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Arts Calendar / March 12 / Exhibitions
Alexander Benois and the World of Art Association
The exhibition is part of a series of mobile exhibitions “The Artist and the Time” to be shown in the graphics halls as part of the program “The Tretyakov Gallery Opens its Storerooms”. Russian art of the turn of the XIX–XX centuries is emphasized by the increasing role of graphics seen as the most important type of art culture. The leading role in this process belongs to the masters of the World of Art Association who completed the “Graphic” Revolution. The exhibition will feature works by the prominent artists: A. N. Benois, L. S. Bakst, M. V. Dobuzhinsky, B. M. Kustodiev, E. E. Lansere, K. A. Somov, S. Yu. Sudeikin, C. V. Malyutin, M. A. Vrubel, and V. E. Borisov-Musatov. The exhibition will include about 200 works. designer Alexander Benois was one of two Russian artists - the other being Leon Bakst (1866-1924) - who created the decorative art for Diaghilev and the Ballets Russes, during its early seasons (1909-12). He is noted in particular for his design for Stravinsky's ballet Petrushka (1911), which combined elements of Rococo with Russian folk art.
Tretyakov Art Gallery 
Andrey Grositsky. Objectivity
The Moscow Museum of Modern Art presents Objectivity, an exhibition of Andrey Grositsky. Numerous works from different collections (not only paintings, but also graphics and objects that inspired the artist) are brought together under one curatorial idea of Sergey Khachaturov: to show the art of Andrey Grositsky in different complex contexts, from a dialogue with contemporaries to a premonition of ideas inherent in the metalanguage of present day millennials. Andrey Grositsky is a contemporary Russian artist whose work is genetically related to Russian non-conformism or ’other art’. Today he is perceived as one of the leading artists who conceptualized pictorial plasticity in his works. Grositsky is commonly referred to as one of the founders of the Russian ‘pop art’. The exhibition is located on the third floor of the main building of the Museum on Petrovka 25 and includes more than 120 works. The first two rooms introduce the viewer to Grositsky’s key works, in which household items, pieces of rusty metal, keys, and locks transcend the usual format of the canvas. The most ordinary things in his paintings live in immense space and aspire to become sculptures, they look as if cramped in a closed frame. Cosmic Artisan, a large-scale installation by Vlad Ogai anchors the space. The exposition in Room 3 is concerned with the three main issues raised in a dialogue between Grositsky and his contemporaries.
Moscow Museum of Modern Art  
Artyom Vasilkov: Hero-locomotive
An exhibition of works by industrial photographer Artyom Vasilkov "Hero-locomotive" is dedicated to the visual comprehension of the industrial aesthetics of steam locomotives as symbols of high-tech movement. The goal of the project is to convey the image of the railway industry, which is based on the inextricable link between a steam locomotive and a person. On the one hand, the exhibition includes images of unique locomotives that are of great interest not only from the point of view of their historical value, but no less aesthetically, as combinations of bizarre textures and rhythms that capture the imagination. On the other hand, an integral part of the project is the portraits of unknown heroes of the railway industry, whose dedicated work and enthusiasm allow maintaining the smooth functioning of the railways, without which the daily life of modern society is unthinkable. Thus, both components of the project create a realistic picture of the unity of the power of metal and physical strength, combined with the firmness of a person’s character,which reflects the essence of the concept "locomotive". (Source:
Classic Photography Gallery 
Bill Viola. The Journey of the Soul
Bill Viola is a recognized master who has been a pioneer of video art since the 1970s. One of the most influential American artists living today, for more than four decades he has been creating single-channel videotapes, video and sound installations, acoustical environments, as well as media works that accompany large-scale concerts and opera productions. Viola represented the USA at the Venice Biennale in 1995; selected solo exhibitions were held at the Whitney Museum of American Art (1997), the J. Paul Getty Museum, Los Angeles (2003), the Mori Art Museum, Tokyo (2006), the Grand Palais, Paris (2014), the Palazzo Strozzi in Florence (2017), the Guggenheim Museum in Bilbao (2017), the Royal Academy of Arts in London (2019), the Busan Museum of Art, South Korea (2020); and in St. Paul's Cathedral in London Martyrs (Earth, Air, Fire, Water) (2014), and the video-triptych Mary (2016) were installed as permanent installations. This first solo exhibition in Russia covers fourteen years of Bill Viola’s practice. However, this is not a separate, isolated stage of his artistic career. Instead, it is a continuation of themes that always preoccupied the artist in his life and work. These artworks summarize a creative search that focuses on the human condition, the journey of man in this world from birth to death, and the transformations of the soul. Viola’s work has been influenced by his personal study of the world’s spiritual heritage, including Christian mysticism, Islamic Sufism, and Zen Buddhism, and by his frequent travels throughout the world. On his voyages, he recorded visual images and traditional music as well as observing how religion influences art and culture. From the standpoint of the medium, Viola’s experiments may be called an ongoing study of the possibilities of video technology. To make his artworks, he employs an extensive range of equipment. Viola’s practice has developed in tandem with technological progress.
