http://www.mmoma.ru/en/exhibitions/ermolaevsky/Журнал ДИ - - Ermolaevsky 17en<p>The Moscow Museum of Modern Art, in collaboration with the Japan Foundation, presents the exhibition Double Vision: Contemporary Art from Japan intended to introduce the general public to the art trends of Contemporary Japan.</p>Wed, 08 Feb 2012 17:35:00 +0400<p><span style="font-size: medium;">Curators: Elena Yaichnikova and Kenjiro Hosaka</span></p> <p><strong><span style="font-size: large;">Section 1: Reality/Ordinary world </span></strong></p> <p>The Moscow Museum of&nbsp;Modern Art, in&nbsp;collaboration with the Japan Foundation, presents the exhibition Double Vision: Contemporary Art from Japan intended to&nbsp;introduce the general public to&nbsp;the art trends of&nbsp;Contemporary Japan.</p> <p>The &lsquo;double perspective&rsquo; is&nbsp;provided here by&nbsp;two curators from two different countries, two Museum venues, two thematic blocks constituting the whole of&nbsp;the project. This exhibition jointly curated by&nbsp;Elena Yaichnikova and Kenjiro Hosaka features the works created by&nbsp;about 30&nbsp;Japanese artists working in&nbsp;different styles between the 1970s and the so-called zero decade (2000-2009). Held at&nbsp;two venues of&nbsp;the Moscow Museum of&nbsp;Modern Art, the project is&nbsp;composed of&nbsp;two parts: the Reality/Ordinary World and the Imaginary World/Phantasms.<br /><br />The first part of&nbsp;the project, Reality/Ordinary World, gives the &lsquo;Japanese&rsquo; perspective on&nbsp;the outer reality through the 20th century world history (Yasumasa Morimura, Yoshinori Niwa and Yuken Teruya), the reflection on&nbsp;the present-day social structure (Dumb Type and Tadasu Takamine), the interaction with urban space (contact Gonzo and Chim&uarr;Pom) and the quest of&nbsp;poetry in&nbsp;everyday life (SHIMABUKU, Tsuyoshi Ozawa, Kohei Kobayashi and Tetsuya Umeda). The Requiem, a&nbsp;video series by&nbsp;Yasumasa Morimura, shows the artist impersonating different historical characters&nbsp;&mdash; Chaplin, the writer Yukio Mishima, even Lenin&nbsp;&mdash; and acting out the episodes from their life. Another participant Tetsuya Umeda constructs his installation of &rsquo;found objects&rsquo;, using nothing but objects from everyday life. Thus, the most banal and prosy reality transforms into Art. The show will feature the works by&nbsp;Yoko Ono&nbsp;&mdash; the famous Cut Piece in&nbsp;the 1965 and 2003 versions and the sound installation Cough Piece (1961). The exhibition will also present the works by&nbsp;Kishio Suga, an&nbsp;essential figure in&nbsp;the Mono-Ha (literally, the School of&nbsp;Things) movement&nbsp;&mdash; the Japanese alternative to&nbsp;the Western Modernism. The photo section will include the works of&nbsp;Toshio Shibata, Takashi Homma and Lieko Shiga.</p> <p>The artworks, constituting the second part of&nbsp;the project, will feature a&nbsp;free world of&nbsp;imagination, where all we&nbsp;seem unable to&nbsp;perceive in&nbsp;actual reality, all running beyond its limits, could and would exist. They evoke the Japanese pop culture, imaginary world, naivety, myths and cosmogonic concepts. Each artist fills the notion of&nbsp;imagination with a&nbsp;meaning of&nbsp;his own. Thus, Tadanori Yokoo, explores the imaginary world, focusing on&nbsp;the motif of&nbsp;disappearance, or&nbsp;rather vanishing of&nbsp;self. A&nbsp;similar motif finds its way in&nbsp;to&nbsp;the oeuvre of&nbsp;Yayoi Kusama: projecting her fantasies into the real world, she creates a&nbsp;whimsically patterned universe. The Sunchild (2011), a&nbsp;huge sculpture by&nbsp;Kenji Yanobe, was realized in&nbsp;the tragic context of&nbsp;the Fukushima Dai-ichi nuclear explosion. His monumental object turns out to&nbsp;be&nbsp;the crossing point of &lsquo;imaginations&rsquo;. The artist figures out the experience on&nbsp;the edge of&nbsp;reality to&nbsp;be&nbsp;the impulse towards the creation of&nbsp;a&nbsp;new universe. The Imaginary World/Phantasms block also includes works by Yoshitomo Nara, Takashi Murakami, Makoto Aida, Hiraki Sawa and many others.<br />Some works were realized specifically for the show. Working on&nbsp;his project Looking for Vladimir Lenin In&nbsp;Moscow Apartments (2012), the artist Yoshinori Niwa came to&nbsp;Moscow to&nbsp;explore the city dwellings in&nbsp;search of&nbsp;artefacts concerning the famous revolutionary. The resulting artwork is&nbsp;the documentation of&nbsp;his quest and related journeys around Moscow. Tetsuya Umeda, whose works are to&nbsp;be&nbsp;exhibited at&nbsp;both venues, will come to&nbsp;Moscow to&nbsp;realize both installations on&nbsp;the spot.</p> <p>This two exhibition parts, seemingly irreconcilable, are designed to&nbsp;reveal two extremes of&nbsp;the Japanese art, which, despite their polarity, are bound together in&nbsp;actual reality.