Tag Archives: Victor Rybinin artist

Mick Hart Bar Sovetov Kaliningrad

Bar Sovetov Kaliningrad Retro in the House of Soviets

Bar Sovetov Kaliningrad Retro with a Heart of Gold

13 April 2024 ~ Bar Sovetov Kaliningrad Retro in the House of Soviets

Do you believe in coincidences? In my most recent post I wrote about the gradual disappearance of Kaliningrad’s most infamous and controversial landmark, the House of Soviets. Less than a week later, I find myself in a subterranean bar dedicated to that very building.

Bar Sovetov is located in what once was, during the late 19th and early 20th centuries, the residential quarter of choice for Königsberg’s affluent citizens.

On foot, it is something of a trek from the city centre to this still sought-after district, but it is one I made on numerous  occasions in the days when a bar, long since gone, the enigmatically named Twelve Chairs, exercised a consistent influence and justified the effort.

Bar Sovetov Kaliningrad

Whilst in the character of its rooms, Bar Sovetov does not possess the intricacy or the old-world charm that gave Twelve Chairs its je ne sais quoi, it is no less thought-provoking in the nature of its decoration and appurtenances of thematic quirk.

The two-roomed bar, with its truncated corridor leading to the lavs, is very much a pop art haven. Victor Ryabinin, former artist and local historian, would have adored it!  Symbolism abounds: ‘Look Out!’ the slogan reads. ‘Big Brother is Watching you!’ You see it above the full-sized wall mirror in which you are watching yourself.

OIga Hart Bar Sovetov

A white face mask framed between two suspended lamps exudes from the wall. Wearing a baseball cap in such a way that it partly conceals its features, it holds to its lips an admonitory finger attached to a long white arm. As with the face above it, the arm emerges from solid brickwork as it would through the fold of a curtain. Both face and arm are whimsical, especially in the matter of their relative dislocation, but irony and surrealism are the uniting forces that bring them together.

Bar Sovetov Kaliningrad retro bar

These are just two of many examples of Bar Sovetov’s camp milieu. Wherever you look, be it high or low, another element of the quaint and fanciful leaps out to greet and surprise you.

With the obvious exception of Aleks Smirnov’s Badger Club, lovers of the out-of-the-ordinary will be hard pushed to find even among Kaliningrad’s most unconventional watering holes anything that surpasses Bar Sovetov’s quaint burlesque. But for all that it camps it up, the nostalgia has a genuine ring; it springs from a source of real affection. And the humour the props elicit, be it aimed at you and me or tailored to the refined perception of the discerning intellectual, leaves plenty of form intact for the inquisitive mind of the history buff.

The genesis, erection, completion and the long-standing but idle years of the House of Soviets’ occupation are captured step by step in a series of timelined photographs. The images of the building in its promising phase of construction, with cranes on either side, are particularly poignant memories, given that in its obliteration almost identical cranes in almost identical places stand either side of the shrinking structure.

House of Soviets at Bar Sovetov

On the opposite side of actuality, a wall in the bar’s first room is a bold painted visual replica, close up and in your face, of the House of Soviet’s exterior. The effect is profoundly Gotham City, gaudy, haunting, claustrophobic but seminally cartoon, a perfect piece of ‘dark deco’ kitsch. Further urbanisation occurs not in the question itself, which is off the wall whilst on the wall, but in the way it is daubed across the wall, which reflects the mind of graffiti man stretched to its utmost limit: “Who,” it asks, “killed the House of Soviets?” If we didn’t laugh, we’d cry.

Who Killed the Houe of Soviets?

More real photos of the fated hulk that over its 53-year existence dominated Kaliningrad’s skyline, exciting in its awesome prospect, ambivalent and contentious in what it actually stood for and why it stood for so long, can be found in the bar’s back room.

Mick Hart and Inara at Bar Sovetov in Kaliningrad

It is here that the structure’s rightful place in the socio-political era into which it was given a sort of life or maybe a life of sorts is given historical context. Framed copies of Soviet art, amusing, powerful and all iconic, visually break up the hard brick-wall to which they are attached, whilst in one corner of the room a little shrine pays tribute to the final days of Sovietism.

