http://www.mmoma.ru/en/exhibitions/petrovka/Журнал ДИ - - Petrovka 25 en<p><span>A new interactive project of the&nbsp;</span><span>Moscow Museum of&nbsp;Modern Art gives&nbsp;everyone&nbsp;a chance to take part in&nbsp;the&nbsp;selection of works for the exhibition.&nbsp;</span><span>You are welcome to vote for an artwork of your choice on&nbsp;</span><span>the project&rsquo;s website&nbsp;</span><a href="http://www.one.mmoma.ru/" target="_blank">www.one.mmoma.ru</a><span>!</span><span>&nbsp;</span></p> <p>&nbsp;</p> <p>&nbsp;</p>Mon, 23 Jan 2012 18:21:00 +0400<p>The Moscow Museum of&nbsp;Modern Art presents a&nbsp;new interactive project. Now any visitor of&nbsp;the museum and the project&rsquo;s website <a href="http://www.one.mmoma.ru" target="_blank">www.one.mmoma.ru</a> has an&nbsp;opportunity to&nbsp;voice his/her artistic opinion and thus to&nbsp;affect the museum display.</p> <p>You are welcome to&nbsp;vote for an&nbsp;artwork of&nbsp;your choice. The work that gets the maximum number of&nbsp;votes will be&nbsp;displayed on&nbsp;the ground floor of&nbsp;the MMOMA venue at&nbsp;25&nbsp;Petrovka Street for a&nbsp;month&rsquo;s duration. Make a&nbsp;choice&nbsp;&mdash; get an&nbsp;exhibition!</p> <p>&nbsp;</p> <p><a href="http://www.one.mmoma.ru/en"><img src="/images/votemm_button_eng.jpg" border="0" alt="" width="321" height="69" /></a></p>./images/cms/data/iphone/exhibitions/votemm_120.jpg./images/cms/data/iphone/exhibitions/votemm_280.jpg<p><span>A new interactive project of the&nbsp;</span><span>Moscow Museum of&nbsp;Modern Art gives&nbsp;everyone&nbsp;a chance to take part in&nbsp;the&nbsp;selection of works for the exhibition.&nbsp;</span><span>You are welcome to vote for an artwork of your choice on&nbsp;</span><span>the project&rsquo;s website&nbsp;</span><a href="http://www.one.mmoma.ru/" target="_blank">www.one.mmoma.ru</a><span>!</span><span>&nbsp;</span></p> <p>&nbsp;</p> <p>&nbsp;</p><p>The Moscow Museum of&nbsp;Modern Art presents a&nbsp;new interactive project. Now any visitor of&nbsp;the museum and the project&rsquo;s website <a href="http://www.one.mmoma.ru" target="_blank">www.one.mmoma.ru</a> has an&nbsp;opportunity to&nbsp;voice his/her artistic opinion and thus to&nbsp;affect the museum display.</p> <p>You are welcome to&nbsp;vote for an&nbsp;artwork of&nbsp;your choice. The work that gets the maximum number of&nbsp;votes will be&nbsp;displayed on&nbsp;the ground floor of&nbsp;the MMOMA venue at&nbsp;25&nbsp;Petrovka Street for a&nbsp;month&rsquo;s duration. Make a&nbsp;choice&nbsp;&mdash; get an&nbsp;exhibition!</p>201201202020012063023http://www.mmoma.ru/en/exhibitions/petrovka/vybory_vystavka_odnoj_raboty_iz_kollekcii_mmoma/http://www.mmoma.ru/en/exhibitions/petrovka/vybory_vystavka_odnoj_raboty_iz_kollekcii_mmoma/<p>OstenGruppe is an association founded by designers Eric Belousov, Igor Gurovich and Anna Naumova. It appeared in Moscow in 2002, during the period of the rapid growth of the Russian advertising industry.</p>Thu, 24 Nov 2011 16:22:00 +0400<p>OstenGruppe is&nbsp;an&nbsp;association founded by&nbsp;designers Eric Belousov, Igor Gurovich and Anna Naumova. It&nbsp;appeared in&nbsp;Moscow in&nbsp;2002, during the period of&nbsp;the rapid growth of&nbsp;the Russian advertising industry. The group&rsquo;s activities are based on&nbsp;principles of&nbsp;the alternative culture, i.&nbsp;e. pre-revolutionary protest, radical attitude to&nbsp;the visual language, principal stand, liking for avant-garde thinking, ideology of&nbsp;the cultural diktat. OstenGruppe is&nbsp;a&nbsp;group of&nbsp;artists with their own styles, skills and dispositions. Individuality of&nbsp;each member contributes to&nbsp;the whole image of&nbsp;the group.</p> <p>During a&nbsp;rather short period of&nbsp;time, the OstenGruppe has become a&nbsp;cult group in&nbsp;the Russian design. Not differentiating between the &laquo;low&raquo; and &laquo;high&raquo; genres, the group focuses its attention on&nbsp;the genre of&nbsp;the street poster art, seemingly non-topical in&nbsp;the 21st century. Following traditions of&nbsp;the 20th century graphic art and using cutting-edge achievements in&nbsp;the field of&nbsp;visual culture, the designers breathe new life into the social and plastic achievements of&nbsp;the Russian avant-garde art. The &laquo;art of&nbsp;the day&raquo; principle becomes vividly apparent in&nbsp;collaboration of&nbsp;the OstenGruppe with the Cultural Centre DOM. The lab provided design for music events. The poster transforms from a&nbsp;street advertisement into a&nbsp;method of&nbsp;the alternative visual culture.</p> <p>The up-to-date poster is&nbsp;a&nbsp;platform for socialization of&nbsp;the artistic gesture and at&nbsp;the same time for the plastic experiment. Balancing on&nbsp;the verge of&nbsp;the applied and visual arts, public and individual utterance, the poster is&nbsp;called upon to&nbsp;bridge the gap between the &laquo;high&raquo; and the &laquo;low&raquo; cultures. Moreover, the poster performs social functions. It&nbsp;touches upon the issue of&nbsp;communication and its opportunities. What are the limits of&nbsp;the public utterance and do&nbsp;they exist at&nbsp;all?</p> <p>The exhibition by&nbsp;OstenGruppe in&nbsp;Moscow Museum of&nbsp;Modern Art is&nbsp;called upon to&nbsp;expose the subject of&nbsp;the Russian contemporary poster and print art in&nbsp;the context of&nbsp;development and continuation of&nbsp;the avant-garde art of&nbsp;the 1920s. It&nbsp;is&nbsp;devoted to&nbsp;problems of&nbsp;the tradition and continuity in&nbsp;the Russian visual culture and the importance of&nbsp;the Russian print art in&nbsp;the world context. It&nbsp;is&nbsp;the first exhibition of&nbsp;the lab in&nbsp;the museum space. The exposition contains well-known and new works by&nbsp;the designers. Along with posters, there are objects, small print forms, documentary materials, which narrate the history of&nbsp;the group and introduce the project members to&nbsp;the audience. <br /> A&nbsp;catalogue, illustrated with the most typical artworks by&nbsp;the group, has been published for the exhibition. This edition reflects the specific character of&nbsp;the designers, their approach to&nbsp;the creation of&nbsp;products of&nbsp;mass visual communication.</p> <p>On&nbsp;December&nbsp;15, a&nbsp;lecture on&nbsp;Russian design by&nbsp;Eric Belousov, Igor Gurovich and Anna Naumova will occur as&nbsp;a&nbsp;part of&nbsp;the exhibition.</p> <p>*****</p> <p><strong>Igor Gurovich.</strong> During his career, he&nbsp;has been working in&nbsp;the field of&nbsp;set design in&nbsp;Russia, Latvia and France. In&nbsp;1995-2002, he&nbsp;worked as&nbsp;art director at&nbsp;IMA-Press Publishing. Since 2002, he&nbsp;has been a&nbsp;member the OstenGruppe. <br /> <strong>Anna Naumova.</strong> She has been engaged in&nbsp;print design since 1994. Prior, she had worked as&nbsp;theater artist. She has graduated from the Moscow Polygraphist Institute. For four years, she was working at&nbsp;IMA-Press Publishing. Together with Igor Gurovich and Eric Belousov, she is&nbsp;a&nbsp;founder of&nbsp;the OstenGruppe design lab.<br /> <strong>Eric Belousov.</strong> In&nbsp;1983-1985, he&nbsp;worked as&nbsp;graphic designer during his military service. In&nbsp;1992, he&nbsp;graduated from the Stroganov Art School. In&nbsp;1997-2002, he&nbsp;worked at&nbsp;IMA-Press Publishing. Since 2002, he&nbsp;has been a&nbsp;member of&nbsp;the OstenGruppe. Since 2007, he&nbsp;has been an&nbsp;academician of&nbsp;the Russian Academy of&nbsp;Graphic Design. <br /> <a href="http://www.ostengruppe.com/" target="_blank">http://www.ostengruppe.com/</a></p>./images/cms/data/iphone/exhibitions/os_pdi_120.jpg./images/cms/data/iphone/video/os_pdi_280.jpgMoscow Museum of Modern Art, 25 Petrovka str.<p>OstenGruppe is an association founded by designers Eric Belousov, Igor Gurovich and Anna Naumova. It appeared in Moscow in 2002, during the period of the rapid growth of the Russian advertising industry.</p><p>OstenGruppe is&nbsp;an&nbsp;association founded by&nbsp;designers Eric Belousov, Igor Gurovich and Anna Naumova. It&nbsp;appeared in&nbsp;Moscow in&nbsp;2002, during the period of&nbsp;the rapid growth of&nbsp;the Russian advertising industry. The group&rsquo;s activities are based on&nbsp;principles of&nbsp;the alternative culture, i.&nbsp;e. pre-revolutionary protest, radical attitude to&nbsp;the visual language, principal stand, liking for avant-garde thinking, ideology of&nbsp;the cultural diktat. OstenGruppe is&nbsp;a&nbsp;group of&nbsp;artists with their own styles, skills and dispositions. Individuality of&nbsp;each member contributes to&nbsp;the whole image of&nbsp;the group.</p> <p>During a&nbsp;rather short period of&nbsp;time, the OstenGruppe has become a&nbsp;cult group in&nbsp;the Russian design. Not differentiating between the &laquo;low&raquo; and &laquo;high&raquo; genres, the group focuses its attention on&nbsp;the genre of&nbsp;the street poster art, seemingly non-topical in&nbsp;the 21st century. Following traditions of&nbsp;the 20th century graphic art and using cutting-edge achievements in&nbsp;the field of&nbsp;visual culture, the designers breathe new life into the social and plastic achievements of&nbsp;the Russian avant-garde art. The &laquo;art of&nbsp;the day&raquo; principle becomes vividly apparent in&nbsp;collaboration of&nbsp;the OstenGruppe with the Cultural Centre DOM. The lab provided design for music events. The poster transforms from a&nbsp;street advertisement into a&nbsp;method of&nbsp;the alternative visual culture.