</p> <p>Open workshops and artistic meetings with the project participants are also planned to&nbsp;be&nbsp;held, including the lectures of&nbsp;the Japanese curator Kenjiro Hosaka and the artist Kenji Yanobe. This show is&nbsp;the first to&nbsp;feature Contemporary Japanese art in&nbsp;Russia on&nbsp;such a&nbsp;scale.</p> <p>The project is&nbsp;supported by&nbsp;JTI Company</p> <p><a href="http://www.jti.com/ " target="_blank"><img src="/images/logotypes/jti_logo.jpg" border="0" alt="" width="112" height="80" /></a></p> <p>Strategic media partner:</p> <p><a href="http://artchronika.ru/" target="_blank"><img src="/images/logotypes/artxronika_logo_new.jpg" border="0" alt="" /></a></p> <p><strong>Section&nbsp;1: Reality/Ordinary world</strong><br /> Chim&uarr;Pom <br /> contact Gonzo <br /> dumb type <br /> Kohei Kobayashi <br /> Takashi Homma <br /> Yasumasa Morimura <br /> Yoshinori Niwa <br /> Yoko Ono <br /> Shinro Ohtake <br /> Tsuyoshi Ozawa <br /> Toshio Shibata <br /> Lieko Shiga <br /> SHIMABUKU <br /> Kishio Suga <br /> Tadasu Takamine <br /> Yuken Teruya <br /> Tetsuya Umeda</p> <p><a href="%content get_page_url(63104)%"><strong>Section&nbsp;2: Imaginary world/ Phantasms</strong></a><br /> Makoto Aida <br /> Takashi Ishida <br /> Takahiro Iwasaki <br /> Izumi Kato <br /> Yayoi Kusama <br /> Tatsuo Miyajima <br /> Takashi Murakami <br /> Yoshitomo Nara <br /> Motohiko Odani <br /> Hiraki Sawa <br /> Yoshihiro Suda <br /> Akira Yamaguchi <br /> Kenji Yanobe <br /> Tadanori Yokoo <br /> Tetsuya Umeda</p>./images/cms/data/iphone/exhibitions/dvper_a120.jpg./images/cms/data/iphone/exhibitions/dvper_a280.jpgMoscow Museum of Modern Art, 17, Ermolaevsky lane<p>The Moscow Museum of Modern Art, in collaboration with the Japan Foundation, presents the exhibition Double Vision: Contemporary Art from Japan intended to introduce the general public to the art trends of Contemporary Japan.</p><p><strong>Curators: Elena Yaichnikova and Kenjiro Hosaka</strong></p> <p><strong>Section 1: Reality/Ordinary world</strong></p> <p>The Moscow Museum of&nbsp;Modern Art, in&nbsp;collaboration with the Japan Foundation, presents the exhibition Double Vision: Contemporary Art from Japan intended to&nbsp;introduce the general public to&nbsp;the art trends of&nbsp;Contemporary Japan.</p> <p>The &lsquo;double perspective&rsquo; is&nbsp;provided here by&nbsp;two curators from two different countries, two Museum venues, two thematic blocks constituting the whole of&nbsp;the project. This exhibition jointly curated by&nbsp;Elena Yaichnikova and Kenjiro Hosaka features the works created by&nbsp;about 30&nbsp;Japanese artists working in&nbsp;different styles between the 1970s and the so-called zero decade (2000-2009). Held at&nbsp;two venues of&nbsp;the Moscow Museum of&nbsp;Modern Art, the project is&nbsp;composed of&nbsp;two parts: the Reality/Ordinary World and the Imaginary World/Phantasms.<br /> <br /> The first part of&nbsp;the project, Reality/Ordinary World, gives the &lsquo;Japanese&rsquo; perspective on&nbsp;the outer reality through the 20th century world history (Yasumasa Morimura, Yoshinori Niwa and Yuken Teruya), the reflection on&nbsp;the present-day social structure (Dumb Type and Tadasu Takamine), the interaction with urban space (contact Gonzo and Chim&uarr;Pom) and the quest of&nbsp;poetry in&nbsp;everyday life (SHIMABUKU, Tsuyoshi Ozawa, Kohei Kobayashi and Tetsuya Umeda). The Requiem, a&nbsp;video series by&nbsp;Yasumasa Morimura, shows the artist impersonating different historical characters&nbsp;&mdash; Hitler, the writer Yukio Mishima, even Lenin&nbsp;&mdash; and acting out the episodes from their life. Another participant Tetsuya Umeda constructs his installation of &rsquo;found objects&rsquo;, using nothing but objects from everyday life. Thus, the most banal and prosy reality transforms into Art. The show will feature the works by&nbsp;Yoko Ono&nbsp;&mdash; the famous Cut Piece in&nbsp;the 1965 and 2003 versions and the sound installation Cough Piece (1963). The exhibition will also present the works by&nbsp;Kishio Suga, an&nbsp;essential figure in&nbsp;the Mono-Ha (literally, the School of&nbsp;Things) movement&nbsp;&mdash; the Japanese alternative to&nbsp;the Western Modernism. The photo section will include the works of&nbsp;Toshio Shibata, Takashi Homma and Lieko Shiga.</p> <p>The artworks, constituting the second part of&nbsp;the project, will feature a&nbsp;free world of&nbsp;imagination, where all we&nbsp;seem unable to&nbsp;perceive in&nbsp;actual reality, all running beyond its limits, could and would exist. They evoke the Japanese pop culture, imaginary world, childlike naivety, myths and cosmogonic concepts. Each artist fills the notion of&nbsp;imagination with a&nbsp;meaning of&nbsp;his own. Thus, Tadanori Yokoo, explores the imaginary world, focusing on&nbsp;the motif of&nbsp;disappearance, or&nbsp;rather vanishing of&nbsp;self. A&nbsp;similar motif finds its way in&nbsp;to&nbsp;the oeuvre of&nbsp;Yayoi Kusama: projecting her fantasies into the real world, she creates a&nbsp;whimsically patterned universe. The Sunchild (2011), a&nbsp;huge sculpture by&nbsp;Kenji Yanobe, was realized in&nbsp;the tragic context of&nbsp;the Fukushima Dai-ichi nuclear explosion. His monumental object turns out to&nbsp;be&nbsp;the crossing point of &lsquo;imaginations&rsquo;. The artist figures out the experience on&nbsp;the edge of&nbsp;reality to&nbsp;be&nbsp;the impulse towards the creation of&nbsp;a&nbsp;new universe. The Imaginary World/Phantasms block also includes works by&nbsp;Takashi Murakami, Makoto Aida, Hiraki Sawa and many others.