Victor Ryabinin left Königsberg in 2019 to go back there. There is so much presence in his absence that it is hard to say if he ever went at all.
18 July 2023 ~ Victor Ryabinin Artist Four Years Out of Time
Featured image: Victor Ryabinin with Mick Hart, The London Pub, Kaliningrad, 2015
Our friend, artist, philosopher and local historian, VIctor Ryabinin, who lived out his entire life in Königsberg, died on 18 July 2019. He was, as I and others have written, a most unassuming, but in spite of and because of this, most remarkable man, both intellectually and on the level of humanity.
This is the first year that I will be unable to make the annual homage to his grave, as I am in England at present doing all the things that we people have to do whilst we are alive and which, when we die, mean very little if nothing to anyone. “Is it worth it?” sang Elvis Costello.
Such is not the case with Victor: Victor left behind a concatenation of friends and colleagues who filled the hall at his funeral to pay their last respects to him, who have written heart-felt eulogies to him, enough to fill a book, and who continue to speak of him with great affection and reverence. This is the yardstick of a worthwhile life: to have people remember you for the essence of the person you were and the light that you brought to their life.
It was a small affair, my funeral: There was the vicar, who begrudgingly turned out on a wet afternoon when the pubs were open, Ginger the cat, who had nothing better to do, and two professionals from Rent A Mourner. No one could be asked to dig the grave, so they used a post-hole digger and buried me standing up. My brother, the one who is a carpenter, made the coffin from MDF, his stock-in-trade material and, in order to keep things cheap, cut corners literally so that my feet stuck out one end. Happily ~ purely for the sake of appearances, mind, nothing to do with respect ~ someone found an old pair of wellies, so that took care of that.
Leonard Cohen was played throughout, and a man, chosen because of his serious face and the fact he cost a fiver, read an excerpt from my favourite short story, Ligeia, by Edgar Allan Poe, and then the graveside bystanders, muttering “He always was a miserable bugger.” ~ Ginger the cat said “Meow!” ~ off they went to the nearest pub at a gallop and by the time their first pint had been downed they had forgotten I ever existed.
Victor Ryabinin Artist
Something as ignominious as this could never happen to the likes of Victor Ryabinin, because he was a truly likeable man: admired, respected, loved, revered, warm of company and generous in spirit.
In 2022, we privately and officially celebrated Victor’s life and commemorated his death with a plaque that we had commissioned, and which is now attached to the wall of our dacha. There was talk once, there always is a lot of talk full of good intentions immediately after someone dies, of erecting a plaque in Victor’s honour on the wall of the building where his studio once was. It is a great pity that this idea has never been brought to fruition, as many people ~ poets, architects, historians, artists, museum curators and me ~ were privileged to sit with him there, surrounded by relics from Königsberg and the artworks created in his own hand, artworks which these relics, these haunting pieces of the past combined with his personal memories, had assigned him to compose and pass on for posterity.
Another building that deserves to be endowed with a plaque in memory of Victory Ryabinin is the Kaliningrad Art School, where Victor worked as an art teacher for many years. His former students speak warmly of him, both of the man and the teacher, and it is gratifying to discover that the inspiration that he instilled shines through their sketches and paintings, which are displayed at various times in solo exhibitions and with the works of other artists in Kaliningrad’s art museums.
Today, I am far away and unable to make my annual trip to Victor’s graveside. When he died, I vowed this would never happen, but show me the man who is master of his destiny and we’ll sit together and talk of lies. Fortunately, our minds are capable of travelling far greater distances than any machine, and special people and unique places never stray far from our thoughts. They are a source of great comfort in its ever having been and a source of equal pain in its never to be again.
What happens to the heart? Leonard Cohen asks. And well he might. Whatever it is, we have no choice but to live with it, if only, thankfully, for a little while longer ~ somehow.
Victor Ryabinin Arrived in Königsberg 17th December 1946 Returned to Königsberg 18th July 2019
On the third anniversary of Victor Ryabinin’s death
Published: 18 July 2022 ~ Remembering Victor Ryabinin, Artist, Königsberg
Photograph: Victor Ryabinin seated on the right at the far end of the table
On 30th June this year, the thought occurred to me that three years ago to this date in less than four weeks we would be deprived of one of the most significant people in our lives.
On this, the third anniversary of Victor Ryabinin’s death, I have rescued from my photo archives an image for this post that was taken in a Kaliningrad restaurant shortly after I moved to Kaliningrad in the winter of 2018.
This restaurant, situated below ground level not far from the Kaliningrad Hotel, had become a popular haunt of Victor’s and his inner circle, his coterie of friends and fellow artists, not purely for its Soviet theme, although this coalesced perfectly with Victor’s love of history, but also for the very practical and very reasonable reason that the food was affordably priced and, more importantly, it was one of those rapidly fading establishments where customers were permitted to bring their own alcohol with them.
In the intervening period between my last visit to Kaliningrad and my return in 2018, a revolution had occurred, not arguably of the magnitude and life-changing tempestuousness as that experienced in Russia in the early years of the twentieth century but nevertheless in drinking circles on the scale of one to 10 somewhere close to 11: Victor and his clan had largely renounced the drinking of vodka and taken to cognac instead.
In the last few months of Victor’s life, and our association with him, the new trend was so evidently established that whenever we would meet, I would refer to those occasions as a meeting of The Cognac Club.
Remembering Victor Ryabinin, Artist, Königsberg
Sadly, not only is Victor no longer with us, but the old haunt, the Soviet café, has also vanished from our living timeline.
