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| | Arts Calendar / May 5 / Exhibitions |
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 The organisers of the festival strive to show the diversity of photographic practices existing in Europe and aim at the discovery of new talents. Circulation(s) is a project to support young photographers that was specially created in 2005 by the non-profit organisation Fetart. The first Circulation(s) festival held in Paris in 2011 brought together 225 young artists and attracted more than 250,000 spectators keen to see their work. The festival, which is both a springboard for young photographers and a living creative laboratory, now occupies a special place in the French and international photographic scene, drawing the attention of an ever wider audience. Many of its participants then become laureates of prestigious world photographic awards. Highly praised by experts and professionals, today the Circulation(s) festival is a key source of information on photographers that are just beginning their career. Since 2014 the festival has been held in the famous cultural centre CENTQUATRE-Paris, annually hosting more than 500,000 visitors. In addition to the exhibition in Paris, the Circulation(s) festival organises a number of international shows every year in cooperation with foreign partners: the Belfast Photo Festival in Ireland, the International Biennale of Photography and Visual Arts (BIP) in Liège (Belgium), the International Photography Festival Encontros Da Imagem in Braga (Portugal), the Format Festival (UK), the Festival of European Photography in Reggio nel Emilia (Italy) and the Photo Festival in Lodz (Poland). This year the Multimedia Art Museum, Moscow, joined the partners of this festival. The curator of MAMM has examined the work of festival participants over the last few years and chosen the best projects from 27 artists, which are now shown in the expanded version at the Moscow exhibition. Young artists reflect on the world that surrounds us, and the events taking place around us. Some projects are a reflection on the history of art, some turn to social problems, while others analyse the nature of the absurd and banal, the natural and artificial, in an attempt to define the fine line between them. Until 09.05.17
Manege  |
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| 2017 Pirelli Calendar by Peter Lindbergh and More... |
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 Back in 1964, the Pirelli Calendar was just a bit of eye-candy, kindly provided by the Italian tyre maker to be hung on the walls of car mechanic garages far and wide. Forty-four editions later, and the trade calendar has become a kind of cultural barometer through which societal perceptions of beauty are reflected, examined and contested. The 2017 Pirelli Calendar is a major “statement” against our Photoshop-obsessed culture and a “cry against the terror of perfection”. Hollywood actresses Helen Mirren, Kate Winslet, Uma Thurman, Nicole Kidman, Jessica Chastain, Penelope Cruz, Lupita Nyong’o, Charlotte Rampling, Rooney Mara, Julianne Moore, Alicia Vikander, Lea Seydoux, Robin Wright and Zhang Ziyi star in a series of honest black and white portraits shot by photographer Peter Lindbergh. Following on from Annie Leibovitz’s 2016 calendar, which ditched nude supermodels in favour of “strong but natural” women who have “achieved something”, the new edition also does away with face and body retouching. “The goal of the calendar is to show the real woman,” Lindbergh told The Huffington Post UK. “Not to show the stretched and manipulated, emptied women you see in the magazines today.” Lindbergh called the 2017 calendar a “statement” due to the lack of retouching, and revealed he deliberately chose to shoot actresses who had starred in high fashion and beauty advertisements. “You know these women retouched,” he told HuffPost UK. “It’s more powerful when you see these women how they normally are.” Until 14.05.17
Multimedia Art Museum |
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| Artist's Model in the Camera Objective |
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 The Artist’s Model through Camera Lens exhibition will be held as part of the 10th Moscow International Biennale “Fashion and Style in Photography 2017” at the State Tretyakov Gallery. Museum goers will be able to view the original photographs of the elegantly dressed models who posed for Ilya Repin, Ivan Kramskoy, Mikhail Nesterov, Valentin Serov, Konstantin Korovin, and Viktor Borisov-Musatov. Those pictures feature people who were sitters for famous paintings of Russian artists. Some shots registered the very moment of modeling, others were made to record outdoor impressions as auxiliary material for later work on canvases. The photographs were made in the second half of the 19th and the early 20th century. The same room will feature both photographs and paintings. The organisers believe that the display will help visitors to better understand how the artistic image took shape. They will be able to gauge the talent and comprehend how photographers and painters saw their models. Until 28.05.17
