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Arts Calendar / July 27 / Exhibitions
Save Up Laughter for Winter...
The Moscow Museum of Modern Art presents a significant project for the exchange of cultural heritage with Yakutia, a unique and world-famous region of Russia. The exhibition is prepared jointly with the AyarKut Foundation for the Support of Contemporary Art and with the support of the Yuri Gagarin Center for Culture and Contemporary Art. Save Up Laughter for Winter is an exhibition dedicated to the contemporary art of Yakutia and provides an opportunity to analyze and find a common expression of folk culture in different artistic practices of three generations of Yakut artists, where the older are teachers or inspirational guides of the younger generation. Working with the theme of ethno-national and modern symbolism of the North, the authors develop new approaches to the representation of individual experience through art. In their works, expressing the inner need to capture the changing cultural landscape, the artists translate the interpenetration of nature and ancestral memory of the region into contemporary realities. The title of the project quotes lines of the young poet and philosopher Gabba (Gleb Gabayev): «Save up laughter for winter, Like an animal saves up fur and lard..», which reflects a whole layer of northern culture placed within a harsh climate with a long winter and a short summer period and hence capturing the need to accumulate heat and joy as a method of survival and search for vitality appears. The exhibition will feature a wide range of techniques, from paintings to arts and crafts objects and installations. This project emphasizes the importance of repeatedly showing regional art in the Education Center of the Moscow Museum of Modern Art, with one of its goals being to support and establish friendly relations and exchange of artistic expressions both inside and outside the country.
Moscow Museum of Modern Art (at Yermolayevsky per.) 
1872 Peter the Great's Anniversary in Moscow
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 
Danila Tkachenko. Fragments
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 
Hieronymus Bosch. Professor of Nightmares
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 
Kaleidoscope of Collections. Rarities of the Museum Collection
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 
Nikita Chernoritsky. The Edge
The Moscow Museum of Modern Art and the Triumph Gallery present The Edge, an exhibition by Nikita Chernoritsky, dedicated to human boundary states and the exploration of the concept of external and internal boundaries and limits. The exhibition is part of the Young Lions, a joint program to support young art. The Edge is a project by Nikita Chernoritsky, which continues the exhibition Method. Facets (2018) and represents the next step in the work with space perception. The artist’s paintings are made on a blank black background, and all depicted objects sharply protrude from it by bright local color spots, as if captured by a beam of light. In these works, one can notice features close to cinematic art, hyperrealism, and associations with the technique of contrasting Spanish painting of the seventeenth and eighteenth centuries. At the same time all the figures depicted by the artist are depersonalized, deprived of individuality. They can be identified by their outlines, and the objects themselves are hidden behind draperies of fabric and glossy material. Here, finally, the theme of borderline state is revealed. Familiar objects change their identity in the eyes of the viewer against the black background, associated with the «edge» that absorbs all existence, which is beyond time and place and is essentially void. A series of monochrome trees even more vividly reflects the metaphor of transition into another state, and the subjects of the works balance between nothingness and permanent presence. Pale, lifeless tree trunks, frozen in darkness, continue to live in spite of everything. The theme continues with a series of video works in which the characters, once again acting against a black background, put on masks, hiding their own identities. The static nature of the shots and the lack of context lead the viewer to doubt the reality of the existence of the objects, emphasizing the lifelessness of the characters in the video. Nikita Chernoritsky specifically refuses titles for his works, pointing out the absence of an interpretation by the author. Everyone can find their own meaning in his works, relying only on personal experience, personal associative series and psycho-emotional state. At the same time it is the viewer who «pulls» the depicted objects from oblivion, bringing them to life, breaking the peace of the prevailing darkness. Being on the borderline between the real world and the metaphysical, space and images of Nikita Chernoritsky settle in the deepest depths of the subconscious, in which the artist plunges day after day in search of meanings and himself.
Moscow Museum of Modern Art  
Paweł Althamer. Silence
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  
Simple Forms
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. Following this principle, Vladimir Nemukhin created a monument to his predecessor, the artist Pyotr Sokolov. The other line of rejection of the object image was manifested in the search for expression through texts, figures or ciphers, in which at times one could trace a game and a forced attempt to hide and conceal the true meaning of the narration. Ilya Kabakov and Alexander Leonov tried such methods in their art. At the MMOMA exhibition, the work of the duo Vitaly Komar and Alexander Melamid, in which the authors mock the periods of oblivion that inevitably occur in history, can be seen as a peculiar apogee of the rejection of form.
Moscow Museum of Modern Art  
Van Gogh. Letters to Theo
The correspondence with his brother Theo covers the two large periods when the life and creations of Van Gogh falls apart – the Dutch and French periods. Letters to Theo is a breathtaking, unique document stretching over hundreds of pages. This is a dialogue not only with the addressee, but with himself, God, and the whole world as well. It looks like a cry of pain. Visitors of this multimedia exhibition will not only see more than 400 masterpieces of Van Gogh written in different periods of his life - in the Netherlands, in Paris, in Arles, in Auvers-sur-Oise, but also hear the story told in letters from the first- person. The new and unique technology Cinema360 will help you to totally immerse yourself into the artist's oeuvres - images are not projected only on the walls, but even on the floor and on the rear projection screens that visually change the geometry of the hall.
Artplay na Yauze 
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