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Arts Calendar / April 24 / 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 
Assuming Distance: Speculations, Fakes, and Predictions in the Age of the Coronacene
Arising as an unplanned event in the Museum’s exhibition calendar and initially driven by the humanitarian mission of helping the art community, Assuming Distance: Speculations, Fakes, and Predictions in the Age of the Coronacene was designed to allow artists to implement new large-scale and ambitious works. Thirty-three participants, including 11 group projects, were selected from over 1,000 applications. Although abstract reasoning may appear to be a thankless task, art incorporates the power of imagination and in the current state of suspension this quixotic resource is in great demand. The phrase “speculations, fakes, and predictions” in the title of the exhibition represents various versions of art’s “distance” in relation to reality, a distance that each artist chooses independently in line with their personal working methods. Assuming Distance introduces a wide range of forecasts, insights, and scenarios: absurd, fantastic, visionary, and frighteningly realistic. The works on display address not only the future but also possible versions of the past or present. They interpret speculation in an extremely broad way, from the figure of the profiteer to secret societies, from alternative medicine to technology startups, from trickster investigations and parafictions to imaginary museums. Whether these hypothetical worlds relate to alternative economies or conspiracy theories, new forms of employment and social interaction or systems of control and biopolitics, each of them references the economic, political, and social models discussed or derives from paradoxical and irrational creative thinking.
Garage Museum of Contemporary Art  
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 
Celebration of Freedom Passover History and Tradition
Jewish Museum and Tolerance Center presents an exhibition on the Passover history and tradition. The history of this celebration is well-known: it is largely reflected in the culture (including popular culture), and is an integral part of the contemporary cultural landscape. Some fragments are familiar to everyone — this is the story of the enslavement of Jews in Egypt, of the ten plagues, of the waves opening to let the Jews pass, of the wanderings in the desert, and of the Holy Tables of the Law revealed to Moses on the Mount Sinai. Installation at the Jewish Museum is an illustrated history of the Passover. It will present artifacts from various cultures: unique Moroccan and Iraqi manuscripts, illustrated German Haggadas of the early XX century, Eastern European artifacts of the Passover feast, contemporary photography, and many others. The display will include exhibits from the Gross Family Collection (Israel), Museum of the Jewish History in Russia, and Jewish Museum and Tolerance Center.
Jewish Museum & Tolerance Center 
David Claerbout. Unseen Sound
Garage Museum of Contemporary Art shows the first solo exhibition of Belgian artist David Claerbout in Russia. His work is best defined as a hybrid, where media dissolve into one another using video, photography, film, and 3D to create images that question our perceptions and expectations. Unseen Sound brings together four works that span a period of more than ten years, and show the artist’s increasing occupation with what he describes as “dark optics,” a term he uses to describe the contemporary state of the image. Claerbout believes that the century-and-a-half long dominance of lens-based media in art came to an end in the twentieth century, and that the production of art has now returned to the paradigm that existed before the 1850s, or before the spread of photography. Today, he argues, images are once again produced by skilled craftsmen, who manipulate reality using graphics and video editors. Meanwhile public trust in the photographic image began to falter in the 1970s and today the idea of photography as a document and evidence has given way to fundamental doubt regarding any image, fuelled by the increasing effectiveness and availability of digital editing tools.
Garage Museum of Contemporary Art  
Decline of the Dynasty: The Last Rurikids and the False Dmitry
From its origin up to the end of the 16th century, Russian statehood was inextricably bound to the dynastic history of the Rurikids (or Rurik dynasty). Princes, Great Princes and Tsars – the descents of the semi-legendary Rurik – had been governing Russian lands for more than seven centuries. The right of the Rurikids to absolute authority was of sacred significance for Russian society. The exposition in the exhibition hall of the Patriarch's Palace tells about the most significant events in the Russian sovereigns' family history in the mentioned time. On display are monuments related to the heirs' accession to the throne, marriages, births and deaths. Among them are remarkable works such as signs and symbols of royal power, items from the treasury of monarchs, personal belongings of the royal family members, family relics, attributes of funeral and memorial rites, and valuable historical documents. Visitors will see the most prestigious and iconic monuments dating back to the last Rurikids. The decline of the royal family at the end of the 16th century gave rise to the chaos, the so-called Time of Troubles — the nation-wide calamity, the very existence of the Russian statehood was threatened in this historical period. The emergence of impostors in Russia was one of the consequences of the dynastic crisis. The exposition in the exhibition hall of the Assumption Belfry is devoted to one of the most mysterious figures of the Russian Time of Troubles - the pretended son of Ivan the Terrible, the Tsar of Muscovy Dmitry Ivanovich, who called himself Dmitry the Emperor and remained in history as Dmitry the Impostor, or False Dmitry I.
