Peepshow

Climate for Change: An Exhibition by Atlantika Collective at MICA's Pinkard Gallery

All 8 members of @Atlantika Collective are creating artwork, writing or curating in relation to the climate crisis and the environmental challenges we currently face. And now, the fourth in an ongoing series of group exhibitions explores this theme, which may be the single most important challenge that humankind faces. Titled Climate for Change, the latest exhibit evolves further to respond to the new location, the Pinkard Gallery at the Maryland Institute College of Art (MICA) in Baltimore. It features new or recent work by Gabriela Bulišová, Todd Forsgren, Billy Friebele, Mark Isaac, Katie Kehoe, Yam Chew Oh, and Sue Wrbican, and it is on view through March 3, 2024.

Atlantika members use photography, video, sculpture, and painting to approach the climate emergency from a variety of disparate vantage points. Member and curator Maria Alejandra Sáenz grouped the show according to broad themes, including artwork related to water, our forests, and other ecological subjects. These focal points assist the viewer in drawing connections between the work of the disparate artists. According to Sáenz's written statement, Climate for Change "illustrates the current environmental emergency and complex symptoms of climate change. As the ecological planetary crisis unfolds, the works in this exhibition advocate for immediate action. They act as beacons that bring light to the possibilities of transforming our relationship with the natural world."

Images by Yam Chew Oh were captured during installation of the exhibition.


The opening reception will take place on January 25, 2024 from 5:00 to 7:00 pm. You can find more details about the event here: https://www.mica.edu/events-exhibitions/events-calendar/details/atlantika-collective-climate-for-change-opening-reception/2024-01-25/. That will be followed closely by a joint artist talk by Atlantika members on January 29th at noon in Falvey Hall in MICA's Brown Center. Several Atlantika members will appear live and others will join by video from around the US and Europe. The artists will provide background on Atlantika Collective, discuss their goals and intentions in addressing climate change, present their work, and take questions. 

In addition, the artists plan a panel discussion together with local environmental activists to focus on their goal of moving beyond "raising awareness" and contributing to a groundswell of action aimed at reversing the environmental damage we are currently witnessing. The details of this event will be announced in the near future. All events are free and open to the public.

The Members of Atlantika are extremely thankful to Yam Chew Oh, whose hard work was critical in bringing about the exhibition, to curator Maria Alejandra Sáenz, to Megan Irwin for her outstanding graphic designs, to Andrea Dixon and the entire exhibitions team at MICA, and to the MICA professors, environmental activists, and other individuals involved in organizing the related events. 

The Path Toward "A Tree for the Forest"

The installation of A Tree for the Forest, the new exhibition by Atlantika Collective members Gabriela Bulisova and Mark Isaac, has now begun at the Municipal Gallery at Ibrahim’s Khan in Pafos, Cyprus. It was an occasion for exhilaration, nervousness, hard work and considerable coffee consumption. It was also a moment to fully acknowledge the creative vision of curator Yiannis Sakellis, whose strategy for hanging the exhibition proved to be an excellent one. 

In this exhibition, the artists focus on the role of trees in the climate crisis. The work is simultaneously despairing and hopeful. It zeroes in on the tragic loss of forested areas to wildfires in recent years, but it also takes careful note of the new scientific discovery that trees communicate extensively with each other in underground networks, sending nutrients and warning of danger. “Mother trees” also provide essential support for younger trees in their vicinity. This discovery offers the promise that we can better protect our forests, which have the potential to substantially reduce greenhouse gasses in the atmosphere. 

The main photographs by both artists are wide panoramas. Gabriela’s works are all more than 4.5 meters in length (that’s almost 15 feet stateside), and one reaches to 4.7 meters, or almost 15.5 feet. This easily surpasses the widest print that either artist has ever made. And the artists are interested in inquiring of other photographers who may see this post whether they have ever printed this wide, or know of someone who has? Mark’s works are not shabby in the length department either, reaching beyond 2.5 meters despite their origins on cell phones. 

Curator Yiannis Sakellis devised an ingenious method of hanging the works that involves panels of board joined together in one long strip. The long scrolls are then clipped to the panels and hoisted onto the walls of the gallery. A total of three large works were hung today, with the rest of the 10 images slated for hanging tomorrow. 

The exhibition also includes a multi-channel video installation, titled Mother Trees, that will be presented in a novel manner. Several video monitors will be placed flat on a table and will be viewed from above. The video includes images of trees that were captured in Prague and Paphos. It also includes original music and found sounds of communication, including sounds that were recorded as part of the Conet Project. The Conet Project is a famous set of recordings of shortwave radio broadcasts that contain instructions to espionage operatives around the world. 

Finally, the exhibition will include an installation of objects found at the scene of wildfires in the vicinity of Paphos, including Tala, Lemona, and Psathi. The found objects include almonds, olives, pomegranates and tree branches that were burned in the fires. It also includes tree sap that oozed out of trees when they were exposed to high temperatures.

In their statement to accompany the exhibition, the artists note that Cyprus is a hotspot in the accelerating climate crisis. It is among the parts of the world that are increasing most rapidly in temperature, and it experienced the worst wildfire in its history this year. 

They also explain that the title of the exhibition, A Tree for the Forest, is intended to emphasize the agency of each individual in responding to the crisis. In fact, the artists call on each person who encounters the exhibition to think of one additional action they can take to mitigate the climate crisis. “We can all stand tall, like a mother tree, connected to those around us, providing essential support for healthy forests and a healthy planet,” Bulisova and Isaac wrote. 

Art on the "Wood Wide Web"

Atlantika Collective Members Gabriela Bulisova and Mark Isaac are currently in Paphos, Cyprus as part of the Episkeptes artist residency program at Kimonos Arts Center. Their project focuses on the ecological threats facing trees and forests, including the climate crisis and the growing number of wildfires around the world. But it also has a hopeful side.

The duo is creating new images devoted to expressing the recent scientific discovery that trees communicate with each other through a “wood wide web” of underground fungal networks. The research of scientist Suzanne Simard makes clear that trees use “wood wide webs” of fungus to send alarms about danger and to share carbon, water and other nutrients. “Mother trees” also act as central hubs to support younger, smaller trees in their vicinity. Now that we better understand that trees are highly cooperative, we can prevent tragic practices like clearcutting that destroy the forest and prevent it from being restored quickly.

The artists are creating panoramic photographs of the tree canopy that strongly suggest the manner in which roots and fungal networks mingle and communicate. Here are some details from these images, in which trees reach out to each other, vibrating with energy, singing, dancing and cavorting. These teaser images are not in the show, which includes sweeping panoramas printed two and a half meters in width, but they give you a sense of the direction of the work.