Tretyakov Gallery at Lavrushinsky Lane |
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| Dmitry Starshinov: Bolshoi. New Time |
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 Dance is one of the most photogenic arts. Striking, talented, plastic and incredibly beautiful ballet dancers inspire and have always inspired the greatest photographers to create series that become classics of world photography almost instantly. During its 20-year history MAMM has frequently showcased exhibitions devoted to ballet that have invariably been a great success with the public: Georgy Petrusov’s ‘The Bolshoi Ballet’, Dieter Blum’s ‘Body and Inspiration’, ‘Diana Vishneva through the Lens of Patrick Demarchelier’, ‘Dance in Vogue’ including the work of George Hoyningen-Huene, Cecil Beaton, Sylvie Guillem and others, and an exhibition by Vladimir Fridkes dedicated to star of the Bolshoi Ballet Svetlana Zakharova. The Russian ballet has always been at the forefront of ballet art. Without the productions of Marius Petipa, the choreography of George Balanchine and Sergei Diaghilev’s Russian Seasons it is simply impossible to imagine the art of the 20th century. The Bolshoi Theatre, in turn, has always remained a symbol of Russia all over the world, a platform on which the most significant, interesting and debated events in the field of classical art unfolded. The concept of the Fashion and Style in Photography festival, which traditionally acquaints viewers with masterpieces of world photography and with the work of young Russian and foreign photographers, is an examination of the concept of style and its evolution. This year the title theme of the Biennale is the ‘Wind of Time’. The project by Bolshoi ballet dancer Dmitry Starshinov, who photographed backstage life and the rehearsal process for an entire year, is as close as possible to the central theme and general concept of the Biennale. The exhibition not only shows what happens behind the scenes at the Bolshoi. It allows us to see how this theatre whose ballet troupe is known all over the world, primarily thanks to the classical repertoire, is constantly expanding its stylistic range, inviting contemporary choreographers, composers and directors to collaborate. The exhibition includes shots of classic ballets, but the emphasis is on modern ballet productions at the theatre that speak to the viewer in a different visual and plastic language. Among them are productions staged in recent years that were specially commissioned by the Bolshoi Theatre, above all ‘A Hero of Our Time’ by the young composer Ilya Demutsky. Staged by choreographer Yuri Posokhov and director Kirill Serebrennikov, it received the Golden Mask award as the Best Ballet Production of 2016. This first solo exhibition by Dmitry Starshinov reveals to the public another, more ‘informal’ Bolshoi. Together with the photographer we can observe the working process, the intense rehearsals, moments of relaxation and the extreme concentration of artists before making their stage entrance — aspects usually hidden from prying eyes. All this must be seen if we are to understand how magnificent productions that the whole world deservedly admires are created on the stage of the Bolshoi Theatre. Until 09.05.17
Manege |
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| Giorgio de Chirico. Metaphysical Insights Exhibition |
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 The Tretyakov Gallery presents Russia’s first major exhibition of paintings by the Italian artist Giorgio de Chirico, one of the leading 20th century masters and founder of the Metaphysical Art movement. The Treatyakov Gallery project reveals all sides of Giorgio de Chirico’s creativity – classical metaphysical, post-metaphysical, interpretation of antique and mythological plots, turning to old masters’ works, and many more. The painter’s creation has been presented comprehensively giving visitors a chance to contemplate his impact on European and Russian painters. On display will be paintings, etchings, sculptures and theatre costumes the master designed for Sergei Dyagilev’s private ballet performance of The Ball, 1929. The exhibition will feature a unique publication on Giorgio de Chirico’s creativity, which will be complemented by the exhibition’s curator Tatyana Goryacheva’s article about the painter’s influence on Russian art and articles by Italian experts. Until 23.07.17
Tretyakov Gallery at Krymsky Val |
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| Giorgio Morandi: 1890 – 1964 Exhibition |