</p> <p>The up-to-date poster is&nbsp;a&nbsp;platform for socialization of&nbsp;the artistic gesture and at&nbsp;the same time for the plastic experiment. Balancing on&nbsp;the verge of&nbsp;the applied and visual arts, public and individual utterance, the poster is&nbsp;called upon to&nbsp;bridge the gap between the &laquo;high&raquo; and the &laquo;low&raquo; cultures. Moreover, the poster performs social functions. It&nbsp;touches upon the issue of&nbsp;communication and its opportunities. What are the limits of&nbsp;the public utterance and do&nbsp;they exist at&nbsp;all?</p> <p>The exhibition by&nbsp;OstenGruppe in&nbsp;Moscow Museum of&nbsp;Modern Art is&nbsp;called upon to&nbsp;expose the subject of&nbsp;the Russian contemporary poster and print art in&nbsp;the context of&nbsp;development and continuation of&nbsp;the avant-garde art of&nbsp;the 1920s. It&nbsp;is&nbsp;devoted to&nbsp;problems of&nbsp;the tradition and continuity in&nbsp;the Russian visual culture and the importance of&nbsp;the Russian print art in&nbsp;the world context. It&nbsp;is&nbsp;the first exhibition of&nbsp;the lab in&nbsp;the museum space. The exposition contains well-known and new works by&nbsp;the designers. Along with posters, there are objects, small print forms, documentary materials, which narrate the history of&nbsp;the group and introduce the project members to&nbsp;the audience. <br /> A&nbsp;catalogue, illustrated with the most typical artworks by&nbsp;the group, has been published for the exhibition. This edition reflects the specific character of&nbsp;the designers, their approach to&nbsp;the creation of&nbsp;products of&nbsp;mass visual communication.</p> <p>On&nbsp;December&nbsp;15, a&nbsp;lecture on&nbsp;Russian design by&nbsp;Eric Belousov, Igor Gurovich and Anna Naumova will occur as&nbsp;a&nbsp;part of&nbsp;the exhibition.</p> <p>*****</p> <p>Igor Gurovich. During his career, he&nbsp;has been working in&nbsp;the field of&nbsp;set design in&nbsp;Russia, Latvia and France. In&nbsp;1995-2002, he&nbsp;worked as&nbsp;art director at&nbsp;IMA-Press Publishing. Since 2002, he&nbsp;has been a&nbsp;member the OstenGruppe. <br /> Anna Naumova. She has been engaged in&nbsp;print design since 1994. Prior, she had worked as&nbsp;theater artist. She has graduated from the Moscow Polygraphist Institute. For four years, she was working at&nbsp;IMA-Press Publishing. Together with Igor Gurovich and Eric Belousov, she is&nbsp;a&nbsp;founder of&nbsp;the OstenGruppe design lab.<br /> Eric Belousov. In&nbsp;1983-1985, he&nbsp;worked as&nbsp;graphic designer during his military service. In&nbsp;1992, he&nbsp;graduated from the Stroganov Art School. In&nbsp;1997-2002, he&nbsp;worked at&nbsp;IMA-Press Publishing. Since 2002, he&nbsp;has been a&nbsp;member of&nbsp;the OstenGruppe. Since 2007, he&nbsp;has been an&nbsp;academician of&nbsp;the Russian Academy of&nbsp;Graphic Design. <br /> <a href="http://www.ostengruppe.com/" target="_blank">http://www.ostengruppe.com/</a></p>201112152012011562624http://www.mmoma.ru/en/exhibitions/petrovka/ostengruppe_plakat_dizajn_iskusstvo/http://www.mmoma.ru/en/exhibitions/petrovka/ostengruppe_plakat_dizajn_iskusstvo/<p>The new display follows the international museum practice of representing the museum&rsquo;s collection in the form of annual changing exhibitions.</p>Mon, 03 Sep 2012 00:00:00 +0400<p><strong>Curator:</strong> Dimitry Ozerkov</p> <p>Conversation about paintings and sculptures is&nbsp;the foundation to&nbsp;comprehending art. Artworks are discussed by&nbsp;viewers, critics and art historians. Artworks are commented by&nbsp;artists, who quote paintings and sculptures of&nbsp;their predecessors in&nbsp;their own pieces of&nbsp;art. From the moment of&nbsp;its creation, every artwork includes a&nbsp;set of&nbsp;commentaries. Thoughtful watching and talking about art mean articulating opinions and ideas conveyed in&nbsp;the artworks. The process is&nbsp;endless, and, moreover, the start and the end of&nbsp;it&nbsp;are imperceptible, as&nbsp;the first commentaries are hardly to&nbsp;be&nbsp;restored, and the last ones will be&nbsp;expressed in&nbsp;the distant future. To&nbsp;comment art is&nbsp;the main practice to&nbsp;understand&nbsp;it.</p> <p>Twenty-five topics of&nbsp;the exhibition deal with diverse, sometimes incompatible ways of&nbsp;interpretation and commenting. Each theme demonstrates not only a&nbsp;new logic of&nbsp;communication with art, but also a&nbsp;new form of&nbsp;emotional experience. It&nbsp;reveals the potential of&nbsp;the commentary in&nbsp;a&nbsp;different way. It&nbsp;helps the visitor to&nbsp;occupy the main place in&nbsp;the exhibition by&nbsp;right; he&nbsp;or&nbsp;she becomes the key element in&nbsp;the series of&nbsp;endless commenting. Moving on&nbsp;through the halls, the visitor experiences the whole chain of&nbsp;intellectual, psychological and emotional conditions. He&nbsp;is&nbsp;to&nbsp;notice the semantic links between the hall&rsquo;s architecture and the theme of&nbsp;the exhibition, played up&nbsp;in&nbsp;the unique museum space, and to&nbsp;become aware of&nbsp;the diversity of&nbsp;philosophical ideas and aesthetic strategies, saturating main art tendencies of&nbsp;the past century.</p> <p>The title of&nbsp;the new selection from the collection of&nbsp;Moscow Museum of&nbsp;Modern Art &laquo;ARTisARTisART&raquo; refers to&nbsp;the &laquo;Two Hours in&nbsp;an&nbsp;Empty Tank&raquo; poem by&nbsp;Joseph Brodsky (1965). The tautologically sophisticated line, a&nbsp;repercussion of&nbsp;the self-reflection so&nbsp;characteristic of&nbsp;art, has become a&nbsp;starting point for the main idea of&nbsp;the new display. The idea is&nbsp;to&nbsp;understand art as&nbsp;an&nbsp;honest and many-sided open commentary. Two hours, mentioned by&nbsp;Brodsky, are an&nbsp;approximate period of&nbsp;time, which a&nbsp;viewer usually spends in&nbsp;the museum. MMoMA invites him to&nbsp;find himself in&nbsp;the area of&nbsp;crisscross references and mutually enriching dialogues between authors, artworks, the architecture of&nbsp;the museum&rsquo;s halls and the viewer himself.</p> <p>As&nbsp;a&nbsp;matter of&nbsp;fact, the commentary represents a&nbsp;universal continuity of&nbsp;generations. It&nbsp;is&nbsp;a&nbsp;prevailing element in&nbsp;art history and, at&nbsp;the same time, a&nbsp;stimulus for the development of&nbsp;new art processes. The exhibition is&nbsp;planned as&nbsp;a&nbsp;fascinating trip around the world of&nbsp;ideas of&nbsp;the 20th and 21st centuries, which are rendered by&nbsp;different visual arts. While creating their art, artists tried to&nbsp;represent and to&nbsp;transform different forms of&nbsp;cognition. A&nbsp;genuine artwork includes an&nbsp;impulse; its force makes the viewers discuss, comment, reflect upon the concept of&nbsp;the artwork and ideally calls upon for a&nbsp;constructive worldview, spreading these higher ideas. Thus, art reflects life as&nbsp;well as&nbsp;essentially influences upon&nbsp;it.</p> <p>The new display follows the international museum practice of&nbsp;representing the museum&rsquo;s collection in&nbsp;the form of&nbsp;annual changing exhibitions. MMoMA owns one of&nbsp;Russia&rsquo;s most important collections of&nbsp;the 20th- and 21st-century art. Its holdings are regularly replenished with new artworks. The concept of&nbsp;each exhibition is&nbsp;elaborated by&nbsp;the museum&rsquo;s team alone or&nbsp;together with an&nbsp;invited curator. It&nbsp;helps to&nbsp;show the collection from a&nbsp;new viewpoint, analyzing those or&nbsp;other artworks and art tendencies. The curator of&nbsp;the current selection is&nbsp;Dimitry Ozerkov, PhD, a&nbsp;well-known St. Petersburg-based art historian.</p> <p>The new exhibition contains artworks, starting from the early avant-garde to&nbsp;the newest artistic tendencies. A&nbsp;considerable part of&nbsp;works has been selected specially for this project and will be&nbsp;exhibited in&nbsp;the museum for the first time. Among exhibiting artists are Boris Anisfeld, Kazimir Malevich, David Burliuk, Alexander Rodchenko, Alexander Labas, Andrei Voznesensky, Igor Makarevich, Dmitri Prigov, Ivan Chuikov, Viktor Pivovarov, Francisco Infante, Vitaly Komar and Alexander Melamid, Yuri Albert, Konstantin Zverzdochetov, Timur Novikov, Aidan Salakhova, Alexander Djikia, Oleg Kulik, Irina Nakhova, George Puzenkov, Andrei Roiter, Andrei Bartenev, Blue Noses art group, Elena Kovylina, Anya Zhelud, etc. Special projects by&nbsp;Olga Treivas, Dmitry Teselkin, Shahar Marcus and Ivan Plyushch will also be&nbsp;on&nbsp;view.</p> <p>&nbsp;</p> <p>General media partner:<br /> <a href="http://ria.ru/" target="_blank"><img style="float: left; margin: 6px 12px 6px 0px;" src="/images/logotypes/ria_ru.jpg" border="0" alt="" /></a></p>./images/cms/data/iphone/exhibitions/isest_120.jpg./images/cms/data/iphone/exhibitions/isest_280.jpgMoscow Museum of Modern Art (25 Petrovka str.)<p>The new display follows the international museum practice of representing the museum&rsquo;s collection in the form of annual changing exhibitions.</p><p><strong>Curator:</strong> Dimitry Ozerkov</p> <p>Conversation about paintings and sculptures is&nbsp;the foundation to&nbsp;comprehending art. Artworks are discussed by&nbsp;viewers, critics and art historians. Artworks are commented by&nbsp;artists, who quote paintings and sculptures of&nbsp;their predecessors in&nbsp;their own pieces of&nbsp;art. From the moment of&nbsp;its creation, every artwork includes a&nbsp;set of&nbsp;commentaries. Thoughtful watching and talking about art mean articulating opinions and ideas conveyed in&nbsp;the artworks. The process is&nbsp;endless, and, moreover, the start and the end of&nbsp;it&nbsp;are imperceptible, as&nbsp;the first commentaries are hardly to&nbsp;be&nbsp;restored, and the last ones will be&nbsp;expressed in&nbsp;the distant future. To&nbsp;comment art is&nbsp;the main practice to&nbsp;understand&nbsp;it.