The new exhibit opens Saturday, December 18th at 7:30 pm at the Municipal Gallery at Ibrahim’s Khan in Pafos, Cyprus. It is possible because of the strong support of the Kimonos Art Center and curator Yiannis Sakellis.

Climate Crisis Project Underway in Cyprus

Atlantika Collective members Gabriela Bulisova and Mark Isaac are already hard at work on their project as part of "Episkeptes, a residency at the Kimonos Art Center," an artist residency program based in Paphos, Cyprus. Much of their attention centers on ecological themes, and their work in Cyprus is focused on the ecological threats facing trees and forests, including the growing impact of wildfires. Around the world, the fire season is longer, more land is burned, and fires are more destructive than before. Of course, each of these events releases more carbon dioxide, worsening climate change. Cyprus is at the center of this new reality, having experienced the worst wildfire in the nation’s history in 2021. In Paphos, numerous smaller wildfires have broken out in recent weeks, and the artists have already visited several of these sites in the hope of incorporating them into the project. Their work simultaneously focuses on two related themes: the rampant spread of wildfires and the scientific discovery that trees communicate extensively through underground networks. Here are several details from the first theme of their work, which is created by treating an entire roll of film as a single image of a burnt landscape.

Mark’s and Gabriela’s work will be presented during the month of December in an exhibition organized and curated by Kimonos Art Center. More information and details will be announced soon. The program “Episkeptes” is funded by the Cultural Services of the Ministry of Education, Culture, Sports and Youth.

——————

Η Gabriela Bulisova και ο Mark Isaac, οι πρώτοι συμμετέχοντες του προγράμματος φιλοξενίας καλλιτεχνών «Επισκέπτες» του Κέντρου Τεχνών Κίμωνος είναι ήδη σε ρυθμούς προετοιμασίας των έργων που θα παρουσιάσουν στην προσεχή τους έκθεση. Με το έργο τους να επικεντρώνεται σε οικολογικά προβλήματα, κατά τη διάρκεια της παραμονής τους στην Πάφο διερευνούν τις επιπτώσεις των πρόσφατων πυρκαγιών στις πυρόπληκτες περιοχές της επαρχίας μας. Σε όλο τον κόσμο η περίοδος των πυρκαγιών γίνεται όλο και μεγαλύτερη όσο περνά ο καιρός, με μεγαλύτερες εκτάσεις γης να καίγονται και τις φωτιές να είναι συνεχώς και πιο καταστροφικές. Αυτό φυσικά, έχει ως επακόλουθο σε κάθε πυρκαγιά να απελευθερώνεται στην ατμόσφαιρα όλο και περισσότερο διοξείδιο του άνθρακα χειροτερεύοντας έτσι, την ήδη καταστροφική κλιματική αλλαγή. Η Κύπρος δεν αποτελεί εξαίρεση σε αυτή τη νέα πραγματικότητα και τους τελευταίους μήνες έχει υποστεί τις χειρότερες πυρκαγιές στην πρόσφατη ιστορία της. Στην Πάφο είχαμε πολλές εστίες πυρκαγιών τις οποίες οι δύο καλλιτέχνες έχουν ήδη επισκεφτεί και φωτογραφίσει, εντάσσοντας τα αποτελέσματα αυτά στο ευρύτερο έργο τους. Στις φωτογραφίες που ακολουθούν μπορείτε να δείτε μερικά από τα δείγματα του έργου τους, τα οποία έχουν δημιουργηθεί ως μία μοναδική εικόνα από ένα ενιαίο ρολό φιλμ ως μαρτυρία μιας καμένης γης.

Το έργο των Mark και Gabriela θα παρουσιαστεί κατά το μήνα Δεκέμβριο σε έκθεση που διοργανώνεται από το Κέντρο Τεχνών Κίμωνος. Πληροφορίες και λεπτομέρειες θα ανακοινωθούν σύντομα.

Περισσότερα για το έργο των Mark και Gabriela στον ακόλουθο σύνδεσμο:

https://www.bulisova-isaac.com/

Το πρόγραμμα «Επισκέπτες» χορηγείται από τις Πολιτιστικές Υπηρεσίες του Υπουργείου Παιδείας, Πολιτισμού, Αθλητισμού και Νεολαίας.


The Crown's Silhouette

Mark Isaac

I admit it. When it comes to the wild proliferation of images in the world, I’m an unreformed offender. Not only do I capture them recklessly and with abandon, but I store endless numbers of images in an ever-expanding battery of costly storage devices with a proclivity to fail.

And there’s nothing I’ve photographed more than trees. Since the very first days of my photographic habit, decades ago, when I started capturing the images of trees on the shiny reflective surfaces of cars, I’ve returned to trees with more frequency than any other subject. 

Why? I consider trees among the most beautiful things in the world. I know it’s considered unfashionable by some to prize the appearance of the natural world, lauded endlessly by so many for thousands of years, over objects that humans craft in this technological age with an intense focus on the perfection of their design. 

But the monsters of the plant world, clasping with an immense ball of roots deep into the earth, sending a monumental trunk skyward, and spreading a sheltering crown above our heads, offer ageless and undeniable visual delight. The diversity of species, shapes, sizes, barks, leaves, flowers, seeds. The manner in which branches seek the sunlight in imperfect symmetry. The wabi sabi of peeling bark, dead branches, knots, and burls. In some, the exquisite contradiction of stretching upward, then cascading downward in weeping fronds. 

And now comes word that, no fake news about it, something miraculous is happening. There is scientific confirmation that trees are not solitary, but instead communicate in huge, extended, complex underground fungal webs (known as mycorrhizal networks), sending alarms about danger, and sharing carbon, water and other nutrients. This impressive level of collaboration even extends beyond species. 

More than 5 years ago, I started making panoramic photographs of the tree canopy while walking underneath with my iPhone. The phone camera is prone to making “mistakes” as it strives to knit the images of the treetops together. But the fortuitous accidents it records seem to express the truth about trees better than the more representational image that the phone’s camera is designed to produce. They are images of trees reaching out to each other, vibrating with energy and motion, dancing and cavorting.

They are also images that capture the darkness that is upon us in the age of climate crisis and environmental collapse. The trees’ crowns appear as silhouettes of foreboding darkness, taking on anthropomorphic shapes, groaning in disbelief and pain, and whispering truths and organizing rebellion. After all, as a tree, there is much to fear: drought, extreme weather, the spread of wildfires, rampant legal and illegal logging, deforestation, the list goes on. These problems are worldwide and colossal in their implications.

I devoted only sporadic time and energy to the project until recently, while in lockdown in Prague. During the pandemic, our mental and physical health relies largely on spending long periods outside, running along the Vltava River or strolling through Prague’s impressive parks, such as Stromovka (named for its trees), Letna, Vitkov, or Krejcarik. The grandeur of the trees is always on prominent display, often alongside a demonstration of their fragility: the Slavic obsession with trimming them or cutting them down.

