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Arts Calendar / October 4 / Exhibitions
Aharon April: Unconscious Reality
Aaron AprilAharon April was born in 1932 in Lithuania in the town of Vilkavishkis. He spent his childhood. Aharon always mentions it in every biographical reference. Though the geographic proximity to the great Russian landscape painter had no influence on April's works. In June 1941 his family was deported at first to Altay area, and then beyond the Polar Cirkie to the settlement on the river Lana, and this probably saved Aharon April from death during the fascist occupation. The future artist finished secondary school in Jakutsk, studied in the art School "1905", and finished the Surikov Art Academy - both in Moscow. Although between two metropolitan "universities" - the second deportation to Jakutia has happened, it was just on the eve of the "Doctors Plot", in 1951. From the point of view of time and especially of the obligatory official subjects, the early Aharon April may be attributed to "shestidesiatniks". These are traditional "In the new lands", "A tractor driver having a meal" or "Fishermen of Narym", though the painting "Execution" of 1961 presented still "forbidden" at that time side of Soviet "Gulag" reality and had a great effect. Just this work marked Aharon April as one of interesting and promising, courageous painters. Today this painting is exhibited at the Museum of Arts in Yad Vashem, Jerusalem. In 1972 Aharon April emigrated to Israel. There he made both fast official career and career as a painter. He was elected the chairmen of the Painters and Sculptors Association, he is a member of various charity organizations, including international. He taught painting and drawing in Universities of Israel, worked in Paris. He paint a lot, participates in personal exhibitions in Israel, Canada, France, Switzerland, USA. In Russia at present Aharon April is entirely included into modern art. In 2002 his exhibition was held in the Moscow Museum of Modern Art, in 2005 he is elected Honorary Member of the Russian Academy of Arts. Aharon April of today amazes by his multicoloured, energetic, passionate paintings. Vigorous ,comprehensive palette, colours fighting each other or embracing each other capture spectators, making them wonder, rejoice, feel deeply. What are the subjects of his works? At first sight it is fairly difficult to define them. Some of them, according to the names, must be biblical, some worldly. But what is the difference of the "Song of Songs" series or "Lot and his daughters", or "A psalm is born" from "The prayer", "Awakening", "After the masquerade", "A black horse", "Something about Grandfathers", "Uneasy days"? All these works, both watercolours and paintings may be regarded as one painting "Unconscious reality", futuristic abstraction (1994). The essence of April's works is rather violence of colour and its perception in connection with the world, the universe, the human being, than some real, slighty caught things and images. April's paintings are so multimeaningful, multifaced and fantastic that they though they correspond to the name given them by the artist, you yourself could give it ten or twenty other names according to your own feelings. We find quite realistic or relatively realistic works with understandable plot, such as "The family", "Eve of Sabbath. Congregating at the Wailing Wall", "Expecting the heir", "A house in Jerusalem", "Flowers against the white", portraits of relatives, landscapes of Israel... But here we also see fantastic palette, expression, passion and the sense, found by the painter, wildness of colours, tornado, and the artist finds himself his world, his purpose in the reach colours. Aharon April himself explains his colour obsessions: "In Jerusalem the light is unique - sometimes even cruel. It actively interferes with painting... Here, in Jerusalem happens that light kills the colours, it sometimes doesn't allow to perceive reality. My goal was to win this contest with the light. To tell the truth, I'm not sure that the painter conquered this "unique Jerusalem light", because he himself is that light. This light is within himself it's the essence, the destiny, the vocation, the meaning of his art. And victory over such light is impossible. Do we really need it?!" The exhibition at the Moscow museum of Modern Art presents April's about a hundred works, painted over the last 50 years.