</p> <p>Twenty-five topics of&nbsp;the exhibition deal with diverse, sometimes incompatible ways of&nbsp;interpretation and commenting. Each theme demonstrates not only a&nbsp;new logic of&nbsp;communication with art, but also a&nbsp;new form of&nbsp;emotional experience. It&nbsp;reveals the potential of&nbsp;the commentary in&nbsp;a&nbsp;different way. It&nbsp;helps the visitor to&nbsp;occupy the main place in&nbsp;the exhibition by&nbsp;right; he&nbsp;or&nbsp;she becomes the key element in&nbsp;the series of&nbsp;endless commenting. Moving on&nbsp;through the halls, the visitor experiences the whole chain of&nbsp;intellectual, psychological and emotional conditions. He&nbsp;is&nbsp;to&nbsp;notice the semantic links between the hall&rsquo;s architecture and the theme of&nbsp;the exhibition, played up&nbsp;in&nbsp;the unique museum space, and to&nbsp;become aware of&nbsp;the diversity of&nbsp;philosophical ideas and aesthetic strategies, saturating main art tendencies of&nbsp;the past century.</p> <p>The title of&nbsp;the new selection from the collection of&nbsp;Moscow Museum of&nbsp;Modern Art &laquo;ARTisARTisART&raquo; refers to&nbsp;the &laquo;Two Hours in&nbsp;an&nbsp;Empty Tank&raquo; poem by&nbsp;Joseph Brodsky (1965). The tautologically sophisticated line, a&nbsp;repercussion of&nbsp;the self-reflection so&nbsp;characteristic of&nbsp;art, has become a&nbsp;starting point for the main idea of&nbsp;the new display. The idea is&nbsp;to&nbsp;understand art as&nbsp;an&nbsp;honest and many-sided open commentary. Two hours, mentioned by&nbsp;Brodsky, are an&nbsp;approximate period of&nbsp;time, which a&nbsp;viewer usually spends in&nbsp;the museum. MMoMA invites him to&nbsp;find himself in&nbsp;the area of&nbsp;crisscross references and mutually enriching dialogues between authors, artworks, the architecture of&nbsp;the museum&rsquo;s halls and the viewer himself.</p> <p>As&nbsp;a&nbsp;matter of&nbsp;fact, the commentary represents a&nbsp;universal continuity of&nbsp;generations. It&nbsp;is&nbsp;a&nbsp;prevailing element in&nbsp;art history and, at&nbsp;the same time, a&nbsp;stimulus for the development of&nbsp;new art processes. The exhibition is&nbsp;planned as&nbsp;a&nbsp;fascinating trip around the world of&nbsp;ideas of&nbsp;the 20th and 21st centuries, which are rendered by&nbsp;different visual arts. While creating their art, artists tried to&nbsp;represent and to&nbsp;transform different forms of&nbsp;cognition. A&nbsp;genuine artwork includes an&nbsp;impulse; its force makes the viewers discuss, comment, reflect upon the concept of&nbsp;the artwork and ideally calls upon for a&nbsp;constructive worldview, spreading these higher ideas. Thus, art reflects life as&nbsp;well as&nbsp;essentially influences upon&nbsp;it.</p> <p>The new display follows the international museum practice of&nbsp;representing the museum&rsquo;s collection in&nbsp;the form of&nbsp;annual changing exhibitions. MMoMA owns one of&nbsp;Russia&rsquo;s most important collections of&nbsp;the 20th- and 21st-century art. Its holdings are regularly replenished with new artworks. The concept of&nbsp;each exhibition is&nbsp;elaborated by&nbsp;the museum&rsquo;s team alone or&nbsp;together with an&nbsp;invited curator. It&nbsp;helps to&nbsp;show the collection from a&nbsp;new viewpoint, analyzing those or&nbsp;other artworks and art tendencies. The curator of&nbsp;the current selection is&nbsp;Dimitry Ozerkov, PhD, a&nbsp;well-known St. Petersburg-based art historian.</p> <p>The new exhibition contains artworks, starting from the early avant-garde to&nbsp;the newest artistic tendencies. A&nbsp;considerable part of&nbsp;works has been selected specially for this project and will be&nbsp;exhibited in&nbsp;the museum for the first time. Among exhibiting artists are Boris Anisfeld, Kazimir Malevich, David Burliuk, Alexander Rodchenko, Alexander Labas, Andrei Voznesensky, Igor Makarevich, Dmitri Prigov, Ivan Chuikov, Viktor Pivovarov, Francisco Infante, Vitaly Komar and Alexander Melamid, Yuri Albert, Konstantin Zverzdochetov, Timur Novikov, Aidan Salakhova, Alexander Djikia, Oleg Kulik, Irina Nakhova, George Puzenkov, Andrei Roiter, Andrei Bartenev, Blue Noses art group, Elena Kovylina, Anya Zhelud, etc. Special projects by&nbsp;Olga Treivas, Dmitry Teselkin, Shahar Marcus and Ivan Plyushch will also be&nbsp;on&nbsp;view.</p>201111252012090262430http://www.mmoma.ru/en/exhibitions/petrovka/iskusstvoestiskusstvoestiskusstvo/http://www.mmoma.ru/en/exhibitions/petrovka/iskusstvoestiskusstvoestiskusstvo/<p>The members of the informal association &laquo;The New Glass&raquo; continue the artistic process that began in the 60th, when utilitarian decorative functions of the glass lost its paramount meaning.</p>Sun, 31 Jul 2011 23:02:00 +0400<p>Moscow Museum of&nbsp;Modern Art opens an&nbsp;exhibition of&nbsp;modern artistic glass. This project presents works of&nbsp;12&nbsp;artists from Moscow from the &laquo;The New Glass&raquo; association (rus. &laquo;Novoe Steklo&raquo;): L.&nbsp;Savelyeva, F. Ibragimov, N.&nbsp;Uryadova, A. Butina, N.&nbsp;Volikova, A. Krivolapov, V.&nbsp;Lobov, O. Manukyan, Y.&nbsp;Merzlikina, T. Novikova, A.&nbsp;Feryaev, E. Yaroshenko.</p> <p>The members of&nbsp;the informal association &laquo;The New Glass&raquo; continue the artistic process that began in&nbsp;the 60th, when utilitarian decorative functions of&nbsp;the glass lost its paramount meaning. It&nbsp;became a&nbsp;full-fledged plastic material that gives opportunities to&nbsp;create something more than just decorative works. The experiments with the glass opened its new spatial and figurative potential.</p> <p>Modern glass, if&nbsp;using new forms, is&nbsp;capable (equally with art and sculpture) to&nbsp;express the artist&rsquo;s individuality, his ideas, thoughts of&nbsp;his time. Mirrors, lenses and engravings widen the artistic possibilities. Plastic works made of&nbsp;glass create the new sensation of&nbsp;space&nbsp;&mdash; transparent but still possessing the form and volume.</p> <p>Everyone of&nbsp;these 12&nbsp;artists works in&nbsp;his own way, first stepping aside from traditional templates, then&nbsp;&mdash; using habitual technics (while adding a&nbsp;new sound to&nbsp;it). The glass works that are presented on&nbsp;the exhibition contain the studio creativity. It&rsquo;s free from any regulation, the author&rsquo;s stile (as&nbsp;well as&nbsp;the peculiarity of&nbsp;their idea expression) is&nbsp;widely shown. &laquo;The New Glass&raquo; unites famous artists and those who are familiar only to&nbsp;the specialists.</p>./images/cms/data/exhibitions/steklo_120.jpg./images/cms/data/exhibitions/steklo_280.jpg25 Petrovka street, Moscow, MMoMA<p>The members of the informal association &laquo;The New Glass&raquo; continue the artistic process that began in the 60th, when utilitarian decorative functions of the glass lost its paramount meaning.</p><p>Moscow Museum of&nbsp;Modern Art opens an&nbsp;exhibition of&nbsp;modern artistic glass. This project presents works of&nbsp;12&nbsp;artists from Moscow from the &laquo;The New Glass&raquo; association (rus. &laquo;Novoe Steklo&raquo;): L.&nbsp;Savelyeva, F. Ibragimov, N.&nbsp;Uryadova, A. Butina, N.&nbsp;Volikova, A. Krivolapov, V.&nbsp;Lobov, O. Manukyan, Y.&nbsp;Merzlikina, T. Novikova, A.&nbsp;Feryaev, E. Yaroshenko.</p> <p>The members of&nbsp;the informal association &laquo;The New Glass&raquo; continue the artistic process that began in&nbsp;the 60th, when utilitarian decorative functions of&nbsp;the glass lost its paramount meaning. It&nbsp;became a&nbsp;full-fledged plastic material that gives opportunities to&nbsp;create something more than just decorative works. The experiments with the glass opened its new spatial and figurative potential.</p> <p>Modern glass, if&nbsp;using new forms, is&nbsp;capable (equally with art and sculpture) to&nbsp;express the artist&rsquo;s individuality, his ideas, thoughts of&nbsp;his time. Mirrors, lenses and engravings widen the artistic possibilities. Plastic works made of&nbsp;glass create the new sensation of&nbsp;space&nbsp;&mdash; transparent but still possessing the form and volume.</p> <p>Everyone of&nbsp;these 12&nbsp;artists works in&nbsp;his own way, first stepping aside from traditional templates, then&nbsp;&mdash; using habitual technics (while adding a&nbsp;new sound to&nbsp;it). The glass works that are presented on&nbsp;the exhibition contain the studio creativity. It&rsquo;s free from any regulation, the author&rsquo;s stile (as&nbsp;well as&nbsp;the peculiarity of&nbsp;their idea expression) is&nbsp;widely shown. &laquo;The New Glass&raquo; unites famous artists and those who are familiar only to&nbsp;the specialists.</p>201108122011090458003http://www.mmoma.ru/en/exhibitions/petrovka/novyj_vzglyad_novoe_steklo/http://www.mmoma.ru/en/exhibitions/petrovka/novyj_vzglyad_novoe_steklo/<p>Alexander Sokolov (1941 - 2009), a renowned Moscow sculptor, belongs to the artistic generation of the 80s. He has had a number of solo and group shows in Russia and abroad.</p>Mon, 25 Jul 2011 23:43:00 +0400<p><strong>Curator:</strong> Ludmila Boguslavskaya</p> <p>Alexander Sokolov (1941 - 2009), a&nbsp;renowned Moscow sculptor, belongs to&nbsp;the artistic generation of&nbsp;the 80s. He&nbsp;has had a&nbsp;number of&nbsp;solo and group shows in&nbsp;Russia and abroad.