The final product of this effort will be panoramic images, but paranormal panoramas: images that reveal the trees in all their “vegetality,” as living, communicating beings with intention, expressing the magnificence of natural creation, as well as the fragility of our contemporary, interconnected world. They are images that capture the enormity of what is at stake, and the intense danger that plants and animals now face in the wake of catastrophic environmental damage.

The panoramas, which are difficult and time-consuming to create, are still in progress. But today I’m sharing one of them in addition to a series of details from the larger images that offer a window into the ongoing project. I hope you will enjoy them and that they will whet your appetite for the full panoramas to come. And I hope you’ll share your thoughts about this latest body of work in progress. 

An example of a full panorama of the treetops, as part of a body of work currently in progress.

Human Nature: Seers from the Upper World Природа человека: Провидцы из Верхнего Мира

New work by Valery Kondakov / Новая работа Валерия Кондакова

85 cm х 44 cm х 6 cm. Photograph by Valery Kondakov / Фото Валерия Кондакова.

Valery Kondakov, a professional artist who lives and works in Nizhneangarsk, a remote town at the northernmost point of Lake Baikal in eastern Siberia, is a regular contributor to Atlantika Collective. His prolific and diverse artwork includes painting, graphics, sculpture, decorative art, literature, and poetry. It is created under the pseudonym “Evi Enk,” a reference to his indigenous Evenki roots.

Валерий Кондаков, профессиональный художник, живущий и работающий в Нижнеангарске, отдаленном городке на самой северной точке озера Байкал в Восточной Сибири, является постоянным сотрудником Коллектива Атлантика. Его плодовитые и разнообразные произведения искусства включают живопись, графику, скульптуру, декоративное искусство, литературу и поэзию. Он создан под псевдонимом «Эви Энк», отсылка к его коренным эвенкийским корням.

90 cm х 32 cm х 6 cm. Photograph by Valery Kondakov / Фото Валерия Кондакова.

In this post, Kondakov introduces us to his new body of work titled “Human Nature: Seers from the Upper World.” In describing the new pieces, he writes simply, “We create because our brains create it. But then who is he - the creator of our brain? And why then do we create? Seers from the Upper World can answer many questions with signs that they send us while we are still human.”

В этом посте Кондаков знакомит нас со своей новой работой под названием «Природа человека: Провидцы из Верхнего Мира». Описывая новые произведения, он просто пишет: «Мы создаём потому, что это создаёт наш мозг. Но тогда кто есть он, - создатель нашего мозга? И для чего тогда мы создаём? На многие вопросы могут ответить Провидцы из Верхнего Мира знаками, которые они нам присылают, пока мы ещё люди.».

8 7 cm х 42 cm х 5 cm. Photograph by Valery Kondakov / Фото Валерия Кондакова.

Russian anthropologist Anna Sirina has studied and written about Kondakov’s work. Among other things, she emphasizes his place in the movement known as “neoarchaicism,” an artistic direction “formed in Siberian art of the late 20th to early 21st century, based on the artists' appeal to the archaeological heritage, myth and ethnic roots of the peoples of Siberia.”

Русский антрополог Анна Сирина изучала и писала о работе Кондакова. Среди прочего, она подчеркивает его место в движении, известном как «неоархаизм», художественном направлении, «сформированном в сибирском искусстве конца XX - начала XXI века на основе обращения художников к археологическому наследию, мифам и этническим корням народов Сибири».

89 cm х47 cm х 7 cm. Photograph by Valery Kondakov / Фото Валерия Кондакова.

But she goes on to clarify that Kondakov uses his attachment to images of ethnic cultures in a decisively modern way. “For Valery Kondakov,” she writes, “it has become a kind of carte blanche, which allows us to talk about modern problems of society, express our point of view on the modern world and the processes of rapid cultural change and globalization taking place in it, using traditional images, symbols, colors inherent in Evenk culture, but in a rethought, revised form.”

Но далее она поясняет, что Кондаков решительно современно использует свою привязанность к изображениям этнических культур. «Она стала для Валерия Кондакова своего рода carte blanshe, которая позволяет говорить о современных проблемах общества, высказывать свою точку зрения на современный мир но в переосмысленном, переработанном виде».

89 cm х 38 cm х 6 cm. Photograph by Valery Kondakov / Фото Валерия Кондакова.

The harsh Siberian winter is already intruding in Nizhneangarsk, where Kondakov lives a reclusive lifestyle, and in the last few days, he was forced to pause and move from his summer studio into his winter studio. But his nonstop quest will soon continue.

Суровая сибирская зима уже вторгается в Нижнеангарск, где Кондаков ведет затворнический образ жизни, и в последние дни он был вынужден сделать паузу и переехать из летней студии в зимнюю. Но его безостановочные поиски скоро продолжатся.

90 cm х 41 cm х 9 cm. Photograph by Valery Kondakov / Фото Валерия Кондакова.

“By all means available to him,” Sirina writes, “the artist is looking for answers to the questions: who am I in the modern world and what is I and where is this world going?” And in answering these questions, he believes we cannot ignore our roots and our ethnicity. And we cannot ignore the natural world, which is a living, breathing entity to which we are all deeply and inextricably connected.

«Любыми доступными ему способами, - пишет Сирина, - художник ищет ответы на вопросы: кто я в современном мире, что я такое и куда этот мир движется?» И, отвечая на эти вопросы, он считает, что мы не можем игнорировать наши корни и нашу этническую принадлежность. И мы также не можем игнорировать природу, которая является живым, дышащим существом, с которым мы все глубоко и неразрывно связаны.

85 cm х42 cm х 7 cm. Photograph by Valery Kondakov / Фото Валерия Кондакова.

Ceramic Music / Керамическая музыка

Evgeny Masloboev / Евгений Маслобоев

Of all the languages that exist on the planet Earth, the language of musical improvisation is the closest to the language of the Garden of Eden. 

     -- Evgeny Masloboev

Cinema news: The virus is rampant in the streets, in people’s souls and minds. Meanwhile, in Irkutsk, Russia, the process of creating a feature musical film "Star Alphabet" begins. Four film shorts, "Adam", "Light", "Water", and "String Theorem" are united by the idea of the process of searching for the alphabet of a forgotten language – the language with which all living beings previously communicated, including plants, animals, angels, God, and man in the Garden of Eden. The authors of this movie epic suggest that such a proto-language could be the language of the universal vibrational field. And music is now our only memory of this language, its pale shadow.

The first film short was born out of my desire to play music on a ceramic tile… And then the wheel of associations was spinning: tile...clay...Adam. In the basement of the store of ceramic tiles and finishing materials, "Red Line," courtesy of Arkady Olgin, a wonderful sample of ceramic music was created – the first composition of the film "Alphabet". The second musical piece was born in the depths of the ceramic workshop "Les,” thanks to the outstanding assistance of Andrey Zhuravlev.