<br /> Some works were realized specifically for the show. Working on&nbsp;his project Looking for Vladimir Lenin In&nbsp;Moscow Apartments (2012), the artist Yoshinori Niwa came to&nbsp;Moscow to&nbsp;explore the city dwellings in&nbsp;search of&nbsp;artefacts concerning the famous revolutionary. The resulting artwork is&nbsp;the documentation of&nbsp;his quest and related journeys around Moscow. Tetsuya Umeda, whose works are to&nbsp;be&nbsp;exhibited at&nbsp;both venues, will come to&nbsp;Moscow to&nbsp;realize both installations on&nbsp;the spot.</p> <p>This two exhibition parts, seemingly irreconcilable, are designed to&nbsp;reveal two extremes of&nbsp;the Japanese art, which, despite their polarity, are bound together in&nbsp;actual reality.</p> <p>Open workshops and artistic meetings with the project participants are also planned to&nbsp;be&nbsp;held, including the lectures of&nbsp;the Japanese curator Kenjiro Hosaka and the artist Kenji Yanobe. This show is&nbsp;the first to&nbsp;feature Contemporary Japanese art in&nbsp;Russia on&nbsp;such a&nbsp;scale.</p> <p>The project is&nbsp;supported by&nbsp;JTI Company</p> <p><img src="/images/logotypes/jti_logo.jpg" border="0" alt="" width="112" height="80" /></p> <p><strong>Section&nbsp;1: Reality/Ordinary world</strong><br /> Chim&uarr;Pom <br /> contact Gonzo <br /> dumb type <br /> Kohei Kobayashi <br /> Takashi Homma <br /> Yasumasa Morimura <br /> Yoshinori Niwa <br /> Yoko Ono <br /> Shinro Ohtake <br /> Tsuyoshi Ozawa <br /> Toshio Shibata <br /> Lieko Shiga <br /> SHIMABUKU <br /> Kishio Suga <br /> Tadasu Takamine <br /> Yuken Teruya <br /> Tetsuya Umeda</p> <p><strong>Section&nbsp;2: Imaginary world/ Phantasms</strong><br /> Makoto Aida <br /> Takashi Ishida <br /> Takahiro Iwasaki <br /> Izumi Kato <br /> Yayoi Kusama <br /> Tatsuo Miyajima <br /> Takashi Murakami <br /> Yoshitomo Nara <br /> Motohiko Odani <br /> Hiraki Sawa <br /> Yoshihiro Suda <br /> Akira Yamaguchi <br /> Kenji Yanobe <br /> Tadanori Yokoo <br /> Tetsuya Umeda</p>201203142012050663105http://www.mmoma.ru/en/exhibitions/ermolaevsky/povsednevnost/http://www.mmoma.ru/en/exhibitions/ermolaevsky/povsednevnost/<p>The exhibition of Natalia Abalakova and Anatoly Zhigalov at the Moscow Museum of Modern Art embraces the work of several decades. This is a kind of total project with the conceptual approach perceived and employed as a technology of contemporary art. The same one the inventors of TOTART have employed while working on their major oeuvre &mdash; The Research on the Essence of Art in the Context of Life and Art.</p>Fri, 30 Dec 2011 16:11:00 +0400<p>The exhibition of&nbsp;Natalia Abalakova and Anatoly Zhigalov at&nbsp;the Moscow Museum of&nbsp;Modern Art embraces the work of&nbsp;several decades. This is&nbsp;a&nbsp;kind of&nbsp;total project with the conceptual approach perceived and employed as&nbsp;a&nbsp;technology of&nbsp;contemporary art. The same one the inventors of&nbsp;TOTART have employed while working on&nbsp;their major oeuvre&nbsp;&mdash; The Research on&nbsp;the Essence of&nbsp;Art in&nbsp;the Context of&nbsp;Life and Art. Their primary goal is&nbsp;to&nbsp;reveal the contemporary art mechanisms in&nbsp;the changing reality. In&nbsp;a&nbsp;word, it&nbsp;features the criticism of&nbsp;art by&nbsp;means of&nbsp;art itself.</p> <p>The idea of&nbsp;an&nbsp;Art Project as&nbsp;a&nbsp;kind of&nbsp;Total Art Action (TOTART) combining the creative efforts of&nbsp;two artists&nbsp;&mdash; a&nbsp;man and a&nbsp;woman&nbsp;&mdash; had emerged over late 1970s, and the authors&rsquo; individual oeuvre from 1960s-1970s was seamlessly integrated into this Project to&nbsp;carry on&nbsp;its existence as&nbsp;its part.<br /> <br /> Painting, drawing, art project, performance documentation, installation, cinema, video art, text and sound art come together to&nbsp;form a&nbsp;performative installation covering the space of&nbsp;the four-floor exhibition venue of&nbsp;the Moscow Museum of&nbsp;Modern Art. The project unfolds as&nbsp;a&nbsp;hypertext of&nbsp;a&nbsp;sort, with artworks as&nbsp;such creating an&nbsp;interactive environment constructed around the principal axes of&nbsp;the Project: the Russian Avant-garde; the East&nbsp;&mdash; West dialogue; gender; nature and culture; word and image.