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| | Arts Calendar / June 11 / Exhibitions |
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| 1872 Peter the Great's Anniversary in Moscow |
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 The exhibition "1872 Peter the Great's Anniversary in Moscow" coincides with the 150th Anniversary of the Polytechnic Exhibition, which marked the Emperor’s 200th Anniversary and became the most outstanding and grandiose project ever undertaken within the Moscow Kremlin. In 1872, for the first time in history, the Kremlin, its surrounding gardens and the embankment were transformed into a real city of science, technology and art. Its plan, opening the exhibition in the state anteroom of the Armoury Chamber today, shows the scale of this first pavilion-type exhibition in Russia. Visitors will see large-format photographs of the Military and Sevastopol sections of the Polytechnic Exhibition made by photographic studios of M.M. Panov and I.G. Diagovchenko, which were presented to Emperor Alexander II. Works of another photographer, M.P. Nastyukov, given on loan by the State Historical Museum, depict views of the Historical section and the grand opening of the Polytechnic Exhibition on 30 May 1872. One can see them on the screen. The exhibition which marks the Emperor’s 350th Anniversary reminds the public of the monarch’s jubilee in 1872 and provides an insight into the role played by the Armoury Chamber and its outstanding director in immortalizing the historical memory of Peter the Great.
Moscow Kremlin Museums  |
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| Danila Tkachenko. Fragments |
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 The fall of Communism in Europe left behind the material and immaterial traces that compose distinctive physical and memory topographies. Russian artist Danila Tkachenko explores them in his photographic practice through a combination of subtle images in interaction with specific locations, such as the Aral Sea. The exhibition Fragments at the Lumiere Gallery showcases three of his new series, Drowned (2021), Shoal (2021), and Planetarium (2020). On view are 30 prints that do not take the form of a social gesture but are rather the revelations of an additional dimension of Russian reality where man and nature seem to have left each other out. The series selected for the exhibition explore different historical conditions related to the socialist past, from abandoned places to monuments and utopian expansionist projects. Tkachenko travels around Russia and the former Socialist countries in search of the traces of the socialist utopia in contemporary everyday life. As he states, "ghosts do not live in time but in a space that continues to exist filled with new life." His work is described as the soundless scream, a cold-blooded metaphor for a wounded condition of Soviet utopia. Visitors must present a QR code and an identity document.
Lumiere Gallery |
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 Renoir, Degas, Monet, Toulouse-Lautrec, Rousseau, Signac, Gauguin, Modigliani, Klimt and van Gogh are presented in the smallest details and in the most unexpected angles thanks to Cinema360 technology. Portraits and landscapes in the format of an immersive show. Visitors of the exhibition will be transported through time and space from Moscow of the XXI century to Paris of the XIX century –called the City of Light, where was born the Bohemia, that totally changed the value of the European art. The manner of the Impressionists to depict on canvas the amazing state of rest and movement, light and shadow are admired in our days, and imitated by a large generations of artists. In nowadays, modern technology allows you to plunge inside the famous paintings. Dozens of projectors broadcast paintings on huge screens and the floor, close-up showing the unique brushstrokes of great artists. In front of the astonished spectators, the sunny fields of the Ile-de-France and the magical streets of the old Paris will come alive, and the exhibition space will be filled with flying dancers and blooming irises.
Artplay na Yauze |
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| Fyodor Telkov. The Right to Believe |
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 The Moscow Museum of Modern Art presents The Right to Believe, an exhibition by the Russian photographer and artist Fyodor Telkov. Telkov dedicated his practice primarily to the study and creation of a portrait of his native Urals region of Russia. The Right to Believe project is an extended visual study of contemporary Old Belief that reveals its culture to the viewer through black and white, grainy photographs. The visuals are accompanied by numerous interviews with representatives of different communities and conciliarities, of different ages and statuses, and with descendants of Old Believers. Every interview has one common motif: the struggle for freedom of religion and cultural identity against the background of wars, repression, reprisals and accusations of heresy. The transcripts of the direct speech of the protagonists are barely edited, which preserves the uniqueness of each individual story. The Right to Believe project could well be called a unique phenomenon, as the last such visual study of Old Believer culture was conducted more than a hundred years ago by the Nizhny Novgorod photographer Maksim Petrovich Dmitriev. For each project, Telkov chooses his own visual language, which helps to guide the viewer and attune him with the subject of research. The artistic technique of the project The Right to Believe is a direct reference to the first portraits of Old Believers filmed in the XIX century and is consonant with the continuity and preservation of Old Believer culture, and emphasizes its depth and mystery. Group and solitary portraits of Old Believers are imbued with incredible expressiveness, each of them transmits a special relationship with spirituality, eternity, tradition and time.