The filmmakers include: Evgeny Masloboev, Ivan Milov, Stepan Turik, Olga Kurlykina, Izolda Ferlikh, Lila Kananykhina, Polina Turik, Irina Lipovitskaya, Albert Faskhutdinov and Dmitry, Svetlana, and Ksenia of the Milov family.

(Evgeny will continue to provide updates on this project as more progress is made.)

 

Евгений Маслобоев: «Из всех языков, существующих на планете Земля, язык музыкальной импровизации – самый близкий к языку Эдемского Сада…»

Новости кинематографа. На улицах, в душах и умах свирепствует вирус. А тем временем в Иркутске начинается процесс создания художественного музыкального фильма «Алфавит» (рабочее название «Звёздная Азбука»). Четыре киноновеллы: «Адам», «Свет», «Вода», «Теорема струн» объединены идеей процесса поиска алфавита забытого языка – языка, с помощью которого общались все живые существа: растения, ангелы, животные, Бог и Человек в Эдеме – райском саду. Авторы этой кино-эпопеи предполагают, что подобным праязыком мог быть язык всеобщего вибрационного поля. И музыка – постфактум – это лишь наше воспоминание об этом языке, его бледная тень.

Новелла «Адам». Евгений Маслобоев рассказывает: «Идея новеллы «Адам» родилась из моего желания поиграть музыку на керамической плитке… А дальше – завертелось колесо ассоциативного ряда: плитка – глина – Адам…». В подвале магазина керамической плитки и отделочных материалов «Красная Линия», любезно предоставленного Аркадием Ольгиным, был создан замечательный образчик керамической музыки – первая композиция фильма «Алфавит». Вторая музыкальная пьеса была рождена в недрах керамической мастерской «Les», благодаря огромному содействию Андрея Журавлёва.

Творческая группа создателей фильма: Евгений Маслобоев, Иван Милов, Stepan Turik, Ольга Курлыкина, Izolda Ferlikh, Лиля Кананыхина, Полина Турик, Ирина Липовицкая, Альберт Фасхутдинов и Дмитрий, Светлана, Ксения – семья Миловых.



Tombolo: The Thin Strip that Binds Us Together

Gabriela Bulisova & Mark Isaac

Until a few days ago, we were exiled in Montenegro. It’s a place where astonishing, mountainous cliffs tumble into the sea, interrupted by a string of pink, pebbly beaches that face Italy across the Adriatic Sea. The sunsets kept on giving.

We ended up there because Mark’s bid for a longer-term stay in Slovakia is wrapped up in bureaucratic delays that forced us to leave the Schengen area for 90 days. Montenegro beckoned, with its lower prices and relatively warm winter, a sharp contrast to last year in Siberia. And all of a sudden we were again distant from our friends in Central and Eastern Europe, in the U.S., in Siberia, and elsewhere. Getting work done but feeling alone.

And it got us thinking about staying connected. The last few years have taken us in so many unexpected directions. We sold our house in the U.S. and lived one year each in Ukraine and Siberia. We spent significant time in Slovakia and Central Europe, and now we’re unexpectedly experiencing Croatia, Montenegro, and Bosnia and Herzegovina. Our work also took turns in new directions, including more writing, more abstraction, more video, and original music from scientific data. It was simultaneously stimulating and intriguing, but also disruptive and lonely.

And now comes a new twist: we are compelled to distance ourselves from others because of the serious health threat that is sweeping across the world.

Of course it’s not as hard as in the past to stay connected, given the ability to work online and video chats. But connecting that way is not only second best, it somehow becomes more difficult as distance increases. And I need not go in depth here on the flaws in our maddeningly frustrating, exploitative and immoral social media platforms. 

In our opening blog post for our new website, we used the metaphor of wolves howling in the night as a way of thinking about the urgency of the moment and the need for people to join and react vocally. Of course howling is not enough. The howling of wolves is an incitement to group action. And that’s what we need – stronger communities that join together in a movement for change and revitalization.

There are many examples of people who are entrepreneurially leading the way, with meaningful projects and outstanding outcomes – people who deserve our support and encouragement. But even if we’re committing ourselves to socially beneficial outcomes at this time of oversized threats to democracy, the environment, and human dignity, it often feels like we’re each marooned on our own islands without a true connection to others at a time when we desperately need one. 

That’s when we saw it. Along the Montenegrin coast, rocky formations alternate with serene beaches and innumerable small islands. But there’s one exception – Sveti Stefan, a tiny “tied island” connected to the mainland. We recently learned (or re-learned, I’m not sure) the meaning of the word “tombolo,” which is a sand bar connecting an island to the mainland or to another island. Sveti Stefan is connected to the world by a tombolo.

We hope our new website will go well beyond a simple presentation of what we’ve created so others can “enjoy” it. Through the Tombolo Blog, with its ability to create dialogue and reach out to others directly, we’re hoping to initiate an authentic conversation – and build ties between people that will help us bridge through an increasingly bleak period of U.S. and world history. 

On some level, we recently realized, our newest projects are all about loss or the threat of loss, whether it’s the environment, our loved ones, or of memory itself (see Featured Projects). And those are the threats that all of us are facing at this moment in time: loss of life, of love, of truth, of the belief in a better future. 

So fundamentally, this is a time when we need meaningful connections with others, even if it is just a thin strip of sand. It is a time when the voices of artists and their allies, speaking the truth, need to be joined together into something larger. It’s a time when the individual ego needs to be kept in check so that the good of the community will take priority.

Even in this exceptionally strange moment of “social distancing,” let’s build a bridge to each other. Let’s build something larger than ourselves. Let’s build a tombolo.

A Symphony of Howls

According to Wikipedia, “Gray wolves howl to assemble the pack...pass on an alarm...to locate each other during a storm or unfamiliar territory and to communicate across great distances.” Are we not in a great storm, crossing unfamiliar territory, facing innumerable threats? Shouldn’t we follow the example of the wolves -- and howl?

Embers and Effluents: New Video About Lake Baikal’s Emerging Threats

Gabriela Bulisova & Mark Isaac

During our sojourn in Siberia, one of the most important tools we used to depict Lake Baikal was multi-channel video. The Second Fire, which was screened in Irkutsk’s Bronshteyn Gallery in late Summer, is a three channel video that focuses on the impact of climate change and pollution on the Lake. A Russian student described it as “truly frightening.” If it scares her and her classmates into action, we will take it as a compliment.