There, upon a shelf, rubbing shoulders with the printed word and a quaint assortment of nick-nacks, sits a large portrait photograph of if not the architect of perestroika then the man who is widely considered to be its chief executive officer, former General Secretary Gorbachev, twinned in the opposite corner with a replica set of traffic lights, which, for some exotic reason or perhaps no reason at all beyond their anomalous presence and illuminative oddity, cast a lurid reddish glow across the whitewashed brickwork.

The seats in this comic-strip memory, when not authentic 70s’ vintage, are made from wooden pallets, painted to look distressed, put together as benches and kindly equipped with padded seats. However, recalling the slatted wood benches with which Kaliningrad’s  trains were furnished twenty-three years ago, such convenient cushioned luxury may be but the useful product of indulgent historical revisionism. Whilst the past is unrelenting in its prescribed but often unforgiving and impractical perpetuity, concessions ought to be made, don’t you think, to our poor post-Soviet posteriors. Historical accuracy has its virtues, but is it worth corns and blisters?

Bar Sovetov Kaliningrad

The bar itself, that is the thing on which when you buy your beer it temporarily rests on top and the area to the rear of it, is a content-managed zone, where normal things normally sold behind bars share more than their fair share of shelving space with the weird, the wild and the whimsically whacky. Note the hollow concrete blocks shown in the photo below that have been used to comprise the wall of the bar. Is that or is it not a passing nod to the House of Soviets?

Bar Sovetov beer menu

A conforming principle of all such bars, that is to say craft-beer bars, is that the beer selection is written in chalk on good old-fashioned blackboards. What is it, I ask myself, and I suppose you ask yourself too, about this rudimentary practice that makes it so applicable, so pleasingly, conventionally and fundamentally right and so well received in its prime objective, which is to call to our eager attention the dispensation of quality brews? When you’ve found the answer to that one, you might go on to answer the question ‘Who killed the House of Soviets?’ I have a hunch that in both cases we will discover the hand of Old Father Time.

From the six or so beers on offer, I ordered myself a ‘Milk of …?’ Er, a ‘Milk of …?’ What was the name of that beer? Ah yes, now I remember, I bought myself a ‘Milk of Amnesia’. How could you not drink a beer like that, with a name so unforgettable?

In summing up the Bar Sovetov experience, the beer is good. The atmosphere is atmospheric. The people who run the bar are real; in other words, they are genuinely friendly and they are also good at what they do. They effortlessly embody and earnestly convey the qualities prerequisite for fulfilling the role they have given themselves, that of convivial mine host, in an age when many are either not up to it or simply not fit for purpose.

Those who earn their living in the hospitality trade at customer-facing level, would do well to bookmark this truth, that the bar or pub in which they perform is as much a stage as any other and their customers are their audience. Once the curtain goes up, if you cannot manage authenticity, you must put yourself out there, put on a smile and remember that it’s show time! If the act is one the punters like or at least is one that they can believe in, and the beer is good and well kept, they’ll keep on coming back. Loyalty is everything, and that applies to the service industry as it does to everything else, and I cannot think of a better bar more deserving of it than Sovetov.

Copyright © 2018-2024 Mick Hart. All rights reserved.

Bar Sovetov
Prospekt Mira, 118​ ground floor, Central District, Kaliningrad, 236022

Link to street map: https://2gis.ru/kaliningrad/firm/70000001082036462

Tel:  +7 921 616 36 26
Telegram: https://t.me/barsovetov
VK: https://vk.com/barsovetov

Opening times:
Mon: Closed
Tues to Thurs: 4pm to 12 midnight
Fri, Sat & Sun: 4pm to 2am



A Birthday Fairytale

A Birthday Fairytale with Love

Dedicated to You

1 September 2023 ~ A Birthday Fairytale with Love

ONCE UPON A TIME THERE WAS A YORSHIK, who lived in the fifth dimension and worshipped Beautiful Nature.  Although she could be prickly, she was not a nasty Yorshik. She loved the fields, gardens, flowers, lakes, suns, skies and trees ~ most of all she loved the trees.

One day, whilst walking by the side of the lake in the footsteps of the Teutonics, she espied a tree that she liked very much. It was an old tree, a tree that had stood for centuries. This tree had seen so much of life and of countless people’s lives.