Pushkin Fine Arts Museum 
British Posters of the Late 19th and Early 20th Centuries
The Pushkin State Museum presents the exhibition “Ad Art. British commercial posters of the late 19th — early 20th century from the collection of the Pushkin State Museum of Fine Arts.” The exhibition includes more than 150 advertising prints from the Museum’s collection of artworks by the most significant English artists and designers, such as Aubrey Beardsley, the Beggarstaff Brothers, Edward McKnight Kauffer, Tom Purvis, Edward Bawden, Austin Cooper, and other masters who made London the design capital of the world. The exhibition, which coincides with the publication of the catalogue raisonné for the British poster collection of the Pushkin State Museum of Fine Arts, continues the series of Museum projects dedicated to the research and restoration work for the renovation of fragile documents of the era—pieces of early industrial printing. These include illustrated ads, political posters, and pieces of commercial lithography such as business cards, invitations, and bookplates.
Pushkin Fine Arts Museum 
Front to Back!
Front to Back! is a project prepared as part of the Collection. A Vantage Point Program implemented by the MMOMA education center. The exhibition introduces the viewer to a unique aspect of the museum collection showing them the reverse side of artworks. The exhibition focuses on different aspects of the paintings’ backside: the professional activities of the curators and the restorers, as well as the images that are usually inaccessible to the public, but can tell a story about the work and the artist — here objective reality (the canvas, the stretcher, the paints, inscriptions and signs) is intertwined with fiction. Individual works in the exhibition are concerned with the idea of space ‘behind the canvas’, experiments with the format of the painting and with the traditional concept of creating and destroying the ‘illusion of depth’ in a flat work of art. The works presented at the exhibition are divided into several thematic groups, including Biography of a Painting, Artist’s Laboratory, Otherworldly, Metaphysics of Everyday Life and others. The principle behind the selection was the curator’s first impressions of the artifacts found in the museum collections with images on the reverse. A full-fledged study and description of these artifacts is yet to come, but in the meantime they have for the first time appeared in public, accompanied by brief curatorial remarks. The exhibition includes works by Alexander Rodchenko, Eduard Krimmer, Alexander Labas, Boris Sukhanov, Natalia Parkhomenko, Vitaly Samarin, Eduard Steinberg, Vasily Sitnikov, Vyacheslav Koleichuk, Inal Savchenkov, Irina Korina, Chaim Sokol, Ivan Plyusch, Taus Makhacheva and others.
Moscow Museum of Modern Art (at Yermolayevsky per.) 
Future Lab. Kinetic Art in Russia
Tretyakov State Gallery, jointly with the Manege Central Exhibition Hall (St. Petersburg), ROSIZO State Museum and Exhibition Center, Triumph gallery and with the support of TransSoyuz Charitable Foundation, presents Future Lab. Kinetic Art in Russia. The project showcases one of the most impactful, yet underresearched art movements in the second half of the 20th century. Featuring about 400 exhibits, the project covers a broad swathe in the development of the kinetic art in the 1960s–70s, tracing its links to the avant-garde experimentation earlier in the century and to modern art practices. The Future Lab is the largest contemporary art exhibition to ever occupy the Gallery’s West Wing, where the institution hosts exciting interdisciplinary projects aimed at discovering current meanings and forms in contemporary art as emerging through novel plastic media. This project is also in keeping with the tradition of displaying timely snapshots of creative life. The location’s architecture allows for an exposition with more large-scale objects and installations, dedicated video screening areas, a larger roster of featured artists.
New Tretyakov Gallery 
I, Archpriest Avvakum, Have Faith
The Moscow Kremlin Museums take part in the exhibition project dedicated to the 400th Birth Anniversary of Avvakum Petrovich, archpriest, encourager and spiritual leader of the Old Believers. The Great Schism, which shook all Russian society strata, became one of the most tragic pages of 17th-century Russian history, still causing heated debates and diametrically opposite assessments. On display are rare artefacts, many of which are authentic relics of the era, providing the viewer with an insight into the complex and ambiguous events of the period and a sense of the tragedy and depth of the changes that took place back then. The exhibition presents three mid-17th century original charts from the collection of the Moscow Kremlin Museums sent to the Solovetsky monastery by Nikon during different periods of his life: first, as Metropolitan of Novgorod and Velikie Luki, and then as Patriarch. A unique example of Old Russian iconography, created before the Schism but used in the Old Believer circle, are two small icons from the second half of the 16th century, which initially were folding icon flaps. These exceptional images, recently restored, will be displayed for the first time.