The Second Fire is inspired by a native Buryat legend about Lake Baikal. According to this origin myth, there was an enormous earthquake, fire came out of the earth, and native people cried “Bai, Gal!” or “Fire, stop!” in the Buryat language. The fire stopped, and water filled the crevice, creating the Sacred Sea. Now, the Baikal region is one of the areas experiencing the most rapid increases in temperature in the world. The video suggests that the warming of Baikal is a “Second Fire” that threatens the Lake and the people who rely on it.

Now, we’ve produced a sequel...another three-channel video, called Embers and Effluents. This video goes beyond the most obvious challenges that Baikal faces to depict emerging threats that have the capacity to create a “feedback effect,” rapidly accelerating warming and environmental damage. Scientists know that these threats are approaching a tipping point more quickly than current climate modeling anticipates.

Vast territories of previously frozen permafrost are melting, discharging enormous quantities of carbon dioxide and methane. Rampant summer wildfires are causing dramatic loss of forested area. Widespread legal and illegal logging is also contributing to rapid deforestation. And as temperatures increase, the flow of the Lake’s tributaries is dwindling, reducing water quality and releasing additional methane.

We were inspired greatly by the “environmental ethics” of Baikal’s first environmental stewards, native Buryats and Evenks. They lived in harmony with nature, taking only what they needed to survive. These indigenous people lived their lives in deep concert with the natural world long before the environmental movement developed in the West. Now, despite the serious threats that Baikal faces, the Siberian tradition of sustainability offers a reminder that we can restore balance in our relationship to the natural world.  

We witnessed and filmed multiple ceremonies of native Buryat shamans appealing to the gods for harmony and healing in the natural world. The shamans correctly insist that the Sacred Sea is powerful and resilient. But is this enough to turn things around? True hope will only emerge if the world is able to embrace transformational change, avoiding the feedback effect and the worst impacts of climate change and pollution.

Like The Second Fire, our new video features original electronic music composed from scientific data about the impact of climate change on Lake Baikal. In particular, we used studies of the impact of temperature changes on some of Baikal’s smallest and most important organisms: tiny amphipods that inhabit the shallow banks, the deepest crevasses, and everywhere in between. The amphipods are heavily affected by temperature changes, and the film’s music gives them a voice that they wouldn’t otherwise have. As temperature data rises, the notes also rise and become more shrill, as if the amphipods are crying out for help. 

During our year in Siberia, we had almost daily encounters with the power and majesty of Baikal’s crystalline water, the looming white-capped mountain peaks that tower over its banks, and the endless forests that surround it. But we also witnessed endless trucks and trains hauling away the taiga’s precious trees. We breathed in the smoke from raging forest fires and witnessed the charred remnants of past fires. We photographed piles of rotting algae on the beaches, and we documented the shriveled banks of tributary rivers, running dry from the heat.

That is our choice now: reverse course and care for Baikal sustainably -- or resign ourselves to a future of embers and effluents. 

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A few important acknowledgements: The music in Embers and Effluents was composed from data about climate change collected by scientists at Irkutsk State University. The music was enhanced in collaboration with Evgeny Masloboev, a highly innovative Irkutsk-based composer and musician. The video also includes footage of underwater life courtesy of the Baikal Museum’s live web-cams and native bird calls captured by Professor B.N. Veprintsev. 

Surface Tension / Water Samples

Todd R. Forsgren

“Water, water everywhere, nor any drop to drink,” goes the famed line in Samuel Taylor Coleridge’s 1798 epic poem, The Rime of the Ancient Mariner. Coleridge was inspired by the voyages of discovery that were occurring during the era, such as those of James Cook, Thomas James, and George Shelvocke (and similar to later expeditions like the U.S Exploring Expedition or Darwin’s The Voyage of the Beagle). It is a poem full of all the twists and turns characteristic of a quintessential epic.

Inspired by that poem, and the breadth of emotional responses that it elicits, I set about to make this series. I aim to create a similar emotional range through the photographic exploration of the surface of water. Water, which so unassumingly covers approximately 71% of the earth’s surface.

I have sought out some of these bodies of water that are unique in their purity and clarity, or for their incredibly high levels of toxins and pollutants. Other images mine the history of photographic technology and the ways that it can alter the appearance of water’s surface. For most of the history of photography, it has been a wet process, and I seek to connect that with these images, as I’ve likely spent as much time staring into darkroom trays as I have spent looking at the sea.

I want to push that connection between photographic material and liquid surfaces. This involves delving into early techniques use to make color photographs as well as obscure photographic materials, such as color infrared film. The results can be sublime as well as grotesque. I seek to show how infinitely varied and monotonous similar this familiar subject matter can be. An easily overlooked material that is as mundane as it is precious and essential.

Cyberian Dispatch 10: Baikal Speaks in Music

Gabriela Bulisova & Mark Isaac

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The oldest, deepest and largest lake by volume cannot be fathomed easily, but one way to plumb its remote depths is to listen. And if you listen to Baikal, it quickly becomes obvious that the Lake is speaking. It is not speaking in words. Instead, the Lake expresses itself in music.

We have written before about its sloshing waters, its merciless winds, its frolicsome crows, and other inimitable Baikal sounds. But the most formidable -- and also terrifying -- sound of Baikal is the sound of its ice cracking.

It starts as a sort of science fiction-y pinging, a bit like the sounds you associate with old movies about submarines. These pings and bwowops vibrate and stretch across vast expanses, often followed by a sharp crack or two or more. Then, if you are lucky (or unlucky, if you are as fearful as us), you may hear tremendous thunder as the ice actually sunders apart somewhere nearby.

The first time we heard a large crack while walking on Baikal’s ice, it registered in our brains as an earthquake (small ones are not uncommon here), and we leapt to our feet and ran immediately toward the distant shore (as fast as one can on a spectacularly slick surface). Then we noticed the locals, who went on skating and cavorting on the ice without pause. And we stayed for more of Baikal’s pinging, gurgling and cracking -- its unsurpassable music.

Music is unquestionably among the most treasured arts in Russia. Since the moment we arrived, we have been meeting musicians, sound artists, and people who simply love to sing or dance or play. To them, Baikal is always calling, as an inspiration and a unique location to summon their artistic best. As one of them recently put it, “Baikal is a mystery, and music is a way to understand it.”

At every holiday or gathering, Russians with beaming smiles will inevitably sing favorite songs that they pass on from generation to generation. Thus we found ourselves on Olkhon Island, listening to the songs of a ceremony called “maslenitsa” that welcomes Spring. The celebrants danced energetically in a circle around a bonfire built directly on the ice, singing for a thaw and new life in the coming season.

Two days later, all ages were represented at a maslenitsa celebration at the open air architectural museum at Taltsi, between Irkutsk and Lake Baikal.

