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Arts Calendar / October 19 / Exhibitions
Anna Titova. The Amazing Journey of a Mischievous Boy
The Vadim Sidur Museum and the Moscow Museum of Modern Art present The Amazing Journey of a Mischievous Boy, a research project by artist Anna Titova who reimagines the renovated permanent exhibition of the Vadim Sidur Museum. It took several years to complete the project which also includes the reconstruction of Sidur’s lost sculpture as well as interaction with public organizations in the Perovo and Novogireevo districts. The project is the result of Anna Titova’s long research into the means and practices of reproducing social and cultural connections that work in urban environments. Inspired by a critical reading of modernist urban utopias, gender studies of subjectivity, and the concept of distributed action in Jane Bennett’s new materialism, the artist explores the conditions allowing to transform hierarchical cultural systems into open and inclusive environments, with immersiveness becoming an inclusion that endows the public with a new level of agency. The Amazing Journey of a Mischievous Boy includes the following parts: the first floor features results of working with Vadim Sidur’s personal archive, while the second floor focuses on the project carried out with local grassroots organizations Mamas up and Perovo Architectural. From the moment it opened within the walls of a former flower store in 1989 until its transfer to the Moscow Museum of Modern Art in 2018, the Sidur Museum has defended and fought for the right to be a unique open environment for audiences with different needs and abilities.
Vadim Sidur Museum 
France and Russia: Ten Centuries Together
The display dedicated to the centuries-old history of Russian-French relations includes more than 200 pieces, among which are archival documents, personal belongings of the heads of state, diplomatic gifts and works of art. Throughout centuries they have been carefully kept by the museums, archives, libraries of both countries and above all by the royal treasury – the Armoury Chamber of the Moscow Kremlin. The exhibition opens with a unique document, recalling the events of the 11th century when the Old Russian and French ruling dynasties intermarried: the daughter of the Great Prince Yaroslav the Wise became the spouse of King Henri I. This manuscript from the funds of the National Library of France dates back to the year 1063 and has a Cyrillic inscription, presumably an autograph by Anna, daughter of Yaroslav. In 1896 a copy of this document was presented to Emperor Nicholas II during his official visit to Paris. At the same time, the Russian monarch had an opportunity to see the so-called Reims Gospel that in the 19th century was associated with Anna Yaroslavna, while a part of it was written in Cyrillic letters in Church Slavonic. The President of the Russian Federation Vladimir Putin presented a facsimile copy of the manuscript to the President of France Emmanuel Macron during the official visit in 2017. The Reims Gospel, being a symbol of friendly relations between the two countries, is one of the key objects of the display.
Moscow Kremlin Museums 
French Impressionism
Renoir, Degas, Monet, Toulouse-Lautrec, Rousseau, Signac, Gauguin, Modigliani, Klimt and van Gogh are presented in the smallest details and in the most unexpected angles thanks to Cinema360 technology. Portraits and landscapes in the format of an immersive show. Visitors of the exhibition will be transported through time and space from Moscow of the XXI century to Paris of the XIX century –called the City of Light, where was born the Bohemia, that totally changed the value of the European art. The manner of the Impressionists to depict on canvas the amazing state of rest and movement, light and shadow are admired in our days, and imitated by a large generations of artists. In nowadays, modern technology allows you to plunge inside the famous paintings. Dozens of projectors broadcast paintings on huge screens and the floor, close-up showing the unique brushstrokes of great artists. In front of the astonished spectators, the sunny fields of the Ile-de-France and the magical streets of the old Paris will come alive, and the exhibition space will be filled with flying dancers and blooming irises.