<br /> <br /> The display includes several sections: the Zero Degree of&nbsp;Art, the Golden Law, the Journey to&nbsp;the End of&nbsp;D., and the Smile of&nbsp;Buddha. The exhibition space has been organised as&nbsp;a&nbsp;complex dynamic temporal model, which allows the viewer to&nbsp;advance spirally and see all these motifs elaborated. Painting as&nbsp;such is&nbsp;conceived as&nbsp;an&nbsp;ideographic sign, a&nbsp;modality of&nbsp;conceptual project. It&nbsp;may be&nbsp;described as&nbsp;Painting After the End of&nbsp;Painting, and the vitality of&nbsp;the very pictorial language is&nbsp;to&nbsp;be&nbsp;tested. So&nbsp;ensues the extended semantic structure&nbsp;&mdash; Classical Totart Object&nbsp;&mdash; having some faint totalitarian whiff to&nbsp;it&nbsp;and revealing the polyvalence of&nbsp;this image, extremely explicit and at&nbsp;the same time immensely generalized.</p> <p>The Metaphoric visions of&nbsp;the Modern Age are not bound to&nbsp;express the idea of&nbsp;progress seen as&nbsp;a&nbsp;linear historical development, as&nbsp;was the custom in&nbsp;the 19th and early 20th century. They may take quite the opposite meaning, alluding to&nbsp;the capriciousness and fatality of&nbsp;human fate, to&nbsp;the increasing estrangement of&nbsp;most people from personal participation in&nbsp;their own history. When expressed in&nbsp;art forms, all these intuitions crystallize in&nbsp;an&nbsp;effort to&nbsp;create the comprehensive total space of&nbsp;total presence (or&nbsp;absence) in&nbsp;the context of&nbsp;total challenge. The spectator is&nbsp;invited to&nbsp;travel in&nbsp;the company of&nbsp;the project creators and reach the territory where many clues, origins, meanings and, above all, inescapable questions dwell.</p>./images/cms/data/iphone/exhibitions/totart_120.jpg./images/cms/data/iphone/exhibitions/totart_280.jpgMoscow Museum of Modern Art, 17 Ermolaevsky Lane <p>The exhibition of Natalia Abalakova and Anatoly Zhigalov at the Moscow Museum of Modern Art embraces the work of several decades. This is a kind of total project with the conceptual approach perceived and employed as a technology of contemporary art. The same one the inventors of TOTART have employed while working on their major oeuvre &mdash; The Research on the Essence of Art in the Context of Life and Art.</p><p>The exhibition of&nbsp;Natalia Abalakova and Anatoly Zhigalov at&nbsp;the Moscow Museum of&nbsp;Modern Art embraces the work of&nbsp;several decades. This is&nbsp;a&nbsp;kind of&nbsp;total project with the conceptual approach perceived and employed as&nbsp;a&nbsp;technology of&nbsp;contemporary art. The same one the inventors of&nbsp;TOTART have employed while working on&nbsp;their major oeuvre&nbsp;&mdash; The Research on&nbsp;the Essence of&nbsp;Art in&nbsp;the Context of&nbsp;Life and Art. Their primary goal is&nbsp;to&nbsp;reveal the contemporary art mechanisms in&nbsp;the changing reality. In&nbsp;a&nbsp;word, it&nbsp;features the criticism of&nbsp;art by&nbsp;means of&nbsp;art itself.</p> <p>The idea of&nbsp;an&nbsp;Art Project as&nbsp;a&nbsp;kind of&nbsp;Total Art Action (TOTART) combining the creative efforts of&nbsp;two artists&nbsp;&mdash; a&nbsp;man and a&nbsp;woman&nbsp;&mdash; had emerged over late 1970s, and the authors&rsquo; individual oeuvre from 1960s-1970s was seamlessly integrated into this Project to&nbsp;carry on&nbsp;its existence as&nbsp;its part.<br /> <br /> Painting, drawing, art project, performance documentation, installation, cinema, video art, text and sound art come together to&nbsp;form a&nbsp;performative installation covering the space of&nbsp;the four-floor exhibition venue of&nbsp;the Moscow Museum of&nbsp;Modern Art. The project unfolds as&nbsp;a&nbsp;hypertext of&nbsp;a&nbsp;sort, with artworks as&nbsp;such creating an&nbsp;interactive environment constructed around the principal axes of&nbsp;the Project: the Russian Avant-garde; the East&nbsp;&mdash; West dialogue; gender; nature and culture; word and image.<br /> <br /> The display includes several sections: the Zero Degree of&nbsp;Art, the Golden Law, the Journey to&nbsp;the End of&nbsp;D., and the Smile of&nbsp;Buddha. The exhibition space has been organised as&nbsp;a&nbsp;complex dynamic temporal model, which allows the viewer to&nbsp;advance spirally and see all these motifs elaborated. Painting as&nbsp;such is&nbsp;conceived as&nbsp;an&nbsp;ideographic sign, a&nbsp;modality of&nbsp;conceptual project. It&nbsp;may be&nbsp;described as&nbsp;Painting After the End of&nbsp;Painting, and the vitality of&nbsp;the very pictorial language is&nbsp;to&nbsp;be&nbsp;tested. So&nbsp;ensues the extended semantic structure&nbsp;&mdash; Classical Totart Object&nbsp;&mdash; having some faint totalitarian whiff to&nbsp;it&nbsp;and revealing the polyvalence of&nbsp;this image, extremely explicit and at&nbsp;the same time immensely generalized.