A small number of musicians, like Evgeny Masloboev, literally play Baikal’s ice and water. In several recent concerts in Listvyanaka, he and his fellow Irkutsk-based musicians played instruments crafted from Baikal’s ice, and dipped other instruments into Baikal’s water to create fresh sounds. An exceptionally talented and innovative artist who views every single sound in the world as potential music, Evgeny knows from experience that Baikal’s ice and water have a unique sound that can’t be found anyplace else.

Others run with Baikal’s inspirations in many different directions. At the Blue Ice Festival on Olkhon Island, a French acapella group called Soli Tutti interpreted a traditional Buryat song and the local band Etno Beat created cosmopolitan rhythms. Moscow-based composer Marina Shmotova debuted an entire contemporary work based on the story of the Baikal icebreaker Angara that played an outsized role in local history and is still on display in Irkutsk. The Moscow-based artist Olessia Rostovskaya made church bells resonate across the Island in the morning, and that same evening debuted a nine-part contemporary classical composition based in part on recorded sounds of Baikal’s ice. Among many other talents, she is an expert on the theremin, an instrument invented in Russia that is played without touch, instead relying on manipulation of the electromagnetic field surrounding its antennas.

The Festival’s organizer, Natalya Bencharova, also hosted a discussion about the creation of a Baikal sound bank that will allow visitors near and far to access the sounds of the Lake. It is quite telling that she proposes a sound bank instead of a trove of videos or photographs. The sounds of the Lake are powerful and meaningful to locals...and to visitors. One of the first contributors to the sound bank is French sound artist Andre Fevre, who recently spent time camping on the ice around Olkhon Island in order to best capture the sounds of the ice talking. His efforts suggest the Lake is most vocal in mid-morning and late at night, when undergoing significant temperature changes.

As photographers and video artists, we are not immune to the call of Baikal’s sounds. We came to Siberia with a strong focus on the visual, but we immediately found our lensed devices limiting. There is no way to properly convey the enormity of Baikal, its constantly changing textures and moods, and its eternal inscrutability, with cameras alone. As a result, our project has moved emphatically in the direction of including sound and music.

From early on, we gathered local sounds to share with Baltimore-based composer and musician Maria Shesiuk, an extremely sensitive and versatile artist. Although she has never been to Siberia and we have never met her in person, she nonetheless uses her magical powers to conjure an authentic feel of Baikal in her original compositions that have debuted in this space. If you have not already, please listen to her songs titled Fog and A Walk Through Sleeping Land.

We also found that the data points in key scientific studies about the Lake’s ecological health can be plotted as musical notes, and we started to create compositions that directly reflect data on temperature changes and the impact of those changes on Lake organisms, such as the amphipods (small crustaceans) that are critical to the Lake’s cleanliness and its complex food chain. Although these electronic compositions are somewhat mechanical, we think of them as a starting point and as an innovative way to convey important scientific findings about the Lake. We are now in the process of sharing them with Maria and local musicians to see if they can help us interpret them.

For example, the following work in progress draws directly on findings from compelling new studies by scientists at the Biological Institute at Irkutsk State University (ISU), led by Director Maxim Timofeyev. In the composition, a “shimmering flute” represents data about temperature at four different depths in Baikal in Summer 2016 (Physiological and Biochemical Markers of Stress Response of Endemic Amphipods from Lake Baikal: Current State and Perspectives).

Separately, Russian scientists gathered evidence showing that the average summer surface water temperature at Lake Baikal has increased by 2 degrees Celsius since 1977, among the sharpest rises in the world. As temperatures continue to rise, scientists in Timofeyev’s department are researching what those changes will mean for amphipods. “Reflective strings,” “deep round synth bass,” and “grand piano” represent crustaceans that live at different depths in the Lake. The scientists’ work shows that amphipods unique to Baikal are comfortable at specific depths and temperatures, and may face danger or death if forced into different zones (Preference Ranges Correlate with Stable Signals of Universal Stress Markers in Lake Baikal Endemic and Holarctic Amphipods). In this composition, higher notes represent increased stress response among these exceptionally beautiful creatures, which are critical to the Lake’s future.  

You can see what some of Lake Baikal’s spectacular amphipods (also known as “gammarids”) look like here, in a video created by Russian diver Kiril Ivanov.

We also continue to gather local sounds. The unique voices of the people, whether Russian or Buryat or Evenk. Their own compositions, from folk songs to classical music to church bells to throat singing to popular music. But most of all, the sounds of the Lake itself...the ice that speaks so emphatically...the many voices of the Lake and the more than 300 rivers that feed it...the multitude of bird calls...the harsh and implacable winds...the murmuring sighs of moody spirits from high and low.

Baikal is a mystery that is endlessly intriguing and incomprehensible. We continue to capture its pixels, but when we wave our cameras at the Sacred Sea, sound waves back.

Cyberian Dispatch 9: Playing Hide and Seek with the Angara

Gabriela Bulisova & Mark Isaac

There are more than 330 rivers that flow into Lake Baikal, filling the cavernous Lake with one-fifth of the world’s fresh water. But there is only one mighty river that flows out: the Angara.

In Irkutsk, the largest city on the Angara, the River is half a block from our apartment, so we have almost daily encounters with its intensely different moods, striking range of colors, and its habit of hiding from local residents.

There is a longtime legend in Siberia that Angara was the exceptionally beautiful daughter of Old Man Baikal, and he was filled with love and admiration for her. But one day, while Baikal was sleeping, Angara slipped away to try and meet the young Yenisei. Grandfather Baikal was furious, and ripping a cliff from a nearby mountain, flung it at Angara, who was pinned at her throat. Angara begged her father to give her water, since she was parched, but her father refused, saying she was condemned to nothing but her own tears. And since that time, it is her tears that flow from Baikal to the Yenisei River, far to the north and west. Today, the cliff that Grandfather Baikal threw at Angara, called Shaman Rock, is visible at the Angara’s outlet from the Lake.

But the Angara itself is not always visible. Especially in winter, the warmer water flowing from Lake Baikal meets a shockingly cold Siberian air mass, and the result is tuman (туман), the Russian word for fog. In Irkutsk, it might start with a little steam rising off the river. A few hours later, the fishermen in the middle of the River are visible one minute and lost the next. Soon, the three main bridges fade away. The sun is faint, then fainter, then slips completely from view. And finally, there is nothing, only a wall of light gray that obscures everything but the wonderland of icy frosting deliciously decorating the trees along the banks. It is a fog to end all fogs, an ethereal display that lends the entire city an unearthly glamour.

