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Arts Calendar / January 4 / Exhibitions
Chicherin and the Soviet Diplomacy
The exhibition, marking two important anniversaries – the 100th Anniversary of the Union of Soviet Socialist Republics and the 150th Anniversary of the brilliant diplomat, the first People's Commissar for Foreign Affairs of the USSR, Georgy Vasilievich Chicherin – brings together over eighty unique objects, most of which are presented to the public for the first time. The central place in the display is given to historical rarities from the collection of Moscow Kremlin Museums – the Red Army uniforms and presents from foreign delegations, which belonged to the legendary commissar identified as such as a result of recent research. Memorial items, as well as documents and photographs provided by the leading Russian archives, phaleristics artifacts, remarkable samples of agitation porcelain with revolutionary slogans, paintings, graphics and artistic metal from the Russian museum collections, tell about the life and work of G.V. Chicherin and about the turbulent and controversial era in which he was entrusted to be the leader of the Soviet Foreign Office.
Moscow Kremlin Museums 
Diaghilev. The Dress Rehearsal
The new exhibition project of the Tretyakov Gallery commemorates the 150th Anniversary of the outstanding impresario Sergei Diaghilev. Diaghilev was an art critic and a founder of the World of Art Association and Journal, and he organized exhibitions and wrote articles and books. However, Diaghilev is best known as a ballet entrepreneur. The famous "Russian Ballets" were a true revolution in theatre, as the dancers and choreographers involved created a 20th century ballet, and the artists defined the principles for the design of theatre performances that are still relevant today. Even then Diaghilev was perfectly aware of the importance of advertising, and he would prepare his audience for upcoming spectacles, and the open dress rehearsals and special screenings for journalists, critics and influential people would often determine the destiny of a future performance.
Tretyakov Gallery at Krymsky Val 
Frida. Viva la vida!
Frida Kahlo's life and work have been inspiring the world for decades. Among artists, she was a champion for overcoming personal tragedies and disappointments. Frida's story is "two big accidents: one when the bus hit the streetcar, the other when Diego Rivera hit it," 33 surgeries and 145 paintings. Most of her work is self-portraits. "Sometimes I ask myself, weren't my paintings more works of literature than paintings? They were a kind of diary, a correspondence that I kept all my life. I was deprived of three children and much else to fill my nightmarish life. My art is the most complete biography I could write," Frida confessed in her diary." The artist used her talent to portray her own experiences, facing challenges that would probably have broken someone less resilient. Her paintings, full of symbols and allegories, rooted deep in Mexican tradition, mythology, and Buddhism, mainly draw the viewer's attention to the artist's physical condition and to her relationship with her husband Diego, rich in infidelity and breakups. Frida's work - in form reminiscent of naive art with hints of surrealism - has become the embodiment of Mexican folk art, fashion and women's freedom, with the result that the artist has been made an icon of feminism.
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 
Nadezhda Likhogrud. Memory Full
The Moscow Museum of Modern Art and the SAMPLE online gallery are proud to present Memory Full, a solo exhibition by Nadezhda Likhogrud. This is the fourth of six collaborative projects of the museum and the gallery. The project reflects on the memory features and its heterogeneity in the face of rapid information flows. The artist combines academic and craft skills with contemporary art practices. In the Memory Full exhibition, the classical form is synthesized with recollections of her post-Soviet childhood as well as with contemporary reality of social media. Thus, the Saved series reminds both a gallery of saved photos on the phone and a Soviet tile. The Highlights series uses popular app format of a circle. It is also a reference to the round bas-reliefs of the Moscow subway. In this project Nadezhda Likhogrud intentionally abandons color and the Cloud series becomes the quintessence of this aesthetic solution and a metaphor for memory. White volumetric podium covers the space of the large hall just as flashbacks occupy the memory. All these works are made for the exhibition and are displayed for the first time in two halls of the Moscow Museum of Modern Art on Petrovka. Nadezhda Lihogrud is an artist, sculptor, born in Moscow in 1992. Since her childhood she has been engaged in ceramics. She studied under sculptor Leonid Baranov (in 2012) and in Alexander Rukavishnikov’s studio at Surikov Moscow State University of Fine Arts (from 2015 to 2017). She also graduated from the Kosygin Moscow State University of Design, Technology, Art as a costume designer in 2015 and the Free Workshops School of Contemporary Art at MMOMA in 2020. Since 2018, she is a member of the Union of Artists and the Russian Academy of Arts. She has participated in Russian and international exhibitions.
