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| | Arts Calendar / January 8 / Exhibitions |
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 The concept of an exhibition of Albert Marquet’s (1875–1947) works was conceived and fulfilled by the curators of Musée d'Art Moderne de la Ville de Paris as a monographic research on the oeuvre of this renowned French artist. The exhibits – from the early “Algerian” studies up to the later Marquet’s paintings depicting views of Parisian quais and squares – come from European and American museums and private collections. The exhibition hosted by the Pushkin State Museum of Fine Arts will be completed with some materials on Marquet’s travel to Russia and his impressions. The display will also include artworks created by the Vkhutemas and Vkhutein alumni of the 1920s, members of the “13” group, and the “Circle of Artists” group from Leningrad, who praised Marquet’s oeuvre and implemented similar aesthetic principles in their cityscapes of Moscow and Leningrad. Albert Marquet formed his artistic talent in the late 19th – early 20th century, during the period of flourishing of Parisian artistic life. The artist had a close friendship with the Fauves – Henri Matisse and André Derain. He standed out among the Fauves who were famous for using bold colors and simplified forms. Marquet’s peculiar and original technique consisted in combining the plasticity of dynamic and unchained brushstrokes and a harmonious palette with a range of complex color schemes. Until 08.01.17
Pushkin State Musem of Fine Arts. European and American Art  |
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| Alexander Rodchenko. Experiments for the Future. On the 125th anniversary of his birth |
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 The Russian avant-garde of the twentieth century is a unique phenomenon not only in Russian, but in world culture. The amazing creative energy accumulated by the artists of this great age is still providing nourishment for artistic culture today and all who have dealings with the art produced by Russian Art Nouveau. Alexander Rodchenko was indisputably one of the main generators of creative ideas and the general spiritual aura of the age. Painting, design, theatre, cinema, typography and photography, all areas invaded by the powerful talent of this strong, handsome man, were transformed, opening up radically new paths of development. The early 1920s was an «intermediate age», to quote Viktor Shklovsky, one of the finest critics and theoreticians of the day, a period when, albeit briefly, illusively, there was a resonance between artistic and social experiment. It was at this time, 1924, that photography was invaded by Alexander Rodchenko, already a well-known artist with the slogan «Our duty is to experiment» placed firmly at the centre of his aesthetic. The result of this invasion was a fundamental change of ideas about the nature of photography and the role of the photographer. Conceptual thinking was introduced into photography. Instead of just being the reflection of reality, photography also became a device for the visual representation of dynamic intellectual constructions. Until 12.02.17
Multimedia Art Museum |
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| Art Experiment. The Playground Project: from New York to Moscow |
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 Garage Museum of Contemporary Art presents the sixth annual interactive initiative, Art Experiment. This year it will explore the outdoor playground for kids environment. The exhibition is the Moscow edition of The Playground Project, created by Swiss curator and urbanist Gabriela Burkhalter whose research focuses on a unique and often unexpectedly innovative architectural phenomenon that unites in its creation and implementation the pragmatic understanding of current social-economic environment, constant rethinking of pedagogic standards, and revolutionary ambitions to change the society of the future—the outdoor playground for kids. Every new edition of the research presentation transforms it with regard to the space and historical context of the host city or country. The Playground Project was first shown in 2013 at the Carnegie Museum of Art, Pittsburgh, USA. In spring 2016, an extended version was presented at Kunsthalle Zurich, Switzerland. From July to October 2016, it was shown at the Baltic Center for Contemporary Art, Gateshead, UK. The Garage version of the show will include research materials on Soviet playgrounds, gathered specifically for this exhibition, and a first presentation of Bratislava playgrounds of the 1970s. Until 10.01.17
Garage Museum of Contemporary Art |
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| Leonid Sokov. Unforgettable Meetings |