How many people have admired this tree? thought the Yorshik.  How many people have sketched or painted it? How many people have written poems about it. How many people have sat beneath it ~ daydreamers, lovers, people in need of shelter, people in need of support, people in need of a tree?

Whenever Yorshik found a tree, especially a great old tree like this one, she felt the need to hug it. She would throw her arms around the tree and say, “I long for the day when your inner strength will be my strength also.” And the trees that she hugged would hug her back, and each would sigh with happiness.

And so, she hugged the mighty tree before her. But the tree neither hugged her in return nor sighed a happy sigh. It clung to her. It trembled, and its sigh was a groan of fear and despair.

“Whatever is the matter, tree?” asked the Yorshik.

“They are coming to cut me down tomorrow,” sobbed the tree.

“But why?” Yorshik asked. “You are so big and strong and healthy!”

The tree it sobbed some more until regaining its composure, said: “Because I have a fairy in my boughs.”

Yorshik looked up and sure enough, sitting in the branches of the tree, there was a fairy.

Fairy up a tree

Yorshik had seen many things, such as flowers, hedges, clouds and trees, but never a fairy before. She had, of course, seen drawings of fairies but never of one so round.

“What?” Yorshik asked the tree, “has a fairy in your branches got to do with cutting you down?”

The tree sniffled: “The fairy has cast a spell, and tomorrow at daybreak the men will come with saws and axes, and I will be cut down.”

“I didn’t want to cast the spell,” then spoke the fairy in a quavering voice, “truly I didn’t. But I am trapped between Heaven and Earth, and if I place my feet voluntarily on Terra-Ferma, I shall be forced to exist in a limbo state for the rest of all eternity.”

And now the fairy was crying, too.

“But if the tree is cut down,” the fairy sobbed (and the tree let out a wail) “I shall descend to earth, but not by my own volition, and I will be saved.”

The fairy was weeping, the tree was weeping and Yorshik was at a loss for what to do.  She could not bear to see the tree cut down, but neither could she bear to imagine the fairy trapped between Heaven and Earth in a state of immortal torment.

A Birthday Fairytale with Love

She thought and thought until she could think no more, whereupon, in a paroxysm of despair, she threw herself on the ground and hugging the trunk of the tree, implored and prayed to the Gods for an answer.

As she prayed, her tears fell to the ground, and the tears of the tree and the fairy followed, mingling together until they had formed a stream that trickled into the lake.  At that moment, the clouds, which had settled upon the sky, parted, and a ray of sunlight soft and luminous travelling from the Heavens landed gently at the point where the river of tears held hands with the lake. Still embracing the tree, the Yorshik watched the light as it danced upon the water. She followed its vibration along the beam, into the sky and back to the water again.

At the water’s edge, where a moment ago no one had been, she thought she saw a figure, the figure of a man. She could not be certain of this, because her eyes were so full of tears; they had become twin ponds from Königsberg.

She peered again at the water’s edge. Sure enough, there was a man. His detail was lost to her, but she could feel the warmth of his presence and the kindness in his heart.

“Who are you?” the Yorshik asked.

“I’m an artist,” he replied. “I have come to paint a picture of you. To paint it upon this tree.”

And setting down an easel, this is exactly what he did.

When he had finished the picture, which seemed to be of a moment’s work, he turned to the Yorshik and smiling said: “Don’t worry, Yorshik.  Don’t fret. Everything in this universe has its finite place and everything will fall into place when the time is right for it to do so.”

He had hardly finished speaking, in a voice like balm to the Yorshik’s soul, when a second beam of light breaking through the clouds momentarily dazzled her, and when she could see again, the artist he had gone.

A Birthday Fairytale with Love

It was then that she saw his painting on the tree. She gasped in amazement. Her likeness was so lifelike, the colours so strong, so vibrant, altogether alive and everything so beautiful that she felt as if everything good had been given to her forever. And even the fairy and the tree, on beholding the artist’s magic, forgetting guilt, regret and fear, also forgot that they should be crying.

Spoke the fairy from the tree on high: “I cannot let this kind old tree that has given me hope and shelter, and which now has such a beautiful picture of Yorshik painted on it, be cut down. Tonight, I shall climb from the branches myself and take my chances as predetermined.”

