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 | Exhibitions |
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| | Arts Calendar / November 10 / Exhibitions |
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| Imperial Porcelain Factory: The Epoch Dialog |
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 The Imperial Porcelain Factory's exhibition titled "The Epoch Dialog" and including more then 1000 items of Russian porcelain art which were produced by masters of the Imperial Porcelain Factory is dedicated to the 270th anniversary of the factory and 250th anniversary of Hermitage Museum. The Hermitage and factory museum collections have became the central part of the exposition. It's enough rare event when the Hermitage shows its exhibits outside Saint Petersburg. The items from Tsaritsyno Estate Museum and private collections are also presented at the exhibition. The exhibition halls are devoted to the important subjects for the Imperial Porcelain Factory without chronological principle: theater, music, landscape, animalism and even fashion. The rarities of XVIII-XIX centuries and goods of the Soviet time are disposed near the best works of modern masters. The Imperial Porcelain Factory (or Manufactory) is a producer of handpainted ceramics in Saint Petersburg, Russia. It was established by Dmitry Ivanovich Vinogradov in 1744. Many still refer to the factory by its well-known former name, Lomonosov Porcelain Factory. Founded in 1744, the porcelain factory was created by the order of Empress Elizabeth to "serve native trade and native art."The factory produced wares exclusively for the ruling Romanov family and the Russian Imperial Court. The attempts to reveal the secret of porcelain making had been taken in Russia since 1718 visit of Peter the Great to Saxony, where he saw the Saxon invention at the Dresden Court. A talented mining engineer Dmitry Vinogradov who studied metal industry at Freiberg had invented the formula of the Russian porcelain. In 1744 Empress Elizabeth, daughter of Peter the Great, established the first porcelain manufactory in Russia. The Russian porcelain by Vinogradov had quality similar to the Saxon porcelain while its formula which consisted of only Russian ingredients reminded of the Chinese porcelain. At the beginning of the Vinogradov period the motifs were monochrome and simplified while at the end of this period the fine miniatures were completed on porcelain. The gold paint for porcelain was prepared from golden coins from the Imperial Treasury. "The Golden Age of Catherine" - the reign of Catherine II the Great - was the age of prosperity for the fine Russian porcelain. In 1765 the manufactory was renamed to the Imperial Porcelain Manufactory. From the very beginning of Catherine the Great's reign IPM was obliged to produce fine porcelain and to bring profit. The Imperial Court's need for porcelain was large and the permanent orders from the Court had let IPM keep to the highest quality of the expensive porcelain. Paul I reign continued from 1796 to 1801. The art of the Russian porcelain continued to develop in style of classicism with the increasing influence of the Hellenic and the Roman motifs. With the abolition of the Russian monarchy in 1917, the Imperial Porcelain Factory was renamed State Porcelain Factory by the Bolshevik regime. During the early years of the Soviet Union, the factory produced so-called propaganda wares, ranging from plates to figurines of the Soviet elite. On 29 May 2005, the stockholders of Lomonosov Porcelain Factory passed a resolution to return to their pre-Soviet name, the Imperial Porcelain Manufactory. The IPM has recently started to produce hand-made copies of porcelain from the range of Imperial porcelain exhibited in the State Hermitage Museum collection. This range includes dinner sets, collectable plates, vases, figurines from the famous series of the Russian Peoples and other porcelain items from the assortment of porcelain made here since the foundation of the manufactory in 1744.