Moscow Museum of Modern Art  
Paul Brouns: Dutch Palette
Lumiere Gallery presents the first solo exhibition in Russia by Dutch photographer Paul Brouns. The exhibition will include large-format compositions from the series “Urban Tapestries” , “Patterns in Perspective” and “Transformations” , on which the author has been working in recent years. Paul Brouns' work is based on architectural photography, which the author embodies in abstract visual images. Traveling through the cities of the Netherlands, Europe, America, Asia, Paul Brouns “collects” patterns and color inclusions of the urban landscape and creates his own unique palette. It is important for the author to overcome everyday reality and the utilitarian component of buildings, so bright and verified compositions are shown outside the context of the environment. The realism of Paul Brouns' photographs is emphasized by the large format of the works presented as part of the “Dutch Palette” exhibition project. Playing with the symmetrical ornament of window openings or repeating mosaic flights of fire escapes, the author creates complex visual mazes, offering the viewer to immerse themselves in a new dimension — to see the familiar urban space in a new way. Color, rhythm and geometry are the main elements of the author’s style.
Lumiere Gallery 
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 
Sergius of Radonezh
The exhibition in the state anteroom of the Armoury Chamber is dedicated to one of the most revered Russian saints – Sergius of Radonezh. It is timed to the 600th Anniversary of the saint's relics being uncovered and to the Trinity Cathedral’s construction in the Holy Trinity–St Sergius Monastery. St Sergius of Radonezh and the monastery started by him have a unique place in the history, culture, and spiritual life of Russia. Life of the saint remains an example of high moral courage, and the interest in his monastery and art of that epoch still exists. As the first of the Moscow reverends glorified by the Church and as one of the first Moscow saints, Sergius of Radonezh is of special significance to the capital and particularly to the Moscow Kremlin. The exhibition reveals various aspects of St Sergius' veneration and tells about the connections of Russian rulers with the Holy Trinity–St Sergius Monastery. The show covers a considerable time interval – from the first third of the 15th century to the beginning of the 20th century. A silver pectoral cross with one of the oldest images of St Sergius and the podea (veil) "The Apparition of Our Lady to St Sergius of Radonezh", created in the Moscow workshop of Grand Princess Maria Yaroslavna – wife of Vassily II the Blind and mother of Ivan III, – are associated with the era of Moscow grand princes.
Moscow Kremlin Museums 
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.
Moscow Museum of Modern Art  
The World as Objectlessness
The display includes works by Marc Chagall, Kazimir Malevich, Lev Yudin, Konstantin Rozhdestvensky, Anna Leporskaya, Ilia Chashnik, Nikolai Suetin, Valentin Kurdov, Vera Ermolayeva, Mikhail Veksler, Pavel Filonov, Mikhail Matyushin, Eduard Krimmer, Robert Falk, Dmitry Sannikov, Ivan Gavris, and others. The project was initially exhibited at the Yeltsin Center (November 5, 2021 — February 20, 2022). The Moscow edition will include newly added exhibits — several drawings from the Tretyakov Gallery, Suprematist porcelain from the State Hermitage and The Kuskovo Memorial Estate, and paintings from the Vitebsk Museum of Art. Anna Leporskaya’s Three Figures will be exhibited after the restauration following the damage in December 2021. The exhibition is centered around the history of the one of the most significant periods of Kazimir Malevich creative activity — the development of the pioneering Avant-Garde Art school: from the creation of UNOVIS, (Champions of New Art, in Russian — Utverditeli Novogo Iskusstva) in Vitebsk Art School, where Malevich was the invited professor in 1919, to the post-Suprematism during the complicated 1930s. The World as Objectlessness, which Malevich wrote in 1921–1922, summarized more than a decade of the artist’s creative research. Suprematism became one of the foundations of the Avant-Garde movement, defined its trajectory and uniqueness. As for the disciples and followers of the master, theory of objectlessness became their religion.
Jewish Museum & Tolerance Center 
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