It was a frightful night for Yorshik. There was a full moon that shone through the crack in the bedroom shutters and danced around in her half-sleep in an endless succession of mutated forms and apparitions most ghastly. She felt the bite of the woodman’s axe and turned away from that horror only to be confronted by the dreadful sight of the screaming fairy descending into a fiery hell.

No sooner had dawn broke, than, with bleary eyes and in a cold sweat, Yorshik scampered from her woodland house and hurried towards the lake and the tree. She was so afraid of what she might see, and even more afraid of what she wouldn’t, that she thought of running backwards, but very few Yorshiks have reverse gear, so she had to proceed as always and make the best of a very bad job. At least it wasn’t foggy.

As she rounded the corner where she knew the tree would be, if indeed it would be, she took her hands away from her eyes and, rubbing the bruises on her body, which, unfortunately, one tends to get when one attempts to run with their eyes closed, stared at where she thought she’d see nothing, or perhaps just a pile of logs. But Saints preserve and Hallelujah, the tree it was still standing!

Alas, of the tree-bound fairy, however, there was not the slightest sign.

Falling to her knees by the side of the tree and hugging its mighty trunk, the Yorshik cried: “You are safe, thank the Gods that you are safe, but what has become of the fairy? I cannot bear to imagine the pain and the suffering which, through her most noble act, she has brought upon herself!”

But why was the tree not crying! Heartless, ungrateful tree! The heartless, ungrateful tree was smiling!!

“Shh, shh,” said the tree, “Do not cry! Be still! Dry your eyes! Look at the painting, Yorshik! Look at the painting!”

Bewildered, understanding not, but drying her eyes as instructed, the Yorshik did as she had been bidden and looked towards the painting. At first, she could see nothing but herself, as a reflection might see itself on the opposite side of the mirror. But when she rubbed her eyes again and took a second look, there, in a moment of joy and rapture, she saw in the painting by her side the fairy smiling back at her. The fairy was alive! The fairy was alive!

And above and around the Yorshik in the painting on the tree, and above and around the Yorshik kneeling on the ground, not one but a host of fairies danced and laughed, embraced and sang and loved.

This time when the Yorshik hugged the tree, the Universe hugged back, and since that day to this, no one in the world and anywhere else beyond has ever had to suffer the pain of being alone again.

A Birthday Fairytale with love

Post links
An Autumn Walk in Kaliningrad
The Natural Beauty of the Baltic Coast
Englishman Chilling in Zelenogradsk with a Bear and a Beer
Kaliningrad Green and Adorned with Flowers

Image attributions:
Scenery Bats & Tree: https://publicdomainvectors.org/en/free-clipart/Vector-illustration-of-scenery-with-bats-and-tree/14960.htm
Zombie: https://publicdomainvectors.org/en/free-clipart/Vector-graphics-of-zombie-with-an-exposed-brain-and-axe/21889.html
Bed: https://publicdomainvectors.org/en/free-clipart/Child-in-bed/58663.html
Tree: https://publicdomainvectors.org/en/free-clipart/Tree/89793.html
Fairy on Crescent Moon: https://publicdomainvectors.org/en/free-clipart/Fairy-sitting-on-a-crescent-Moon/63695.html



Copyright © 2018-2023 Mick Hart. All rights reserved.

Victor Ryabin artist with Mick Hart, London Pub, Kalinngrad 2015

Victor Ryabinin Artist Four Years Out of Time

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.

Victor Ryabinin Artist Plaque Mick Hart and V Chilikin
Victor Ryabinin Plaque: Mick Hart and V Chilikin

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

Victor Ryabinin Königsberg Artist-Historian: A biographical essay by author Boris Nisnevich

Victor Ryabinin Königsberg Kaliningrad: Mick Hart recalls how fortunate he was to have met and to have known Victor Ryabinin

Through Victor, I learnt many things that I had seen throughout my life in Königsberg but had never really thought about. ~ Stanislav Konovalov, student and personal friend of Victor Ryabinin

Copyright © 2018-2023 Mick Hart. All rights reserved.

Mick Hart Kaliningrad

Kaliningrad Pavements Pave the Way for the Better

On the right path in Kaliningrad

Published: 15 December 2022 ~ Kaliningrad Pavements Pave the Way for the Better

Tratooraree, said Mick in his bestest Russian. Nobody quite understood him, but that’s the story of his life, so he pressed on regardless, translating the word into English, “Pavements!” he said, triumphantly, and everyone went back to sleep.