For as much as it appealed to me, I am not entirely sorry that the cafe has ceased to exist. Knowing me and memories, it would have been all too tempting to return there and try to close the gap between what once was and nevermore can be. Life, as we grow older, is full of half-way houses where we hope one day we might meet again and mausoleums where if we do at least we won’t be alone, even if none of us know it.
The photograph I have used for this post was taken in the Soviet café at a time before we knew what it would eventually come to mean for us. Not every grain can be counted or heard as the sand runs down in the hour glass. Victor Ryabinin passed away a few months after this photograph was taken.
The memories you painted, all are good my friend …
Published: 10 June 2022 ~ Victor Ryabinin Pushes Boat Out with Bronze Aged Fisherman
At last, on Saturday 4th June 2022, the memorial plaque that we commissioned in 2021 linking Victor Ryabinin, friend and Königsberg artist, to our physical representation of his famous painting ‘Boat with Flowers’, which occupies pride of place next to the Soviet fisherman statue, was given a home. The reason it never got attached last year was that we could not make up our minds where the plaque should go. The original plan was to include it within the boat and statue ensemble, possibly secured to a large flat-surfaced rock, screwed to the side of the boat or mounted on some plinth or other. I was easy with any of these three options, but Olga opined that the plaque would be hidden, which would rather defeat the object.
Thus, the location of the plaque was put to the vote, resulting in the unanimous decision to secure it to the side of the house, beside the garden gate. Our friend with the drill and bolts, Mr Chilikin, performed his side of the operation, whilst I, having just returned from the shop with two bottles of beer, provided inestimable assistance by holding the plaque in place.
Victor Ryabinin
When you lose someone as dear and as vital as Victor, time has a perplexing way of flying and standing still at the same time. This July will see the third anniversary of Victor’s death. It seems like only yesterday, ten thousand days or more.
I am not ashamed to say that once the plaque had been placed, I did shed a few tears, but being a real Englishman, not a cheap British counterfeit, in order to maintain the myth of the stiff upper lip, I managed this in private.
Of course, once the plaque had been ‘unveiled’ a toast ensued involving vodka, after which an intuitive silence fell on those of us present, the shared but unspoken thought being that had Death not exercised its non negotiable right to inopportune subtraction, doubtlessly Victor would have been with us today, and no plaque would have been necessary, just another glass. Life goes on, as they say, though never quite in the same old way.
This year our boat is not looking anywhere near as well-stocked and verdant as the one in Victor’s painting, so project two is to rectify that discrepancy as soon as humanly possible.
Before getting down to the serious task of celebrating what was without argument the most glorious summer day this year, Mr Chilikin also made good his promise to turn our fisherman bronze. You may remember that last year’s restorative work on Captain Codpiece, our statue, had garnered criticism from a certain outspoken babushka, to wit that his new coat of paint appeared to be designed to make the feeble minded do something remarkably silly, like go down on one knee. Hence, there was nothing for it: either we had to delete one letter in the ‘Codpiece’ name and add two more in its place or pursue the original plan, which was to make him bronze.
The latter option being the best in good taste all round, though the former was chucklingly good, Mr Chilikin got to woke, I mean work, and with the catalysing infusion of a couple of homemade vodkas gave Codpiece a new look that would make any alchemist jealous.
In the 1960s, the fisherman had been silvered, but that was long ago. The Soviet era passed, the silver wore away and the fisherman’s concrete superstructure began seriously deteriorating. We repaired him, coated the concrete in a special sealant and weather-proof solution and painted him in a dark matte ground with hints and highlights of bronze. Finally, succumbing to the criticism that he was as dark as a midnight mushroom, we turned up the bronze, although some might say that relative to the new beginning he is fullfilling an act of destiny and turning into gold.
Updated 18 April 2022 | First published: 2 March 2021 ~ Kaliningrad beyond the headlines of the West
[INTRO} I wrote this piece over a year ago, at a time when western media had nothing better to do than push a hysteria-fomenting narrative about the coronavirus pandemic; now, apparently, it has nothing better to do than to push a hysteria-fomenting narrative about the situation in Ukraine. Bearing this in mind, I dutifully revisited my post to see if anything had changed regarding my opinion of life in Russia and to what extent if any western media had succeeded in convincing me that I would be happier in the UK than if I remained a sanctioned Englishman living in Kaliningrad. I am pleased, but not surprised, to say that other than one or two grammatical improvements, there was nothing to revise! Here’s that post again …
We left the UK for Kaliningrad in winter 2018, but things were far from settled. Over the next twelve months I would have to return to the UK three or four times to renew my visa and to obtain official documents and then return again to pay an extortionate sum of money for a notarised apostille, a little rosette-looking thing verified by a notary that once clipped to the official documents could be used to complete my Leave to Remain in Russia. It was expensive; it was a rigmarole; but obtaining Leave to Remain meant that opening visas would be a thing of the past.
The last time that I was in the UK was December 2019. I returned to Kaliningrad just in time for the New Year celebrations and a month or so afterwards was granted Leave to Remain. We had intended to return to the UK in April for a month, as we had some business to attend to, but before we could do that coronavirus came along and the rest, as they say, is history.
In a previous article I revealed the circumstances which persuaded us to leave the UK and move to Kaliningrad. Now, with December 2019 to the present date being the longest uninterrupted period that I have been in Kaliningrad, it would seem appropriate that I pause to reflect on what it is about Kaliningrad that drew me to it and continues to endear and fascinate.
Our friend, the late Victor Ryabinin, used to refer to Kaliningrad and its surrounding territory as ‘this special place’, and I am with him on that. Whether it is because I see Kaliningrad through his eyes and feel it through his heart, I cannot rightly say. Certainly, his outlook and philosophy on life influenced me and my intuition bears his signature, but I rather imagine that he perceived in me from the earliest time of our friendship something of a kindred spirit, someone who shared his sensibility for the fascination of this ‘special place’.