Moscow Kremlin Museums 
Dreams of Freedom. Romanticism in Russia and Germany
“Dreams of Freedom. Romanticism in Russia and Germany” is the largest international exhibition project on this subject in the history of the State Tretyakov Gallery. It has been developed in cooperation with the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections). This is the first comprehensive attempt to compare on a single platform the art of Romanticism in Russia and Germany. The exposition, developed by experts from the State Tretyakov Gallery and Staatliche Kunstsammlungen Dresden (Dresden State Art Collections), presents in a single venue the works by the greatest artists of the first quarter of the 19th century: Caspar David Friedrich, Philipp Otto Runge, Johann Overbeck, Alexander Ivanov, Alexei Venetsianov, Orest Kiprensky, Karl Bryullov and others. V. A. Zhukovsky, a Russian poet, and the German painter C. D. Friedrich (whose paintings adorned the Imperial family’s private chambers) were connected through their years of friendship. The artist became recognized primarily for his philosophical landscapes (“landscapes as reflections of the soul” that embodied his philosophical comprehension of the world). Alexander Ivanov, another hero of the exhibition and a brilliant Russian painter, throughout his life attempted to create a new language for religious art. He sought to express through it a deep immersion and penetration into the essence of the Gospel story. More than 300 works of art, including approximately 200 paintings, supplemented by archival materials and unique exhibits from dozens of German and Russian collections, will develop this art movement in all its versatility, and mark points of convergence and difference.
New Tretyakov Gallery 
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 
Harif Guzman. New York State of Mind
Today, New York City constitutes one of the most influential myths in the international cultural field. Over the past century, dozens of artists and authors have repeatedly referred to this image of the city of cities, seeking to capture and convey the spirit of the metropolis, modernity and personal experience of being there. New York is the main source of inspiration, motif and protagonist in the works of Harif Guzman, one of the outstanding figures of the street art scene in NY. The exhibition at MMOMA offers a large-scale panorama of different stages and facets in the evolution of his style, areas of work and spheres of interest. Iconic, straightforward pop imagery in Harif’s works is intertwined with the texture of private testimony, aggressive street poetry meets the intimacy of personal interactions, and the media aesthetic of New York in the 2000s intersects with the biography of the artist. Genealogically related to pop-art, street art always addresses the most urgent, visible images and problems existing in the common urban space, with a particular role played by the critique of mass culture, consumerist values, the worldview of the petit bourgeois. Guzman inherits this tradition, listing Jean-Michel Basquiat, Mike Kelly, Robert Rauschenberg as his teachers. Having started his artistic practice in the 1990s, by today he has evolved from an enthusiastic skateboarder who bombs the walls and streets of New York with the name of his fictional alter ego Haculla to a well-known artist who collaborates with fashion brands and makes friends with celebrities from the tabloids. In his ironic works, where chance is as significant as the author's intention, Guzman embodies the chaotic, fluid, unstable nature of the twenty-first century.
Moscow Museum of Modern Art  
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 
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 
Laurent Chehere. The Sky over Paris
Laurent Chehere first made a name for himself in the field of artistic photography in 2012 with his Flying Houses series, which was exhibited at the Biennale des Créateurs d’Images in Paris. This photographic series was inspired by the architecture of the ‘non-touristy’ parts of Paris and its suburbs and succeeded in reflecting a poetic vision of the city. Chehere decides to depict houses floating in the sky, cut off from the ground, in order to demonstrate the uniqueness of each building outside the context of the urban environment. Each piece of work and each house has its own hidden cultural code, which the author invites the viewers to discover themselves—references to films, real and fictional urban characters and residents of Paris, and many inscriptions and graffiti taken from modern city walls. The large format of Laurent Chehere’s works displayed at the exhibition titled The Sky Over Paris emphasizes the realism of fantasy houses and allows viewers to see the hundreds of intricately put together minute details that shape the character of each ‘flying house’. Laurent Chehere’s The Sky Over Paris exhibition is his second in Russia curated by the Lumiere Gallery. The Gallery became acquainted with Chehere in 2013 at one of the main photography fairs ParisPhoto, and this was when the Gallery presented his works for the first time on the Russian art market. According to the founder of the Lumiere Gallery, Natalia Grigorieva-Litvinskaya, Laurent Chehere’s works were well received by Russian collectors: “He became one of the artists of the Gallery whom collectors come back to see, photography lovers eagerly await the continuation of his series”.