No one talks pavements in the UK, after all pavements, and the conditions of them, are one of the reasons why we pay our council tax. They are lumped together with such essential but taken-for-granted services as emptying our bins, clearing litter from the streets (although the council rarely get round to this) and policing by consent (ie you and the police agree that when you are mugged or have your house burgled the police will give you a crime number and that anything that you say, meaning ‘mean tweets’ on Twatter, will be taken down, twisted round and used in evidence against you). Council tax, the get-out-clause for Maggie Thatcher’s controversial poll tax, has risen so high in Britain in recent years that it represents a second mortgage, so Brits expect to see as much done as is civically possible in return for the confiscation of their hard-earned cash, and that, amongst other things, takes care of pavements.

In Kaliningrad pavements are, or can be, a controversial subject* and one that has persistently percolated to the top of the restoration agenda since the dissolution of the USSR.

When does our street get its much needed and long overdue pavement renovation? ~ is not something that residents of Kaliningrad discuss on a daily basis, but it does come up in conversation, occasionally, from time to time.

When I say, ‘our street’, I use the term to imply a general anxiety and impatience amongst those residents who live in certain areas where pavement reform sits at the top of their collective bucket list as distinct from the pavement up ‘our street’, meaning the street in which we specifically live. And yet, to coin a phrase, if ‘the cap fits …’.

My wife asked someone about the situation regarding ‘our’ pavement and was told that it was not likely to happen this year, but maybe next year. Her inquiry was made in 2021, when next year was 2022 (It would be funny if it was 2023, wouldn’t it?) but next year has almost gone. I know this because when I first began to write this post snow was falling but not in sufficient quantities to entirely exorcise the pavement problem, but snow is now falling snow on snow and ‘what the eye don’t see, the heart don’t grieve about’.

For people like me, who have the ability and choreographic instincts of Fred Astaire (Mum, who’s he talking about?), the pavement problem, though not in itself altogether inconsequential, has me reach out sympathetically to others who are more affected by the inconvenience and its negative impact.

From my window, which I look out from, from time to time ~ they are good for that, aren’t they? ~ I watch the world go by, and in the process typically think to myself, how on earth is that young couple going to pilot that pram of theirs across the assault course which now confronts them? Wheels are good but tank tracks would be better. And then there’s the senior citizens, of which I count myself one, many of whom avoid the path and take to the cobbles instead. Königsberg’s road cobbles may also not be an easy terrain, but at least to trip is a trip into history.

Kaliningrad pavements

Whilst the pavement can be treacherous, especially on the way back from the bar late at night, and especially where lack of light adds to the problem, I have got round this one, partially by memorising the pavement on both sides of the street. I am not going to go so far as to say that ‘I know this pavement like the back of my hand’, because the last time I heard that expression it was back in 1983 on a dark and dank November evening when fate was in a playful mood.

At the time, we were flying along the country roads at 80 miles an hour in my Ford Cortina when, replying to an admonition from me, my brother, who was driving, said: “Ahh, you worry so much. I know this road like the back of my hand!”

It would seem, however that his hand did not have a sharp bend at the bottom of a hill and a tight grass verge on either side, which, when clipped at the speed we were doing, sent us spinning backwards through the hedge, left us hanging momentarily, headlights pointing towards the sky, and then brought us down like a spinning top bluntly to rest in a wet ploughed field.

Whilst there’s little fear of a similar thing happening as I traverse Kaliningrad’s pavements at considerably less speed in my Wrangler boots, I have been known to work up a good head of steam when steering a course to the local shop to replenish my beer supplies.

To be fair, the pavement on the left side of our street is not that unnegotiable until, that is, you reach the point where it meets the junction. Here there is an interesting piece that looks lunar in its construction, or do I mean destruction? By the way that’s lunar, with the stress on ‘ar’ in Russian. ‘We interrupt this discussion on pavements to bring you a surreptitious lesson on stress in the Russian language’. No stress and no sweat with this moon, however, because I know this patch of the lunar landscape well, yet woe betide you if you don’t, because it is precisely at this spot that in the absence of adequate street lighting the dark side of the moon begins.

A pavement in need of care
“That’s one small step for man, one giant leap for children.”