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 The Pushkin Museum will present a large collection of works by one of the most outstanding Italian masters of the early 20th century Italian art, Giorgio Morandi. The exhibition aims at showing the scale of the artist’s creativity. The exposition includes about 70 paintings and water colours, 20 etchings and several original plates from world famous museums and collections. The works describe all stages of the master’s creative evolution – from metaphysical avant-garde and traditional Italian pieces to the latest ones, characterised by austerity and a depth of image. Giorgio Morandi was an Italian painter and printmaker who specialized in still life. His paintings are noted for their tonal subtlety in depicting apparently simple subjects, which were limited mainly to vases, bottles, bowls, flowers and landscapes. Until 10.09.17
Pushkin State Musem of Fine Arts. European and American Art |
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| Irina Korina. The Tail Wags the Comet |
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 Irina Korina has produced a three-story architectural intervention for Garage Atrium space that physically and ideologically transports audiences into different surroundings. Opened in conjunction with the first Garage Triennial of Russian Contemporary Art, the Atrium Commission explores the contradictions, humor, and pathos of national and cultural identity. In describing the concept of The Tail Wags the Comet—the largest work the artist has made to date—Korina says: “It is about the frustration of longing for something you will never see or achieve and the notion of a desired future that is met with nothing but mundane reality.” Irina Korina (b. 1977, Moscow) graduated in stage design from the Russian Academy of Theater Arts (GITIS) in 2000. She also attended a course in New Artistic Strategies at the Institute of Contemporary Art in Moscow (2000), as well as at the Valand Academy of Fine Arts in Gothenburg (2000) and the Academy of Arts in Vienna (2005). Until 06.08.17. Read more
Garage Museum of Contemporary Art |
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| Kourtney Roy: California – Enter as Fiction |
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 As part of the 10th Moscow International Biennale of Fashion and Style in Photography 2017, MAMM presents ‘California — Enter as Fiction’, a project by Kourtney Roy. Kourtney Roy was born in Canada and studied at the Faculty of Fine Arts in the oldest and most respected University of Art and Design named after Emily Carr. She dreamed of becoming an artist, but after completing a photography course found that sometimes it’s easier to take pictures of what you want to paint. At the beginning of her photographic career the search for models to use in shoots caused certain difficulties, so Kourtney Roy easily solved the problem by turning to self-portraits. Now she lives in Paris and has achieved great success in the field of fashion and art photography. She already has no difficulties with the choice of models, but to this day remains true to the genre of self-portrait, creating an amazing series on the verge of fiction and reality, inspired by the works of Alfred Hitchcock, Francis Bacon, Jeff Wall and Stephen Shore. "I tried not only to offer another vision of reality, but also to become part of it, to move into a parallel world where ambiguity and strangeness coexist with everyday life. I used the body’s ability for improvisation and gameplaying to achieve the unexpected effect of foreboding in scenes that otherwise seem completely banal. This photographic method relies heavily on the vicissitudes of the case, on the ‘unexpected’ that arises in the process of finding places and situations. The works created in this way look like a series of strange episodes on the verge of reality," recalls Kourtney Roy. All in all, it was necessary to find places with secret potential so they could be transformed into a film set with a wave of the magic wand (Kourtney Roy’s camera). For her part the photographer was always ready to encounter them, armed with a whole suitcase full of objects that seem bizarre at first sight such as a baseball bat, an eagle suit and a rubber chicken. Until 09.05.17
Manege |
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| Mark Neville: London – Pittsburgh |