Nevertheless, my feelings for Kaliningrad are in no way blinkered by a Romanticist streak, which, yes, I do have. If Victor could describe himself as a cheerful pessimist, then I have no qualms in describing myself as a pragmatic Romanticist. But I am no more or less a stranger to Kaliningrad’s flaws and imperfections than I am to my own.
When we arrived in Kaliningrad on a very cold day in winter 2018 to make arrangements for moving here, we were thrown in at the deep end. Early in the morning, still tired from our flight the night before, we had official business that would not wait, which meant trekking off to one of the city’s less salubrious districts. We had given ourselves sufficient time, allowances having been made for the usual protracted queuing, but on reaching our destination discovered that the office we were bound for was working to a different timetable than the one advertised, and consequently we had a two-hour wait before we would be seen! Asking some kind people if they would reserve our place in the queue, we ventured out to a small eatery, a cubicle on the side of the road, for a coffee and a bite to eat. I wrote in my diary:
“Outside, we were confronted yet again by downtown Kaliningrad at its ‘finest’: those ubiquitous concrete tower blocks, stained, crumbling and patched; pavements cracked, ruptured and sunken; kerbstones akimbo; grass verges churned by the wheels of numerous vehicles so that they resembled farmyard gateways; small soviet-era fences rusting and broken; and roads so full of potholes that I began to wonder if it was 1945 again and looked anxiously above me to check for the presence of Lancasters.
When I returned to Kaliningrad from England in December 2019, I wrote: “I am not sure whether I love Kaliningrad in spite of its imperfections or because of them”.
Kaliningrad beyond the headlines of the West
They say that it is people that make places what they are, and it is a difficult-to-disprove logic. In the UK, for example, left-leaning commentators, liberal media editors, state-blamers and apologists are continually referring to ‘disadvantaged’ people from ‘deprived areas’, whereas in my experience it is people who deprive areas not areas that deprive people and the only disadvantage is yours, if you should wander into these areas by mistake.
Case in point: Back in the 1990s I had a female acquaintance who lived in a notorious concrete citadel in south London’s Peckham; her reputation I was assured of, but when I visited her one late afternoon in autumn, my knowledge of the Badlands where she lived was incipiently less important to me than my amorous intent. Ahh, the follies of youth!
When it came time to leave, I was ready to phone for a taxi. It was then that she informed me that after dark taxis refused to enter the estate, in fact the entire area! I suggested hailing a black cab in the street and was told that black cabs were as “rare ‘round here as rocking horse s!*t!”.
There was nothing for it: I would have to walk. I cannot say that I was unduly perturbed by this prospect. I was young, well relatively young, and these were the days of my London-wide pub crawls, which would take me to every corner of London no matter which corner it was.
On this particular evening, I had not walked far before I espied my first pub. I was still some distance from it, and though the light from the one or two working streetlamps was dim, the building was easily distinguished as the front was bathed in a low, lurid glow.
As I drew closer, I discovered to my surprise that someone had propped a large mattress on the side of the pub wall and had set light to it. It must have been very damp, the proverbial piss-stained mattress I suppose, because the conflagration was limited to a slow, puthering, smoulder.
Being the Good Samaritan that I am, I popped my head around the pub door and called to the chap behind the bar, “Hey, did you know that there is a burning mattress strapped to the side of your pub?” I need not have felt so daft for saying this, as, barely looking up from his newspaper, the barman grunted in reply, “It’s not unusual around here, mate.”
I had not walked far from The Burning Mattress pub before I found another: The Demolition Inn. All of the windows on the pavement side were smashed, and one pathetic light shone miserably through the broken glass in what otherwise would be a superb and original 1920s’ doorway. I couldn’t just walk past!
The place was empty and quiet, but it had not always been. Evidence had it that not too long ago it had been extremely lively. In one corner there was a pile of broken furniture and that which was still standing had bandaged legs and strung-up backs. The mirror behind the bar was bust, western-film style, and all of the more expensive bottles, the shorts, had been removed from the shelves and the optics, presumably for their own safety.
I never did ask what had happened. It just did not seem the polite thing to do. I just ordered a pint from the man behind the bar, who had a lovely shining black eye and his arm in the nicest of slings, and spent the next thirty minutes on my own in this disadvantaged pub, philosophically ruminating on the nasty way in which bricks and mortar and the wider urban environment deprived people to such an extent that there was nothing they could do but set light to piss-stained mattresses, smash up backstreet pubs, terrify London cabbies and (a popular sport in London’s predominantly ethnic areas) mug the hapless white man.
So, what can we conclude from this? Most large towns and cities have rundown areas, but the difference between the rundown areas in Kaliningrad and those that we know and avoid in London and other UK cities ~ the ‘deprived areas’, as they are called ~ is that you are less likely to be deprived of your possessions, your faculties even your life, whilst walking through the Kaliningrad equivalents of the UK’s infamous sink estates. Although, to be precise, such equivalents do not exist.
Thus, without sounding too fanciful, let us agree that it is people ~ the way they act, talk, behave, dress and generally conduct themselves in public ~ that makes a place what it is. An observation that applies to anywhere ~ be it a 1920s’ terraced street, a 1970s’ concrete estate, a pedestrianised city centre, anywhere ~ from region to region, country to country.