</p> <p>The Metaphoric visions of&nbsp;the Modern Age are not bound to&nbsp;express the idea of&nbsp;progress seen as&nbsp;a&nbsp;linear historical development, as&nbsp;was the custom in&nbsp;the 19th and early 20th century. They may take quite the opposite meaning, alluding to&nbsp;the capriciousness and fatality of&nbsp;human fate, to&nbsp;the increasing estrangement of&nbsp;most people from personal participation in&nbsp;their own history. When expressed in&nbsp;art forms, all these intuitions crystallize in&nbsp;an&nbsp;effort to&nbsp;create the comprehensive total space of&nbsp;total presence (or&nbsp;absence) in&nbsp;the context of&nbsp;total challenge. The spectator is&nbsp;invited to&nbsp;travel in&nbsp;the company of&nbsp;the project creators and reach the territory where many clues, origins, meanings and, above all, inescapable questions dwell.</p>201201252012032662900http://www.mmoma.ru/en/exhibitions/ermolaevsky/totart/http://www.mmoma.ru/en/exhibitions/ermolaevsky/totart/<p>Moscow Museum of Modern Art and &laquo;Free Worshops&raquo; Contemporary Art School present the annual international exhibition of young art &laquo;Workshop 20&rsquo;11. Today/Tomorrow&raquo;.</p>Mon, 27 Jun 2011 23:43:00 +0400<p><strong>Curators: </strong><br />Daria Kamyshnikova<br />Asya Mukhina<br />with participation of&nbsp;Sergey Erkov</p> <p>Moscow Museum of&nbsp;Modern Art and &laquo;Free Worshops&raquo; Contemporary Art School present the annual international exhibition of&nbsp;young art &laquo;Workshop 20&rsquo;11. Today/Tomorrow&raquo;.</p> <p>The project is&nbsp;about time and its relativity. The participants of&nbsp;the project show their perception of&nbsp;the past, present and future. The curators find this theme especially important for young artists. The younger a&nbsp;person is&nbsp;the longer time stretches in&nbsp;his mind. Besides young people typically look ahead&nbsp;&mdash; to&nbsp;the future, to&nbsp;tomorrow. As&nbsp;the time goes&nbsp;by, it&nbsp;shrinks and eventually disappears together with a&nbsp;person.</p> <p>The artworks for the project were selected by&nbsp;the curators of&nbsp;&laquo;Independent Workshops&raquo; of&nbsp;the Moscow Museum of&nbsp;Modern Art. More than 500 people took part in&nbsp;the competition, and eventually 100 works representing all contemporary art media (objects, video art, collage, photo, painting, graphics and interactive installations) were selected.<br /><br />The project includes the best works of&nbsp;the participants of&nbsp;the first open regional festival of&nbsp;young art in&nbsp;Kaluga &laquo;The Festival of&nbsp;Discoveries 2011&raquo;.</p> <p>The &laquo;Workshop&raquo; also presents the project &laquo;Art House Short Films&raquo; by&nbsp;the curator Tatyana Daniliants. The films will be&nbsp;shown on&nbsp;the 18th and 19th at&nbsp;19.00&nbsp;at the Museum venue at&nbsp;25&nbsp;Petrovka Str.</p> <p><strong><span style="font-size: medium;">Curatorial projects</span></strong></p> <p><span style="font-size: medium;">Video art festival &laquo;Now&amp;After&raquo;</span><br />Curator: Marina Fomenko</p> <p>For the first time a&nbsp;video art festival is&nbsp;held within the &laquo;Workshop&raquo; exhibition. The works for this project were also selected in&nbsp;competition. The selected works will be&nbsp;presented in&nbsp;the form of&nbsp;a&nbsp;video installation.</p> <p>Now&amp;After is&nbsp;both the real and the imaginary world, where dreams come true. Within the framework of&nbsp;this project, the artists visualize their perception of&nbsp;time and space, they reflect on&nbsp;the past and make projections into the future, they work on&nbsp;self-identification in&nbsp;the present moment, and experiment with video art as&nbsp;a&nbsp;medium.</p> <p>Marina Fomenko, the curator of&nbsp;this project, is&nbsp;herself a&nbsp;graduate of&nbsp;the &laquo;Free Workshops&raquo; Contemporary Art School and a&nbsp;participant of&nbsp;the &laquo;Workshop 20&rsquo;11&raquo; exhibition. Her &laquo;Observation Station&raquo; installation was exhibited at&nbsp;the Moscow Museum of&nbsp;Modern Art in&nbsp;2010 and was nominated for the Kandinsky prize.<br /><br />For the festival she has chosen works of&nbsp;20&nbsp;artists from Russia, Poland, Germany, France, Brazil, USA, Taiwan, Finland, Lithuania, Sweden, Great Britain, Spain, Italy, Turkey.</p> <p>The winners of&nbsp;the festival selected by&nbsp;the jury will be&nbsp;awarded with prizes.</p> <p><span style="font-size: medium;">&laquo;Who is&nbsp;not Here&raquo;</span><br />Curator: Ekaterina Kuzmina</p> <p>The project also addresses the theme of&nbsp;time and its relativity, and combines artworks executed in&nbsp;various media. The aim of&nbsp;the curator is&nbsp;to&nbsp;create a&nbsp;clear space that exists beyond the constraints of&nbsp;real time, social and cultural patterns, and exists as&nbsp;a&nbsp;closed environment with its own laws. When a&nbsp;viewer gets into the artistically created artificial environment he&nbsp;loses the sense of&nbsp;time and enters the world of&nbsp;exists in&nbsp;the suggested circumstances of&nbsp;the ever repeated plot surrounded by&nbsp;the objects which have lost their functional use. In&nbsp;this art space, created by&nbsp;the curator and the participating artists, there is&nbsp;no&nbsp;past, present or&nbsp;future&nbsp;&mdash; it&nbsp;is&nbsp;a&nbsp;parallel world which exists &laquo;here and now&raquo;.