Moscow Kremlin Museums 
Irina Petrakova. Manifested by Disappearance
The Moscow Museum of Modern Art is happy to announce a solo exhibition of Irina Petrakova exploring the changing relationship between the body and the environment. The exhibition is held in two rooms of the Moscow Museum of Modern Art on Petrovka. The viewer will find themself in a place that has been transformed through the corporeal practices of the author with images serving as a reminder of her presence. Instead of organic traces typical for humans, the viewer will see painting and graphics — the human is replaced by the artificial, drawing becomes experiencing. Irina Petrakova is an artist and a co-organizer at the Center Red (Moscow, 2015-2018). Her recent solo exhibitions include: Come and Hide (Iragui Gallery, Moscow, 2018), Explain it to the Dark (Center Red, Moscow, 2016). She is also actively engaged in artistic and educational practice with children and adolescents. Her works are part of the collections of the Ruarts Foundation, ZARIA Center, Iragui Gallery and private collections. The artist lives and works in Moscow.
Moscow Museum of Modern Art  
Pavel Leonov: Through the Looking-Glass
The Moscow Museum of Modern Art presents Pavel Leonov: Through the Looking Glass, a retrospective exhibition marking the 100th anniversary of the artist. Pavel Leonov is one of the leading figures among the Russian self-taught painters. His works won international acclaim and in 1984 his name was included in the World Encyclopedia of Naive Art. The exposition features works from the state and private collections in Moscow and other Russian regions, which broadly cover the main themes and periods in Leonov’s work — from his first attempts in painting to the works made in the last years of his life. Even though Leonov received wide recognition in his later years, throughout the most of his career the artist did not belong to the professional art scene. Leonov’s art is closely connected with the rich folk tradition. It can be found in the themes of his paintings, in their attributes and symbols, in the depiction of human faces which resemble masks. It is also apparent in his colors which are of intrinsic value to each composition and yet define Leonov’s artistic individuality. All the works of Pavel Leonov are essentially autobiographical. Events from his personal life story are captured in each painting. The picturesque canvases, large and small, depict subjects still vivid in the author’s memory, impressions, historic events, past life situations. The cycles of paintings reproduce collisions in the artist’s uneasy life path, arranging them as a myth, a dream of a better age, a timeless utopia instead of a consistent and accurate narrative.
Moscow Museum of Modern Art  
Russian Bone Carving Artworks of the 18-19th Centuries
The exhibition presents a part of artworks donated to the museum from the Karisalov family's collection, revealing the diversity of bone carving art in Russia in the 18th-19th centuries. Following a tradition of the Russian pre-revolutionary philanthropists, members of the Karisalov family did not only gather a remarkably comprehensive and outstanding collection of the Russian bone carvings and studied the art of bone carvers but took care of its fate as well by bequeathing it to the museum. The earliest items on display are caskets made of mammoth tusk, dating from the first quarter of the 18th century. They bear relief carvings, ornamental patterns and images modelled after the engravings from the book "Symbols and Emblems", which was published in Russian in 1705 on the order of Tsar Peter the Great. The core group of objects includes works from the 18th century to the first half of the 19th century created by Kholmogory masters, who skillfully combined bone carving traditions with new trends of the epoch. Jewellery boxes and caskets, faced with bone plates of different colours, were decorated with relief images based on European engravings.
Moscow Kremlin Museums 
Shejntsis. Essay in Four Scenes
Jewish Museum and Tolerance Center together with MosArt Foundaton presents an installation exhibition Shejntsis. Essay in Four Scenes. The installation is an artistic event designed by a group of artists of different disciplines. What brings them all together is the memory of the prominent director, stage designer, teacher at the Moscow Art Theater School, and a friend — Oleg Shejntsis. The title of the exhibition itself is an attempt to convey the Oleg Shejntsis phenomenon. According to the authors, an essay is an individual artistic experience whose characteristic free form of the narrative serves as a guiding principle for the exhibition. The display is divided into four parts united by an overall artistic idea. The core principle is that the exhibition is not associated to any memorable date from the personal or artistic life of the director. The idea is to express personal feelings of the creators using stage design tools. This is why, for instance, a number of model boxes provided by the Bakhrushin Theatre Museum were not used in the exhibition but are displayed as part of the installation.
Jewish Museum & Tolerance Center 
Tomás Saraceno. Moving Atmospheres
The tenth Garage Atrium Commission is an installation by Argentinian artist Tomás Saraceno, who is known for his works at the intersection of art, technology, and environmental advocacy. A product of Saraceno’s long-standing occupation with lighter than air movement and utopian modes of co-existing, the installation for Garage is the largest presentation of his practice in Russia to date. Moving Atmospheres, a partially mirrored sphere suspended in the air, propels us toward an Aerocene epoch. Saraceno’s call to this new era is championed by the multi-disciplinary community group Aerocene. For more than a decade he has been imagining a world free from the carbon, extractivism, capitalism, and patriarchy that fuels some forms of life, a new way of being with the atmosphere and emissions-free travel, free from solar panels, lithium, helium, hydrogen, and fossil fuels. This new era stands in stark contrast to the lingering eco-traumas of the Anthropocene, the current geological age in which some human capitalistic activity has been the dominant influence on climate and the environment.
Garage Museum of Contemporary Art  
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