I am not about to make any silly sweeping statements about what Russian people are really like. I could not accomplish this with any degree of validity if someone was to ask me to ‘sum up’ British people (not the least because true British are lumped together with people from foreign lands, who in appearance and behaviour are anything but British, and yet have a stamp in their passport that contradicts good sense) simply because every individual is different no matter where he or she hails from. What I can say hand on heart is that in the 22 years that I have been coming to Kaliningrad, I have had the good fortune to meet, and in some instances become friends with, people of the highest calibre in this small corner of Russia.
It is true that in June 2019 we lost Victor Ryabinin, which was and still is an inconsolable loss, and tragedy would overtake us again in November 2020, when our friend and Victor’s protégé, Stas Konovalov, who helped us through the emotional period of Victor’s death and with whom we shared so many good times, died also. For the second time in less than two years, irreplaceable people had been taken from us. We continue to miss them both.
As it had been for Stas and Victor, history plays an important part in my relationship with Kaliningrad. There is, of course, my own personal history of Kaliningrad, an interaction that stretches back over two decades, and then the energy of the greater past that flows from antiquity into the present. In Kaliningrad, and its region, the past and present parallel each other. There are times and places where the past seems so close that you feel all you need to do is reach out, pull back the curtain and take its hand in yours.
“There is something magnetic in this city; it pulled some of the world’s most significant people into it as it has pulled me. I cannot explain this magic, but I know that this is my city.”
Victor Ryabinin
For some, this confluence of the past has more disturbing connotations. My wife’s mother, who is attuned to the ‘otherness’ of our existence, complains that although she likes Kaliningrad, there is something inescapably ‘heavy’ about it, defined by her as emanating from its dark Teutonic and German past. And I am inclined to agree with her. But I do not share her more gloomy interpretation of the dark side or its negative affect. For me, the cloud has a silver lining: it is profundity and, at its core, cultural sensitivity, interlaced with creative energy. Indeed, creativity and creative people thrived and flourished in Königsberg and that legacy, I am pleased to say, lives on to this day.
Königsberg ~ the retrospective world of artist Victor Ryabinin
Whilst the bricks and mortar of Königsberg’s ruins ~ the haunting landscape in which Victor Ryabinin spent his susceptible childhood ~ may have largely been replaced, the spirit of the old city and the spirits of all those who passed through it, whether peacefully or violently during times of war, are ever present. And I earnestly believe that the energy of our two departed friends, Victor and Stas, walk among the living here as countless others do who were brought to this place by fate.
Königsberg after allied bombing ~ the childhood landscape of Victor RyabininKaliningrad 2019
Victor wrote that “there is something magnetic in this city; it pulled some of the world’s most significant people into it as it has pulled me. I cannot explain this magic, but I know that this is my city.”
I was told by someone, not by Victor himself, that Victor believed that no matter how we felt about the past, we have to live in the present. I never did get chance to ask him whether by that he meant that we had no choice but to live in the present or that we each had a moral imperative to do so, but whichever version you choose, I would qualify both by adding that to a certain extent we can pick and mix, take what we need from the past and present and leave the rest behind.
In my case, the past and present converge, and I am attracted to modern-day Kaliningrad as much as I am fascinated by its East Prussian, German and Soviet history.
When English people call me out, asking pointedly what it is I like about Kaliningrad. I reply, glibly: “What’s not to like?”
Of course, I start with the historical perspective ~ it would not be me if I didn’t ~ referring to the Teutonic Order, ancient Königsberg, Königsberg’s fate during the Second World War and its Soviet reincarnation. I emphasise what a fascinating destination it is for those who are interested in military history and woo antique and vintage dealers with seductive tales of dug-up relics, the incomparable fleamarket and colourful descriptions of alluring pieces hidden away in the city’s antique shops.
Relics of Königsberg & Soviet Kaliningrad’s past
Then I go on to say that Kaliningrad is a vibrant and dynamic city, a city of contrasts, of surprises; I talk up its superb bars and restaurants, the variety and price of the beer, the museums and art galleries, the excellent public transport facilities, the attractive coastal resorts that are a mere forty minutes away and cost you two quid by train or a tenner by taxi, the UNESCO World Heritage Curonian Spit, the small historic villages, how friendly the natives are to visitors and, when the wife is not about, the presence of many beautiful women.
Above: Kaliningrad region’s main coastal resorts: Svetlogorsk & Zelenogradsk
*********Editorial note [18 April 2022]******** In the paragraphs to follow, I refer to the onerous restrictions which at the time of writing were impacting international travel in the name of coronavirus. Since then, you will have probably noticed that we have entered a new, dramatically more restricting chapter in the history of international travel, thanks to the West’s anti-Russian hysteria and its sanction-futile attempts to isolate the largest country on Earth. This ill-advised and not very well thought through economic warfare programme has added multiple layers of estranging complexity for global travellers everywhere, not just for potential visitors who want to leave the West to travel to Kaliningrad. From a purely selfish standpoint, these self-defeating impositions have merely made the ‘special place’ that Kaliningrad is to me that little bit more special, its taboo status, difficult-to-get-to location and mythicised risk to westerners making my ‘secret holiday destination’ even more enticing, albeit, ironically, somewhat less secret since in the latest round of Russophobia it has been singled out as a strategic military obstacle to the New World Order aspirations of neoliberal globalism.