</p> <p>The curator of&nbsp;the project&nbsp;&mdash; Ekaterina Kuzmina, is&nbsp;a&nbsp;researcher at&nbsp;the Moscow Museum of&nbsp;Modern Art; she was the co-curator of&nbsp;the thematic display &laquo;If&nbsp;I&nbsp;Only Knew!... A&nbsp;Guide to&nbsp;Contemporary Art&raquo; (Moscow Museum of&nbsp;Modern Art, 25&nbsp;Petrovka Str, 2010-2011).</p> <p>The international &laquo;Workshop&raquo; exhibition of&nbsp;young art has been organized by&nbsp;MMoMA and &laquo;Independent Workshops&raquo; since the 2001. Young artists have addressed various problems of&nbsp;contemporary anthropology&nbsp;&mdash; time, space, personal relations, freedom and liberty. The project is&nbsp;aimed at&nbsp;supporting emerging artists working in&nbsp;various media, and the first exhibition at&nbsp;the Museum becomes an&nbsp;important starting point in&nbsp;their artistic careers. Such well-known contemporary artists as&nbsp;Anya Zholud, Alexey Djakov, Taisiya Korotkova, Nika Kukhtina, Roman Sakin, Vera Undritsova participated in&nbsp;the &laquo;Workshop&raquo; exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art.</p>./images/cms/data/iphone/exhibitions/mast2011_120.jpg./images/cms/data/iphone/exhibitions/mast2011_280.jpgMoscow Museum of Modern Art, 17 Ermolaevsky Lane<p>Moscow Museum of Modern Art and &laquo;Free Worshops&raquo; Contemporary Art School present the annual international exhibition of young art &laquo;Workshop 20&rsquo;11. Today/Tomorrow&raquo;.</p><p><strong>Curators: </strong><br />Daria Kamyshnikova<br />Asya Mukhina<br />with participation of&nbsp;Sergey Erkov</p> <p>Moscow Museum of&nbsp;Modern Art and &laquo;Independent Worshops&raquo; School of&nbsp;Contemporary Art present the annual international exhibition of&nbsp;young art &laquo;Workshop 20&rsquo;09. Today/Tomorrow&raquo;.</p> <p>The project is&nbsp;about time and its relativity. The participants of&nbsp;the project show their perception of&nbsp;the past, present and future. The curators find this theme especially important for young artists. The younger a&nbsp;person is&nbsp;the longer time stretches in&nbsp;his mind. Besides young people typically look ahead&nbsp;&mdash; to&nbsp;the future, to&nbsp;tomorrow. As&nbsp;the time goes&nbsp;by, it&nbsp;shrinks and eventually disappears together with a&nbsp;person.</p> <p>The artworks for the project were selected by&nbsp;the curators of&nbsp;&laquo;Independent Workshops&raquo; of&nbsp;the Moscow Museum of&nbsp;Modern Art. More than 500 people took part in&nbsp;the competition, and eventually 100 works representing all contemporary art media (objects, video art, collage, photo, painting, graphics and interactive installations) were selected.<br /><br />The project includes the best works of&nbsp;the participants of&nbsp;the first open regional festival of&nbsp;young art in&nbsp;Kaluga &laquo;The Festival of&nbsp;Discoveries 2011&raquo;.</p> <p>The &laquo;Workshop&raquo; also presents the project &laquo;Art House Short Films&raquo; by&nbsp;the curator Tatyana Daniliants. The films will be&nbsp;shown on&nbsp;the 18th and 19th at&nbsp;19.00&nbsp;at the Museum venue at&nbsp;25&nbsp;Petrovka Str.</p> <p><strong>Curatorial projects</strong></p> <p><strong>Video art festival &laquo;Now&amp;After&raquo;</strong><br />Curator: Marina Fomenko</p> <p>For the first time a&nbsp;video art festival is&nbsp;held within the &laquo;Workshop&raquo; exhibition. The works for this project were also selected in&nbsp;competition. The selected works will be&nbsp;presented in&nbsp;the form of&nbsp;a&nbsp;video installation.</p> <p>Now&amp;After is&nbsp;both the real and the imaginary world, where dreams come true. Within the framework of&nbsp;this project, the artists visualize their perception of&nbsp;time and space, they reflect on&nbsp;the past and make projections into the future, they work on&nbsp;self-identification in&nbsp;the present moment, and experiment with video art as&nbsp;a&nbsp;medium.</p> <p>Marina Fomenko, the curator of&nbsp;this project, is&nbsp;herself a&nbsp;graduate of&nbsp;the &laquo;Independent Workshops&raquo; School and a&nbsp;participant of&nbsp;the &laquo;Workshop 20&rsquo;11&raquo; exhibition. Her &laquo;Observation Station&raquo; installation was exhibited at&nbsp;the Moscow Museum of&nbsp;Modern Art in&nbsp;2010 and was nominated for the Kandinsky prize.<br /><br />For the festival she has chosen works of&nbsp;20&nbsp;artists from Russia, Poland, Germany, France, Brazil, USA, Taiwan, Finland, Lithuania, Sweden, Great Britain, Spain, Italy, Turkey.</p> <p>The winners of&nbsp;the festival selected by&nbsp;the jury will be&nbsp;awarded with prizes.