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| | Arts Calendar / February 9 / Exhibitions |
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| Alexander Dashevsky. Die Schere im Kopf |
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 In collaboration with the Triumph Gallery, the Moscow Museum of Modern Art proudly announces Die Schere im Kopf, an exhibition by Alexander Dashevsky that will bring together works by the artist created throughout his career including recent ones, such as paintings, graphics, and objects. The formal basis of the project is a reflection on memory and various forms of memorialization, their complexity, and ambiguity. The exhibition is built on the principle of double reading and resembles a sequence of stages of accepting loss. In the context of the exhibition, bereavement is not just a metaphor, but also a formal technical device: it appears both in the works themselves and in the exhibition space. Missing fragments of works, images of lost details, missing or erased parts of texts — all this leads the viewer to believe that something is understated and suggests an alternative reading of the dramaturgy of the project. The ambivalent construction of the exhibition becomes somewhat of a puzzle, and by solving it, the viewer can discover a number of different answers.
Moscow Museum of Modern Art on Gogolevsky bulv  |
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 Frida Kahlo's life and work have been inspiring the world for decades. Among artists, she was a champion for overcoming personal tragedies and disappointments. Frida's story is "two big accidents: one when the bus hit the streetcar, the other when Diego Rivera hit it," 33 surgeries and 145 paintings. Most of her work is self-portraits. "Sometimes I ask myself, weren't my paintings more works of literature than paintings? They were a kind of diary, a correspondence that I kept all my life. I was deprived of three children and much else to fill my nightmarish life. My art is the most complete biography I could write," Frida confessed in her diary." The artist used her talent to portray her own experiences, facing challenges that would probably have broken someone less resilient. Her paintings, full of symbols and allegories, rooted deep in Mexican tradition, mythology, and Buddhism, mainly draw the viewer's attention to the artist's physical condition and to her relationship with her husband Diego, rich in infidelity and breakups. Frida's work - in form reminiscent of naive art with hints of surrealism - has become the embodiment of Mexican folk art, fashion and women's freedom, with the result that the artist has been made an icon of feminism.
Artplay na Yauze |
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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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| Leonardo da Vinci. Enigma of the Genius |
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 In 2019, the whole world widely celebrated the 500th anniversary of the death of Leonardo da Vinci, the greatest Italian artist and inventor, one of the most significant representatives of the Renaissance art. On this occasion, the artist’s legacy is undergoing a real renaissance. Museums organize exhibitions of his oeuvres, and scientists publish new studies, trying to fully comprehend the entire breadth of his creations. Multimedia exhibition “Leonardo da Vinci. Enigma of the Genius” will become a part of a worldwide program dedicated to the memory of the master. Thanks to Cinema 360 technology, at the immersive exhibition in Artplay Media, viewers will have the opportunity to view all of Leonardo's most important masterpieces (The Mona Lisa, The Last Supper, The Savior, The Baptism, The Lady with the Ermine, etc.) in great detail and understand that even five centuries after his death, the brilliant creator and seer, scientist, artist and inventor is still in no hurry to reveal his enigma.
Artplay na Yauze |
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| Paul Brouns: Dutch Palette |
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 Lumiere Gallery presents the first solo exhibition in Russia by Dutch photographer Paul Brouns. The exhibition will include large-format compositions from the series “Urban Tapestries” , “Patterns in Perspective” and “Transformations” , on which the author has been working in recent years. Paul Brouns' work is based on architectural photography, which the author embodies in abstract visual images. Traveling through the cities of the Netherlands, Europe, America, Asia, Paul Brouns “collects” patterns and color inclusions of the urban landscape and creates his own unique palette. It is important for the author to overcome everyday reality and the utilitarian component of buildings, so bright and verified compositions are shown outside the context of the environment. The realism of Paul Brouns' photographs is emphasized by the large format of the works presented as part of the “Dutch Palette” exhibition project. Playing with the symmetrical ornament of window openings or repeating mosaic flights of fire escapes, the author creates complex visual mazes, offering the viewer to immerse themselves in a new dimension — to see the familiar urban space in a new way. Color, rhythm and geometry are the main elements of the author’s style.
Lumiere Gallery |
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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 World as Objectlessness |
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 The display includes works by Marc Chagall, Kazimir Malevich, Lev Yudin, Konstantin Rozhdestvensky, Anna Leporskaya, Ilia Chashnik, Nikolai Suetin, Valentin Kurdov, Vera Ermolayeva, Mikhail Veksler, Pavel Filonov, Mikhail Matyushin, Eduard Krimmer, Robert Falk, Dmitry Sannikov, Ivan Gavris, and others. The project was initially exhibited at the Yeltsin Center (November 5, 2021 — February 20, 2022). The Moscow edition will include newly added exhibits — several drawings from the Tretyakov Gallery, Suprematist porcelain from the State Hermitage and The Kuskovo Memorial Estate, and paintings from the Vitebsk Museum of Art. Anna Leporskaya’s Three Figures will be exhibited after the restauration following the damage in December 2021. The exhibition is centered around the history of the one of the most significant periods of Kazimir Malevich creative activity — the development of the pioneering Avant-Garde Art school: from the creation of UNOVIS, (Champions of New Art, in Russian — Utverditeli Novogo Iskusstva) in Vitebsk Art School, where Malevich was the invited professor in 1919, to the post-Suprematism during the complicated 1930s. The World as Objectlessness, which Malevich wrote in 1921–1922, summarized more than a decade of the artist’s creative research. Suprematism became one of the foundations of the Avant-Garde movement, defined its trajectory and uniqueness. As for the disciples and followers of the master, theory of objectlessness became their religion.
Jewish Museum & Tolerance Center |
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