Tsaritsyno Estate Museum  |
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10:00-22:00 | Our Body: The Universe Within |
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Our Body: The Universe Within gives you insight to the inside! Get a true look at the inner workings of the extraordinary human body. This incredible exhibition has been educating and fascinating people the world over! Don't miss it when Our Body: The Universe Within comes to Moscow Vetoshny Art-Center. Our Body: The Universe Within is a once in a lifetime opportunity for the perpetually inquisitive to explore the wonders of the human body. A beautiful and inspiring tribute to who we are. This extraordinary exhibition was designed to educate, enlighten, and allow all who attend to understand the complexities of pur body. Visitors to Our Body: The Universe Within will journey through a fascinating tour of the human body as a whole, then taken through each of the bodies systems to see first hand how each functions and relates to one another. Our Body: The Universe Within exhibit does contain actual human bodies, with eyes and genitals intact. There is also a section about the urinary and reproductive system, with specimens pertaining to those areas. The exhibit is recommended for children age 12 and older. Parental discretion is advised. Our Body: The Universe Within is a fascinating, artful and educational exhibit consisting of actual human bodies and organs. Appropriate for all ages, this exhibit literally goes "under the skin," revealing the mysteries of the human anatomy. The bodies, specimens and organs have been preserved using a process known as polymer impregnation. Our Body: The Universe Within allows you the insight to the inside: giving one a true look at the inner workings of the extraordinary human body. As you enter the exhibit, you will have the opportunity to examine the human body as a whole. Continuing throughout the exhibit, you will journey through each of the body's major systems allowing you to see first hand how they function and relate to other systems. Read more
Afimall City |
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| Personal Photographer: Lawrence Schiller |
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 The Lumiere Brothers Center for Photography is pleased to announce solo exhibition of Lawrence Schiller, one of the remarkable masters of portrait photography and a great figure in cinematography. He has directed, produced and written for television and movies; he has worked for Life magazine, Time, Newsweek and The Saturday Evening Post and he collaborated with the iconic writer Norman Mailer. "Personal photographer", Schiller worked with Marilyn Monroe, photographed Richard Nixon's and Robert Kennedy's campaigns for Presidency in the United States and collaborated with plenty of Hollywood stars. His photographs repeatedly appeared on the covers of Life, Sport, Playboy, Glamour and The Saturday Post. The artist got recognition when he was 20 years old and Life magazine published his photo - "Head over Heels in Work". From that moment Schiller's career began to develop rapidly. He was entrusted to highlight Robert Nixon's campaign in 1960, cooperated with Marilyn Monroe for Life magazine in 1962, and photographed for Playboy. His work with Marilyn Monroe got significant influence on Schiller's personality and career growth. He was only 22 years old, when started to collaborate with the actress. She trusted him so much, that soon he became her personal photographer. In his book "Marilyn and me" Schiller confesses that Monroe practically taught him how to take photos, improved him as a professional photographer, they were choosing good shots together. Schiller had been working with Marilyn for the last two months of her life. He was one of a few people who saw her just before her death. Truly talented Lawrence Schiller besides his photographic activity was working a lot in cinematograph. As director, co-director, producer and scenarist, he participated in filming several movies, including "Marilyn: Untold story" (1980), "The American Dreamer" (1971), "Her life as a man" (1984), Oscar winning documentary "The Man Who skied Down Everest" (1972), and television series "Piter the Great" (1986), which was given Emmy Award. Lawrence Schiller is an author of 11 books and albums, most of them are devoted to memories of Marilyn. Nowadays, Schiller is firmed master in photography, cinematograph and literature sphere, he continuing working on projects, one of them consecrates contemporary history of China, told by its leading artists. The exposition features 30 photographs, which cover large and perhaps the most seminal period of master's photographic carrer. Exhibition will take place in the White hall of The Lumiere Brothers Center for Photography.
Lumiere Gallery |
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 The Moscow Museum of Modern Art together with the Gala-Salvador Dalí Foundation presents Salvador Dali and Media exhibition. For the first time in Russia, artworks by one of the most well-known provokers in the 20th-century art will be shown in the light of media. The exhibition partner is the Spanish jewelry design house Carrera y Carrera, which will present a special project in one of the halls at 10 Gogolevsky boulevard. The project is an imaginary result of the collaboration between Dalí and Carrera y Carrera glossy publications. Salvador Dali's artworks are traditionally divided into periods, directly related to the geopolitical situation in the world. However, the exhibition in the MMOMA will not be arranged chronologically. Viewers can choose the way they go through the exhibition themselves. The show is divided into two parts, inextricably connected with each other. The first one will demonstrate Dali at work. Covers and articles for Vogue, GQ, TV Guide, Newsweek, Town&Country, This Week magazines and many other editions will introduce the audience to Dali the illustrator and the art director, the writer and the editor. The MMOMA halls will tell about each new role of the artist. The second part is a world of images which are an integral part of the era of the Fourth Estate, where the artist worked. Giant eggs, female legs in Bryans Hosiery, lips and, of course, Dali's famous mustaches recreate the unique space of Dali's mad world. But surrealism will be interrupted by a hall of ratio, without which it is impossible to imagine the work of the genius with media. Numbers have accompanied from the very beginning of his creative work be it circulation of a publication he has contributed to, a number of covers or the author's emoluments he received from one of the largest publishing houses. Dali's oeuvre in mass media was inextricably connected with the imagery one finds in his art. His work as an illustrator was neither casual nor a temporary passion. It was one of the foundations of his total oeuvre. The artist's creative development, the beginning of his career coincided with the