Lumiere Gallery 
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 
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  
Present Continuous
Cancellations and “unrealized” ideas are probably more common in the lives of artists, architects, and institutions than finished projects. As the year 2020 has taught us, our attitude to them needs to change: we should develop a new, therapeutic approach to things that did not happen. Exploring the possibility of such an approach, Present Continuous brings to light incredible stories and names from the history of Russian art, carefully preserved in Garage Archive Collection. The exhibition will include documentary reconstructions of unrealized ideas of various kinds: a dance hall that architect Igor Pyatkin once proposed building in place of the Hexagon Pavilion in Gorky Park; Francisco Infante-Arana’s light and sound project for Red Square; an unpublished catalogue of the Museum of Desire—a collection of project ideas by women artists; and the project for the exhibition Melancholia that Peter Belyi created for the park near the Gaza House of Culture in St. Petersburg. These very different projects were cancelled for various reasons, and those reasons can tell us more about life twenty years ago—and about our new pandemic reality—than some completed projects. The nature of the various cancellations and their delayed consequences are the main focus of Present Continuous.
Garage Museum of Contemporary Art  
Robert Falk
Robert Falk (1886–1958) is a classic creator in Russian art, one of the leaders of the Jack of Diamonds avant-garde association, and an iconic figure in the artistic life of the Thaw period. In 1992, the State Russian Museum in St. Petersburg hosted an exhibition of R. R. Falk, but no catalog was published. Exhibitions of Falk’s works that are from time to time held in museums and private galleries, testify to the unquenchable interest in the artist’s work, but do not give an idea of the versatility of his heritage, its true scale and significance. The goal of the exhibition is to present the entire creative path of the artist, from the early impressionist works of 1905–1909 to the works of the 1950s. The exposition will feature more than 250 graphic and pictorial works. In addition to the Tretyakov Gallery, major Moscow and regional museums, museums of Armenia and the Czech Republic, as well as a number of private collections and foundations, will take part in the exhibition.
New Tretyakov Gallery 
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 
Space Motifs in the Graphic Works and Jewellery Designs of Nadia Léger
The exhibition is dedicated to the art of Nadia Léger (1904-1982), a famous artist of the 20th century, a bright representative of the Parisian art school. The oeuvre of this talented painter and graphic artist, who was also engaged in monumental art and design, was the amalgam and reinterpretation of the major artistic trends of the 20th century, such as Cubism, Suprematism, Purism and Socialist Realism. In the 1960s and 1970s, Nadia Léger turned to an early period of her creative career dating back to the early 1920s that of the "flight forms". It was inspired by the dawn of the Space Age. of Yuri Gagarin’s feat stunned Nadia: this miracle, which became a reality, was perceived by her as the ultimate fulfilment of her teacher, the founder of Suprematism, Kazimir Malevich’s vision and earlier dreams. In 1970, Nadia Léger created a series of suprematism jewellery pieces based on her paintings and graphic works in gold, platinum, and diamonds. She presented the Soviet Union with thirty-seven pieces of precious "cosmic" jewellery – brooches, rings and watches in 1976. They were transferred to the Moscow Kremlin Museums in 1980, where they are preserved to this day.
Moscow Kremlin Museums 
War
Soviet artists were involved since the very onset of the war: someone was a front-line artist reporter, someone was in militia, someone was conscripted into the army and went into battle. The war became the most important theme of the last decades of the twentieth century; artists of different generations who lived in a large multinational country turned to this subject. The suffering of the people, their faith in victory and their wait for their loved ones to return from battle fields of the great and tragic war, were expressed in paintings created during the war. The passionate works full of tragedy and the affirmation of human dignity (such as “The Partisan’s Mother” by Sergei Gerasimov, “Tanya” by Kukryniksy, the triptych “Alexander Nevsky” by Pavel Korin, and “After the Fascist Air Raid” by Arkady Plastov), were created between 1942 and 1944.
New Tretyakov Gallery 
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