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 Mark Neville began his career as an artist and sculptor, using the camera primarily to record his installations. His first documentary photo project came in 2004, when he spent a year photographing local residents in Port Glasgow, a Scottish town now beset by the industrial downturn, where his subjects included neighbours, patrons of bars and clubs, and members of diverse urban groups from football teams to Christian communities. His ‘Port Glasgow’ photo album was based on these images. Calling on boys from the local football club, Neville then distributed the books to every household in town: his aim to reach every individual featured in the project, especially those unlikely to purchase a photo album with high production costs from a shop. There was a huge response to the book: some accepted the artist’s view, but many felt he had exaggerated and deliberately shown the town and its inhabitants in a negative light. After ‘Port Glasgow’ Neville decided to continue his focus on documentary photography and for him this became an instrument of social criticism. In Pittsburgh Neville worked in two areas that were diametrically opposed in social terms — respectable Sewickley and working class Braddock, the latter having developed around the steel giant before languishing in the 1980s, when American industry hit crisis point. In London Boujis, the nightclub frequented by Prince Harry, represents one extreme, the subcultures generated by abject poverty the other. Neville shows modern-day contrasts by applying the visual style of cult photographers active in the 1970s and 1980s, those who photographed the USA and UK in times of recession. It soon becomes clear that little has changed in the intervening years. Until 14.05.17
Multimedia Art Museum |
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| Michel Sima: Genius in the Studio and Behind the Paris Art Scene |
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 As part of the Tenth Moscow International Biennale "Fashion and Style in Photography 2017", MAMM presents an exhibition by renowned French photographer and sculptor Michel Sima (real name Michał Smajewski) — ‘Genius in the Studio’ from the Kuno Fischer Collection, Galerie Fischer, Switzerland. Photography was more a hobby than a profession for Sima, who regarded himself primarily as a sculptor. Yet it was photography that brought him international recognition. In the course of 10 years he portrayed artist friends such as Pablo Picasso, Henri Matisse, Francis Picabia, Ossip Zadkine, Alberto Giacometti, Jean Cocteau, Man Ray, Marcel Duchamp, André Derain, Le Corbusier, Marc Chagall, Joan Miró, and many others. He was also indebted to this friendship with artists for his assumed name. The idea for his pseudonym was an anagram first suggested by Paul Éluard: SIMA is AMIS (friends) spelt backwards. The artist and his oeuvre was the theme that most fascinated Michel Sima as photographer. In all his images Sima pictured artists at work in their studios. But this was not purely a record of various stages of the artistic process. His amicable relations with the subjects and the trust that prevailed in every location enabled him to produce unique images that show subtle nuances of each character’s personality, and to convey an unrepeatable creative aura. Each artist posing among his works in the congenial surroundings of his own studio apparently reveals his identity to the viewer. Jean Cocteau wrote in his preface to Michel Sima’s "21 Visages d’Artistes", the photo album dedicated to the legendary École de Paris and published in 1959: "My dear Sima, you had the commendable idea of capturing the faces of artists as if in flight — the excited faces of artists in combat with the monsters they themselves engendered, the riders of the Apocalypse that drive us into a labyrinth where we are seized by the wild, ambiguous desire to at least see the Minotaur, if not actually encounter it". "What he reveals is something you will find nowhere else: brotherly unity, a striking, remarkable mutual affinity between photographer and model" (Michel Sima’s close friend Jean-Luc Meysonnier). Until 09.05.17
Multimedia Art Museum |
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| Philippe Chancel. Rebels’ Paris 1982 |
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 Over the past twenty years Philippe Chancel’s photography has explored the complex, shifting and fertile territory where art, documentaries and journalism meet. His is a constantly evolving project, focusing on the status of images when they are confronted with what constitutes “images” in the contemporary world. Born in 1959, Philippe Chancel now works and lives in Paris. He was introduced to photography at a very young age, took an economics degree at the University of Paris (Nanterre) followed by a post-graduate diploma in journalism in Paris. Philippe Chancel’s work has been widely exhibited and published in France and abroad in a number of prestigious publications. These include "Regards d’artistes" – portraits of contemporary artists, "Souvenirs" – a series of portraits of great capital cities (Paris, London, New York, Tokyo, Brussels) glimpsed through shop windows - produced in collaboration with Valérie Weill, and, lastly, his North Korean project, which brought him international recognition. Philippe Chancel is currently working on a new long-term project entitled « Datazone » that aims to explore the many-faceted aftermaths within the documentary field, revealing some of the world’s most singular lands which are recurrently in the news or, conversely, hardly ever picked up by the media radar. This visionary quest has already taken him from Port au Prince to Kabul via Fukushima, Niger's delta, Pyongyang or Astana. His work is included in many permanent public collections as well as private collections. Untill 26.11.17
