New Babylon 1998

Editor: Here we have Aleksandr Borodin's "New Babylon," a tempera painting from 1998. There's something quite unsettling about its surreal imagery, particularly the figures and the strange juxtaposition of architectural elements. How do you interpret this work? Curator: It strikes me as a potent critique of power structures, wrapped in a dreamlike, almost dystopian vision. Consider the title, "New Babylon," which immediately evokes historical narratives of decadence, collapse, and exile. Then, look at how Borodin represents the body, specifically the female form. Editor: The blindfolded figure? Curator: Yes, and the other kneeling figure. What does blindness represent? What societal role or position is associated with the act of kneeling? The fact they are women—and largely undressed—draws interesting questions to mind. They seem vulnerable. And what about that wall, seemingly built from blocks, decorated with blocks colored like the flag of Denmark, in the background? Is the Danish flag some kind of statement on neutrality and/or cowardice during WWII? Editor: It's like the artist is deliberately building in ambiguity, yet wants to also make some social statements... I can see so many interpretations arising here! Curator: Absolutely. And ambiguity can itself be a powerful tool. It forces us to engage with the work, to bring our own perspectives and experiences to bear, which in turn can illuminate the socio-political subtexts embedded within the piece. What does this ‘New Babylon’ *mean* to you? Editor: I never thought of it like that, with such historical and social considerations… Now I see the power of its symbolism far more vividly. Thank you. Curator: My pleasure. These works are meant to prompt our reflection, now let's see what others have to say.