You will also find in my later comments evidence supporting Russia’s assertion that the West’s attempts to stigmatise and degrade its international standing and denigrate its culture did not start with Ukraine. The events that we see unfolding today have been a long time in the making and by comparing my honest depiction of life in Kaliningrad with life as you know it in the UK, you should begin to understand why Russia’s traditional cultural ethos inflames the rancour of the West and why it fuels a burning desire in its governments to corrupt, transform and replace that culture with something sub-standard resembling their own. All I can say is Heaven forbid! *********End of Editorial note [18 April 2022]********
Admittedly, as with everywhere else in the world, access to Kaliningrad and accessibility with regard to its facilities have suffered restrictions through the outbreak of coronavirus, but hopefully it will not be long before the borders are open again. Before coronavirus struck, I was looking forward to excursions into Poland and to Vilnius, Lithuania ~ one of my favourite cities ~ and I want to make that train trip across Russia to Siberia.
As I say, what’s not to like?
Above: Scenes from Kaliningrad and its Baltic Coast region
I realise, of course, that this is not what most English people expect or even want to hear. The UK media has done a good demolition job on Russia over the years, especially Kaliningrad. True, each year that goes by, as things improve here and grow inversely worse in the West, the UK media is finding it increasingly difficult to slag Kaliningrad off. Who can forget its failed propaganda coup in 2018, when it pulled every trick in the book in an attempt to terrify British fans from travelling to Russia for the World Cup?! The plan backfired spectacularly, since the fans that trusted in their own intuition and came to Kaliningrad in spite of media hype were later to report how immensely they enjoyed themselves. What an ‘own goal’ for the West and an embarrassing one at that!
Nevertheless, UK and American liberals continue to bang their conspiratorial heads against the door of this nation state, taking solace in the belief that should they ever run out of tall and sensational stories, there’s always Kaliningrad’s ‘military threat’, to latch onto. Simultaneously, they promise to bestow on Mother Russia ~ as if she is an ‘it’ or an ‘other’ (now, isn’t that just typical!) ~ the rights equivalent of the Emperor’s New Clothes, and all for the knock-down bargain price of Russia becoming a vassal state of the New World Liberal Disorder.
When I am asked about Kaliningrad, I respond to the critics by saying that I can only tell it how I find it, from my point of view, and that the Kaliningrad that I know is not the one readily fictionalised by UK mainstream media. They listen, but I suspect that Brits being Brits they routinely dismiss me as a latter-day Lord Haw Haw, even though the only hawing I do is when reflecting on their entrenched dogmas I allow myself a good chuckle.
However, there is one thing about Kaliningrad that has changed decisively for me: When I first came here, I was a tourist. I came for the good times; I had a good time; and then I went home until the next good time. I was a tourist.
Holiday venues are like that, they exist in the distance of your life, somewhere on the periphery. It’s a bit like having a mistress, or so they tell me: you can call round when it pleases you, take your pleasure, vow one day that you will move in together and then return to your life and forget it, until that is of course holiday time comes round again.
The risk is, however, that by returning time and time again ~ to places not mistresses (although …) ~ you develop friendships, and before you know it you have become a part of their life and they a part of yours. Your lives become enmeshed. You learn about each other’s hopes and fears, joys and sorrows, dreams and aspirations. You gain an informed insight into each other’s past and the course your lives have taken, and whilst you are living in each other’s lives fate, which is working behind the scenes, is quietly writing you into its narrative
The point at which you find yourself no longer living on the outside but looking in is indistinct, but it occurs somewhere at that imperceptible juncture where you are not only sharing the ‘ups’ of people’s lives but also the ‘downs’.
This is particularly true when you fall into the raw, barely consolable emotion, grief, in which fused as one by pain and despair, you eventually emerge on the other side less intact than you were but brothers in arms and sorrow. Such experiences are not peculiar to me or to Kaliningrad, or for that matter to any one time and place; they are timeless, universal. But it is these experiences that will ultimately determine which are the stations on your way and which your final destination.
And do you know what is most awesome? It is that you never know where it will be until after you arrive there.
Zelenogradsk in the sun … It’s not always cold in Russia!!
Published: 6 January 2022 ~ The Terrible Doubt of Weeping Flowers Victor Ryabinin
The Terrible Doubt of Appearances or the Terrible Doubt of Weeping Flowers? ‘Whenever sad, draw a flower’, Victor Ryabinin wrote. If only he was here to show us how
***
Recently, a friend of Victor Ryabinin’s visited the flat where he used to live, she wrote:
“Yesterday we were at V. Ryabinin’s house. I looked at his diaries — amazing documents of the life of not one person, but of a country. Today I read poetry on one of the pages [of his diary] , and my heart sinks.”
It would appear that Victor had found the words he needed to express his own thoughts and feelings in a poem by the American poet Walt Whitman, Of the Terrible Doubt of Appearances.
The following extract, translated into Russian by Victor, appeared in his diary:
Of the terrible doubt of appearances, Of the uncertainty after all, that we may be deluded, That may-be reliance and hope are but speculations after all, That may-be identity beyond the grave is a beautiful fable only, May-be the things I perceive, the animals, plants, men, hills, shining and flowing waters, The skies of day and night, colors, densities, forms, may-be these are (as doubtless they are) only apparitions, and the real something has yet to be known, (How often they dart out of themselves as if to confound me and mock me! How often I think neither I know, nor any man knows, aught of them,)
My wife, Olga, wrote on her Facebook page on the same day as she read the above:
“Whether we have it all or we have nothing, we are all faced with the same obstacles: sadness, loss, illness, dying and death. It has always been the same. My friend Victor Ryabinin, who was not only a great artist but a great philosopher, invented a simple cure for depression. His motto was: “Whenever sad, draw a flower”.