Moscow Museum of Modern Art |
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| Russia and Izvestia: 100 Years |
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 This year the legendary national newspaper Izvestia celebrates its centenary. Izvestia is the mirror of an epoch, reflecting the most important, vivid and significant events in our political, economic, international and cultural life. The project ‘Russia and Izvestia: 100 Years Together’ is a unique chronicle of the country. The newspaper has changed with the country. And like the country, it has experienced difficult times and periods of prosperity. Since its inception on 13 March 1917 the Izvestia newspaper has reported on the socio-political course of the era. One of the first editors of the newspaper, Menshevik Fyodor Dan opened the 2nd All-Russian Congress of Soviets of Workers’ and Soldiers’ Deputies on 7 November 1917, at the very moment when storming of the Winter Palace began. The first decrees of Soviet power, ‘On Peace’ and ‘On Land’ were published in the pages of Izvestia. The exhibition presents unique documents from the archive of the special department that remained ‘classified’: confidential correspondence with Stalin and the Party Central Committee, with heads of the People’s Commissariats and ministries or special correspondents of the newspaper abroad, as well as artefacts such as Nikolai Bukharin’s typewriter, the 1940 editorial identity card of outstanding photographer Mikhail Prekhner who worked at Izvestia until his death in August 1941, and other items. Naturally the most important part of this exhibition is the photographs. Since its inception Izvestia has been famous for having one of the strongest photographic departments in the country. Photo correspondents from the newspaper created a unique chronicle of the war years and the work of Dmitri Baltermants, Samari Gurari, Georgi Zelma, Georgi Samsonov and Pavel Troshkin are now known and recognised worldwide. Regular Izvestia photojournalists Konstantin Kuznetsov, Anatoly Skurikhin, Nikolai Petrov, Sergei Smirnov, Alexander Steshanov and Viktor Akhlomov are among those who inscribed the most important pages in the country’s photo chronicle. The exposition includes both original issues of Izvestia, including the years 1917 to 1918, and reprints of different issues of the newspaper from the 100 years of its existence, as well as typographical stereotypes with the first documents produced by the Soviet government, the Decree on Peace and the Decree on Land. Until 14.05.17
Multimedia Art Museum |
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| Stars of Italian Cinema: Unknown Archives |
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 The exhibition ‘Stars of Italian Cinema: Unknown Archives’ includes previously unpublished pictures from one of the largest photo archive collections of Italian cinema from the 1950s to 1970s. Film and photography enthusiasts created the Latitude cultural association to administer this archive of more than 65,000 negatives. Their task is to conserve and augment its funds. Latitude plans to digitise the entire archive in the near future and create an electronic database to provide researchers and cinephiles with broad access to the materials preserved, while also providing opportunities for exhibition. The exhibition includes shots taken on the sets of Federico Fellini’s films ‘La Strada’ (1954) and ‘Nights of Cabiria’ (1957), recognised masterpieces of world cinema and recipients of all possible cinematographic awards, with the main role performed by Giulietta Masina, the director’s wife and muse. Everyone remembers the tragic stories of characters played by Masina, and it is therefore even more interesting to see her ‘offscreen’ — she is funny and also breath-taking, so unlike her heroines. Photographs taken during the filming of ‘Lucky to Be a Woman’ (1956) directed by Alessandro Blasetti, whose stars are the young Sophia Loren and Marcello Mastroianni, allow a completely new look at Loren the voluptuous diva: here she is weary, coquettish, bored and funny. Pictures that illustrate the process of filming comedies like ‘Cops and Robbers’ (1951) and ‘A Day in Court’ (1954), beloved by Italians but not so well-known in Russia, show the director-actor tandem of Steno (Stefano Vanzina) and Alberto Sordi, whose whimsical character Nando Mericoni, nicknamed ‘the American’, constantly confuses real life with the world of American films. The character proved so popular with the public that a year later he was the protagonist of a new film, ‘An American in Rome’. Several photos from the shoot are also included in the exhibition. Until 09.05.17
