|
|
|
| | Arts Calendar / March 27 / 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  |
|
|
|
|
| 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: gallerix.org)
Classic Photography 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 |
|
|
|
|
| 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 |
|
|
|
|
|
|
 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 |
|
|
|
|
|
|
 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 |
|
|
|
|
|
|
 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 (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 |
|
|
|
|
| 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 |
|
|
|
|
|
|
 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 |
|
|
|
|
|
|
The virtual community for English-speaking expats and Russians