</p> <p><strong>&laquo;Who is&nbsp;not Here&raquo;</strong><br />Curator: Ekaterina Kuzmina</p> <p>The project also addresses the theme of&nbsp;time and its relativity, and combines artworks executed in&nbsp;various media. The aim of&nbsp;the curator is&nbsp;to&nbsp;create a&nbsp;clear space that exists beyond the constraints of&nbsp;real time, social and cultural patterns, and exists as&nbsp;a&nbsp;closed environment with its own laws. When a&nbsp;viewer gets into the artistically created artificial environment he&nbsp;loses the sense of&nbsp;time and enters the world of&nbsp;exists in&nbsp;the suggested circumstances of&nbsp;the ever repeated plot surrounded by&nbsp;the objects which have lost their functional use. In&nbsp;this art space, created by&nbsp;the curator and the participating artists, there is&nbsp;no&nbsp;past, present or&nbsp;future&nbsp;&mdash; it&nbsp;is&nbsp;a&nbsp;parallel world which exists &laquo;here and now&raquo;.</p> <p>The curator of&nbsp;the project&nbsp;&mdash; Ekaterina Kuzmina, is&nbsp;a&nbsp;researcher at&nbsp;the Moscow Museum of&nbsp;Modern Art; she was the co-curator of&nbsp;the thematic display &laquo;If&nbsp;I&nbsp;Only Knew!... A&nbsp;Guide to&nbsp;Contemporary Art&raquo; (Moscow Museum of&nbsp;Modern Art, 25&nbsp;Petrovka Str, 2010-2011).</p> <p>The international &laquo;Workshop&raquo; exhibition of&nbsp;young art has been organized by&nbsp;MMoMA and &laquo;Independent Workshops&raquo; since the 2001. Young artists have addressed various problems of&nbsp;contemporary anthropology&nbsp;&mdash; time, space, personal relations, freedom and liberty. The project is&nbsp;aimed at&nbsp;supporting emerging artists working in&nbsp;various media, and the first exhibition at&nbsp;the Museum becomes an&nbsp;important starting point in&nbsp;their artistic careers. Such well-known contemporary artists as&nbsp;Anya Zholud, Alexey Djakov, Taisiya Korotkova, Nika Kukhtina, Roman Sakin, Vera Undritsova participated in&nbsp;the &laquo;Workshop&raquo; exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art.</p>201107142011090453561http://www.mmoma.ru/en/exhibitions/ermolaevsky/masterskaya_2011_segodnyazavtra/http://www.mmoma.ru/en/exhibitions/ermolaevsky/masterskaya_2011_segodnyazavtra/<p>The space of intersection of the languages of art and cinema has for twenty years been the subject of analysis and discussion of the participants of the Media Forum at the Moscow Film Festival: artists, film makers, and art and film critics.</p>Tue, 28 Jun 2011 14:17:00 +0400<p><strong>Organizers:</strong> MediaFest and MediaArtLab Centre for art and culture <br /> <strong>Co-organizers:</strong> Moscow Museum of&nbsp;Modern Art, the Garage Centre for Contemporary Culture <br /> <strong>Supported&nbsp;by:</strong> the Royal Netherlands Embassy, Mondrian Foundation (Netherlands), Goethe Insitut, Moskau, Japan Foundation</p> <p><strong>Curator of&nbsp;the exhibition projects:</strong> Olga Shishko (art historian, curator, director and founder of&nbsp;the MediaArtLab, director of&nbsp;the MIFF Media Forum)<br /> <strong>Co-curator of&nbsp;the exhibition project:</strong> Kirill Razlogov (art historian, professor, director of&nbsp;the Russian Institute for Cultural Research, art director of&nbsp;the MIFF)<br /> <strong>Producer of&nbsp;the exhibition projects:</strong> Elena Rumyantseva (programme director of&nbsp;the MediaArtLab and the MIFF Media Forum).</p> <p><strong>The list of&nbsp;artists: </strong><em>Tan (the Netherlands), Johanna Billing (Sweden), Harun Faroсki (Germany), Gary Hill (USA), Anri Sala (Albania/France), Leslie Thornton (USA), Ranbir Kaleka (India), Arev Manoukian (Canada), Boris Eldagsen (Germany), Juri Kalendarev (Italy&nbsp;/ Russia), Evgeny Ufit (Russia), Doug Aitken (USA), Taus Makhacheva (Russia), Keren Cytter (Israel/Germany), Ilya Permyakov (Russia), the Tot-Art group (Russia), Elena Kovylina (Russia), Almagul Menlibaeva (Kazakhstan), Provmyza group (Russia), Blue Soup group (Russia), Juri Albert (Russia) and Victor Alimpiev (Russia).</em></p> <p>The space of&nbsp;intersection of&nbsp;the languages of&nbsp;art and cinema has for twenty years been the subject of&nbsp;analysis and discussion of&nbsp;the participants of&nbsp;the Media Forum at&nbsp;the Moscow Film Festival: artists, film makers, and art and film critics. This year the programme&rsquo;s organizers have realized probably the most grandiose project in&nbsp;all Media Forum history, a&nbsp;project dedicated to&nbsp;the adjacent cinema and video art aesthetics.<br /> <br /> The central part of&nbsp;this project is&nbsp;the Expanded Cinema exhibition opens on&nbsp;June 15th 2011&nbsp;at the Moscow Museum of&nbsp;Modern Art. The display that consists of&nbsp;videos by&nbsp;well-known artists is&nbsp;divided into several thematic sections which demonstrate the key idea of&nbsp;the project&nbsp;&mdash; the idea of&nbsp;Expanded Cinema. This exhibition is&nbsp;not retrospective in&nbsp;character, on&nbsp;the contrary, it&nbsp;tries to&nbsp;analyze and describe the current situation in&nbsp;the art of&nbsp;moving images, that&rsquo;s why all works presented were created in&nbsp;the last few years, some of&nbsp;them&nbsp;&mdash; especially for this project.