Moscow Museum of Modern Art (at Yermolayevsky per.) |
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| Gustav Klimt. Gold of Modernism |
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.1646979359.jpg) Portraits, landscapes and images of nude female nature in the format of an immersive show. Exciting, sensual, innovative - those epithets accurately describe the paintings of Gustav Klimt. At the exhibition “Gustav Klimt. The Gold of Modernism” you will not only see all the major works that provided the artist with a world-wide fame, but thanks to the Cinema360 technology you will plunge inside his canvases. The oeuvres of his “golden period” literally glow from the inside and are comparable in it power on the spectator with icons. The hall space flooded with golden light represents a total multimedia installation immersing the spectator into the sensual world of female images surrounded by a charming music. The total projection area is 1200 sq.m. Portraits, landscapes, decorative compositions and images of nude nature, which carried out a revolutionary takeover in Viennese painting, are presented at the exhibition in the format of a bright and spectacular immersive show. Surrounded by music and color, the spectator seems to be flooded in a magical world.
Artplay na Yauze |
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| Hieronymus Bosch. Professor of Nightmares |
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 Strange, weird, frightening – the most frequent epithets mentioned to describe the works of Bosch. All the superstitions and fears that tortured the medieval man, are reported in his works. It is no coincidence that his world known painting "Garden of earthly delights", represents the human kind trapped in its own sins and absorbed all the atmosphere of the epoch, has become a symbol of the Middle Age. Bosch is considered as the author of around 30 works, but only seven of them are signed by the author. None of the paintings has a name given by Bosch himself. All of them were attributed later by researchers of his work. His life is known even less — he came from a family of hereditary artists, married profitably, had no children, was a member of a religious organization called the “Brotherhood of the virgin Mary”. Who is Hieronymus Bosch? Some consider him as a surrealist, calling him "Honorary Professor of nightmares." Others argue that in his work encrypted secrets of alchemists, astrologers and sorcerers of the time. Still others classify the artist as a heretic, calling an adept of forbidden sects, although it is known that Bosch was an extremely religious man. At the exhibition "BOSCH. Professor of nightmares" you will see a real carnival of terrible and at the same time attractive works of the painter. The Cinema360 technology will allow you to merge inside the famous triptych Bosch "Garden of earthly delights."
Artplay na Yauze |
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 The exhibition "In the Language of Art" presents to visitors works from the Fine Arts collection, reflecting the richness of the Russian painting trends in the second half of the XX century. In recent decades, classical pictorial art has become, in a sense, the elitist phenomenon: due to the increasing intrusion of computer technology into the culture, the figure of the artist with the brush in his hand is becoming more exotic every year. Nevertheless, modern artists who have chosen the path of the painter do not just follow the canons of the bygone century, but also modify them, enriching them with individual skill. This is how genuine masterpieces are born, in which the familiar world opening from the window appears as the symbol of the Motherland. Already in the early 1960s, the new generation of artists was formed. With the advent of the Khrushchev thaw, the active search for new artistic forms capable of adequately expressing the essence of the rapidly changing time began. Within the framework of the single realistic direction, new styles began to emerge; long-forgotten methods and traditions were tested. At the same time, the academic school of Russian realism was not forgotten. Enriched with deep psychologism of images and comprehension of the recent past epochal events, it found the new embodiment in the works of such masters as V. Bakshaev ("Taiga Landing", "Students") and Y. Raksha ("Builders. Our Drilling Rig").
