We are not aware of the role that cultural heritage plays in our lives until we see a museum flood, a hermitage collapse, or a unique canvas become muddy.
Each work of art damaged by the catastrophic DANA, which has affected a Valencian Community still in shock, is a fragment of our collective being that dissipates.
We are still unaware of the damage to culture caused by the effects of what is already considered the greatest natural disaster in the history of Spain. Added to the fatalities and material losses is the destruction of property.
One of the Valencian municipalities whose artistic wealth has received the worst blow is Algemesí, which has been especially punished due to the overflowing of the Magro River during the storm.
Cradle of the Muixeranga, that dance of human towers that was declared Intangible Cultural Heritage of Humanity by UNESCO in 2011, the origin of Algemesí dates back to the 13th century and carries art in each of its traditions.
The Casino Liberal Exhibition Hall is a space currently dedicated to exhibiting contemporary art, holding a prestigious annual painting contest, and bringing into dialogue the work of artists from different generations. Located in an emblematic Algemese modernist building, it stands out for causing a flow of audiences from different cities, thanks to international projects, promoted by its director, curator Alex Villar.
Thus, located on the street where the flood covered almost two meters in height, said exhibition space has suffered the deterioration of pieces on its walls, furniture and pedestals. However, in its warehouse, works of art whose provenance no one would suspect: kyiv seem to have been narrowly saved.
Since the war in Ukraine began, its National Museum, in the city of kyiv, has remained active, moving the exhibition agenda abroad to safeguard its heritage. It is not the first time that he has evacuated works from his collection. The institution already did it during the First and Second World Wars. Then, in 2022, due to the Russian attacks. History repeats itself, now partly ending up in Algemesí.
The twinning between Valencians and Ukrainians, in order to save art that portrays the history of a nation, arises as a result of an initial agreement by the Ministry of Culture, as a tool to strengthen European identity. However, relations between the autonomous community and the ministry were strained from the beginning. An unexpected change in regional government further complicated communication. But differences were left behind for the common good.
Above any ideology, the urgency of helping the Ukrainian people was understood and a representative of its main museum, the curator Svitlana Davydenko, traveled to Algemesí and strengthened the union. Paradoxicallyafter avoiding the bombs, the cadres have once again come close to fatality when they find themselves in a vulnerable area crossed by the DANA. But they are still there, converted into a symbol of resilience through solidarity cooperation.
The days go by and we have no news about the state of the enormous cultural heritage affected, nor how the major challenge of articulating the necessary aid will be assumed. The Administration acts slowly, while private initiatives proliferate to raise funds and support artists residing in Spain who have suffered from the flooding of their studios, the paralysis of projects and the sale of work. But unity and coherence are needed, because a spirit of solidarity is of little use without operational capacity.
Artists in the middle of the flood
In this sense, notable artists of yesterday and today come from Algemesí and have their workshops there. For example, the painter José Esteve Adamwho was a child in the previous flood, that of 1957 that is remembered in Valencia without understanding how he could return to… On the other hand, the plastic artist Gemma Alpuentea young promise who barely had time to take shelter during the car night and has rescued few pieces of his most recent production by bailing out water and mud from the studio.
The University of Valencia has promoted a plan called ‘Saving objects of memory’, which offers the restoration of material that represents a legacy for volunteers who come to tell their story. It is not the only symbolic act from the academic field, sometimes somewhat disconnected from ordinary life.
Despite the wave of solidarity and volunteering, we continue without helping ourselves being of urgency for some leaders. Incapable of carrying out a self-diagnosis and applying protocols that are activated when detecting misfortunes thousands of kilometers away, such as the risk of property loss of Ukraine.
It is necessary to have a solid defense of our collective identity, protecting and rebuilding our own cultural heritage, as it condenses the values that define us as a society.
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