One question faced me as initiator of the PROJECT CULTURE CENTER, which way is the right one ? To have at first the set up of such museum or, vice versa, the possibility to establish in a material way first the 'CENTER's base ? My final conclusion, I should wait for who will have an interest for what, to invest then the necessary sum.

My thoughts: 1th)Such a museum doesn't exist anywere. 2nd)As an interesting and active meetingpoint it will be noted by foreign visitors. Is the museum done well the visitors will cause verbal propaganda and thus more paying people. 3rd)This will bring more cash for the museum's and 'CENTER's survival. 4th)Do we have a museum of good standart it will be recognizedby traveler's guides and tourist-agencies. A reason more to ask for investment. 5th)Many hugh cultural institutions have started small and step by step to become great when the idea was right and the investments well. That means, it makes sense found and build such museum, to ask for financial support.

LOCATION: As ones the 'GUGGENHEIMS' have brought jobs to a political and economical instabile region, I talk about the Spanish Baskian region that owns today a high visitor-rate in 'culture-tourism', also we could have more jobs in such way. Is the museum's set up happen east of Lake Baykal (Buryatia) or at Lake Huvsgul (Mongolia), both places are good to give the whole region an economical input. That the chosen place is connected with a 'National Park'can only underline the theme of such museum. Our themeis"NATURE & MAN".

ACTIVITIES:The museum should have the possibility to communicate with other cultural institutions, within northern Asia and worldwide, to spread knowledge and advertisement and to exchange expositions or other cultural activities. Workshops, seminaries, events, etc. can be held. Everything shall be happen in close connection with the 'CENTER.

FITTINGS: The main building should stay in arrangement with other buildings which include: Art-Shop, Magazine, Office, Café, Guard-House, W.C.. An open air place for cultural events can be builded, protected against bad weather.

THE MUSEUM: As I like to have the 'CENTER's buildings in native architecture here I have chosen the paleo-siberian Chukchi style to manifest the 'CENTER's and museum's target. General impressions I've got in Canada and Finland. Their architectural way I admire very much.
The museum's construction (design and statics are done by myself) base on the traditional fur covered 'yaranga'. Today seldom but still in use by Chukchi reindeer-herders. However, I like to keep the ancient Siberian style of
'biomorphic architecture'. Such term is a recent term and the present 'trill' for western architects.

INTERIOR: Steel and wood construction; Floor, wall, stair, circular gallery, cover & top-light material: Wood, loamy plaster, coat & glass; Wall & cover isolation: Sheepwool (less flammable); Heating system: Traditional done stove (for wood);
Lights:Solar-power low-voltage system (spots & firmament lights) by western standard. For emergency: Smoke-alert and 4 fire-extinguishers.
EXTERIOR: Base: Rocks & waterproof cement; Wall material: Wood & natural left loam, waterproof; Roof material: Wood & painted sheet metal. One section of the double-glass toplight will be movable.
ENTRY: The double-door & outer entry shall own a useful sculpture-group (at the top: A fishing-boat and two hooked fishes as door-handle) and the entry's glass shall offer shelter against wind, rain and snow as well catch sunrays to warm up the southern side of the museum. The rest shall be done in wood and cement in mix with rocks (base & constructions).
ENERGY: Shall come from a solar-system in combination with wind-energy.
SECURITY:Low-voltage system of western standard.
HOW MUCH IT WILL COST? All inclusive: 300.000 USD.




ABOUT THE MUSEUM'S ECONOMY: The museum should be able to exhibit, to collect and to sale artworks by customary international standard. General the museum could take artworks alike commission agents of art handle such goods. When the museum prosper we can talk about buying artworks. I like to keep culture alive and give our artists a chance but the museum must survive too.

THE PROGRAM: I like to have our artists and future buyers reading following excerpts of my written thoughts:

  • The 'CENTER in cooperation with the museum shall teach the use of traditional and modern technics. Inspirations, themes and style should be the matter of each single student. As for me I never have had follow western rules in art or the dictate of the Soviet artist Jevgeni Samjatin when he proclaimed ones: 'We will straighten this damn wild, crooked lines...'. Lines which are given by nature.

  • I admire and adore the art of our ancestry and those of Asian majorities which had much influence on the history of the European artscene. In this case I name Japanese, Korean and Chinese art. But our First Peoples' artist's classical power of art was magical too and shall continue. We must continue in following dreams which can be the only true teacher.

  • Let me give a warning: 'Indigenous Soviet Art' or 'Chinese Western-Style-Paintings and Western-Style-Theme' or 'Russian Still-Wet-Oil-Paintings' all released because of western applause ("..see they are creative as we are!", "Bravo!") and money - such art doesn't suit our artists and the 'market or a longlasting international recognitions. Such art have no chance to be shown in the museum.

  • Did our people and our First Nation's artists ever spend any thoughts for following questions: How come that all our old artifacts have disappear into European magazines? How come that many famous European artists have found inspirations mostly in First Peoples' art worldwide? How come that the incestuous Anglo-European artscene go on pilgrimage to observe our artscene? Just think about.

  • Or - have you ever observe how a Chinese master of art let fly or stamp his brush, how expressive old day's Japanese wood-carver made their beautiful prints or how the Nanay's knife-maker created without any scetch spiritual stories into a simple piece of birchen bark and Nganasan's hands show how a reindeer moves? So why shall our native artists try to copy western art when our Asiatic anciently colleagues of art are in us ?

I have found my own unique style. Same should be happen for others of us to have such works shown in the museum. I think such thoughts suit all of us.