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 The exposition of the Tretyakov gallery — from the halls of the early avant-garde to socialist realism 1940-50-? years — will be introduced to sculpture, objects, installations and paintings of one of the main representatives of the Social-art, and Leonid Sokov. This brings into the gallery space of the irony of postmodernism, — suggested by the curators of the project. Leonid Sokov in the years of study at the Moscow art school and Moscow higher art-manufacturing school (former Stroganov) a lot of drawing in the Moscow zoo, honing the ability to understand and summarize characteristics of a living nature, to discard the excess to achieve greater expressiveness. A great influence on him, as on many Soviet sculptors, had school Alexander Matveev. After graduating from College he became a member of Moscow Union of artists, and later a member of Bureau section of sculpture. But he was too closely within the boundaries established for a Soviet artist. Budding animal quickly evolved under the influence of modern Western sculpture, participated in the informal exhibitions. A distinctive feature of his works was an ironic game of allegories, quotations, characters. In 1979 the sculptor left the USSR. In the state Tretyakov gallery collection now includes about 30 works by Sokov. In 1993, the gallery received a gift from the author of the work "Stalin with bear's foot" (1993), and in 1996 the Ministry of culture gave the Tretyakov gallery work Sokov "Toucan" and "Serval" (both 1971). In the early 2000-? received "a Portrait of bureaucracy" (1984) and "Glasses (Glasses for every Soviet person)" (2000, copies of this work, 1976). Finally, in 2014, in the gift of the TG passed a collection of Soviet unofficial art Leonid Talochkin, including works by Leonid Sokov. Until 29.01.17
Tretyakov Gallery at Krymsky Val |
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| Proof: Francisco Goya, Sergei Eisenstein, Robert Longo |
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 Featuring works by Francisco Goya (1746-1828), Sergei Eisenstein (1898-1948) and Robert Longo (1953-) Proof offers insight into the singularity of vision through which artists can reflect social, cultural, and political complexities of their times. Featuring works by Francisco Goya (1746-1828), Sergei Eisenstein (1898-1948) and Robert Longo (1953-) Proof offers insight into the singularity of vision through which artists can reflect social, cultural, and political complexities of their times. Looking to innovations in technique and technology, each artist has worked across mediums—from painting and printmaking, to sculpture, film, and performance—but all continuously turn to drawing as a primary tool to articulate thinking. Rendering the societal impact of politics and power in black and white, the artists have diversely experimented with narrative visual forms, beyond traditional reportage, to chronicle events and provide an impassioned portrayal of the world around them. The exhibition includes forty-three of Eisenstein’s sketches from the Russian State Archive of Literature and Art that have not been exhibited before. These will be presented alongside seven of his films that will be projected in slow motion, so that each frame can be experienced as independent images. Forty-nine of Goya’s aquatint etchings, from all four of his suites, will be loaned for the first time from the State Central Museum of Contemporary History of Russia and more than thirty-five works by Longo, produced in the last five years, loaned from international collections. Until 05.02.17
Garage Museum of Contemporary Art |
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| Roma Aeterna. Masterpieces of the Vatican Pinacotheca |
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 The Tretyakov Gallery presents the masterpieces from the permanent exhibition of the Pinacotheca, which attracts art lovers from around the world. The treasures of the Vatican Museums rarely leave their walls, so that the exhibition will be an event not only for Russia and Europe, but also for the whole world. The exhibition will show the works of XII to XVIII centuries, including the paintings by Raphael, Caravaggio, Bellini, Guercino, Perugino, Poussin, Reni. The exhibition aims to show the development of European thought and art from the middle Ages to the Enlightenment, to recall the spiritual connection of Moscow and Rome through the masterpieces of the Vatican picture gallery. In the opinion of exhibition's curator Arkady Ippolitov, "the main idea of the Vatican museums is the idea of Rome." Roma Aeterna (Eternal Rome) is "not just a city, not just the capital but the whole of European history and quitessence European spirit". The main hall of the exhibition is planned on the model of St. Peter's square. The exposition begins with icons of the 12th century "The Blessing Christ", which is close to the Russian samples and recalls the common source of Orthodoxy and Catholicism. Besides showcasing the wonderful paintings the curators have planned a retrospective of Italian films, lectures and musical programs. Until 19.02.17