</p> <p>Sokolov&rsquo;s favourite materials are wood, stone, and metal. He&nbsp;reveals their natural qualities in&nbsp;conjunction with &lsquo;social&rsquo; meanings of&nbsp;ready-made objects he&nbsp;uses. The sculptor often builds his images on&nbsp;the contrast between natural materials and surfaces, on&nbsp;the one hand, and the silent aggression of&nbsp;metal machinery.</p> <p>Sokolov&rsquo;s art combines many features of&nbsp;the last quarter of&nbsp;the 20th century: ideological palyndromes of&nbsp;Sots Art, &laquo;productive vacuum&raquo; of&nbsp;Conceptualism, dynamic transformations of&nbsp;Kinetic Art, and the ironic detachment of&nbsp;Postmodernism. There is&nbsp;a&nbsp;little bit of&nbsp;everything in&nbsp;him, although there is&nbsp;always a&nbsp;solid foundation underneath&nbsp;&mdash; the sarcastic personality of&nbsp;the artist who melts all the &laquo;-isms&raquo; into a&nbsp;new creative alloy.</p>./images/cms/data/iphone/exhibitions/4mbsi_apofigei_120.jpg./images/cms/data/iphone/exhibitions/4mbsi_apofigei_280.jpgMoscow Museum of Modern Art, 25 Petrovka Street (3rd floor)<p>Alexander Sokolov (1941 - 2009), a renowned Moscow sculptor, belongs to the artistic generation of the 80s. He has had a number of solo and group shows in Russia and abroad.</p><p><strong>Curator: </strong>Ludmila Boguslavskaya</p> <p>Alexander Sokolov (1918&nbsp;&mdash; 1973), a&nbsp;renowned Moscow sculptor, belongs to&nbsp;the artistic generation of&nbsp;the 80s. He&nbsp;has had a&nbsp;number of&nbsp;solo and group shows in&nbsp;Russia and abroad.</p> <p>Sokolov&rsquo;s favourite materials are wood, stone, and metal. He&nbsp;reveals their natural qualities in&nbsp;conjunction with &lsquo;social&rsquo; meanings of&nbsp;ready-made objects he&nbsp;uses. The sculptor often builds his images on&nbsp;the contrast between natural materials and surfaces, on&nbsp;the one hand, and the silent aggression of&nbsp;metal machinery.</p> <p>Sokolov&rsquo;s art combines many features of&nbsp;the last quarter of&nbsp;the 20th century: ideological palyndromes of&nbsp;Sots Art, &laquo;productive vacuum&raquo; of&nbsp;Conceptualism, dynamic transformations of&nbsp;Kinetic Art, and the ironic detachment of&nbsp;Postmodernism. There is&nbsp;a&nbsp;little bit of&nbsp;everything in&nbsp;him, although there is&nbsp;always a&nbsp;solid foundation underneath&nbsp;&mdash; the sarcastic personality of&nbsp;the artist who melts all the &laquo;-isms&raquo; into a&nbsp;new creative alloy.</p>201109212011103054456http://www.mmoma.ru/en/exhibitions/petrovka/aleksandr_sokolov_i_am/http://www.mmoma.ru/en/exhibitions/petrovka/aleksandr_sokolov_i_am/<p>The exhibition at the Moscow Museum of Modern Art shows the marked difference between the two major periods in Krotkov&rsquo;s artistic career, as the austere reserve of his social realist oeuvre of the 50s finally gives way to his romantic avant-garde experiments of the early 90s.</p>Tue, 14 Jun 2011 12:49:00 +0400<p>I&nbsp;have always considered art immortal. What I&nbsp;mean, is&nbsp;not the life of&nbsp;masterpieces great artists left&nbsp;us, but that of&nbsp;the spirit that resides in&nbsp;them. The power of&nbsp;love and creativity that makes&nbsp;us stronger, more pure, and free. To&nbsp;find this light within the world around&nbsp;us is&nbsp;the only chance to&nbsp;make it&nbsp;into the history books and to&nbsp;unveil to&nbsp;the next generations the secret of&nbsp;your own time. We&nbsp;live in&nbsp;the world where every little thing is&nbsp;alive. Where every moment is&nbsp;full of&nbsp;meaning and unique. Where the shudder of&nbsp;Fate seems to&nbsp;be&nbsp;the only force drawing&nbsp;us to&nbsp;the Unknown. It&nbsp;is&nbsp;how it&nbsp;comes about in&nbsp;Oleg Mstislavovich Krotkov&rsquo;s paintings. Through his over half-century artistic career, this startling artist has produced many an&nbsp;oeuvre, which now does speak of&nbsp;the years bygone with a&nbsp;precision and lucidity no&nbsp;books, live testimonies or&nbsp;historical data can boast&nbsp;of. It&nbsp;looks almost as&nbsp;if&nbsp;Oleg Krotkov&rsquo;s painting had come into being only to&nbsp;preserve these moments of&nbsp;the past. The portraits of&nbsp;his wife, his friends, of&nbsp;almost strangers he&nbsp;painted in&nbsp;1950s are the Time incarnate, the measure of&nbsp;our sufferings and victories.</p> <p>The exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art shows the marked difference between the two major periods in&nbsp;Krotkov&rsquo;s artistic career, as&nbsp;the austere reserve of&nbsp;his social realist oeuvre of&nbsp;the 50s finally gives way to&nbsp;his romantic avant-garde experiments of&nbsp;the early 90s. Yet, even these wide bounds are too narrow to&nbsp;withhold the artist&rsquo;s inquiring zeal. Being the disciple of&nbsp;S.&nbsp;M.&nbsp;Ivanov-Musatov, the continuator of&nbsp;the Jack of&nbsp;the Diamonds traditions, Krotkov disdains the reference to&nbsp;petty trivial things. In&nbsp;his oeuvre, the world has many faces; it&nbsp;is&nbsp;boundless, but is&nbsp;the one. The future of&nbsp;Man and life in&nbsp;general is&nbsp;at&nbsp;stake, it&nbsp;disturbs, calls for drastic measures, requires spiritual revival.</p> <p>Krotkov is&nbsp;an&nbsp;artist who can make the most elementary objects exquisite, bring tension and unruliness to&nbsp;the most static forms. One can think, they adopt the persistent tenacity of&nbsp;their author. In&nbsp;his self-portrait from 1974 Krotkov captured something larger than his own inner self and did this with amazing insight. In&nbsp;horizontal soaring strokes and austere greenish palette, he&nbsp;paints the very incarnation of&nbsp;Time, full of&nbsp;dynamics and &eacute;lan. The artist, so&nbsp;to&nbsp;say, leads our way into the future, on&nbsp;the path of&nbsp;relentless quest, as&nbsp;if&nbsp;urging: &lsquo;Don&rsquo;t give&nbsp;up, just move on&rsquo;.</p> <p>Krotkov is&nbsp;a&nbsp;delicate, touching painter and a&nbsp;magician of&nbsp;colour. It&nbsp;is&nbsp;his ability to&nbsp;animate the space with colour that makes his art so&nbsp;special. Oleg Mstislavovich tends to&nbsp;regard all around&nbsp;us, from stones and trees to&nbsp;fruit and vases, as&nbsp;living creatures. His china sugar-bowl from the Still-life with Sugar-bowl looks like a&nbsp;tiny helpless beast you want to&nbsp;hold in&nbsp;your hand, caress, protect from evil eyes.</p> <p>Over the recent years, Krotkov keeps drawing on&nbsp;still-life genre. He&nbsp;is&nbsp;mesmerized by&nbsp;the opportunity to&nbsp;comprehend the primary substance of&nbsp;materials, to&nbsp;reveal the light hidden within the objects. The peculiar pattern of&nbsp;strokes he&nbsp;once elaborated allows him to&nbsp;create the effect of&nbsp;irrepressible motion and pulsating emotive lighting. Somewhere deep within the canvas soft solemn sounds arise. They become louder, resonate with each other, fill the pictorial space, sink into the hearts of&nbsp;the viewers. You may think, in&nbsp;a&nbsp;single instant, all would come to&nbsp;life, keenly responding to&nbsp;the touch of&nbsp;the artist&rsquo;s magical brush. He&nbsp;makes the form produce an&nbsp;association, an&nbsp;emotional outburst, a&nbsp;faithful message. Now material submerges, vacating the space from superfluous strokes. Scraping lines destroy the pictorial layer, as&nbsp;though digging to&nbsp;the roots, getting to&nbsp;the heart of&nbsp;the object. For Krotkov to&nbsp;use paint means, above all, to&nbsp;study the object he&nbsp;represents, not just to&nbsp;treat a&nbsp;surface with paint. It&nbsp;is&nbsp;impossible to&nbsp;handle colour with detachment. For Oleg Krotkov it&nbsp;is&nbsp;a&nbsp;sort of&nbsp;starting point. Then follow texture exploration and material selection.</p> <p>Here the artist faces an&nbsp;incredibly complicated task&nbsp;&mdash; to&nbsp;transform the raw tube paint into elaborated pulsating colour, an&nbsp;atmosphere pierced with light, still keeping the essence of&nbsp;the paint used. Oleg Krotkov manages the matter with amazing mastery. His works Still-life with Orange, Three Objects, Alchemy II, Above Us&nbsp;&mdash; Behind Us&nbsp;&mdash; Within Us&nbsp;show the multiplicity of&nbsp;space and the magical power of&nbsp;colour.</p> <p>The works exhibited are metaphysical. Oleg Krotkov discloses to&nbsp;us the life of&nbsp;all things alive. What is&nbsp;more, the painter rushes to&nbsp;show the path to&nbsp;perfection; being assailed by&nbsp;doubts, he&nbsp;longs for answers to&nbsp;eternal questions on&nbsp;the essence of&nbsp;beauty, love, soul and immortality. Full of&nbsp;romantics of&nbsp;every-day life and passion, his paintings tell&nbsp;us about the spiritual life of&nbsp;every being, every inanimate object around&nbsp;us.</p> <p>Matthew the Apostle in&nbsp;one of&nbsp;the central artworks on&nbsp;display is&nbsp;an&nbsp;image of&nbsp;amazing power. Krotkov grasped the mystery of&nbsp;literary creation and showed the source the great Gospel draws&nbsp;on. The Angel bends towards the Apostle, who thoughtfully gives ear to&nbsp;his whisper. He&nbsp;might be&nbsp;pondering matters of&nbsp;the past, considering their importance for the future. The artist&rsquo;s transport rhymes with the viewer&rsquo;s mental impulse. It&nbsp;sublimes their aspirations, promising new encounters and new marvels ahead.</p> <p>V.&nbsp;Simonov<br /> Art historian</p>./images/cms/data/iphone/exhibitions/okrotov_120.jpg./images/cms/data/iphone/exhibitions/okrotov_280.jpgMoscow Museum of Modern Art, 25 Petrovka str. <p>The exhibition at the Moscow Museum of Modern Art shows the marked difference between the two major periods in Krotkov&rsquo;s artistic career, as the austere reserve of his social realist oeuvre of the 50s finally gives way to his romantic avant-garde experiments of the early 90s.