post-crisis period, the first five-years plan and the New Deal of Franklin Delano Roosevelt. The political situation in the world defined the time of smart magazines (L'Amic de les arts, Gaseta de les Arts, the Minotaur), where Dali was an active theorist. Towards the late 1930s, the consumer society brought about glossy magazines and large-circulation newspapers. In search of scoops both of them turned to the artist, while he actively used his image, easily transforming into a pressman, an illustrator, an editor or even a publisher. Dali would reuse the same eccentric themes many times. It became especially evident in 1934 in the American Weekly, published by William Hearst. Collaboration between Dali and media was unique because of his wonderful ability to communicate with readers using clear symbols that made any Dalí campaign successful, be it advertising of Isotta or Chen Yu lipstick. In 1939, when the theory of the Surrealist object had conquered the world, Salvador Dali signed a contract with Conde Nast. In the same year flower bouquets in the place of female heads appeared in the set of the artist's most used images. The celebrated series of Bryans silk stockings ads was published a year later. Dozens of female legs pointed to the sky or to the earth, replacing the wings of Pegasus, making symmetrical arches, ambiguously sticking out from behind arm-chairs. In the first years of the Second World War, Dali filled the double page in the Click magazine No 42 with surrealist images of dreams and fashion. In just ten years Dali the artist became a living legend. The first years of the post-war decade saw the implementation of the idea of general mobilization was the loss of former market rules and the appearance of a free trade zone. It was the period when Dali became especially interested in media as a domain most open to experiments. The first issue of the Dali News magazine confirmed the idea. Monarch of the Dalies was an imitation of the popular Daily News, issued in tabloid format with four pages, eight columns and huge headlines. It was published in 1945 for Dali exhibition in New York. Close and long-term collaboration between Dali and mass media was only partially covered by the 2004 "Dali. Mass culture" exhibition, at Museo Nacional Centro de Arte Reina Sofia in Madrid. It was a part of the celebrations marking the centenary of Salvador Dali's birth. This year, the world is marking the 110th anniversary of the birth of the great Spanish artist.
Moscow Museum of Modern Art on Gogolevsky bulv |
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| Titanic: The Artifact Exhibition |
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 Titanic: The Artifact Exhibition takes you on a journey back in time to experience the legend of Titanic like never before. This fascinating exhibition features real artifacts recovered from the ocean floor along with room re-creations and personal stories. Engineering, physics and social studies are all addressed as you explore the science of Titanic. On April 15, 1912, Titanic, the world's largest ship, sank after colliding with an iceberg claiming more than 1,500 lives and subsequently altering the world's confidence in modern technology. 102 years later, Imagination Station pays tribute to the tragedy which continues to resonate through Titanic: The Artifact Exhibition, where more than 150 legendary artifacts conserved from the ship's debris field are showcased offering visitors a poignant look at this iconic Ship and its passengers. The exhibition has been designed with a focus on the legendary RMS Titanic's compelling human stories as best told through over 150 authentic artifacts and extensive room re-creations. Perfume from a maker who was traveling to New York to sell his samples, china etched with the logo of the elite White Star Line, even a pair of almost perfectly preserved men's dress shoes - these and many other authentic objects offer haunting, emotional connections to lives abruptly ended or forever altered. Visitors are quickly drawn back in time to 1912 upon entrance, as each receives a replica boarding pass of an actual passenger aboard Titanic. They then begin their chronological journey through Titanic's life, moving through the ship's construction, to life on board, to the ill-fated sinking and amazing artifact rescue efforts. They will marvel at the re-created First and Third class cabins, and press their palms against an iceberg while learning of countless stories of heroism and humanity. More info
Afimall City |
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 "Walk Around Moscow" exhibition is held at the Vlakhernskoye-Kuzminki Estate from October 10th, 2014 till April 20th, 2015. The exposition includes amazing photographies of the Moscow streets making one hundred year ago and today. The historical part of the display consists a selection of reproductions which were done during 1912-1915 from Emile Gautier-Dufayer's albums. The photographies captured daily life at the streets, lanes and squares of the capital, and now they have cognitive and artistic value for viewers of our days. In the early 20th century the Archaeological Society made a decision about full-scale photographing of the city and that was carried out by E.V. Gautier-Dufaye. This remarkable work was interrupted by World War I in 1914. The collection contains about 500 photos, which are unique evidences of the Moscow history of the past century. The pictures by Emil Gautier-Dufaye are accompanied with modern photos of the same places, with the same foreshortenings and perspectives which were made by photographers of the "Moscow Time" foundation in 2005-2013. The comparison of the pictures shows that some places haven't changed a lot and others are almost unrecognizable for modern persons. The exhibition should excite an interest to the history of Moscow, its streets and buildings which are changing every year and losing their historical look. The "Moscow Time" foundation is a nonprofit organization that carries out programs and conducts events in the area of culture, science, and education. The cultural and educational activity of the foundation is directed at studying Moscow and its historical traditions, documenting changes in Moscow photographically, and acquainting the wide public in Russia and abroad with the past and modern images of Moscow and its people. The foundation organizes and conducts exhibitions, publishes printed materials, and does charity work. The goal of the "Moscow Time" project is to demonstrate historical, architectural, cultural, and sociological changes that have occurred in the last century and a half in Moscow. For this, photographs of Moscow and its people of the late 19th–early 20th century are sought in archives. These photographs are digitized and repaired. Photographs of the same city sites are then taken from the same angles as were the old photographs. The pairs of photographs thus obtained are accompanied by literary texts or commentaries.