Tretyakov Gallery at Lavrushinsky Lane |
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| The Geogian Avant-garde: 1900–1930s. |
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 For the first time in Russia, The Pushkin State Museum of Fine Arts presents such an extensive exhibition of artworks by Georgian artists of the first third of the 20th century. Visitors will be able to see works by Niko Pirosmanashvili (Pirosmani) (1863–1918), Vladimir (Lado) Gudiashvili (1896–1980), David Kakabadze (1889–1952), Kirill Zdanevich (1892–1969), Alexander Bazhbeuk-Melikov (Melikyan) (1891–1966), Elene Akhvlediani (1901–1975), Irakli Gamrekeli (1894–1943), Petre Otskheli (1907–1937), and Zygmunt Waliszewski (1897–1936). The exhibition will present 200 paintings, easel drawings and theatrical decorations from major Russian and Georgian museums and private collections. The project is meant to emphasize the importance of dialogue between the two countries whose history and culture have been inextricably linked over centuries. Georgia, particularly Tiflis, were the point of intersection of different civilizations, languages and traditions. The exhibition is focused around the idea of displaying the rich artistic legacy of the Georgian art of the Avant-garde period. In the early 20th century, Georgian painting, literature, music and theatre were under a considerable influence of the Avant-garde thought. Tiflis became ‘little Paris’, the center of an artistic experiment. The city had an eventful cultural life: artistic cafés organized numerous poetic tournaments; Kote Marjanishvili, stage director of the Moscow Art Theatre and founder of the Free Theater in Moscow, collaborated with young artists in Georgia – Petre Otskheli and Irakli Gamrekeli. Tiflis was the place where Vladimir Mayakovsky and Osip Mandestam performed, the place that became home for the poets Vasily Kamensky and Aleksei Kruchenykh. The Conservatory of Tiflis had Heinrich Neuhaus among its professors. Here the philosopher George Gurdjieff established the first Institute for the Harmonious Development of Man and the School of Collective Gymnastics where everyone could enroll to study "sacred dances" and "sacred gymnastics". Until 12.03.17
Pushkin State Musem of Fine Arts. Private Collections |
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| Voices of André Malraux’s Imaginary Museum |
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 This exhibition, dedicated to French novelist, art theorist and Minister of Cultural Affairs Andre Malraux (1901-76) and his concept of the Imaginary Museum, features items from major Russian and European museums. In his books, The Voices of Silence and The Metamorphosis of the Gods which are his two major works in the field, he thinking about the role of the art museum and his concept of the musée imaginaire – often translated as “the museum without walls” or simply “the imaginary museum”. For us today, Malraux argues, the art museum is central to our understanding of, and our response to, those objects we regard as works of art, irrespective of their cultural origin. Now, the specific style of an artist is revealed most clearly and most powerfully, Malraux argues, when confronted with other works of art, and the art museum is one of the key places in which such confrontations are made possible. This response to art – this impulse to confront styles one with another – is, Malraux reminds us, very much a modern phenomenon, one that would not have been understood before the era of the art museum. “In the seventeenth century,” he writes, “a Sung painting would not have been compared with a work by Poussin: that would have meant comparing a ‘strange-looking’ landscape with a noble work of art.” That is, it would have meant comparing things that could not properly be compared – things of different kinds. But for us today, these two works belong to the same world – the world of art – and our response places them on the same footing, and sees them both as works of art – simply works in different styles. In short, whether we’re speaking about painting, sculpture, or other forms of visual art, we today instinctively tend to establish a dialogue between different works, and whether we’re conscious of it or not, it’s through this dialogue that each work comes most fully to life. Untill 12.02.17
Pushkin Fine Arts Museum |
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