</p><p>I&nbsp;have always considered art immortal. What I&nbsp;mean, is&nbsp;not the life of&nbsp;masterpieces great artists left&nbsp;us, but that of&nbsp;the spirit that resides in&nbsp;them. The power of&nbsp;love and creativity that makes&nbsp;us stronger, more pure, and free. To&nbsp;find this light within the world around&nbsp;us is&nbsp;the only chance to&nbsp;make it&nbsp;into the history books and to&nbsp;unveil to&nbsp;the next generations the secret of&nbsp;your own time. We&nbsp;live in&nbsp;the world where every little thing is&nbsp;alive. Where every moment is&nbsp;full of&nbsp;meaning and unique. Where the shudder of&nbsp;Fate seems to&nbsp;be&nbsp;the only force drawing&nbsp;us to&nbsp;the Unknown. It&nbsp;is&nbsp;how it&nbsp;comes about in&nbsp;Oleg Mstislavovich Krotkov&rsquo;s paintings. Through his over half-century artistic career, this startling artist has produced many an&nbsp;oeuvre, which now does speak of&nbsp;the years bygone with a&nbsp;precision and lucidity no&nbsp;books, live testimonies or&nbsp;historical data can boast&nbsp;of. It&nbsp;looks almost as&nbsp;if&nbsp;Oleg Krotkov&rsquo;s painting had come into being only to&nbsp;preserve these moments of&nbsp;the past. The portraits of&nbsp;his wife, his friends, of&nbsp;almost strangers he&nbsp;painted in&nbsp;1950s are the Time incarnate, the measure of&nbsp;our sufferings and victories.</p> <p>The exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art shows the marked difference between the two major periods in&nbsp;Krotkov&rsquo;s artistic career, as&nbsp;the austere reserve of&nbsp;his social realist oeuvre of&nbsp;the 50s finally gives way to&nbsp;his romantic avant-garde experiments of&nbsp;the early 90s. Yet, even these wide bounds are too narrow to&nbsp;withhold the artist&rsquo;s inquiring zeal. Being the disciple of&nbsp;S.&nbsp;M.&nbsp;Ivanov-Musatov, the continuator of&nbsp;the Jack of&nbsp;the Diamonds traditions, Krotkov disdains the reference to&nbsp;petty trivial things. In&nbsp;his oeuvre, the world has many faces; it&nbsp;is&nbsp;boundless, but is&nbsp;the one. The future of&nbsp;Man and life in&nbsp;general is&nbsp;at&nbsp;stake, it&nbsp;disturbs, calls for drastic measures, requires spiritual revival.</p> <p>Krotkov is&nbsp;an&nbsp;artist who can make the most elementary objects exquisite, bring tension and unruliness to&nbsp;the most static forms. One can think, they adopt the persistent tenacity of&nbsp;their author. In&nbsp;his self-portrait from 1974 Krotkov captured something larger than his own inner self and did this with amazing insight. In&nbsp;horizontal soaring strokes and austere greenish palette, he&nbsp;paints the very incarnation of&nbsp;Time, full of&nbsp;dynamics and &eacute;lan. The artist, so&nbsp;to&nbsp;say, leads our way into the future, on&nbsp;the path of&nbsp;relentless quest, as&nbsp;if&nbsp;urging: &lsquo;Don&rsquo;t give&nbsp;up, just move on&rsquo;.</p> <p>Krotkov is&nbsp;a&nbsp;delicate, touching painter and a&nbsp;magician of&nbsp;colour. It&nbsp;is&nbsp;his ability to&nbsp;animate the space with colour that makes his art so&nbsp;special. Oleg Mstislavovich tends to&nbsp;regard all around&nbsp;us, from stones and trees to&nbsp;fruit and vases, as&nbsp;living creatures. His china sugar-bowl from the Still-life with Sugar-bowl looks like a&nbsp;tiny helpless beast you want to&nbsp;hold in&nbsp;your hand, caress, protect from evil eyes.</p> <p>Over the recent years, Krotkov keeps drawing on&nbsp;still-life genre. He&nbsp;is&nbsp;mesmerized by&nbsp;the opportunity to&nbsp;comprehend the primary substance of&nbsp;materials, to&nbsp;reveal the light hidden within the objects. The peculiar pattern of&nbsp;strokes he&nbsp;once elaborated allows him to&nbsp;create the effect of&nbsp;irrepressible motion and pulsating emotive lighting. Somewhere deep within the canvas soft solemn sounds arise. They become louder, resonate with each other, fill the pictorial space, sink into the hearts of&nbsp;the viewers. You may think, in&nbsp;a&nbsp;single instant, all would come to&nbsp;life, keenly responding to&nbsp;the touch of&nbsp;the artist&rsquo;s magical brush. He&nbsp;makes the form produce an&nbsp;association, an&nbsp;emotional outburst, a&nbsp;faithful message. Now material submerges, vacating the space from superfluous strokes. Scraping lines destroy the pictorial layer, as&nbsp;though digging to&nbsp;the roots, getting to&nbsp;the heart of&nbsp;the object. For Krotkov to&nbsp;use paint means, above all, to&nbsp;study the object he&nbsp;represents, not just to&nbsp;treat a&nbsp;surface with paint. It&nbsp;is&nbsp;impossible to&nbsp;handle colour with detachment. For Oleg Krotkov it&nbsp;is&nbsp;a&nbsp;sort of&nbsp;starting point. Then follow texture exploration and material selection.</p> <p>Here the artist faces an&nbsp;incredibly complicated task&nbsp;&mdash; to&nbsp;transform the raw tube paint into elaborated pulsating colour, an&nbsp;atmosphere pierced with light, still keeping the essence of&nbsp;the paint used. Oleg Krotkov manages the matter with amazing mastery. His works Still-life with Orange, Three Objects, Alchemy II, Above Us&nbsp;&mdash; Behind Us&nbsp;&mdash; Within Us&nbsp;show the multiplicity of&nbsp;space and the magical power of&nbsp;colour.</p> <p>The works exhibited are metaphysical. Oleg Krotkov discloses to&nbsp;us the life of&nbsp;all things alive. What is&nbsp;more, the painter rushes to&nbsp;show the path to&nbsp;perfection; being assailed by&nbsp;doubts, he&nbsp;longs for answers to&nbsp;eternal questions on&nbsp;the essence of&nbsp;beauty, love, soul and immortality. Full of&nbsp;romantics of&nbsp;every-day life and passion, his paintings tell&nbsp;us about the spiritual life of&nbsp;every being, every inanimate object around&nbsp;us.</p> <p>Matthew the Apostle in&nbsp;one of&nbsp;the central artworks on&nbsp;display is&nbsp;an&nbsp;image of&nbsp;amazing power. Krotkov grasped the mystery of&nbsp;literary creation and showed the source the great Gospel draws&nbsp;on. The Angel bends towards the Apostle, who thoughtfully gives ear to&nbsp;his whisper. He&nbsp;might be&nbsp;pondering matters of&nbsp;the past, considering their importance for the future. The artist&rsquo;s transport rhymes with the viewer&rsquo;s mental impulse. It&nbsp;sublimes their aspirations, promising new encounters and new marvels ahead.</p> <p>V.&nbsp;Simonov<br /> Art historian</p>201106172011080254311http://www.mmoma.ru/en/exhibitions/petrovka/oleg_krotkov_za_predelami_vidimogo/http://www.mmoma.ru/en/exhibitions/petrovka/oleg_krotkov_za_predelami_vidimogo/<p>from the Collection of the Valencia Institute of Modern Art (IVAM)</p>Tue, 24 May 2011 19:54:00 +0400<p><img src="/images/logotypes/er_2011_logo.jpg" alt="" /><br /> <strong>The exhibition is held within Russia-Spain Year 2011</strong></p> <p><img src="/images/logotypes/novatec_logo.jpg" alt="" /><br /> <strong>General Partner: NOVATEK</strong></p> <p><strong>Curator:</strong> Francisco Jarauta</p> <p>The Moscow Museum of&nbsp;Modern Art presents the exhibition &laquo;Masterpieces of&nbsp;the 20th Century from the Collection of&nbsp;the Valencia Institute of&nbsp;Modern Art (IVAM)&raquo;.</p> <p>The IVAM (Instituto Valenciano de&nbsp;Arte Moderno) opened in&nbsp;1989 and became the first museum of&nbsp;modern art in&nbsp;Spain. This marked the beginning of&nbsp;a&nbsp;new stage in&nbsp;Valencia art life and an&nbsp;event of&nbsp;universal importance in&nbsp;the sphere of&nbsp;modern art. Its collection of&nbsp;masterpieces of&nbsp;the 20th and 21st centuries is&nbsp;highly valued all over the world and attracts a&nbsp;lot of&nbsp;visitors every year.</p> <p>It&nbsp;is&nbsp;remarkable that the IVAM and the MMoMA collections are similar to&nbsp;each other in&nbsp;many respects. Each collection counts over 10,000 exhibits and tends to&nbsp;present a&nbsp;panoramic view of&nbsp;modern art in&nbsp;all its diversity, with special emphasis on&nbsp;the national heritage. So&nbsp;it&nbsp;comes as&nbsp;no&nbsp;surprise that the Moscow Museum of&nbsp;Modern Art hosts this important exhibition.<br /> <br /> The IVAM collection presents an&nbsp;overview of&nbsp;the avant-garde art of&nbsp;the first decades of&nbsp;the 20th century and all art tendencies of&nbsp;the postwar period. The art of&nbsp;Julio Gonz&aacute;lez, a&nbsp;pioneering Spanish artist and sculptor of&nbsp;the first half of&nbsp;the past century, occupies a&nbsp;special place in&nbsp;the IVAM holdings. The IVAM holds the richest collection of&nbsp;his artworks. The exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art opens with Julio Gonz&aacute;lez&rsquo;s oeuvre together with the works by&nbsp;Torres Garcia, a&nbsp;Uruguayan artist of&nbsp;the early 20th century. Also on&nbsp;view at&nbsp;the Museum, will be&nbsp;kinetic sculptures by&nbsp;Alexander Calder, installations by&nbsp;Kurt Schwitters and Man Ray, abstract works by&nbsp;Franti&scaron;ek Kupka and works by&nbsp;classic Surrealist and Dadaist masters Joan Miro, Marcel Duchamp, Andr&eacute; Masson, Jean Arp.<br /> <br /> The exhibition will show experimental tendencies of&nbsp;the postwar period, which reflected a&nbsp;newly formed worldview. These are works by&nbsp;European masters, i.&nbsp;e. Antoni T&agrave;pies, Antonio Saura, Karel Appel, Ad&nbsp;Reinhardt, Pierre Soulages, and works by&nbsp;celebrated American artists, i.&nbsp;e. Jasper Johns, Robert Rauschenberg, Richard Serra. Works by&nbsp;American Pop-art artists, such as&nbsp;Richard Hamilton, James Rosenquist and European representatives of&nbsp;this tendency, such as&nbsp;Eduardo Arroyo, Equipo Cr&oacute;nica group and others will also be&nbsp;exhibited.