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Arts Calendar / April 23 / Exhibitions
(Not) a Good Time for Love
Jewish Museum and Tolerance Center presents the exhibition (Not) a Good Time for Love. Love Stories of the Holocaust Survivors. The project is based on the recently published diaries, memoirs and biographies of the concentration camps prisoners, Jewish guerillas and members of the political underground as well as their children, grandchildren and invited biographers. Books recalling love and resistance in the times of the Holocaust are a recent phenomenon connected to the fact that there are less and less eyewitnesses alive and at the same time to the rising popularity of the New Sincerity. These stories remind us that Shoah is a tragedy with many faces and multiple consequences and can be seen through the everyday lives of the victims. The project presents 10 love stories of victims of the tragedy who lived through separation, death of their children, friends and relatives in the time of war. The exhibition will be filled with memories of the past weddings, dates in ghettoes, forbidden presents, mutual care, dreams of home, family and own land – Palestine. Witnesses’ stories engage into dialogue with works of contemporary artists exploring the history of the Holocaust and other military conflicts.
Jewish Museum & Tolerance Center 
Atelier E.B: Passer-by
Atelier E.B (Atelier Edinburgh-Brussels) is the name with which designer Beca Lipscombe and artist Lucy McKenzie sign their collaborative projects. Formed in 2007, Atelier E.B is a fashion label that produces using local and exploitation-free manufacturing. It operates through networks outside the system of fashion, reinventing conventional modes of display and distribution. This often involves gallery presentations, which combine art, design, and cultural research. The exhibition Atelier E.B: Passer-by is based on a two-year research project focused on issues around display and the people behind the rich and sometimes undervalued history of the twentieth-century world expos and fairs, iconic department stores, ethnographic museums and fashion in the former Socialist Bloc. The name of the project reflects Lipscombe and McKenzie’s belief that consuming fashion is not just the individual purchase of garments but also the passer-by’s glances at shop window displays and the enjoyment of fashion through books, magazines, exhibitions, and the Internet. For Atelier E.B, the nexus of the overlap between art, design, commerce, and display is centered upon the figure of the mannequin and fashion display; as modes of artistic expression and reflectors of cultural change. The exhibition has a broad chronology: the duo’s historical research traces multiple narratives within art, design, and, retail, while commissions by contemporary artists focus on the contemporary image of the mannequin.
Garage Museum of Contemporary Art  
Faberge and Court Jewelers
From November 20, 2019 to April 30, 2020 the Historical Museum will host the "Faberge and court jewelers" exhibition. The exhibition is dedicated to Russian jewelry art of the second half of the ?I? — beginning of the XX century, known throughout the world for beauty and grace. The exhibition has about 300 exhibits of the era of the Russian Renaissance. Including objects from regimental museums that will be shown for the first time. A special role in the jewelry golden age was played by Karl Faberge, the court supplier of the Russian imperial court and of many royal courts in Europe. This name has become synonymous with jewelry genius. A separate section of the exhibition is dedicated to his work. It tells about the master’s contribution to the Russian jewelry business, which has more than a 1000-year history. The exhibition introduces history of the national jewelry revival, Moscow and St. Petersburg jewelry schools. That era is characterized by the desire to update the artistic language. When leading artists turned to the creation of decorative and applied art products, including silver and gold. They began to collaborate with jewelry companies. The synthesis of the arts resulted in unexpected artistic solutions for the precious products of this period. The exposition presents works of prominent artists. Such as I. Sazikov, I. Chichelev, P. Ovchinnikov, I. Khlebnikov, the owners of the company Bolins, F. Rückert, the Grachev brothers and many others. They earned world recognition at world and national exhibitions, were high honored.
State Historical Museum 
Guy Bourdin. Follow Me
Guy Bourdin is internationally recognized for his provocative and convention resisting images. The Lumiere Brothers Center for Photography in Moscow presents Bourdin’s retrospective exhibition which features more than fifty of the artist’s most iconic works, created between the 1950s and the mid-1980s. Originally a painter, deployed aerial photographer and later an apprentice of Man Ray, Guy Bourdin developed a signature style in photography – mainly in the realms of commercial and fashion, but at the same time very autonomous works – highlighted with bright colours, surreal elements and according apply of his models. The images as presented in Moscow range from Bourdin’s personal archives to campaigns assigned by French Vogue and Charles Jourdan. In these works, Bourdin reflected themes of perversions, lust and consumption, while deliberately avoiding mere product representation. Thereby, Bourdin’s radical approach still has an immense impact on the fashion world today.
Lumiere Brothers Photogallery 
Monika Sosnowska. Exercises in Construction, Bending
Monika Sosnowska is known for her sculptures and installations that rethink the achievements of architecture in the twentieth century. Deforming full-size functional engineering structures and construction elements, she presents to the viewer naked and distorted forms that can be interpreted as a poetic metaphor for the psychosomatic states experienced by contemporary humans—their fragility, vulnerability, disconnectedness—or as a test of modernist ideas and their resilience. In her installation for Garage, Sosnowska remains faithful to her theme: the hyperboloid grid structure of a landmark constructivist building—a style which once embodied technology, durability, and economical design—is bent in half, toppled, and crammed into the Museum’s atrium. It looks awkward and uncomfortable, but the structure’s “discomfort” offers aesthetic pleasure to the viewer. Today, most constructivist buildings, such as the Shukhov Radio Tower, are hard to access, and the installation offers the opportunity to take a closer look at their particular elegance. For similar aesthetic reasons, Sosnowska polishes the surfaces of her structures to perfection. The mix of discomfort and delight creates a memorable viewing experience.
Garage Museum of Contemporary Art  
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