I remember (Oh lord, there he goes, reminiscing again!), when we returned to Kaliningrad in the winter of 2018. At that time, we were renting a flat in the Kaliningrad district close to the radio mast. Believe you me, the radio mast is something you cannot miss; a welcome beacon on a stormy night to guide you safely home after one to many in the Francis Drake.

We were walking back one evening, the radio mast towering above us in all its multicoloured splendour, my wife grumbling about the state of the pavement, the deep pits and iced-over puddles, when Victor Ryabinin, whose company we were in, showed us, with characteristic insouciance, how literally one can get round this problem. “Like this!” he said, with a giggle. And he hopped and skipped and jumped, still laughing, first around the one obstacle and then around or over the next, treating them all as lightly as if they were nothing more than mirages.

With his usual gift for doing so, Victor had taken an everyday problem and made a moral out of it, namely that there’s more in life to worry about than pavements or more to life than pavements to worry about or, as Leonard Cohen put it, “There is a crack in everything, that’s how the light gets in …” {Leonard Cohen’s Anthem: let’s dedicate it to Victor’s pofik!}

Kaliningrad Pavements

The pavement in our street on the opposite side of the road earns itself the reputation of being an obstacle course of sorts and, therefore, compared with its parallel relation, demanding of greater navigation skills and sense of co-ordination.  Once again, for some unknown reason, the most challenging aspect of it lies at the end of the street closer to the junction. Some way from this, it is mainly earthen, then tarmacadam before becoming, albeit briefly, spanking new and modern.

Incongruously, but only in looks not reason, this updated portion of pavement made from very nice decorative blocks has been laid down privately, and at personal expense, by the owner of a large house ~ impressively designed as a mediaeval fortress ~ for the express purpose of aiding both the ingress and egress of his personal vehicles and also, and understandably, as an improvement to the appearance of the frontage of his property.

Whenever I arrive at this particular section of pavement, the thought that I am about to walk across it christens me with guilt. I feel intuitively that I ought to change my boots for my carpet slippers or, at the very least, pay a toll for the privilege of crossing. Now then, now then, don’t go putting ideas into certain people’s heads!  

Unfortunately, however, after this magic carpet ride, it’s downhill all the way. The configuration of a worn and rutted entrance to a private commercial carpark, not much more than hardcore in construction, pocked with serious cavities and craters on either side, which in the rainy season fill with water, makes for a treacherous path indeed. But force of habit and the challenge that it presents has, over a period of time, deluded me into thinking that I can almost walk on water, using the stepping-stone techniques learnt when we were children for crossing fords and streams.

Knowledge is king, as they say (who does?) and as with everything in life the difference between a safe passage and one you should not have attempted (there’s a lot of those in Brixton) is knowing where to put your foot without putting your foot inadvertently in it (innit, man!).

Mick Hart Kaliningrad
Where’s Sir Walter Ralegh with his cloak when you need him?

As a not-too-young person, whenever I return from the shop with five pints of beer and a tomato, I pick and mix my pavements ~ sometimes hopping on this one, sometimes skipping on that, sometimes weaving around that section, sometimes straddling this, just as Victor taught me or rather like the tightrope walker at Robert Brothers’ Circus that I almost but never eventually became.

I go to these lengths because (a) it tests my memory (which is important as you get older, for you would not want to run the risk of forgetting what you went to the shop for: “Sorry, dear, I forgot the tomato.”); and (c) (having problems remembering the alphabet), it helps in honing the essential skills of balance and agility.

You might think that the topic of this post is right up my street, and you’d be right, but there’s a good chance that if you live in Kaliningrad, you are streets ahead of me, for this city has some wonderful streets, many with wonderful pavements, and with pavements that as each year passes are clearly on the mend.

Kaliningrad Pavement to be proud of
In step with everything …

But if the pavements on your street are still waiting on the waiting list, console yourself with the image of how things used to be! Those of you who are old enough should be able to cast your mind back to earlier times, when the mean streets of Kaliningrad were very mean indeed!.

Way back when, in the formative years of the 21st century, a pastime that I quickly cultivated whenever I visited Kaliningrad was to watch the women as they walked by. For purely scientific purposes naturally, I observed the tall, leggy women in short skirts and six-inch stilettos teetering precariously ~ but never tripping, mind! ~ strut their stuff as confidently as any model on the catwalk could across the pits, crevices and uneven ground where, prior to perestroika, Kaliningrad’s pavements once would have been but sadly were no more.