Vlakhernskoye-Kuzminki Estate |
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| Wim Delvoye: One Man Show |
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 Gary Tatintsian Gallery, Inc. is pleased to invite you to an exhibition of works by acclaimed Belgian artist Wim Delvoye. The works by Wim Delvoye will be displayed at the Pushkin State Museum of Fine Arts alongside the gallery project. Wim Delvoye is an artist provocateur without taboo. He is an alchemist who manipulates banal daily items to create a thermonuclear mix of ideas and opens new horizons of their meaning, forms and functions. He is an ironic interpreter camouflaging gas cylinders for Delft tiles, transforming shovels and ironing boards into shields with emblems, converting as if by magic construction machines - cranes, dump trucks and concrete mixers, everything monumentally heavy - into airy feather-light structures with an interwoven ornament of high gothic, aerial and untouched by earthly life, artificially reproducing and displaying digestive tract processes, from the consumption of food to the evacuation of excrement, and tattooing pig skins as a mockery of the universal mania of senseless decorations. Yet being an incorrigible romantic and dreamer, he does not create individual things but acts as the demiurge of his own planet Wim Delvoye, an analog of the magic country Walt Disney, which captured the prospective artist's imagination in his childhood years. Wim Delvoye worships the world of simple things and values. They are the source of his artistic works. He poeticizes the potential of imagination, knowledge, knacks and scrupulous attention to detail characteristic of craftsmanship and, at the same time, seeks to add an esthetic meaning. Another source of his creative fantasies is obviously the charm of architecture, which surrounded him in his childhood and was actually learned at mother's knee, gothic cathedral decorations, pointed multifaceted spires, elongated spiky silhouettes, crosses, stained glass roses and symbols of European royal dynasties. Some works by Wim Delvoye have colossal dimensions (sometimes construction machines are reproduced full-size), but they do not look monolith heavy. The elusive combination of monumentality and zero gravity illustrates a highly architectural approach of the artist to the modeling of space of every individual object and the exhibition as a whole, either a gallery or a museum. He is equally good at design of printed products, books and catalogs. The impeccable work, the engagement of top-notch craftsmen and the incorporation of folk craft traditions from all over the world alongside the use of advanced industrial technologies in the making of his objects are other characteristic features of W. Delvoye's creation method. Handmade carvings, which transform banal tires into a unique object, which becomes the centerpiece of any luxury interior, bronze sculptures polished to heavenly shine, carelessly scattered on a concrete floor, stun viewers with deformation geometry and multilayer connotations; laser-perforated intricate metal laces of high gothic, which the artist entwines into an airy object whose form and size precisely fit the real size of a construction truck. The amazing creativity and architectural thoroughness of Wim Delvoye have been appreciated by the world's leading museums, from the Paris Louvre, which held a retrospective show of his works in 2012, to many other museum projects, among them Guggenheim, Venice, Italy (2009); Musee d'Art Moderne et d'Art Contemporain (MAMAC), Nice, France (2010); Musee Rodin, Paris, France (2010); Palais des Beaux-Arts (BOZAR), Brussels, Belgium (2010-2011); the Museum of Old and New Art, Hobart Tasmania, Australia (2012), etc. More info
Tatintsian Gallery |
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