Ponart Brewery Another Bite at Creation’s Apple
18 February 2025 ~ Ponart Brewery in the Strange Case of Creation
>> Creation — the famous exhibition from Annenkirche and the art group Grain is now in Kaliningrad! This is a biblical view of the creation of the world through the prism of modern Christian art. The exhibition is located within the walls of the atmospheric old Brewery Ponart, where the past and the present, faith and creativity, deep meaning and stunning visual design are harmoniously combined. At the exhibition, you will learn all the most important things about the days of creation. You will be able to touch God, get closer to the heavenly bodies and decide for yourself whether to bite or not to bite the forbidden fruit. Large-scale installations and aesthetic locations help to penetrate the theme and provide the opportunity for many beautiful keepsake photographs. << Translated from the exhibitor’s website
And now an extract from my diary regarding my impressions of Creation (The Creation of the World exhibition). See my earlier post, Ponart Brewery Creation of the World Exhibition
Sailing past the world and saying goodbye to the dinosaur, we entered a short, narrow section of corridor, the walls of which were decorated with multiple lights, each having flower petal shades in hues of natural green and yellow. This room appeared to represent Day 3 of God’s world creation: the introduction of the natural environment, the phenomenon we call ‘nature’.
The impact of the following room would have been awesome without comparison to the cramped and confined space of the last, but no such prelude was necessary.
We were now standing in an area of the old brewery, which once would have comprised three or four storeys but, gutted from floor to rafters, had been recast as a towering shaft, gnarled, scarred and ragged. The entire confinement was bathed in a low red glow, causing me to bookmark Edgar Allan Poe’s Masque of the Red Death, which was a rather unfortunate negative parallel, because the huge illuminated moon suspended from the ceiling suggested that in the narrative structure by which the rooms were sequenced, we must have arrived at Day 4, the creation of the universe. Don’t quote me on this, however, as my proficiency in maths is far below the standard of the divinity’s.
A low, not humming sound, but musical chord, which wavered slightly, but not enough in noticeable degree to be called melodic, vibrated sonorously through the vertical vastness of this lofty chamber, adding audibility to its already visual awesomeness. Stunned by the giant moon, I also found myself becoming inadvertently absorbed by the many scars with which the faces of the wall were pocked and disfigured, the many uneven ledges and protuberances, the legion of empty joist holes, which reminded me of eye sockets in the face of an ancient skull.
Scaling three of the four walls was a metal staircase, linked by two horizontal platforms at higher and lower levels. This was a staircase which, if you had not turned adult, you would want to climb immediately. Up I went!
The difference in elevation of the two landings provided an agreeable variety of photo opportunities, which, have smartphone will snap, we, of course, took full advantage of.
Now see here > Restoring the Polessk Brewery in the Kaliningrad Region
At the summit of the steps, we passed into a small piece of truncated passageway, emerging thereafter into a great rectangular room, the installations and arrangement of which in relation to one another reminded me of the surrealist work of Terry Gilliam, Monty Python’s collage animator.
Lighting ~ green, blue, orange-red ~ bird flocks strung in mid air, paintings of beasts on the walls, a row of trampoline-seat swings and, in the centre of this row, but at the further end of the room, an enormous pointing white hand (if this had been the UK, it would have been liberal black), thrusts out of the heavens (in this case from the ceiling) through clumps of something that I am rather fond of. I was thinking ‘cauliflower’; the artistic creators most probably clouds.
“Michaelangelo!” Olga announced, annoying me. I had wanted to say it first
The next venue, the room immediately above the one containing the giant hand, was, arguably, more surreal than the last. Two rows of the same sized but differently stylised mannequin heads centred atop rectangular plinths travelled along the centre of the chamber, whose every wall had attached to them paintings of a symbolic nature depicting either variations on the theme of divine creation, Michaelangelo’s version, or unsympathetic renditions of the progenitors of original sin, the hapless Adam and Eve.
Lighting continued to generate atmosphere as it had in the rooms before, and once again could be heard that low, impenetrable but penetrating, measured background hum, which, speaking for myself, had nothing of hallelujah in it but a lot of numbing depth. It gave me grim satisfaction to note that it, and all I had experienced whilst on this voyage of wonder, accorded with my sullied view that of all God’s myriad creations, with the exception of man himself, the world is the most imperfect. Indeed, I have to say and must say, that you would need to be less receptive than deaf, dumb and blind, or a child upon a rocking horse or swing, not to arrive at the end of this incredibly evocative ghost-train ride with more of awe and wonder and less of self-possession than you had upon starting out.
True to form, there is nothing in this biblical treatise on the creation of the world that does not deserve to be called amazing but at one and the same time peripherally unsettling, and nowhere was this more apparent than in each and every one of the artistic interpretations of the spark of life and the fall of man.
The grotesque ethereal landscapes portrayed symbolically in these works of art made the scores of red rosy apples suspended on threads of different lengths, some so long that the apples attached to them descended through circular pits in the floor, wherefrom they could be witnessed hovering above a rectangular trough scattered with scarlet bricks, divine enough to test the wrath of God. This then is the thematic ethos of the exhibition’s penultimate room, where it is hats off to Creation’s creators who, by ingenuity or by accident, have made the legendary curse of original sin never seem more tempting!
I will never now be able to look again in innocence at a store-bought rosy apple or pluck one off a tree without that the act of doing so emphatically returns me to this desirous scene at Ponart Brewery, as well as to the mythological premise that almost every instinctual human act is sin wrapped up in guilt or guilt wrapped up in sin.
It occurs to me that there is someone out there who is abrogating responsibility for filling this flawed world of ours with a dynastic glut of apple pluckers. Tell me, who can think of Granny Smith when the orchard in full bloom is full to bursting with attractive distractions like Honeycrisp and Golden Delicious? It’s easy to blame it on Adam and Eve, they are not here to defend themselves.
Ponart Brewery in the Strange Case of Creation
The truth of the matter is that the biblical story of creation, that masterpiece of tragedy of which we are a part, means different things to different people. Go and see it for yourself, and ask yourself at the end of the journey, is the biblical view of our world a slice of apple pie, or does it give you the pip? One thing is for certain, Creation is an exhibition, which starts and keeps you thinking. https://zernoart.ru/creation_kaliningrad
Copyright © 2018-2025 Mick Hart. All rights reserved.