</p> <p>Starting from the 1980s, artists have been actively using new media, new techniques and electronic devices. The IVAM responded to&nbsp;the new art trends early on&nbsp;and acquired for its collection works by&nbsp;Andreu Alfaro, Miquel Navarro, John Davies, Bruce Nauman, Magdalena Abakanowicz, Christian Boltanski, Eduardo Chillida and Juan Usle. Some of&nbsp;these artworks will be&nbsp;displayed at&nbsp;the exhibition &laquo;Masterpieces of&nbsp;the 20th century&raquo;. Postwar Modern Art will be&nbsp;represented at&nbsp;the exhibition by&nbsp;the works by&nbsp;Henri Matisse and Pablo Picasso.</p> <p>Since the IVAM holds the most extensive and valuable collection of&nbsp;photography in&nbsp;Spain, a&nbsp;section of&nbsp;the exhibition is&nbsp;devoted to&nbsp;photography of&nbsp;the past century. Among other photo masterpieces of&nbsp;the 20th century, the show will feature a&nbsp;work by&nbsp;Alexander Rodchenko, one of&nbsp;the greatest Russian photographers.<br /> <br /> According to&nbsp;curator Francisco Jarauta, the exhibition of&nbsp;selected artworks from the IVAM collection at&nbsp;the Moscow Museum of&nbsp;Modern Art gives the visitors an&nbsp;opportunity to&nbsp;retrace the history of&nbsp;every period of&nbsp;the 20th century art. By&nbsp;studying history we&nbsp;learn about key events and circumstances which marked important paradigm shifts in&nbsp;the development of&nbsp;art.<br /> <br /> The project aims to&nbsp;initiate a&nbsp;full-fledged dialogue between the two museums&rsquo; different but complementary collections and concepts. But the collaboration between the IVAM and the MMoMA goes beyond this point. In&nbsp;the summer of&nbsp;2012, a&nbsp;reciprocal exhibition &laquo;Era of&nbsp;Discoveries: Masters of&nbsp;the Russian Avant-Garde&raquo; from the collection of&nbsp;the Moscow Museum of&nbsp;Modern Art will be&nbsp;held at&nbsp;the Valencia Institute of&nbsp;Modern Art.</p> <p><span style="font-size: medium;">Information about the curator:</span></p> <p>Francisco Jarauta is&nbsp;a&nbsp;Professor of&nbsp;philosophy at&nbsp;the University of&nbsp;Murcia. He&nbsp;is&nbsp;also a&nbsp;visiting professor in&nbsp;many European and American universities. Mr. Jarauta is&nbsp;a&nbsp;member of&nbsp;the Board of&nbsp;Advisors of&nbsp;the IVAM (Valencia), and a&nbsp;Vice-President of&nbsp;the Patronato del Museo Nacional de&nbsp;Arte Reina Sof&iacute;a (Madrid). Francisco Jarauta is&nbsp;not an&nbsp;art historian in&nbsp;the traditional sense of&nbsp;the word. He&nbsp;is&nbsp;a&nbsp;philosopher who studies the theory and history of&nbsp;ideas in&nbsp;the culture and art field. The curator&rsquo;s selection of&nbsp;artworks aims to&nbsp;present the most interesting and comprehensive view of&nbsp;the art of&nbsp;the 20th century.</p> <p><strong>Media partners of&nbsp;the project:</strong></p> <p><img src="/images/logotypes/shedevri20_logo.jpg" alt="" /></p>./images/cms/data/iphone/exhibitions/shedevri20_120.jpg./images/cms/data/iphone/exhibitions/shedevri20_280.jpgMoscow Museum of Modern Art, 25 Petrovka str.<p>from the Collection of the Valencia Institute of Modern Art (IVAM)</p><p><strong>The exhibition is&nbsp;held within Russia-Spain Year 2011 </strong><br /><strong> General Partner: NOVATEK</strong><br /> <strong>Curator:</strong> Francisco Jarauta</p> <p>The Moscow Museum of&nbsp;Modern Art presents the exhibition &laquo;Masterpieces of&nbsp;the 20th Century from the Collection of&nbsp;the Valencia Institute of&nbsp;Modern Art (IVAM)&raquo;.</p> <p>The IVAM (Instituto Valenciano de&nbsp;Arte Moderno) opened in&nbsp;1989 and became the first museum of&nbsp;modern art in&nbsp;Spain. This marked the beginning of&nbsp;a&nbsp;new stage in&nbsp;Valencia art life and an&nbsp;event of&nbsp;universal importance in&nbsp;the sphere of&nbsp;modern art. Its collection of&nbsp;masterpieces of&nbsp;the 20th and 21st centuries is&nbsp;highly valued all over the world and attracts a&nbsp;lot of&nbsp;visitors every year.</p> <p>It&nbsp;is&nbsp;remarkable that the IVAM and the MMoMA collections are similar to&nbsp;each other in&nbsp;many respects. Each collection counts over 10,000 exhibits and tends to&nbsp;present a&nbsp;panoramic view of&nbsp;modern art in&nbsp;all its diversity, with special emphasis on&nbsp;the national heritage. So&nbsp;it&nbsp;comes as&nbsp;no&nbsp;surprise that the Moscow Museum of&nbsp;Modern Art hosts this important exhibition.<br /> <br /> The IVAM collection presents an&nbsp;overview of&nbsp;the avant-garde art of&nbsp;the first decades of&nbsp;the 20th century and all art tendencies of&nbsp;the postwar period. The art of&nbsp;Julio Gonz&aacute;lez, a&nbsp;pioneering Spanish artist and sculptor of&nbsp;the first half of&nbsp;the past century, occupies a&nbsp;special place in&nbsp;the IVAM holdings. The IVAM holds the richest collection of&nbsp;his artworks. The exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art opens with Julio Gonz&aacute;lez&rsquo;s oeuvre together with the works by&nbsp;Torres Garcia, a&nbsp;Uruguayan artist of&nbsp;the early 20th century. Also on&nbsp;view at&nbsp;the Museum, will be&nbsp;kinetic sculptures by&nbsp;Alexander Calder, installations by&nbsp;Kurt Schwitters and Man Ray, abstract works by&nbsp;Franti&scaron;ek Kupka and works by&nbsp;classic Surrealist and Dadaist masters Joan Miro, Marcel Duchamp, Andr&eacute; Masson, Jean Arp.<br /> <br /> The exhibition will show experimental tendencies of&nbsp;the postwar period, which reflected a&nbsp;newly formed worldview. These are works by&nbsp;European masters, i.&nbsp;e. Antoni T&agrave;pies, Antonio Saura, Karel Appel, Ad&nbsp;Reinhardt, Pierre Soulages, and works by&nbsp;celebrated American artists, i.&nbsp;e. Jasper Johns, Robert Rauschenberg, Richard Serra. Works by&nbsp;American Pop-art artists, such as&nbsp;Richard Hamilton, James Rosenquist and European representatives of&nbsp;this tendency, such as&nbsp;Eduardo Arroyo, Equipo Cr&oacute;nica group and others will also be&nbsp;exhibited.</p> <p>Starting from the 1980s, artists have been actively using new media, new techniques and electronic devices. The IVAM responded to&nbsp;the new art trends early on&nbsp;and acquired for its collection works by&nbsp;Andreu Alfaro, Miquel Navarro, John Davies, Bruce Nauman, Magdalena Abakanowicz, Christian Boltanski, Eduardo Chillida and Juan Usle. Some of&nbsp;these artworks will be&nbsp;displayed at&nbsp;the exhibition &laquo;Masterpieces of&nbsp;the 20th century&raquo;. Postwar Modern Art will be&nbsp;represented at&nbsp;the exhibition by&nbsp;the works by&nbsp;Henri Matisse and Pablo Picasso.</p> <p>Since the IVAM holds the most extensive and valuable collection of&nbsp;photography in&nbsp;Spain, a&nbsp;section of&nbsp;the exhibition is&nbsp;devoted to&nbsp;photography of&nbsp;the past century. Among other photo masterpieces of&nbsp;the 20th century, the show will feature a&nbsp;work by&nbsp;Alexander Rodchenko, one of&nbsp;the greatest Russian photographers.<br /> <br /> According to&nbsp;curator Francisco Jarauta, the exhibition of&nbsp;selected artworks from the IVAM collection at&nbsp;the Moscow Museum of&nbsp;Modern Art gives the visitors an&nbsp;opportunity to&nbsp;retrace the history of&nbsp;every period of&nbsp;the 20th century art. By&nbsp;studying history we&nbsp;learn about key events and circumstances which marked important paradigm shifts in&nbsp;the development of&nbsp;art.<br /> <br /> The project aims to&nbsp;initiate a&nbsp;full-fledged dialogue between the two museums&rsquo; different but complementary collections and concepts. But the collaboration between the IVAM and the MMoMA goes beyond this point. In&nbsp;the summer of&nbsp;2012, a&nbsp;reciprocal exhibition &laquo;Era of&nbsp;Discoveries: Masters of&nbsp;the Russian Avant-Garde&raquo; from the collection of&nbsp;the Moscow Museum of&nbsp;Modern Art will be&nbsp;held at&nbsp;the Valencia Institute of&nbsp;Modern Art.</p> <p><strong>Information about the curator:</strong></p> <p>Francisco Jarauta is&nbsp;a&nbsp;Professor of&nbsp;philosophy at&nbsp;the University of&nbsp;Murcia. He&nbsp;is&nbsp;also a&nbsp;visiting professor in&nbsp;many European and American universities. Mr. Jarauta is&nbsp;a&nbsp;member of&nbsp;the Board of&nbsp;Advisors of&nbsp;the IVAM (Valencia), and a&nbsp;Vice-President of&nbsp;the Patronato del Museo Nacional de&nbsp;Arte Reina Sof&iacute;a (Madrid). Francisco Jarauta is&nbsp;not an&nbsp;art historian in&nbsp;the traditional sense of&nbsp;the word. He&nbsp;is&nbsp;a&nbsp;philosopher who studies the theory and history of&nbsp;ideas in&nbsp;the culture and art field. The curator&rsquo;s selection of&nbsp;artworks aims to&nbsp;present the most interesting and comprehensive view of&nbsp;the art of&nbsp;the 20th century.</p>201106082011103033234http://www.mmoma.ru/en/exhibitions/petrovka/shedevry_xx_veka/http://www.mmoma.ru/en/exhibitions/petrovka/shedevry_xx_veka/<p>It is the first in Russia solo exhibition by Agostino Bonalumi, one of the greatest Italian artists of the second half of the 20th century.</p>Thu, 19 May 2011 17:36:00 +0400<p>It&nbsp;is&nbsp;the first in&nbsp;Russia solo exhibition by&nbsp;Agostino Bonalumi, one of&nbsp;the greatest Italian artists of&nbsp;the second half of&nbsp;the 20th century. His artistic searches have not lost their urgency up&nbsp;till now. Presented in&nbsp;the exhibition, 60&nbsp;artworks by&nbsp;Bonalumi reflect different stages of&nbsp;his creative work that started in&nbsp;Milan in&nbsp;1958, in&nbsp;cooperation with Manzoni and Castellani, under the influence of&nbsp;Lucio Fontana.