Manege |
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 This is a large-scale culture history exhibition project dedicated to one period of Russian national history which is traditionally labelled by scholars as the “Thaw.” The mission of this exhibition is to show not only the achievements of that period, but also its challenges and conflicts. The display includes works of painters, sculptors, and movie directors who were witnesses and agents of decisive transformations in the most important spheres of the lives of the Soviet people. Their opinions are controversial, which makes the exhibition all the more versatile. The exhibition area is designed around a few thematic sections, such as “Talking with Father,” “The Best City on Earth,” “International Relations,” “The New Ways of Life,” “Exploration,” “Atom — Space,” “Towards the Communism!” A variety of artifacts will be integrated into the expo space, such as painted and graphic works, sculptures, household items, samples of designs, video projections with footage from feature films and documentaries. Participants: the State Tretyakov Gallery, the State Russian Museum, the Institute of the Russian Realistic Art, Russia’s museum and private collections. Until 11.06.17
Tretyakov Gallery at Krymsky Val |
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| Triennial of Russian Contemporary Art |
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 Presenting works made by more than 60 artists from across the country, Garage Triennial of Russian Contemporary Art captures the zeitgeist of some of the most active and influential creative figures of the past five years, offering insight into the diversity of social tendencies that constitute the underexplored Russian art scene. A curatorial team of six members of Garage Program Department traveled through the country's eight federal districts, visiting more than 40 cities and towns, crossing eleven time zones, in climates that range from the subtropical to subarctic. Working with Garage’s regional network of specialists in each local context, the Triennial curators met with over 200 artists, ranging from 19 to 69 years of age. From this research, they identified seven vectors — Master Figure, Personal Mythologies, Fidelity to Place, Common Language, Art in Action, Street Morphology, and Local Histories of Art—through which the current art life of the country can be broadly understood. Until 14.05.17. Read more
Garage Museum of Contemporary Art |
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| Ugo Rondinone. your age and my age and the age of the rainbow |
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 The artist’s first project in Russia consists of two interconnected pieces: an installation in front of the Museum, and an object on its rooftop. In Garage Square, visitors find a one-hundred-meter-long fence supporting thousands of images of rainbows painted on wood panels by kids with various disabilities from all over the country. Garage Rooftop also hosts a ten-meter-long rainbow that spells out OUR MAGIC HOUR. This message celebrates the inauguration of the first Triennial of Russian Contemporary Art, which is taking place simultaneously inside the Museum. Fifteen hundred panels of different sizes, from 40 x 30 cm to 125 x 80 cm, are displayed on the front and back of the fence. Rondinone has realized a number of communal works, but this is his largest and longest rainbow fence to date. Unlike the previous ones, it is the first to be exhibited outside a museum, accessible to park visitors. Until 21.05.17. Read more
Garage Museum of Contemporary Art |
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 This exhibition at the Tretyakov Gallery will be one of the greatest displays ever of the Russian painter’s works over a period of 30 years. The exposition will include two periods of the painter’s creative life – Russian and French. There will be lots of portraits, the painter’s favourite genre, and landscapes. The exhibition will include sketches of murals of the Kazansky Railway Station in Moscow and a series of paintings revealing the behind-the-scene world of the Mariinsky Theatre. Works dating back to the Paris period have never been showcased in Russia before. Decorative panels of the Brouwer Villa, which for a long time was considered lost in World War II, will also be on display in Moscow for the first time. The exhibition will also feature the best works from Russian and Belarusian museum collections as well as private collections from Moscow, St Petersburg, Paris and London. Until 30.07.17
Tretyakov Gallery at Lavrushinsky Lane |
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