Museum of Contemporary History of Russia |
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| Kaleidoscope of Collections. Rarities of the Museum Collection |
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 The Museum of Contemporary History of Russia collection (former the Museum of the Revolution of the USSR) was formed under the influence of the events taking place in the state. Initially, the museum was created as the museum of the revolutionary and democratic movement, and it saw its main tasks as showing the glorious revolutionary past, the chanting of the fighters against the autocracy, the story about the history of the CPSU (b). However, from the very first days, the museum began to receive not only documentary materials, but also the material relics. The museum actively complicated propaganda porcelain, art lacquers, metal and glass objects symbolizing the struggle of the working class for the fair world. When completing art collections, the plot has always been very important for the museum — the historical event reflected in the particular work, the disclosure of the surrounding life actual themes by artistic means. Thus, the collection of decorative and applied arts was gradually formed. The Museum of the Revolution storages were actively replenished with the gifts from the Soviet and foreign delegations to leaders of the state, prominent political and economic figures of the country, as well as with the products made in the single copy for the opening of various congresses and party conferences. Despite the fact that these items were created by the best masters of their time, not all of them could be exhibited in the permanent exhibition. In different years, the museum staff found many ways to show art relics to visitors: these were exhibitions of gifts, and visible storage of museum collections, and, finally, the exhibition that you see now — “Kaleidoscope of Collections. Rarities of the Museum Collection”.
Museum of Contemporary History of Russia |
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| Mat Collishaw. The Machine Zone |
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 Mat Collishaw is one of the most significant and compelling artists in contemporary British art. With an early foundation at Goldsmiths College, Collishaw formed part of the legendary movement of Young British Artists (YBA’s). He was one of 16 young artists who participated in the seminal Freeze exhibition organized by Damien Hirst in 1988 as well as the provocative Sensation show of 1997. Throughout his 30-year career, Collishaw has contemplated the nature of the human subconscious and explored ways to influence it through various media. Through optical illusions, paintings, projections and moving sculptures, the artist creates works and scenarios that directly and unconsciously engage their viewers. The works encourage us to think about fundamental questions of psychology, history, sociology and science. Behind the richness and visual appeal of each work there is a deep exploration of how we perceive and are influenced by the world today through images, and modern technology. Questions regarding behavioral manipulation, programming, temporal reality all linger in the viewing experience. Visitors must present a QR code and an identity document.
Gary Tatinsian Art Gallery |
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 Moscow Museum of Modern Art in collaboration with Tsukanov Family Foundation presents the first full-scale retrospective exhibition of Oleg Tselkov, one of the most famous classics of Soviet nonconformist art. Oleg Tselkov is a recognized pioneer of the difficult path of Russian unofficial art. He was expelled from classical art educational institutions, while his colleagues and peers recognized him as a genius, a miracle for the period of cultural restrictions and prohibitions. It was he who inspired many artists to break with socialist realism. Developing, contemporary art of the USSR increasingly picked up the latest Western trends, while one of its founders, Oleg Tselkov, at the dawn of his creativity preferred to turn to the Russian avant-garde of the early century and, in particular, to the Cubo-Futurists and Fauvists. In his original work one can also find features close to expressionism and surrealism, but Tselkov’s language itself, based on obvious examples, was exceptional and individual. Tselkov’s first works are saturated with direct references to the works of Konchalovsky, Matisse, L?ger, Malevich. By the 1980—90s, Tselkov’s style and philosophy had completed the process of formation, and he turned to a critique of the society of the spectacle, the faceless mass. His famous faces are both generalized masks, devoid of soul and guided by a single idea, and people of the future, archaic images of the past, and philosophers seeking universal happiness for humanity. At the same time, Tselkov himself denied in the fictional images a hint of criticism of totalitarianism, he believed that he was looking much deeper, into the very essence of the personality of modern man. At this point in his career, Tselkov finds himself closer to Western contemporaries Alberto Giacometti and Francis Bacon than to domestic non-conformists seeking to confront ideology.