Artplay na Yauze 
Ilya Repin, Known and Unknown
The exhibition is associated with the large-scale retrospective exhibitions of Repin’s work in 2021‒2022 at the Finnish National Gallery (Ateneum Art Museum) in Helsinki, and in the Petit Palais in Paris, where the Tretyakov Gallery will provide a large number of paintings and graphic works to be exhibited for a long duration (including many works from the Gallery’s permanent exhibition). The works by the “unknown” Repin include paintings and graphic works that were not part of the artist’s 2019 retrospective in Krymsky Val. The paintings by the “other” Repin were created by the artist later in his life. The chamber exhibition will bring together approximately 30 paintings by the artist created in different years, including his paintings and graphic works from the Tretyakov Gallery collection, three female portraits and the evangelical composition “The Incredulity of St. Thomas” (1920–1922) from private Moscow collections, as well as a sketch, “The Son Killer” (1909), a later version of the painting “Ivan the Terrible and his Son Ivan on November 16, 1581” (1885, State Tretyakov Gallery) from the Voronezh Kramskoy Regional Art Museum. A special focus of the exhibition will be the section devoted to the history of the masterpiece, “Ivan the Terrible and his Son Ivan on November 16, 1581”, that has been undergoing restoration since May 2018. In addition to pictorial sketches, a multimedia program will be presented to reveal the history of creating the painting as well as the modern restoration processes on the painting.
Tretyakov Art Gallery 
Jeff Cowen: Photoworks
The Moscow Museum of Modern Art together with the MAP Collection, Eric Schlosser and Michael Werner Kunsthandel present a solo exhibition of the American photographer Jeff Cowen, the first to be held in Russia. The major solo exhibition at MMOMA includes more than 170 selected works — blurry, hazy frames, abstract collages, twilight landscapes which illuminate Jeff Cowen’s artistic practice. Having developed his own principles and techniques for working with the material surface of an image, Cowen, with adamant aestheticism, turns to the archeology of the dreams, to the shadow images of otherworldly spaces, ruins, and mirages, revealing the key themes and plots of the artist’s work. Cowen’s portraits, which have a supernatural radiance, tempt the viewer to identify personages from the plays of Henrik Ibsen or the stories of James Joyce rather than our contemporaries. Inaccessible, distant, these characters only enhance the theatrical, staged — or even cinematic — atmosphere of timelessness inherent in Cowen’s individual mythology. Another feature of it is a special aspect of incompleteness that is always singled out and emphasized by the author himself as one of the most important — the constant process of transformation, the semi-magical metamorphosis of an occasion into an event. Strokes, stains, paper tears — in the sum of these techniques, it is easy to identify the echo of Abstract Expressionism and, at the same time, the inheritance of the hermeticism of alchemical practices.
Moscow Museum of Modern Art  
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 
Melvin Sokolsky’s High Flight
The Lumiere Gallery presents Russia's first exhibition of the legendary American photographer Melvin Sokolsky. The Gallery will showcase his most recognizable works, including the iconic Bubbles series, which brought worldwide fame to the then 30-year-old Sokolsky. “We are actively studying and presenting the genre of fashion photography, which evolved in the 20th century. It is doubly important to take advantage of the opportunity to work with original prints during a photographer’s lifetime. The chance to see Melvin Sokolsky’s work in Moscow is, of course, unique, both for collectors and for those who are just beginning to discover this genre,” says the founder and director of the Lumiere Gallery, Natalia Grigorieva-Litvinskaya. The development of fashion photography in the 1960s was closely intertwined with the new technological capabilities of the time. Fashion publications were the driving forces behind the new image of a woman, her freedom and social status. The art directors of major magazines looked for young and bold photographers capable of experimenting. The golden age of the glossy magazine, together with photographers such as Richard Avedon, Irving Penn, and Melvin Sokolsky, awakened interest in the genre among galleries and museums, and subsequently, fashion began to increasingly overshadow other genres at auction sales.