It is also rich with human activity and sound. Near the statue of Tsar Alexander III at the foot of Karl Marx Street, Russian radio is broadcast from loudspeakers, often featuring English language pop songs or Christmas music. On Ostrov Konnyy (literally, Coney Island), near a towering ferris wheel, children gleefully exclaim as they sled from ice sculptures, ice skate, or play hockey. On the frozen shores, fisherman cut holes in the ice with enormous drill bits and wait for hours in the numbing cold to extract a meal. Listen carefully and you will hear lapping waves against the ice, the murmur of ducks foraging, and the sound of a muskrat surfacing and then diving. And most prominent of all, the reverberating announcements of departures from the main railway station, which echo across the invisible water, coupled with the rattling of invisible trains en route to remote destinations.

The alluring tuman is a signature feature of Irkutsk and the Angara, but unfortunately, beneath this exquisite veil some disturbing secrets are hiding. Each major city along the Angara, including Irkutsk, is a site where significant amounts of pollution enter the river, including industrial wastes that seriously threaten the river’s health. Also, the Angara has been dammed four times since the 1950s. The dams chop the river into pieces, blocking any navigation and impeding the transit of fish and other native species. And the creation of numerous reservoirs has radically altered the ecology of the waterway, harming endemic species and increasing the amounts of algae that deprive the River of oxygen.

One of the most important historical voices against dam-building and the diversion of rivers is the late Russian author Valentin Rasputin, who was born in Irkutsk Oblast. Rasputin’s views on this subject were heavily influenced by the fact that his own childhood village along the Angara was destroyed to create a massive hydroelectric plant. His 1979 novel Farewell to Matyora is focused on a fictional village that suffers a similar fate, and a later non-fiction work, Siberia, Siberia also dwells on this theme. Although some consider his work “anti-modern,” and his conservative politics were controversial, his influence on environmentalism in this region -- including the fight to save Lake Baikal -- looms large. (Those who are interested in a film treatment of his work can search for the 2008 Russian film, Live and Remember, in which the Angara plays a starring role.)

Dam-building continues to be an issue that is central to the future of the entire region. Among the threats to Lake Baikal’s health are proposals to build several dams on the Selenga River and its tributaries that flow from Mongolia to Lake Baikal. The plans threaten to disrupt the ecology of the Selenga River delta, the largest source of Baikal’s water and a major habitat for Baikal’s endemic species. They will also affect the water level, water quality, and ecosystem throughout the Lake. In 2017, activists achieved a small victory when the World Bank froze its support for the planned projects, but efforts by Mongolia to become energy independent, together with lavish Chinese financing, mean the fight is by no means over.

Here in Irkutsk, we play hide and seek with the Angara and its veil of tuman almost every day. We hide ourselves in its blanket of white, embracing the ghostly nothingness for as long as our arctic mittens and winter boots will permit. We take endless photos of its spare visual delights. But we also seek the truth about the environmental health of the Angara and of Lake Baikal. Irkutsk’s homegrown environmental leader, Valentin Rasputin, was one of the first to understand that there is “damming” evidence of harm. All those concerned about the future of our waterways must join together to respond.


Cyberian Dispatch 8: A Blazing Welcome in a Frozen Baikal Village

Gabriela Bulisova & Mark Isaac

The indigenous, traditionally semi-nomadic Buryat people of Eastern Siberia used to live separately from one another until the Soviet Union forced them into collectives where their language and customs were suppressed. Now, in post-Soviet times, many still live side by side with Russians in villages like Bugul’deyka, a tiny hamlet of traditional wooden homes on the Western shore of Lake Baikal. There, Buryat families endeavor simultaneously to preserve important customs and traditions from the past while entering the modern economy.

Thus we came to stay with the Boldakov family in one of the only Airbnb rentals available near Lake Baikal. Run from Italy by multilingual Ilja, a classical Spanish guitarist, the Boldakov family farm, named “Eastories,” welcomes visitors seeking an off-the-beaten-track encounter with the natural beauty of Lake Baikal, the surrounding hills, and the nearby Bugul’deyka River. A visitor might find the path to the outhouse blocked by cows on this working farm, then return to the house to post on social media. But more importantly, the hosts are focused on doing everything in their power to support responsible tourism that preserves the health of the Lake.

Fingering through the guest book, it was apparent that most visitors come in the summer, with a sprinkling in spring and fall. We came amply prepared for a bitter Siberian winter, wearing as many as six layers on our body, three layers of gloves and mittens, four layers of hats, Arctic boots, and balaclavas to protect our faces. But with temperatures plummeting to -40 Celsius (that’s the same in Fahrenheit!) in the night, and a howling wind relentlessly sweeping through the village and onto the Lake, our preparations were put to the test. We ventured out for at least several hours every day to the Lake, where fog steadily formed over the wind-driven waves and shaped icy sculptures on the banks. We climbed the monochromatic hills and struggled to operate our cameras with brittle, aching fingers until the final day, when we lost our courage and huddled inside, staring through glazed windows at spectacular cloud formations and listening in awe to the wailing blasts of attacking wind.

We survived, but we now know that the best preparations can fall a tiny bit short. Mark had his second experience with “frostnip,” a mild form of frostbite, and Gabriela’s eyes and toes throbbed in the relentless cold. So it was wonderful to return to the Boldakov homestead, where an inviting wooden banya restored full circulation and thawed shivering body parts.

It was also satisfying to sit in front of the traditional Russian “petchka,” or wood-burning stove, where Ilja’s Uncle Volodya, an extremely kind-hearted man with an infectious laugh, shared astonishing tales of the Buryat past and present. In our experience, many Russians began a reminiscence with the phrase, “In Soviet times,” and Volodya was no exception. Like many others, he divided his memories into two categories -- the repressive and cruel actions of Soviet authorities, together with the kinder, gentler economy and humane conditions for workers.

Under the Soviet Union, instruction in the Buryat language was forbidden in schools, and Buryats weren’t educated about their own culture and history. Worse still, their land was appropriated and their lives were threatened if they failed to conform to Soviet ideals. One of Volodya’s grandfathers was taken from his birthplace on Olkhon Island, charged with “pan-Mongolism” and summarily shot. He could have fled in advance, as others did, but he chose to stand his ground and suffer the consequences.

His other grandfather, who lived on the mainland, had his considerable property confiscated and was sent to a prison in the north. The grandfather’s sister, unwilling to tolerate these conditions, fled across the ice of Lake Baikal in the middle of the winter, leaving a one-year old behind because she didn’t dare risk his life in the cold. She escaped to China, then Japan, and she ended up in Australia. But her son who was left behind became a Communist, and when his mother’s letters arrived from abroad, he refused to open them, perhaps because of his beliefs, or perhaps because it could threaten his safety.

Many of these stories came out into the open only recently, because family members were deeply traumatized and didn’t want to talk about them. But recollections of intolerable injustices coexist with positive memories of a time when education was essentially free, there was a very strong forestry and fishing industry, salaries and pensions were high, and living conditions for workers were generous.

