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Arts Calendar / June 11 / Exhibitions
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 
Fyodor Telkov. The Right to Believe
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.) 
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 
Leonardo da Vinci. Enigma of the Genius
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 
Mat Collishaw. The Machine Zone
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 
Oleg Tselkov. Stranger
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 
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  
The Duel: From Trial by Combat to a Noble Crime
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 
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 
ZYA! Slava Polunin’s Air Castles
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.
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