It may come as a surprise to you, but I never tired of watching these ladies; I suppose because they were so adept.

But times, as they say, have changed: the skirts are not so short, the heels are not so high and the pavements, though not as exciting, have attained for the greater part an air of respectability and those that haven’t are getting there! Sigh, progress can be a lot like love: it depends on the beholder.

Reference
* Anton Alikhanov: “Problems with sidewalks are ignored in Kaliningrad” – MK Kaliningrad (mk-kaliningrad.ru)

Former posts
What I like about Kaliningrad
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’.

Why I left the UK and moved to Kaliningrad
I did not decide to leave the UK and give up the country where I was born and everything I had ever known simply because it would furnish me with a first-class opportunity to laugh at the way the UK media brainwashes people.

Copyright © 2018-2023 Mick Hart. All rights reserved.


Remembering Victor Ryabinin, artist, Königsberg

Remembering Victor Ryabinin, Artist, Königsberg

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 …

Copyright © 2018-2022 Mick Hart. All rights reserved.

Dedicated to Victor Ryabinin
Victor Ryabinin Königsberg Kaliningard
Дух Кенигсберга Виктор Рябинин
Victor Ryabinin Königsberg Artist Historian
Художник Виктор Рябинин Кёнигсберг

Victor Ryabinin Plaque Mick Hart and V Chilikin

Victor Ryabinin Pushes Boat Out with Bronze Aged Fisherman

A monumental occasion

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.

Renovation of the Statue
A Memorial Garden for Victor Ryabinin

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.

Links> Victor Ryabinin
Victor Ryabinin Königsberg Kaliningrad
Дух Кенигсберга Виктор Рябинин

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.

Chilikin paints Soviet Statue Bronze

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.

Victor Ryabinin memorial
Chilikin takes a break from restoration

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.

Copyright © 2018-2022 Mick Hart. All rights reserved.

Victor Ryabinin Art Exhibition

Victor Ryabinin Art Exhibition Kaliningrad opens December 2021

An Artist who Can Hear Angels Speak

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:

Victor Ryabinin Königsberg Artist-Historian
Художник Виктор Рябинин Кёнигсберг
Victor Ryabinin Königsberg Kaliningrad
Дух Кенигсберга Виктор Рябинин
Victor Ryabinin the Artist Born in Königsberg
Stanislav Konovalov ~ student and friend of Victor Ryabinin

“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

Tel: 8 (4012) 994-900; 8 (911) 868-31-76

Email: koihm@westrussia.org (director’s reception)

Website: https://westrussia.org/

Opening times
10am to 6pm Monday ~ Sunday
(Note cash desk open until 5pm)

Copyright © 2018-2022 Mick Hart. All rights reserved.

Hippy Party on the Baltic Coast

Hippy Party on the Baltic Coast

A funky, flower-power, fabulous day

Published: 13 September 2021 ~ Hippy Party on the Baltic Coast

It didn’t go exactly according to plan, but then what does? I am talking about our hippy party, which was scheduled to take place on the 11th September 2021. The main stumbling block was the weather. We had decided to hold the event on the 11th because two weeks before the day assorted internet weather services were predicting uninterrupted sun, but as the days fell away from the calendar, so the forecast changed erratically.

One consultation revealed that it would be overcast, another that we were in for intermittent rain, another that … In desperation, I even turned to the BBC weather site, knowing only too well that their forecasts, like everything else that they do, has a sharp liberal left slant  to it, so the probability of getting the truth, the half-truth or anything but the truth was rather hit and miss, and yes, their forecast was also chopping and changing, like the way they had reported Brexit and the EU referendum.

It was hardly surprising, therefore, that as the day drew near, one by one, people cried away; and on the evening before the day that the party was to take place, we cancelled it.

Between times, we had succeeded in completing the renovation of Captain Codpiece, the deteriorating statue in our garden. Our friend and artist Vladimir Chilikin, with the help of a beer or two, had transformed Codpiece from the worn concrete man that he had become over the past 40 years into a strapping bronzed figure, in which many lost details could now be clearly seen.