Following perestroika, the Buryat language was recognized again, and a revival of Buryat customs is taking place, but Volodya’s generation is considered expendable. Like elsewhere in Russia, the collective farm in Bugul’deyka lies in ruins. There is little investment in the village, jobs are scarce, many houses are crumbling, and electric poles are patched precariously instead of being replaced.

Moreover, Volodya insisted that environmental protections for Lake Baikal and its surroundings were stronger under the Soviet Union than they are now. Officials at the nearby national park aren’t focused on the most important tasks and fail to understand and work with local people, whose respect for the Earth is deeply ingrained in their history.

Despite concern over poor stewardship practices, Volodya has a lot of faith in Baikal’s future. “Baikal is a living, breathing organism,” he asserted. “It is always moving. This is where my ancestors came from, and I’m a little piece of the lake.” While he knows that certain locations are affected by pollution, including chemicals from factories and sewage from increasing tourism, he considers the Lake to be “self-cleaning” and has strong confidence that Bugul’deyka and most of the Lake remains unaffected by these problems.

One of Volodya’s biggest worries is that traditional Buryat customs and beliefs are slipping away, including purification and healing techniques such as pressure points that prevent illness. Following a concussion, modern doctors could find no way to treat his continued dizziness, and it was only a female Shaman who restored his health. And at the age of 16, he participated in a ritual in which his uncle killed a ram without spilling any blood, then lay all the ram’s organs on top of his own. After lying underneath, Volodya “became a human being again,” in his own words.

As the fire continued to roar in the background, Volodya performed some simple Buryat rituals. He burned sacred herbs that are reputed to cleanse and purify, walking to the corners of each room to spread their scent. Then he blessed us and our work in Siberia, sharing a shot glass of vodka with us. We each moved our feet in circles three times in opposite directions, then spilled a small amount of vodka onto the hearth, where it hissed and evaporated instantly. Fire is considered an incredible force, helping or destroying depending on how you treat it, and it must be respected. Here, in remote Siberia, we spent our Christmas Eve and Christmas Day huddling around the fire and respecting its warmth and its power.  

A Buryat legend says that Bugul’deyka was created when a member of a Buryat clan found a place where grass was wildly abundant and a bucket dipped in the river came out full of fish. Now, life in Bugul’deyka is much more difficult and uncertain, and local people struggle to find the right balance between the ancient and the modern, but faith in Baikal’s future still runs strong. This powerful belief is understandable in a people so deeply connected to the land, who embraced sustainable practices long before the term “ecology” was invented. But if we hope that modern stewards of the Lake and its surroundings will learn from Buryats and find ways to purify and heal the Lake, rather than destroying it in a mad rush to profit, we will all have to play a role.



 



Cyberian Dispatch 3: A Sacred Island Reveals Itself

by Gabriela Bulisova and Mark Isaac

Olkhon Island, situated about midway in Lake Baikal’s long crescent, is more than 70 kilometers long and 15 kilometers wide. It has about 1500 permanent residents, most of them indigenous Buryat people, and the bulk of these live in the one small town, Khuzir. During the warmer months, a ferry transports cars and people back and forth to the mainland. When the lake is freezing or melting, the island is accessible only by air, but when it’s totally frozen, you can drive there across the meter-thick ice.

There are five Rules of Conduct for visitors. The first, in keeping with the ecological sensitivity of the indigenous Buryat people, reads, “Live in harmony with Mother Nature, protect her, because this is the Great Power, which allows existence of you and your descendants.”  

There is an abundance of Mother Nature to protect. Created by tectonic forces, the Island contains extremely disparate landscapes: taiga, steppe and desert. It has exceptional sand beaches that would be at home in the Caribbean if you replaced its pines with palms. Its dunes are constantly reshaped by emphatic winds, stripping tree roots into naked sculptures. Its perilous cliffs of limestone and marble are crowned with wooden totems adorned with thousands of ritualistic ribbons in the rainbow colors favored by Buryat shamans.

Black ravens, reputed to be spirits, called out to us in voices that could only be understood as human emotions. At the top of a cliff lay a small snake in waiting, somehow conveying the significance of the location. Not far away, at a picnic spot where hungry tourists ate fish soup and cheese sandwiches, a dazzlingly beauteous fox crept out of the woods, intensely locking its eyes on ours, then darted to the side and sunk its teeth into two sausages left by local guides. In the capes and bays surrounding the Island are the fish that provide sustenance for the local people -- and the unique species of sponges and amphipods that make Lake Baikal a precious Galapagos of the East.

Not all of the fauna are wild. “Beware of domesticated animals,” read the signs along many of the main roads, a reference to the many cows and horses that don’t hesitate to wander in front of moving vehicles. And for one day-long hike, we were adopted by a midnight-black dog with a delightful disposition who bounded ahead, leading us on the proper paths.

The roads are all of dirt, rutted, often filled with mud, and otherwise kicking up sensational amounts of dust with each passing vehicle. But the roads north of Khuzir are not roads at all but a series of deep crevices that are traversed exclusively by “Uaziki,” plural for a brand of military vehicle created under Stalin that continues to produce today. Each Uazik, the size of a very large minivan, is tightly packed with tourists -- mainly from China, Western Europe, and less so, Russia -- before shaking them up and down thousands of times and depositing them in the far reaches of the Island for a series of landscapes and selfies. They are then fed a quick lunch on the run and deposited back at their guest houses.

We resisted this type of excursion for several days, but finally relented since the Uaziki are the only means of encountering most of the island. Then, on the day of our tourist trip, a clammy fog permeated the entire island, obscuring almost all sights, and forcing visitors to snap photos of an obfuscated “nothing,” as one Chinese tourist put it.

Of course, the fog was ethereal, abstract and suggestive as well. Standing at the top of one of the northernmost cliffs, tourists cried out boorishly to each other in the emptiness, stripping the moment of its eloquence. But despite these violations of propriety, we could easily imagine the monumental boulders hangings over the cliffs, and we could hear the waves repetitively attacking the shore dozens of meters below. Then, in a mirage-like instant, the fog lifted, permitting a glimpse into the expanse of the Lake, the sublime mountain peaks on its far shores, and the twinkling sunlight on its surface, before filling again with an opaque gray-white.

Away from its most populated sites, the overwhelming allure of Olkhon Island is inescapable. Along the Western coast, we wandered for hours in contemplation before black ravens and a black dog led us to a stone labyrinth that pays homage to the ancestral people of the Island, whose rules for Proper Conduct can be read as a guide for life itself. “Just try to radiate love, joy, and gratitude, or be peaceful,” reads rule number four. “Remember -- in places of great natural forces everything that a person carries becomes stronger.” As we walked the labyrinth, trying to bring our thoughts into this very moment, Lake Baikal’s splendor and gravity was revealed.

Sacred? Undeniably. Endangered? Increasingly. In need of protection? Unquestionably.