Moscow Museum of Modern Art on Gogolevsky bulv |
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 The spatial installation Silence by Polish artist Paweł Althamer is a garden for meditation built in the square in front of Garage Museum of Contemporary Art. To Althamer, each element of the garden—be it a fallen tree or a particular deciduous bush—is a hidden quote, while the composition as a whole is a unique environment where the restless city dweller of today can alter the regime of time, as if transported to a picturesque space in a past era, where the rhythm and pace of life were not by default accelerated to the limit. According to Althamer, Silence is a space where everything happens here and now. It is only in such a space that we can truly find time for ourselves. Working with the community of people with disabilities, with whom he organizes regular sculpture and drawing workshops, has been an important part of Althamer’s practice since 1993. For the artist, this special kind of collaborative authorship represents the therapeutic power of art in action, as well as art’s ability to socialize individuals whose life is otherwise almost invisible to society. For Silence, Althamer collaborated with local specialists in working with people with disabilities to create a number of meditations and spiritual and physical practices accessible to everyone, which take place in the garden at specific times. The garden meditations are based on the principle of audio description (a type of narration used to convey visual information to the blind) and require objective and non-judgmental description of objects and the space, which allows us to experience a reality that seems obvious in a different way.
Garage Museum of Contemporary Art |
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 Exhibition is dedicated to the 100th anniversary of the All-Union Pioneer Organization creation in the USSR. It covers the process of origin and stages of the organization development from the beginning of the 20s to the end of the 80s of the twentieth century. The exhibition includes propaganda posters, works of fine art, graphics and sculpture. The exhibition presents paintings, posters, and postcards with scenes from the life of young Leninists, series of pioneer heroes portraits, as well as sculpture, tableware, aircraft models. Among the exhibits, there are the pioneer ties, badges, drums from different countries, banners, for example, gift to Yuri Gagarin from the pioneers of the secondary school No. 14 in Mytishchi.
Museum of Contemporary History of Russia |
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 Through a comparison of self-portraits and portraits of artists, the curators trace the development of the portrait genre and ways of depicting the subject at the turn of the 19th to 20th centuries. The exhibition includes works by Ilya Repin, Boris Kustodiev, Robert Falk, Vladimir Tatlin, Zinaida Serebryakova, Natalia Goncharova, andothers. Visitors will be able to see how the masters portrayed themselves, and how their contemporaries — painters, graphic artists and sculptors — viewed them. Realists and innovators, participants in the World of Art and Blue Rose groups, the school of Pavel Filonov and the Jack of Diamonds, painted self-portraits and portraits of each other, demonstrating similarities or fundamental differences in their ‘points of view’. The exhibition will feature the realistic tradition of psychologism, impressionistic lyricism, Symbolist theatricality and Cubist experiment. If some pairs of self-portraits and portraits turn out to be almost identical in style — for example, in more or less abstract images by Alexander Rodchenko and Varvara Stepanova, then others stress the difference in style — as in the self-portrait of Mikhail Larionov from the Paris period and a painting of him by Natalia Goncharova. These portrait images reflect the personal relationships of artists: professional, as between Ilya Repin and Isaak Brodsky; friendly, as with Boris Kustodiev and Ivan Kulikov; or within families, as with the Favorsky or Kardovsky couples.
Museum of Russian Impressionism |
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| Rejected Masterpieces. Pavel Tretyakov’s Challenge |
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 Twenty most “highly acclaimed” works in the history of Russian art were selected for the project “Rejected Masterpieces. Pavel Tretyakov’s Challenge”. The project is to show how these canvases were received by their contemporaries and how aesthetic ideas and preferences have changed over the years. When these paintings first appeared in public and became the focus of discussions of the professional community, they caused not only debate and disputes, but also antagonism, rejection, and even smear campaigns (up to censorship banning exhibiting, and removal from exhibitions and from catalogs). But today the permanent exposition of a major Russian museum is unthinkable without them. It is not easy for us to imagine why their contemporaries found these canvases that now have pride of place in the collection, so unacceptable. What could be annoying in Surikov’s “Boyar Morozova” or Kuindzhi’s “Birch Grove”? What could outrage in Vasnetsov’s “After the Battle ...”, why was Perov’s “Rural Religious Procession at Easter” removed from the exhibition and why was Repin’s painting “Ivan the Terrible and his Son Ivan….” banned from exhibition? The project is aimed at finding answers to these questions. Throughout his journey as a collector, Tretyakov acquired controversial items that shocked the public and provoked discussions in the art world. He fearlessly purchased works that were not approved of by the art authorities. Tretyakov’s contemporaries criticized him for not making “right choices” and disapproved of many of his acquisitions. By modern standards, their attacks do not stand up to criticism, as the collector’s views and tactics have proven so far-sighted. Tretyakov wrote on many occasions that only later generations would be able to give an unbiased assessment of his collection, because time would be the true judge. Three paintings out of twenty in the project were created during the collector’s lifetime,...