The Terrible Doubt of Weeping Flowers ~ Victor Ryabinin
The photographs below are of the building where Victor lived and some of his stored artwork. They are reproduced here with the kind permission of Valentina Pokladova, who wrote:
“The shrubbery along the fence seems to remember the owner and sheds pearly tears …”
Published: 21 December 2021 ~ Victor Ryabinin Art Exhibition Kaliningrad opens December 2021
An art exhibition devoted to the works of our late friend Victor Ryabinin opens at The Kaliningrad Regional Museum of History and Arts on 23 December 2021. The exhibition will run until 31 December 2022.
He [Victor Ryabinin] was a breath of fresh air in my understanding of art. He was so alive in comparison with many of the other teachers. He ignited our imagination. He was not backward in pointing out our mistakes, but he inspired! And he took a sincere interest in our artistic development, which extended beyond the classroom.
Stanislav Konovalov, friend & art student of Victor Ryabinin
Details of Victor, the man and artist, can be found by accessing the links below:
“When I wrote the draft to {Victor Ryabinin’s biographical essay}, I wrote that I believe there is no equal to him in Kaliningrad — I still believe he has no equal.”
Boris Nisnevich, author
Victor Ryabinin Art Exhibition Kaliningrad
The Kaliningrad Regional Museum of History and Arts is located close to the bank of Kaliningrad’s Lower Pond.
Originally Königsberg’s city hall (Stadthalle) and also a performing arts centre, the impressive, multi-roomed building was constructed in 1912 by the Berlin architect Richard Zeil.
In its pre-war glory days, the Stadhalle boasted three concert halls, a restaurant and a well-appointed garden cafe that looked out over the castle pond, Schlossteich.
As with most of Königsberg, the building suffered extensive damage during the Allied bombing raid that took place on 26 August 1944. It took five years to restore the building, from 1981 to 1986.
The museum has five halls, each one devoted to a different theme: Nature, Archaeology, Regional History, War Room & the Post-war History of the Region.
Essential details:
The Kaliningrad Regional Museum of History and Arts 236016, Kaliningrad, St. Clinical, 21
Published: 30 August 2021 ~ A Memorial Garden for Victor Ryabinin
The idea to create our own, modest memorial garden to Victor Ryabinin came to us when we were deliberating on what name to give to the dacha. My wife, Olga, said that she wanted to name it ‘Boat with Flowers House’ after one of Victor’s paintings, which was also used as an illustration for the front cover of his and Sam Simkin’s book on East Prussian poetry.
Victor Ryabinin’s ‘Boat with Flowers’, shown here as the front-cover design for his and Sam Simkin’s book on East Prussian Poetry
We already felt obliged, motivated by our sensibility for history and heritage, to renovate the statue that stands in our garden. The statue is that of a fisherman. We did not put him there and neither did the Germans. In German times the dacha was the village hall, but in the Soviet era it became a hostelry for fishermen. Now it is a place where Olga plays houses and gardens, and I drink beer that I have bought from the local shop. And although I believe that a statue of me with a pint glass in my hand would be something that Nigel Farage would approve of, as the fisherman was there first, there he should remain.
The statue is Captain Codpiece. That is not his real name, of course, but one that has been bestowed upon him by my brother. I don’t think Codpiece minds. He knows we respect him, and he has certainly benefitted from our recent ministrations.
I started the ball rolling by removing the moss, most of which had gathered on the plinth of the statue, and cleaned the flaking concrete from it, then some chaps from the village, whose building skills are far superior to mine, reconstructed the plinth using wooden planks for shuttering and pouring fresh concrete into the mould.
The statue with its new plinth under construction
Last week, our friend Chilikin, artist and conservationist, drank beer and vodka with me, and he also gave Codpiece the once over with a wire brush before saturating him in a transparent sealing compound, which will also act as a base substrate for the paint job that is to follow. In Soviet times, the statute was bright silver; the paint acted as a weather-shield, but it also transformed the concrete man into something resembling a metallised robot. Times change, and as the silver has worn off and with it the sheen of dubious taste, we have decided to act on Chilikin’s advice and go for a mottled bronze. The ‘distressed’ look will preserve antiquity, and a fresh coat of paint will give the statue a new lease of life.
Valordia Chilikin restoring the statue of the fisherman
Whilst Codpiece will stand tall, literally head and shoulders above the ensemble, iconic to the composition will be the boat we acquired some weeks previously, which will be used to recreate Victor’s Boat with Flowers.
Mick Hart applying preservative to the boat that will be used in Victor Ryabinin’s memorial garden
A memorial plaque has been commissioned and is in the process of being made. Next week we hope to find a suitable boulder on which to mount the plaque.
If we adhere to our timetable and complete the garden by mid-September, there is talk in the air of commemorating the event with a private gathering of clans. The occasion, I have been told, will not be black or white tie, but all attendees will be expected to wear some kind of hippy dress that backdates them to the 1960s. Codpiece was erected in the 1960s, so somehow it only seems right.
To coincide with what would have been Victor Ryabinin’s 75th birthday, a book has been published which celebrates and commemorates his life and work. Conceived, supervised and edited by Kaliningrad artist Marina Simkina, daughter of the famous Russian poet Sam Simkin, and Boris Nisnevich, author and journalist, this fascinating book contains personal memories of Victor Ryabinin and critical acclaim of his work and career from 28 of his friends and colleagues.
More information about the book can be found by following this link [Victor Ryabinin the Artist Born in Königsberg], which will take you to the permanent pages on this blog under the category Victor Ryabinin Königsberg.
An artist who can hear angels speak Художник, у которого ангелы говорят Kaliningrad author and journalist, Boris Nisnevich’s essay on the haunting influence that Königsberg’s ruins had on Victor Ryabinin’s philosophy and art: “When I wrote the draft to this article, I wrote that I believe there is no equal to him in Kaliningrad — I still believe he has no equal.” ~ Boris Nisnevich
In Memory of Victor Ryabinin This article was published in memoriam on the first anniversary of Victor’s death. Victor died on 18 July 2019.