Lumiere Gallery 
Other Shores. Russian Art in New York. 1924
In September the Museum of Russian Impressionism will present a research exhibition about the largest US show of Russian paintings, sculptures and graphics by a hundred prominent artists. Almost one hundred years later, visitors will have the opportunity to view more than 70 signature works from museum and private collections in Russia and abroad, including the Albertina Gallery Vienna. In 1924 more than 1000 items were displayed at the Russian Art Exhibition in New York. This was a unique cross-section of Russian art from the first two decades of the 20th century, and since the works were offered for sale, the artists selected their best pictures to send overseas. After the exhibition the paintings were scattered all over the world. The Museum found many of them in collections in the USA, Canada, the UK, Switzerland, Spain, France, Germany, Austria, Armenia, Tajikistan and other countries. This wide-ranging detective work resulted in one of the most ambitious Museum projects. It took the curators more than a year to find these works. Art historians have managed to establish the fate of several hundred pieces, and some have been rediscovered for the viewing public. The exhibition will include paintings by Leon Bakst, Igor Grabar, Boris Grigoriev, Mikhail Larionov, Ilya Mashkov, Pyotr Konchalovsky, Boris Kustodiev, Zinaida Serebryakova and other artists from the collections of the State Tretyakov Gallery, the State Russian Museum and the State Hermitage Museum, as well as from the collections of Viktor Shkulyov, Anatoly and Maya Beckerman, Roman Babichev and others.
Museum of Russian Impressionism 
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  
Rejected Masterpieces. Pavel Tretyakov’s Challenge
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 
Thomas Demand. Mirror Without Memory
Garage Museum of Contemporary Art presents the first Russian exhibition of Thomas Demand, one of the most important photographers of recent decades. Borrowing images of events from the press and other sources (or organizing technical shoots), Demand reproduces these scenes in life size from cardboard and paper—basically making sculptures—after which he photographs them and subsequently destroys the models. Mirror Without Memory is composed of several fragments spread across two floors of the Museum. The ground floor is focused on the concept of models and modeling, the alpha and omega of Demand’s practice. Through interaction with architects (the Japanese practice SANAA and the UK-Swiss practice Caruso St John Architects), the artist presents a comprehensive exploration of the model: its life cycles, inner dynamics, the regimes of its synchronization with physical reality. On the first floor this energy of dialogue produces different forms. The first things the visitor discovers when climbing the stairs are hanging cinema structures that show movies by the German film- and TV maker, author, producer, public figure, and ideologist of the New German Cinema, Alexander Kluge. These film pavilions, designed by Demand, are floating models that distantly reference constructivist form-making.
Garage Museum of Contemporary Art  
Yuri Pimenov
Yuri Pimenov is an acknowledged, well-known classic of Soviet Russian art. Yuri Ivanovich was an immensely versatile person: an imaginative and bright creator of easel and decorative-monumental painting, teacher and Professor, author of countless Soviet film posters and a talented graphic artist, book and magazine illustrator. He also tried himself in sculpture, worked a lot on stage design in theatrical productions, was engaged as a production artist on the set of Soviet cinematography. Pimenov was not only an artist but also a publicist - he wrote a number of books and articles. For a long time, Pimenov was the chief artist of the magazine "Ogoniok", where he published his articles on the fine arts and prominent masters. Yuri Ivanovich was a socially active person: he was one of the organisers of the Easel Painter's Society (OST) in 1925, later participated in the artistic society called "Izobrigada", worked a lot in the Moscow Regional Union of Artists (MOSKh), was elected a member of the Presidium of the Academy of Arts of the USSR. He was teaching at the Gerasimov Institute of Cinematography (VGIK) for more than thirty years, leading a studio of painting and bringing up more than one generation of successful artists of theatre and cinema. The artist Alexander Labas described Pimenov in the 1920s: "Pimenov was very active, fast, lively, cheerful, he laughed a lot, he liked to talk about trifles, liked to dress up, to show off a bit. There was an impression that he does everything without thinking, on the move, with a smile, sometimes with a smirk, liked to laugh at someone, to joke, and then all this was instantly forgotten, and he already spoke and laughed about someone else." (Source: RA GALLERY)
New Tretyakov Gallery 
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