Tretyakov Gallery at Lavrushinsky Lane |
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 The Moscow Museum of Modern Art presents the eleventh thematic exhibition of its collection, once again located at one of the MMOMA venues at 25 Petrovka Street. This time, the curators focus their attention on the idea of artistic form in its broadest sense. In the world art of the XX century there was a clear tendency to move away from familiar images through object and anthropomorphic images. First of all, the decomposition and generalization of comprehensible images are associated in culture with the socio-political changes, upheavals and tragedies of the last century. This experience found very different forms of expression in the work of authors — from a movement toward abstract art, in which images are modified to simple geometric forms, to the complete destruction of the object world as such in favor of the domination of color or space. The versions and methods of the iconoclastic tendencies in post-war art became the main subject of the 11th thematic exposition of works from the MMOMA collection. The exhibition features pictorial, graphic, sculptural works, as well as video and photographic works by contemporary authors, consistently revealing the history of rejection of the image, while each separate room examines certain methods and techniques through which this rejection manifests itself in the work of different artists. Some authors found a new way to make a statement in pure geometric forms and used them to create metaphorical dedications to the protagonists of the time.
Moscow Museum of Modern Art |
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| The Duel: From Trial by Combat to a Noble Crime |
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 Duelling was born long before the affair of honour of the 18th-19th centuries, well-known thanks to Russian classical literature. Postulates of defending the nobleman’s honour were formed in the 16th-17th centuries to the sound of crossing blades and moans of the deadly wounded. It is to this fascinating time that the exhibition "The Duel: from Trial by Combat to a Noble Crime" is dedicated. Duels of that era are mostly familiar to us because of the novels of Alexandre Dumas and numerous movies based on them, depicting duellists as noble heroes. But actual duels and duellists are much less known. Unique exhibits will help to immerse in the world of duels of the 16th-17th centuries; many are exhibited in Russia for the first time and never before seen in the same space. The display features more than forty monuments of rare drawings, engravings, manuscripts, treatises on the art of fencing, arms and armour of that time, given on loan by European and Russian museums and libraries. Duels were preceded by the medieval tradition of trial by combat. In a judicial duel, God was believed to help the one standing up for a righteous cause, even if the opponent was more powerful, as it happened in the Old Testament battle of David and Goliath. The duellers believed that a crime against honour was like murder, and the perpetrator deserved death, so they were entitled to the honour defence in a duel.
Moscow Kremlin Museums |
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| ZYA! Slava Polunin’s Air Castles |
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 Slava Polunin doesn’t need a long introduction. The names of his most well-known performances: “Asisyay”, and “Nizya!” (created back in the 1980s and often broadcast over various TV channels) would be more than enough. Polunin is not solely a Russian phenomenon: Mir-Caravane, a trans-European street theatre fest organized by him in 1989, started in Moscow and rolled over virtually the entire Europe. This year, Vyacheslav Polunin, a mime, a clown and a director of comic skits and performances, is celebrating his 72th birthday. The exhibition in the Manege showcases the fantasy worlds he has created throughout his career and keeps creating today. The exhibition spaces dedicated to various periods of Mr. Polunin’s career, were designed by artists that have worked with the famous clown. It will throw the most grown-up and serious visitors back to their childhood. They will be given opportunities to try themselves as clowns, dive into the whirlwind of street carnival and theatre, attend the Academy of Fools, the most serious academy in the world, go to the desert, the heart of a blizzard, to the world beyond the looking glass. And of course, in the end of it all, think of something important.
Manege |
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