Personal Tour Guide Kaliningrad Stanislav Konovalov (Stas) was a student and close friend of Victor Ryabinin. In the months following Victor’s death Stas supervised and worked on the emotionally and physically difficult task of dismantling, packing, transporting and storing the many and various Königsberg artefacts, artworks and assorted relics that once adorned and constituted The Studio ~ Victor’s atmospheric art studio and celebrated reception room. Stas took detailed photographs and measurements of the room in the hope one day that it could be reconstructed as part of a permanent exhibition to Victor and his work. Sadly, Stas himself passed away in November 2020. We live in hope that someone will continue the work that his untimely demise left unfinished. This is Stas’ story.
Victor Ryabinin’s Headstone Königsberg After quite a hiatus Victor’s grave was finally bestowed with a headstone befitting the man and the artist. It shows Victor sitting on a stool in his art studio. He is leaning nonchalantly in his chair, relaxed, unassuming, in tune with himself, his life and the world around him. His right arm is resting on one of his art-historian creations, his left arm cradling the base. The artwork is an assemblage, a composition of assorted Königsberg relics assembled icon-like within a frame …
Published: 18 July 2021 ~ Victor Ryabinin a word with him after his Death
On the second anniversary of Victor Ryabinin’s death, I recall Victor saying of himself, “I suppose you could call me a cheerful pessimist.” His ironic self-assessment led me to the conclusion that if he could call himself a cheerful pessimist, I could call myself (amongst other things!) a pragmatic Romanticist.
My wife, Olga, however, is an explorer of and believer in esoteric, spiritual and metaphysical doctrines. Thus, it was no contraindication of our normality that just before falling asleep one night Olga should embark upon an epilogue that adumbrated her philosophic convictions that human kind, the world as we perceive it and the universe of which we are a part operate as an omnipotent mechanism, a machine of Art Nouveau amalgamation melding and interconnecting all of nature’s components, giving them purpose and place within a grand and mysterious scheme that starts before life and does not end with death.
I prefer to count sheep myself, or beer bottles, but that’s pragmatic Romanticism for you.
Olga believes that if you want something and that you visualise that something with devout conviction you can shape your own reality. It is simply another way of saying, “Life is what you make it”, or in Hollywood speak, “Dreams really can come true”.
On this particular occasion, however, she was not talking about her extreme good fortune of having met and married me, but about her increasing interest in and love for Königsberg-Kaliningrad, which has received inspirational impetus from her recent discovery of the architectural splendours of Komsomolskaya street, the street on which the Home for Veterans is situated, a street which has more than its fair share of late 19th century early 20th century buildings, built, embellished, thankfully preserved and carefully restored, in the grand style. She was so entranced by her May-time visit to this street that she wrote about it on her Facebook page:
Olga Korosteleva-Hart [Facebook]
Shared with Public
Do not underestimate the importance of the human factor! These beautiful bas-reliefs would have been destroyed if it were not for the woman in this series of pictures, whose name I sadly did not ask. She told me that building site workers tried to hammer the bas-reliefs from the walls of this 19th century house just before they began to paint the building, arguing that the symbols were Germanic and therefore were not relevant to Russians. It was only when the lady reasoned with them and wrote complaints to the city’s administration that the reliefs were restored and repainted in their original colour.
The history of the suburb of Hufen (the location of the buildings) is mentioned in the 13th century, but only in the 19th century did it begin to assume the shape that Kaliningrad’s residents see today. Queen Louise of Prussia spent her summer months in Luisenval, as this area was known in her time [early 19th century] , and this was the reason for its rapid development.
In the 19th century Hufen was divided into three parts: Forder Hufen – Far Hufen, Mittelhufen – Middle Hufen and Hinter Hufen ~ Further Hufen and was later renamed Amalienau. By this time, the urban layout of the streets had already been formed, and the wealthy owners of the villas laid a cobblestone road. In 1896, an architectural competition for the development of the Luisenallee, organised by the Eastern Bank of Konigsberg, established planning rules. The first and most important rule was to restrict the height of the buildings, the second was to adhere to half-timbered construction and the third to incorporate abundant decorative elements. The rules also spelt out several mandatory cosmetic conditions, one of which involved the addition of elegant ornamentation iconic to Gothic architecture or associated with national romantic symbols.
I would like to thank the lovely lady who managed to save these evocative ancient pagan symbols from modern barbarism. If we all cared about our environment and our shared history regardless of nationality as she does, life would be so much more beautiful!
And, note this:
“I love my city! Vibrant, busy and green!”
Victor Ryabinin, a word with him after his death
She told me that whilst she was walking along this street, she realised just how much she loved Kaliningrad. She said that she sees its imperfections less and less and that, like Victor, she is always discovering and learning something new.
She thought how pleased Victor would have been to have known how much Kaliningrad and its Königsberg heritage meant to her, and, as she was thinking this, Victor appeared to her.
She said, I spoke to him. I asked what he was doing now, and he replied that I am still learning; I am just in another realm.
She connected these mutual feelings about Kaliningrad to her ‘life is what you want it to be’ philosophy. Some people, she infers, can see the good in Kaliningrad, others cannot or will not. But, she believes, that if you see and feel Kaliningrad-Königsberg in a positive light, the city will reward you.
She proceeded to remind me of a day we spent with Victor. We were walking past an old, partly burnt-out Königsberg building. When we brought this building to Victor’s attention, he chuckled. He told us that years ago it used to be a police station. He must have been rather drunk one night, because having been arrested on the streets of Kaliningrad he had the pleasure of spending the night in the cells of this building. When they released him, he cursed the place and wished it would burn down. Shortly afterwards, it did.