Moscow Museum of Modern Art on Gogolevsky bulv 
Imperial Porcelain Factory: The Epoch Dialog
Imperial Porcelain FactoryThe 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 
10:00-22:00 Our Body: The Universe Within
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 
Primrose: Early Colour Photography in Russia
PrimrosePrimrose: Early Colour Photography in Russia is a retrospective of colour experiments and developments in Russian photography over the course of a century, from the 1860s to the 1970s. In tracing these advancements the exhibition also moves through the social history of Russia itself. It presents both the history of Russian photography and the history of Russia in photography, depicting life over the course of a century, as the country endured unprecedented upheaval. Primrose will feature over 140 works by Pyotr Pavlov, Pyotr Vedenisov, Sergey Prokudin-Gorsky, Alexander Rodchenko, Varvara Stepanova, Ivan Shagin, Georgy Petrusov, Dmitry Baltermants, Boris Mikhailov and other classics of Russian photography. These will be arranged in five chronological sections, each looking at different periods and their prevailing photographic aesthetics. The exhibition shows the development of photographic colour technology and the social transformations which altered the role of photography in Russian society. The exhibition opens with photographs from the 1860s when tinting of prints with watercolour and oil paints was undertaken by hand. Initially used for portraits, this technique was later extended to architectural, landscape and industrial subject matter. In the early 20th century under the patronage of Tsar Nicholas II the photographic documentation of life in Russia became a priority of the Empire. Using a tricolorplate system he adapted from Prof. Adolf Miethe, Sergei Mikhailovich Prokudin-Gorsky was trusted with the task of travelling the country to capture its vastness and diversity. His output from those years is presented in the second section of the exhibition alongside the autochromes of nobleman Pyotr Vedenisov, whose autobiographical focus provided valuable insights into the lifestyle of the Russian elite. The third section will examine the period following WWI when the Soviet government, under the leadership of Vladimir Lenin, supported photography as an important propaganda tool. Photomontage became central to their agenda allowing for the communication of new Soviet myths to a largely illiterate population. Also included are the later works of Alexander Rodchenko, featuring pictures of sporting and art events taken in a pictorial style. These provided Rodchenko with a form of escapism and a way to express his disillusionment with the notion of a Soviet utopia. The production of Soviet-made colour film did not appear until 1946 and was accessible to only a handful of official photographers. The Khrushchev Thaw in the mid-1950s saw much of Stalin's repression reversed, allowing photography to move closer to everyday reality as seen in Dmitri Baltermants' pictures in section four. At the same time hand-tinted portraits began appearing on the market again. These were taken anonymously as private photo studios were still forbidden. Referencing these anonymous studio portraits is Boris Mikhailov's celebrated series "Luriki" (1971-1985). Comprising the fifth section, the series looks to expose Soviet ideology through humour and stereotypical imagery. The use of hand-colouring techniques represents Russia's stalled progress as well as nostalgic sentimentality for old craft. This section also presents Mikhailov's slideshow "Suzi et Cetera" (1960s-1970s). The piece with its focus on the individual is meant as a political act, challenging the dominant "we" of the Soviet nation. It was impossible to show the work publicly; such exhibitions took place in underground clubs, artist studios and apartments synonymous with the Soviet nonconformist art of the time. Curated by Olga Sviblova, Director of Multimedia Art Museum, Moscow / Moscow House of Photography Museum. The exhibition is part of the UK-Russia Year of Culture 2014.
Multimedia Art Museum 
The War that Ended Peace
The War That Ended PeaceMultimedia Art museum and Moscow House of Photography, International Committee of the Red Cross (Geneve / Moscow), The Polish Army Museum (Warsaw), Imperial War Museum (London), Museum of Military History (Vienna), The Royal Museum of Army and Military History (Brussels), Foundation for Preservation of the Russian Heritage (Brussels), Museum of Nicephore Niepce (Chalon-sur-Saone, France) and others present an exhibition "The War That Ended Peace" dedicated to the First World War centenary. "The War That Ended Peace" is the extensive international project which was organized by leading world museums, state archives and private collectors. The exhibition reconstructs the war 1914-1918 and shows it through the eyes of all participants, through the voices, photographs, letters and mementoes of those who were there. The title of the exhibition is the title of Margaret MacMillan's book "The War That Ended Peace: The Road to 2014" telling the history of the political, cultural, military and personal forces which shaped Europe's path to the Great War. Margaret MacMillan is one of the most recognized and respected historians in the English-speaking world, comes with much expectation. Her 2003 worldwide bestseller, Paris 1919, won many distinguished awards and was one of the handful of non-fiction books in a given year that become must-reads for everyone, from the intelligentsia to the historically minded general reader. The First World War was a turning point in world history. It claimed the lives of over 22 million people across the globe and had an impact on the lives of everyone. To the First World War centenary a lot of European museums will develope a vibrant programme of cultural projects and events to help people everywhere understand the First World War and its impact on society and individuals today. In Moscow Multimedia Art museum the display will start from the Viennese Museum of Military History's collection photographies, which argue about formal beginning of the war. The important accents of the exhibition space will be 13 screens in the museum halls: a news-reel illustrating the most significant events of every year of the war will show at the six of screens; the frames titled "Water", "Death", "Air", "Trenches", "Attack" and others at the seven of the screens. The exhibition's objects also includes photographies by amateurs who took part in the First World War, stereophotographies and stereoscopic projections, creating a three-dimensional image, and avtohromy presenting the war in color, collections of photographies from Red Cross archive, "Le Miroir" magazine and Russian editions, caricatures, color and black-and-white lithographies, posters by Kazimir Malevich, Aristarkh Lentulov, Vladimir Mayakovsky.
Multimedia Art Museum 
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