</p> <p>Agostino Bonalumi is&nbsp;an&nbsp;Italian artist. He&nbsp;is&nbsp;one of&nbsp;the most famous Italian artists in&nbsp;the world. Bonalumi already entered the history of&nbsp;art more than half a&nbsp;century ago. We&nbsp;should talk about his work only by&nbsp;starting with a&nbsp;special place for him and time, with a&nbsp;certain point &laquo;X&raquo;, from this artistic contribution Bonalumi became a&nbsp;surprising result at&nbsp;the period of&nbsp;development of&nbsp;world art. Now, by&nbsp;studying Bonalumi, we&nbsp;can look into past without nostalgia, because the very subject of&nbsp;our study is&nbsp;the logical and the mysterious offspring of&nbsp;those years.</p> <p>&laquo;Bonalumi is&nbsp;one of&nbsp;those artists, who have changed the very vision of&nbsp;the artistic life. In&nbsp;turn, it&nbsp;has resulted in&nbsp;the cardinal change of&nbsp;the notion about what an&nbsp;artwork conveys&raquo;, writes Klaus Wolbert, director of&nbsp;Mathildenhoehe in&nbsp;Darmstadt. &laquo;He&nbsp;is&nbsp;faithful to&nbsp;his initial, unchangeable concept, his whole art is&nbsp;variations of&nbsp;the form, or, in&nbsp;the philosophical sense, metaforms&raquo;, writes Maurizio Calvesi, an&nbsp;art historian. The exhibition will run in&nbsp;one of&nbsp;the significant Russian museums as&nbsp;a&nbsp;part of&nbsp;the Russia-Italy cross-cultural exchange year. The scaled program will be&nbsp;opened with the exhibition by&nbsp;Alexander Deyneka, one of&nbsp;the most original representatives of&nbsp;the Sots Art, in&nbsp;Rome and will end with a&nbsp;performance of&nbsp;the Teatro alla Scala Ballet Company on&nbsp;the stage of&nbsp;the Bolshoi Theater in&nbsp;Moscow.</p> <p>The exhibition by&nbsp;Agostino Bonalumi will mainly contain artworks of&nbsp;the recent years. The main topic is&nbsp;development of&nbsp;the above concept of&nbsp;painting, which helps the artists to&nbsp;elaborate his technique. Bonalumi applies a&nbsp;special correlation of&nbsp;convex and concave shapes and visual three-dimensionality.</p> <p><img src="/images/logotypes/rus_ita_2011_logo.gif" border="0" alt="" width="143" height="100" /></p>./images/cms/data/iphone/exhibitions/abonalumi_120.jpg./images/cms/data/iphone/exhibitions/abonalumi_280.jpgMoscow Museum of Modern Art (25 Petrovka)<p>It is the first in Russia solo exhibition by Agostino Bonalumi, one of the greatest Italian artists of the second half of the 20th century.</p><p>It&nbsp;is&nbsp;the first in&nbsp;Russia solo exhibition by&nbsp;Agostino Bonalumi, one of&nbsp;the greatest Italian artists of&nbsp;the second half of&nbsp;the 20th century. His artistic searches have not lost their urgency up&nbsp;till now. Presented in&nbsp;the exhibition, 60&nbsp;artworks by&nbsp;Bonalumi reflect different stages of&nbsp;his creative work that started in&nbsp;Milan in&nbsp;1958, in&nbsp;cooperation with Manzoni and Castellani, under the influence of&nbsp;Lucio Fontana.</p> <p>Agostino Bonalumi is&nbsp;an&nbsp;Italian artist. He&nbsp;is&nbsp;one of&nbsp;the most famous Italian artists in&nbsp;the world. Bonalumi already entered the history of&nbsp;art more than half a&nbsp;century ago. We&nbsp;should talk about his work only by&nbsp;starting with a&nbsp;special place for him and time, with a&nbsp;certain point &laquo;X&raquo;, from this artistic contribution Bonalumi became a&nbsp;surprising result at&nbsp;the period of&nbsp;development of&nbsp;world art. Now, by&nbsp;studying Bonalumi, we&nbsp;can look into past without nostalgia, because the very subject of&nbsp;our study is&nbsp;the logical and the mysterious offspring of&nbsp;those years.</p> <p>&laquo;Bonalumi is&nbsp;one of&nbsp;those artists, who have changed the very vision of&nbsp;the artistic life. In&nbsp;turn, it&nbsp;has resulted in&nbsp;the cardinal change of&nbsp;the notion about what an&nbsp;artwork conveys&raquo;, writes Klaus Wolbert, director of&nbsp;Mathildenhoehe in&nbsp;Darmstadt. &laquo;He&nbsp;is&nbsp;faithful to&nbsp;his initial, unchangeable concept, his whole art is&nbsp;variations of&nbsp;the form, or, in&nbsp;the philosophical sense, metaforms&raquo;, writes Maurizio Calvesi, an&nbsp;art historian. The exhibition will run in&nbsp;one of&nbsp;the significant Russian museums as&nbsp;a&nbsp;part of&nbsp;the Russia-Italy cross-cultural exchange year. The scaled program will be&nbsp;opened with the exhibition by&nbsp;Alexander Deyneka, one of&nbsp;the most original representatives of&nbsp;the Sots Art, in&nbsp;Rome and will end with a&nbsp;performance of&nbsp;the Teatro alla Scala Ballet Company on&nbsp;the stage of&nbsp;the Bolshoi Theater in&nbsp;Moscow.</p> <p>The exhibition by&nbsp;Agostino Bonalumi will mainly contain artworks of&nbsp;the recent years. The main topic is&nbsp;development of&nbsp;the above concept of&nbsp;painting, which helps the artists to&nbsp;elaborate his technique. Bonalumi applies a&nbsp;special correlation of&nbsp;convex and concave shapes and visual three-dimensionality.</p>201105312011091133207http://www.mmoma.ru/en/exhibitions/petrovka/agostino_bonalumi_racional_noe_i_vidimoe/http://www.mmoma.ru/en/exhibitions/petrovka/agostino_bonalumi_racional_noe_i_vidimoe/<p>Moscow Museum of Modern Art and the &laquo;G. O. S. T.&raquo; gallery present the project &laquo;Alexander Kuzkin. It&rsquo;s White. It&rsquo;s Black&raquo;, the first retrospective show of the artist since 1985.</p>Thu, 14 Apr 2011 17:20:00 +0400<p>Moscow Museum of&nbsp;Modern Art and the &laquo;G.&nbsp;O.&nbsp;S.&nbsp;T.&raquo; gallery present the project &laquo;Alexander Kuzkin. It&rsquo;s White. It&rsquo;s Black&raquo;, the first retrospective show of&nbsp;the artist since 1985. The aim of&nbsp;the project is&nbsp;to&nbsp;show the artist&rsquo;s wide range of&nbsp;interests. Kuzkin worked as&nbsp;a&nbsp;book designer, illustrator, industrial designer, painter, photographer, poster artist and graphic designer.<br /> <br /> The first part of&nbsp;the exhibition contains prints. Alexander Kuzkin was a&nbsp;student of&nbsp;the Moscow University of&nbsp;Printing Arts, the Faculty of&nbsp;Printing Technology. The university was famed for its free creative atmosphere. Though the artist studied industrial design, he&nbsp;found time for mastering his drawing techniques.<br /> <br /> The next part of&nbsp;the exhibition demonstrates the book design and two conceptual books-objects. Kuzkin was very imaginative, when he&nbsp;was occupied with book design. He&nbsp;invented an&nbsp;object, rather than just decorated a&nbsp;book. In&nbsp;a&nbsp;sense, he&nbsp;was one of&nbsp;the founders of&nbsp;the mail art in&nbsp;Russia. Kuzkin created a&nbsp;project of&nbsp;the edition &laquo;The Sorrows of&nbsp;Young Werther&raquo; by&nbsp;Goethe. It&nbsp;was a&nbsp;combination of&nbsp;the mail art and book design. Pieces of&nbsp;the edition, displayed at&nbsp;the exhibition, are letters to&nbsp;be&nbsp;mailed to&nbsp;readers during a&nbsp;certain period of&nbsp;time.<br /> <br /> His second celebrated book-object is&nbsp;Anna Akhmatova&rsquo;s &laquo;Requiem&raquo;. It&nbsp;consists of&nbsp;the series of&nbsp;lithographs with verses in&nbsp;the Chinese style. Kuzkin created this edition for the International Book Art Exhibition in&nbsp;Germany in&nbsp;1982. It&nbsp;was a&nbsp;period when the &laquo;Requiem&raquo; was still suppressed and was not published in&nbsp;full. The exhibition presents the layout of&nbsp;the book, restored by&nbsp;Andrei Kuzkin, the artist&rsquo;s son, who is&nbsp;a&nbsp;well-known contemporary artist, the winner of&nbsp;the Innovation Prize 2009.</p> <p>The exhibition also demonstrates the artist&rsquo;s posters. Kuzkin was a&nbsp;talented poster artist. His language was new and individual.<br /> <br /> The last artworks by&nbsp;Kizkin are remarkable for the abstract style and bold creative idea. In&nbsp;the early 1980s, such art was still provocative and distinguished the artists who were not afraid of&nbsp;experimenting and did not limit their creativity by&nbsp;self-censorship.<br /> <br /> It&nbsp;is&nbsp;impossible to&nbsp;label what art movement Kuzkin&rsquo;s original and many-sided art belongs&nbsp;to. His artworks have features of&nbsp;minimalism, concept art and abstract art. It&nbsp;makes his art close to&nbsp;the Western Modernist art of&nbsp;the 20&nbsp;century. Thus, Kuzkin becomes an&nbsp;original representative of&nbsp;the Russian Nonconformist art.</p> <p>Alexander Kuzkin died from heart disease in&nbsp;1983. He&nbsp;was 33. He&nbsp;knew he&nbsp;would not live a&nbsp;long life. But it&nbsp;did not prevent him from following his own creative way, experimenting, trying different spheres and taking the risk. Alexander Kuzkin achieved so&nbsp;much in&nbsp;his short life. The fact can&rsquo;t stop surprising.<br /> <br /> Especially for the exhibition, the &laquo;G.&nbsp;O.&nbsp;S.&nbsp;T.&raquo; gallery has published an&nbsp;album, giving the full idea of&nbsp;the life and art of&nbsp;Alexander Kuzkin.</p>./images/cms/data/iphone/exhibitions/eto_beloe_120.jpg./images/cms/data/iphone/exhibitions/eto_beloe_280.jpgMoscow Museum of Modern Art (25 Petrovka)<p>Moscow Museum of Modern Art and the &laquo;G. O. S. T.&raquo; gallery present the project &laquo;Alexander Kuzkin. It&rsquo;s White. It&rsquo;s Black&raquo;, the first retrospective show of the artist since 1985.</p><p>Moscow Museum of&nbsp;Modern Art and the &laquo;G.&nbsp;O.&nbsp;S.&nbsp;T.&raquo; gallery present the project &laquo;Alexander Kuzkin. It&rsquo;s White. It&rsquo;s Black&raquo;, the first retrospective show of&nbsp;the artist since 1985. The aim of&nbsp;the project is&nbsp;to&nbsp;show the artist&rsquo;s wide range of&nbsp;interests. Kuzkin worked as&nbsp;a&nbsp;book designer, illustrator, industrial designer, painter, photographer, poster artist and graphic designer.