From which we had to conclude that our kind, inoffensive and easy-going friend was something of a subliminal pyromaniac. Still, I never had a problem when we visited him in his studio in getting a light for my cigar.
But it was not the mysterious elements of these two stories that had prompted Olga to recall this day. It was Victor’s enthusiasm for a number of old buildings along the street where the burnt-out police station stood.
“I could not understand how Victor could be so excited by these buildings and by the spaces occupied by new buildings where old buildings used to be. I just did not get it,” said Olga. “But now I understand.”
The Mystical Nature of Victor Ryabinin
She alluded to the mystical qualities inherent in this city, referring to the symbolism expressed in the many bas-reliefs and in the other forms of ancient decoration, concluding that in days gone by, and not so long ago, people were more attuned to the other dimension, the world beyond our material existence. It was this intuitiveness that endowed people with a sense of belonging, belonging to the world and the universe. It imparted knowledge of the ‘otherness’ and the place that mortals occupy within its schema. It gave people a deeper insight into and understanding of the mystical, all of which is now threatened by an overt and misappropriated emphasis instilled and prosecuted by the globalists for the sake of their ‘Me, Myself, I’ culture, at the centre of which is alienating technology and the drive to reduce us all to nothing more than consumer clones. And I am sure that within this context coronavirus and its divisive objective also got a mention.
I thought for a moment, and then said, “There was certainly something mystical about Victor.”
“We were perceptive to this,” she emphasised. “This is why we enjoyed Victor’s company, because we were on the same wavelength. Victor was unique in many ways. He was non-judgemental; he accepted people for what they were, and he accepted situations; I do not remember him being really negative about anything or anyone.”
It is two years now, by our understanding of time, since Victor stepped out of time, but hardly a day goes by when we do not mention him. Since his death, Victor has become the benchmark by which we judge both the architectural and cultural developments in this region. Whenever we observe something new, such as the restoration of an old building or the construction of a new one, one or other of us will ask, “I wonder if Victor would have approved of this?” or will categorically state, “Victor would have loved this!” or “Victor would not have liked this!” whatever the case may be.
On 20 May 2021, Olga learnt that the green light had been given for Kaliningrad to invest in and organise the Kant celebration, which is scheduled to take place on the anniversary of the birth of Immanuel Kant, the German philosopher, in 2024.
As a boy who grew up in the ruins of Konigsberg and for whom this city and its history was his first love and his life’s work, the prospect of the Kant celebration was something that was very dear to Victor’s heart and something he had been looking forward to experiencing. Said Olga, on hearing the news that the Kant celebration was to go head: “Victor would have been so proud!”
We, too, are proud, to have been blessed with the friendship of Victor Ryabinin.
Postscript:
On the first anniversary of Victor Ryabinin’s death, our friend Stas (Stanislav Konovalov), student and friend of Victor Ryabinin, drove us to Victor’s graveside to pay our respects. Afterwards, we stopped in Kaliningrad and went for a short walk along the top of the ramparts and defensive banks next to the King’s Gate. Stas died in November 2020.
On the 75th anniversary of Victor Ryabinin’s birth
Published: 17 December 2020 ~ A book about Victor Ryabinin
To coincide with what would have been Victor Ryabinin’s 75th birthday, a book has been published which celebrates and commemorates his life and work. Conceived, supervised and edited by Kaliningrad artist Marina Simkina, daughter of the famous Russian poet Sam Simkin, and Boris Nisnevich, author and journalist, this fascinating book contains personal memories of Victor Ryabinin and critical acclaim of his work and career from 28 of his friends and colleagues.
More information about the book can be found by following this link [Victor Ryabinin the Artist Born in Königsberg], which will take you to the permanent pages on this blog under the category Victor Ryabinin Königsberg.
The following articles relating to Victor, his life and his art, also appear in this category:
An artist who can hear angels speak Художник, у которого ангелы говорят Kaliningrad author and journalist, Boris Nisnevich’s essay on the haunting influence that Königsberg’s ruins had on Victor Ryabinin’s philosophy and art: “When I wrote the draft to this article, I wrote that I believe there is no equal to him in Kaliningrad — I still believe he has no equal.” ~ Boris Nisnevich
In Memory of Victor Ryabinin This article was published in memoriam on the first anniversary of Victor’s death. Victor died on 18 July 2019.
Personal Tour Guide Kaliningrad Stanislav Konovalov (Stas) was a student and close friend of Victor Ryabinin. In the months following Victor’s death Stas supervised and worked on the emotionally and physically difficult task of dismantling, packing, transporting and storing the many and various Königsberg artefacts, artworks and assorted relics that once adorned and constituted The Studio ~ Victor’s atmospheric art studio and celebrated reception room. Stas took detailed photographs and measurements of the room in the hope one day that it could be reconstructed as part of a permanent exhibition to Victor and his work. Sadly, Stas himself passed away in November 2020. We live in hope that someone will continue the work that his untimely demise left unfinished. This is Stas’ story.
Victor Ryabinin’s Headstone Königsberg After quite a hiatus Victor’s grave was finally bestowed with a headstone befitting the man and the artist. It shows Victor sitting on a stool in his art studio. He is leaning nonchalantly in his chair, relaxed, unassuming, in tune with himself, his life and the world around him. His right arm is resting on one of his art-historian creations, his left arm cradling the base. The artwork is an assemblage, a composition of assorted Königsberg relics assembled icon-like within a frame …