Olga Hart with Russian fisherman statue
Olga Hart with renovated fisherman statue

We, my wife and I, had been admiring Chilikin’s work from the pavement at the end of the garden when who should materialise but our friendly stout babushka.

“Hello,” we regaled her, cheerily.

“Why have you spoilt him?” she asked.

I knew she could not have been referring to me, so she must have meant the statue. Before we had chance to reply, she had exclaimed “He’s black!”

I heard someone saying, but I know not from whence the voice came, that it would not surprise me if it was black. Being British, I am only too aware that white statues are an endangered species, at least in the UK, and that, unless they are all painted black, it won’t be long before they will all have been run off with and thrown over some wall or other into a watery mire. But I ignored this voice and simply retorted, “No, in fact, he is bronze.”

“Well,” replied the stout babushka in a rare moment of concession, “I wouldn’t know because I am peearnee (drunk).”

I think in all fairness we can say ‘tipsy’, because when Olga collected some litter from the side of the road and placed it in our rubbish bag, babushka was quick to comment: “Huh! Haven’t you got anything better to do with your time!”

The statue, which is bronzed not black, was completed that afternoon. We had brought the marble glazed plaque to Victor Ryabinin with us, and before we left at the end of the day, we dragged the boat into place and finished the ensemble.

Hippy Party on the Baltic Coast

We came back on the 11th September as, on the morning of that day, we discovered that the weather forecast had changed again. Now we were informed that it would rain but not until 8pm, and until that time it would be bright and sunny, with temperatures reaching 26 degrees centigrade.

It was too late to rally the fringe, but the old faithful were ready to go and at a moment’s notice, so our hippy party went ahead, albeit reduced in numbers.

An executive decision was reached that it did not seem proper to combine the opening of Victor’s memorial with everyone dressed in flower power, even though Victor’s Boat with Flowers put flowers centre stage. But we abided by the decision and reserved the ceremony for a later date

The renovated statue, rocks adorning the plinth and Victor’s Boat with Flowers joined forces with our rather silly attire, caricature wigs, bright-coloured cushions and mats and, with the help of Arthur’s classic Volga and the dulcet tones of the Beatles wafting from our music system, attracted many a stare and comment from passing villagers.

The stout babushka was not in evidence today, which was a shame. I am sure that she would have had a thing or two to say had she witnessed our shenanigans. But at some point in the early evening a different distraction occurred. Someone had sent a drone buzzing over the garden and consigned us all and our antics to film.

I am sure that a hippy party, themed or not, would not have gone down well had this been the former USSR, even though, or especially since, drinking cognac from cognac glasses gave our particular brand of hippyness a rather bourgeois air.

Peace man! (no sexism intended, of course)

Hippy Party on the Baltic Coast
Mick Hart with Artour, who looks like a cross between Jimi Hendrix and Benny Hill
Mick Hart with Egis Kaliningrad
Mick Hart with Egis looking as cool as cucumbers on a hot day

Copyright © 2018-2021 Mick Hart. All rights reserved.

Mick Hart renovating Codpiece statue

A Memorial Garden for Victor Ryabinin

Pushing the boat out

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 Boat with Flowers

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.

Chilikin renovating Statue
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.

Painting boat for Victor Ryabinin memorial
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.

F.A.B. cats!

Links to posts on Victor Ryabin, Artist

Victor Ryabinin at One with Königsberg

Victor Ryabinin at one with Königsberg

Victor Ryabinin, artist, Königsberg
17 December 1946 ~ 18 July 2019

Why Victor Ryabinin will never leave Königsberg

Victor Ryabinin, a word with him after his death:
Thoughts on the second anniversary of Victor’s death

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 Kaliningrad and its region.

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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.

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The following articles relating to Victor, his life and his art, also appear in this category:

Victor Ryabinin Königsberg Kaliningrad

Victor Ryabinin the Spirit of Königsberg
Oдин из самых замечательных людей, которых я когда-либо встречал
I first met Victor Ryabinin in the spring of 2001. A friend of my wife’s, knowing how much my wife liked art and how fascinated I was with anything to do with the past, suggested that we meet this ‘very interesting’ man, who was an artist and a historian.

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

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

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  Kaliningrad

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 …

Copyright © 2018-2021 Mick Hart. All rights reserved.