politicians to solve big problems; the realisation that the economic problems of the 70s weren't really solved; the realisation that the window for doing something about climate change – the next five years – will be entirely occupied with trying to restart economic growth.
Meanwhile, for westerners who instinctively look to other countries or big political ideas for inspiration, the possibilities seem to be withering. The US appears economically declining and politically dysfunctional. The EU is damaged and possibly disintegrating. The social democracy of Europe's postwar golden decades seems unable to modernise itself.

postscript
In early 2012 a review appeared in Osteuropa and, in English, on Eurozine which is perhaps the best assessment of Havel's life

It's politics, stupid

My mother lived to the grand old age of 101 – and was still pottering around her small flat in the supported accomodation in which she lived for almost a decade in her 90s, doing her own shopping and cooking meals for me on my visits from far-flung places. She had some difficulty understanding what it was I was doing in the countries of central europe and central asia which had, for so much of her lifetime, behind "The Iron Curtain". And it was not easy to explain – she was, after all, of that generation which actually produced things; the more effete characters who provided services in those days such as teachers, acountants, bankers, doctors had status precisely because they were in such a small minority. Since then the number of what Robert Reich called in the 90s "symbolic analysts” who do little more than manipulate words and figures has grown to scandalous proportions. Little wonder that we are all so confused!
But I have just come across a new paper which gives a clear overview of the difficulties people doing my sort of work in transition countries over the past 2 decades face; and which also captures the critique I have been conducting of it in varoius papers. It’s written by Tom Carrothers for the Carnegie Foundation and is entitled Aiding governance in developing countries – progress despite uncertainties. He has eight injunctions –
• recognise that governance deficiencies are primarily political
• give attention to the demand for governance, not just the supply
• go local
• strive for best fit – rather than best practice
• take informal institutions into account
• mainstream governance (ie don't just run it as an add-on)
• don’t ignore the international dimensions
• reform thyself

Its references pointed me to a useful summary which DfiD did recently of the findings from 10 years of funded research on governance and fragile states 2001-2010 - The Politics of poverty - elites, citizens and states
A year ago, I was working on a sceptic's glossary of administrative and political terms which really deserves wider currency

Sofia City Gallery scores again!

The Sofia City Art Gallery has put together another excellent exhibition – this time to honour the memory of the Bulgarian Association of New Artists which was active from 1931 to after 1944. Founded in Sofia, its objective was to unite artists with similar aesthetic viewpoints who espoused new trends in art in keeping with movements in western Europe in the 1920s and 1930s. Although its first members worked primarily in a realistic manner, around 1936—when membership had grown to 55—other Bulgarian artists who had studied and worked in Paris, Munich and Vienna joined its ranks. Artists such as Alexandar Zhendov, BENCHO OBRESHKOV, Boris Eliseev, Vera Nedkova, David Perets, Eliezer Alshekh, IVAN NENOV, Kiril Petrov and KIRIL TSONEV contributed more modernist approaches, rejecting academic art, folkloric elements and especially the ideas of Social Realism put into practice by the founders of the Society. An internet review said its members created works with a „sophisticated approach to style, a purity of form and a stable internal structure”. But this sort of jargon doesn’t tell me anything – and I have to say that, much as I appreciate this insight into the historical developments of Bulgarian painting and the imaginative way the City Gallery has dealt with it (with blow-ups of the agonised press receptions of the time addorning the gallery’s pillars), this is not a genre which particularly appeals to me. But I was deeply impressed with the graphics of Vesselin Staikov and the work of Ivan Penkov and Bronka Gyurova. After 1944 the New Artists’ Society was absorbed by the Union of Bulgarian Artists . Many of those who had been members of the Society were declared ‘bourgeois artists’ by the Communist regime and were no longer able to take part in exhibitions; several, including Alshekh, Elisev and Perets, emigrated.
The frequency of these special exhibitions at the City Gallery (which always borrow works from the country’s regional galleries) contrasts so favourably with the lack of imagination shown by the National Gallery just across the road which never changes its permanent exhibition and rarely puts on worthwhile specials (I do remember a great tanev exhibition they mounted a year or so ago. The National Gallery charges about 5 euros – and the City Gallery is free. Therein lies a lessons about the better service generally offered by local government!
The graphic is one of Vesselin Staikov's at the exhibition. In addition to engravings with themes from nature, old towns and mountain villages, Staikov produced a cycle of engravings on the modern city: Sofia with its modern architecture, the clearing of rubble after the air-raids and the construction of new houses and buildings. The artist is also fond of doing ancient, strangely shaped trees. Labour themes occupy an important place in Staikov’s work. He shows love and understanding for the worker, the peasant. Some engravings reflect the romanticism of Bulgarian scenery and architecture, others – the primitive force and ruggedness of the village landscape. .