Enjn Beqandou

Enjn Sausau Beqandou (: ینهن ساصا بقندو, also Enen Soso Bekando; 2nd January 1879 – 11th May 1913) was a Mursian painter. His work is noted for its intensity and its raw sexuality, with much of it never reaching a broader audience. Many of his works from 1899-1907 period have been lost due to vandalism. He was an active participant of the Dsasti Hotový movement.

Biography
Enjn was born on the 2nd of Januari 1879 in the city of Liebit, Zahélen His father was Mashud Beqandou, a Ludarsian butcher and son of the general Assjm Beqandou. His mother was Agim, née Jaanou, a Bonamechi clerk in her husbands butchery. As a young kid, he would draw the sprawled animals, although he was not fond of the smell.

In 1895, he was send to the Leibit Academy for Illustrative Drawing. He greatly disliked the strict working environment, and found himself ill-suited to draw in the iconographic style demanded by his teachers. He transfered to the State Graphical School in Dëardeskarj in 1896. He remained at the school for about 2 years, but quit after constant strong disagreements had surmounted into a fist fight. From then on, he studied art at his own accord. He joined various art groups, leaving each with disaffection over the creative immobility.

By late 1899, he moved back to Leibit, where he recountered a teacher from the Academy for Illustrative Drawing. Seeing that Beqandou had developed himself into an unique style, he brought him into contact with Torniki Traksisink, an art dealer. Traksisink brought in various patrons, which allowed the 20 year old Beqandou his own studio. With the only constraint being to regularly produce work, Beqandou set out to create large quantities of work.

First exhibition
In June 1900, Traksisink invited Beqandou to partake in a public exhibition with some his works. However, upon seeing the collection of his works, the fellow artists threatened to withdraw from the exhibition. Beqandou dismantled his display on his own accord. Feeling abandoned by his fellow artists and dissatisfied with the professional sphere he navigated, he established his own artist group, the Proti Stitet (lit. 'against the (brush)hair'). He found other disillusioned students in Liebit, among them Utmidora u Thiselo, and together organised their own exhibition in January 1901. Critique was harsh: the selected artists had nothing in common, the selection of works was deemed incoherent, and the works themselves of poor quality. However, the works did sell well and a second exhibition was organised in April that year. Again, it was met with strong distaste by critics, but it was well visited.

Having found an audience and sold some of his work, Beqandou felt motivated to experiment more. In 1902, he began experimenting with nudes and within a year a definitive style featuring emaciated, sickly-coloured figures, often with strong sexual overtones. He participated in various exhibitions, although much of his more sensual work would be limited to those organised by Proti Stitet.

With his exhibitions creating much of a stir in the art world, his private ones would soon also reach a wider audience. Many religious and conservative members of the public denounced his work degenerate and a threat to public morale. Protests would often occur at exhibitions he partook in.



Arrest and burning
In 1907, he was arrested for allegedly spying on and drawing naked women without their consent. When the police came to his studio to arrest him, over a hundred 'pornographic' drawings and paintings were seized. Although he could successfully prove that his works were done by professional models (which was a legally protected occupation) under contract, charges were dropped. However, his works were publicly burned by a mob after the wagon transporting the works back to the studio was overpowered.

Although proven innocent, and many of his offending works destroyed, media kept up the image of a sexual offender. The protests at his exhibitions worsened. Various exhibitions were banned, under the reason of it forming a threat to public safety.

Later life
Troubled with the cancellation of his exhibitions, and common threats to his address, Beqandou became more reclusive. His work would be displayed less, and he would rarely attend openings. The sale of his work would drop too, as various organisations stigmatised owning his work.

In August 1909, Traksisinks house was set on fire by an unknown group of men. He had stored a significant section of Beqandous pre-1907 work. Although most of his works survived, works from Utmidora u Thiselo and Aloysio Stavros were lost.

He would be arrested for alcohol abuse in 1911, although he would be released the following morning without charge.

Death
On the morning of the 11th of May, 1913, while on his way to his studio, Beqandou was stabbed thrice by an unknown assailant. Various pedestrians noticed him, but none came to his aide. By chance, he was found alive by a friend at 9:52, and taken to the local hospital by cart. He died that evening after receiving receiving rudimentary surgery. He reached the age of 34.

He was buried in the public graveyard in Liebit, but after his grave was vandalised, his remains were moved to an unmarked grave.

Legacy
In the wake of Beqandou's death, the movement for freedom of expression garnered speed.

Beqandou forms a permanent item in Mursian history classes in high schools.

Pop culture

 * In 1978, a movie based on his life was made, Enjn u Liebit.
 * In 2005, a movie was made about his life from 1905-1913, Kalori Protiy (The Knight Opposing), which was translated in multiple languages.
 * The band Vojak Hubdy made 3 songs about Beqandou, found on their 2009 album Eléfthero, Zákon, Puta.
 * A 10-part television series on his life and the political period was made by Bapors in 2017.