<br /> <br /> The first part of&nbsp;the exhibition contains prints. Alexander Kuzkin was a&nbsp;student of&nbsp;the Moscow University of&nbsp;Printing Arts, the Faculty of&nbsp;Printing Technology. The university was famed for its free creative atmosphere. Though the artist studied industrial design, he&nbsp;found time for mastering his drawing techniques.<br /> <br /> The next part of&nbsp;the exhibition demonstrates the book design and two conceptual books-objects. Kuzkin was very imaginative, when he&nbsp;was occupied with book design. He&nbsp;invented an&nbsp;object, rather than just decorated a&nbsp;book. In&nbsp;a&nbsp;sense, he&nbsp;was one of&nbsp;the founders of&nbsp;the mail art in&nbsp;Russia. Kuzkin created a&nbsp;project of&nbsp;the edition &laquo;The Sorrows of&nbsp;Young Werther&raquo; by&nbsp;Goethe. It&nbsp;was a&nbsp;combination of&nbsp;the mail art and book design. Pieces of&nbsp;the edition, displayed at&nbsp;the exhibition, are letters to&nbsp;be&nbsp;mailed to&nbsp;readers during a&nbsp;certain period of&nbsp;time.<br /> <br /> His second celebrated book-object is&nbsp;Anna Akhmatova&rsquo;s &laquo;Requiem&raquo;. It&nbsp;consists of&nbsp;the series of&nbsp;lithographs with verses in&nbsp;the Chinese style. Kuzkin created this edition for the International Book Art Exhibition in&nbsp;Germany in&nbsp;1982. It&nbsp;was a&nbsp;period when the &laquo;Requiem&raquo; was still suppressed and was not published in&nbsp;full. The exhibition presents the layout of&nbsp;the book, restored by&nbsp;Andrei Kuzkin, the artist&rsquo;s son, who is&nbsp;a&nbsp;well-known contemporary artist, the winner of&nbsp;the Innovation Prize 2009.</p> <p>The exhibition also demonstrates the artist&rsquo;s posters. Kuzkin was a&nbsp;talented poster artist. His language was new and individual.<br /> <br /> The last artworks by&nbsp;Kizkin are remarkable for the abstract style and bold creative idea. In&nbsp;the early 1980s, such art was still provocative and distinguished the artists who were not afraid of&nbsp;experimenting and did not limit their creativity by&nbsp;self-censorship.<br /> <br /> It&nbsp;is&nbsp;impossible to&nbsp;label what art movement Kuzkin&rsquo;s original and many-sided art belongs&nbsp;to. His artworks have features of&nbsp;minimalism, concept art and abstract art. It&nbsp;makes his art close to&nbsp;the Western Modernist art of&nbsp;the 20&nbsp;century. Thus, Kuzkin becomes an&nbsp;original representative of&nbsp;the Russian Nonconformist art.</p> <p>Alexander Kuzkin died from heart disease in&nbsp;1983. He&nbsp;was 33. He&nbsp;knew he&nbsp;would not live a&nbsp;long life. But it&nbsp;did not prevent him from following his own creative way, experimenting, trying different spheres and taking the risk. Alexander Kuzkin achieved so&nbsp;much in&nbsp;his short life. The fact can&rsquo;t stop surprising.<br /> <br /> Especially for the exhibition, the &laquo;G.&nbsp;O.&nbsp;S.&nbsp;T.&raquo; gallery has published an&nbsp;album, giving the full idea of&nbsp;the life and art of&nbsp;Alexander Kuzkin.</p>201105132011061232597http://www.mmoma.ru/en/exhibitions/petrovka/eto_beloe_eto_chernoe/http://www.mmoma.ru/en/exhibitions/petrovka/eto_beloe_eto_chernoe/<p>Moscow Museum of Modern Art presents a retrospective show by the English photographer Michael Kenna. During the last three decades, his name has been inseparably linked with landscape photography.</p>Wed, 06 Apr 2011 10:21:00 +0400<p>Moscow Museum of&nbsp;Modern Art presents a&nbsp;retrospective show by&nbsp;the English photographer Michael Kenna. During the last three decades, his name has been inseparably linked with landscape photography.<br /> <br /> Born into an&nbsp;English working-class family, Michael Kenna wanted to&nbsp;devote his life to&nbsp;God. But his plans could not come true. In&nbsp;1976, Kenna arrived in&nbsp;the USA for the first time. There he&nbsp;worked as&nbsp;an&nbsp;assistant to&nbsp;an&nbsp;advertising photographer and as&nbsp;a&nbsp;pressman. Soon Ruth Bernhard, the queen of&nbsp;photo printing, invited him to&nbsp;work in&nbsp;her studio. There Kenna learned secrets of&nbsp;photo developing and photo printing. He&nbsp;realized that a&nbsp;negative provided him with an&nbsp;ample opportunity for creative work. It&nbsp;was &laquo;undeveloped land, waiting for the bold plow of&nbsp;the talented farmer&raquo;.</p> <p>Michael Kenna`s retrospective covers the most significant periods of&nbsp;his creative work and shows famous landscape photos, made during his travels. Pictures of&nbsp;French provinces and Japanese gardens, American power plants and sculptures in&nbsp;St. Petersburg are among them. Moreover, photos from the &laquo;Concentration Camps&raquo; series will be&nbsp;displayed in&nbsp;Russia for the first time.<br /> <br /> The photographer&rsquo;s style can be&nbsp;called metaphysical photography, with time and memory as&nbsp;basic concepts. Black-and-white high contrast photos take viewers from the real world to&nbsp;the abstract university of&nbsp;the photographer. Therefore, Kenna&rsquo;s works can be&nbsp;easily regarded as&nbsp;an&nbsp;ancient painting and a&nbsp;3D&nbsp;image. They embody the skilful synthesis of&nbsp;the eternal and the momentary. The photographer&rsquo;s approach to&nbsp;the viewer is&nbsp;also specific. All photos by&nbsp;Kenna have small size. Such format forces one person to&nbsp;watch it&nbsp;from the distance of&nbsp;no&nbsp;more than 30&nbsp;cm. Kenna intentionally brings&nbsp;us closer to&nbsp;the picture, demanding maximum involvement and frankness in&nbsp;the dialogue with the audience.</p> <p>Kenna is&nbsp;not a&nbsp;traditional landscape photographer. It&nbsp;is&nbsp;important for him &laquo;to&nbsp;know what nature thinks about people&rsquo;s actions&raquo;. Kenna photographs at&nbsp;dawn or&nbsp;at&nbsp;night with long exposures. Then he&nbsp;is&nbsp;toiling at&nbsp;negatives. It&nbsp;takes him several years to&nbsp;master some projects.</p> <p>More than 30&nbsp;editions are devoted to&nbsp;Kenna&rsquo;s oeuvre. His landscape photos are in&nbsp;70&nbsp;museum and private collections all over the world.</p> <div style="margin: 20px 0px 2px;"><a href="http://www.artchronika.ru/" target="_blank"><img src="/images/logotypes/artxronika_logo_main_en.jpg" border="0" alt="" /></a> <div style="font-size: 13px; margin-top: 2px;">Strategeic Media Partner</div> </div>./images/cms/data/iphone/exhibitions/mkena_120.jpg./images/cms/data/iphone/exhibitions/mkena_280.jpgMoscow Museum of Modern Art (25 Petrovka str.) <p>Moscow Museum of Modern Art presents a retrospective show by the English photographer Michael Kenna. During the last three decades, his name has been inseparably linked with landscape photography.</p><p>Moscow Museum of&nbsp;Modern Art presents a&nbsp;retrospective show by&nbsp;the English photographer Michael Kenna. During the last three decades, his name has been inseparably linked with landscape photography.<br /> <br /> Born into an&nbsp;English working-class family, Michael Kenna wanted to&nbsp;devote his life to&nbsp;God. But his plans could not come true. In&nbsp;1976, Kenna arrived in&nbsp;the USA for the first time. There he&nbsp;worked as&nbsp;an&nbsp;assistant to&nbsp;an&nbsp;advertising photographer and as&nbsp;a&nbsp;pressman. Soon Ruth Bernhard, the queen of&nbsp;photo printing, invited him to&nbsp;work in&nbsp;her studio. There Kenna learned secrets of&nbsp;photo developing and photo printing. He&nbsp;realized that a&nbsp;negative provided him with an&nbsp;ample opportunity for creative work. It&nbsp;was &laquo;undeveloped land, waiting for the bold plow of&nbsp;the talented farmer&raquo;.</p> <p>Michael Kenna`s retrospective covers the most significant periods of&nbsp;his creative work and shows famous landscape photos, made during his travels. Pictures of&nbsp;French provinces and Japanese gardens, American power plants and sculptures in&nbsp;St. Petersburg are among them. Moreover, photos from the &laquo;Concentration Camps&raquo; series will be&nbsp;displayed in&nbsp;Russia for the first time.<br /> <br /> The photographer&rsquo;s style can be&nbsp;called metaphysical photography, with time and memory as&nbsp;basic concepts. Black-and-white high contrast photos take viewers from the real world to&nbsp;the abstract university of&nbsp;the photographer. Therefore, Kenna&rsquo;s works can be&nbsp;easily regarded as&nbsp;an&nbsp;ancient painting and a&nbsp;3D&nbsp;image. They embody the skilful synthesis of&nbsp;the eternal and the momentary. The photographer&rsquo;s approach to&nbsp;the viewer is&nbsp;also specific. All photos by&nbsp;Kenna have small size. Such format forces one person to&nbsp;watch it&nbsp;from the distance of&nbsp;no&nbsp;more than 30&nbsp;cm. Kenna intentionally brings&nbsp;us closer to&nbsp;the picture, demanding maximum involvement and frankness in&nbsp;the dialogue with the audience.</p> <p>Kenna is&nbsp;not a&nbsp;traditional landscape photographer. It&nbsp;is&nbsp;important for him &laquo;to&nbsp;know what nature thinks about people&rsquo;s actions&raquo;. Kenna photographs at&nbsp;dawn or&nbsp;at&nbsp;night with long exposures. Then he&nbsp;is&nbsp;toiling at&nbsp;negatives. It&nbsp;takes him several years to&nbsp;master some projects.</p> <p>More than 30&nbsp;editions are devoted to&nbsp;Kenna&rsquo;s oeuvre. His landscape photos are in&nbsp;70&nbsp;museum and private collections all over the world.</p>201104192011052232427http://www.mmoma.ru/en/exhibitions/petrovka/michael_kenna_retrospective/http://www.mmoma.ru/en/exhibitions/petrovka/michael_kenna_retrospective/