<br /> <br /> &laquo;The language with which video art speaks is&nbsp;distinct from that of&nbsp;cinema. Now under the influence of&nbsp;video psychology cinema is&nbsp;mutating and media art defines new ways for its development: the opportunities to&nbsp;work with space, at&nbsp;the intersection of&nbsp;visual and audio images, using interactive communication with the viewer,&raquo;&nbsp;&mdash; says Olga Shishko, the project&rsquo;s curator. &laquo;Planning the exposition of&nbsp;the Expanded Art/ Expanded Cinema exhibition we&nbsp;aimed to&nbsp;attract the audience attention specifically to&nbsp;the visual characteristics of&nbsp;video art (composition, rhythm, texture, and proportions), and also to&nbsp;the conceptual aspects of&nbsp;its language, to&nbsp;video&rsquo;s intervention into the viewer&rsquo;s own personal space&raquo;.<br /> <br /> Most of&nbsp;the works on&nbsp;display will be&nbsp;housed by&nbsp;the MMoMA, where the attempt has been made to&nbsp;codify the interrelations of&nbsp;these two spheres of&nbsp;screen culture. Each of&nbsp;the museum&rsquo;s floors is&nbsp;given to&nbsp;one of&nbsp;the aspects to&nbsp;the mutual fluctuation of&nbsp;themes, ideas and images.</p> <p><span style="font-size: medium;">1. Spaces of&nbsp;Memory&nbsp;/ Distorted Subjectivity</span></p> <p><em>Video art can afford much of&nbsp;what is&nbsp;simply not done in&nbsp;traditional cinema: to&nbsp;break the narrative into several screens, to&nbsp;combine temporal currents moving with different speed in&nbsp;one image, to&nbsp;allow various styles to&nbsp;clash and interrupt each other, to&nbsp;combine materials of&nbsp;completely different nature seamlessly within a&nbsp;work.</em><br /> <br /> In&nbsp;her double-channel installation Rise and Fall Fiona Tan (Netherlands/Indonesia) tells a&nbsp;story of&nbsp;an&nbsp;old woman: the woman and her memories projected on&nbsp;one screen, the scenes of&nbsp;her youth&nbsp;&mdash; on&nbsp;the other. The narrative winds between past and present, alternated by&nbsp;images of&nbsp;flowing water&nbsp;&mdash; a&nbsp;metaphor of&nbsp;human life.<br /> <br /> The author of&nbsp;a&nbsp;book of&nbsp;interviews with 26&nbsp;artists pushing the limits of&nbsp;linear narrative, Doug Aitken (USA) in&nbsp;many of&nbsp;his works emphasizes to&nbsp;the viewer the passage of&nbsp;time which is&nbsp;unlike the everyday one. His House depicts the artist&rsquo;s parents facing one another, their gaze locked, seemingly without noticing that the house crumbles and disappears around them in&nbsp;front of&nbsp;the audience.<br /> <br /> In&nbsp;the Four Seasons video by&nbsp;Karen Cytter (Israel/Germany) various cinema styles clash, quotations from famous films are overlaid. Here is&nbsp;late Hitchcock, Hollywood glamour, 1980s-kitsch and an&nbsp;echo of&nbsp;Tennessee Williams&rsquo;s &laquo;A&nbsp;Streetcar Named Desire&raquo; creating together a&nbsp;witty and complicatedly structured narrative.<br /> <br /> Leslie Thornton (USA) has been one of&nbsp;the first of&nbsp;artists to&nbsp;notice the adjacence of&nbsp;cinema and art spaces as&nbsp;early as&nbsp;the 1980s and put it&nbsp;into action in&nbsp;her work, mixing not only cinema and video art, but also archive footage, science fiction elements, ethnographical materials, influenceing greatly the works of&nbsp;future interpreters of&nbsp;screen culture. She will present her most recent work Binocular at&nbsp;the Media Forum.<br /> <br /> Blizzard video installation of&nbsp;the Bluesoup group (Russia) presents a&nbsp;mystical Russian winter landscape with a&nbsp;dark forest, hills and a&nbsp;gloomy sky. People are running somewhere driven by&nbsp;a&nbsp;snow storm. No&nbsp;question asked by&nbsp;the viewer while wathcing this hi-tech work is&nbsp;to&nbsp;be&nbsp;answered.</p> <p><span style="font-size: medium;">2. Language&nbsp;/ Tex t/&nbsp;Sound and Moving Image&nbsp;/ Poetics of&nbsp;Language and Space</span></p> <p><em>Some artists see moving images as&nbsp;a&nbsp;special communication system and start analyzing it&nbsp;from the point of&nbsp;contemporary linguistics and the very categories of&nbsp;language in&nbsp;which the image speaks to&nbsp;us.</em></p> <p>The classic of&nbsp;American art Gary Hill (USA) has made two videos, Loop Through and&nbsp;Is a&nbsp;Bell Ringing in&nbsp;the Empty Sky as&nbsp;a&nbsp;tribute to&nbsp;the legendary Isabelle Huppert. A&nbsp;moving portrait of&nbsp;the film actress consists of&nbsp;two projections, on&nbsp;each of&nbsp;them Huppert is&nbsp;presented in&nbsp;a&nbsp;different state of&nbsp;mind. In&nbsp;discomfort, agitated, shy, playful or&nbsp;bored she looks at&nbsp;an&nbsp;invisible point between the two cameras</p> <p>In&nbsp;conventional cinema it&nbsp;is&nbsp;usual to&nbsp;film the images first and then invite a&nbsp;composer to&nbsp;add a&nbsp;sound track to&nbsp;the pre-made visual stream. Silent Horizon is&nbsp;an&nbsp;attempt to&nbsp;radically reconsider this process, making the sound central in&nbsp;a&nbsp;composition, while the image seen as&nbsp;a&nbsp;light projection is&nbsp;projected onto a&nbsp;sound sculpture, a&nbsp;&laquo;resonant screen&raquo;. First the sculptor Yuri Kalendarev (Russia /Italy) created a&nbsp;30-minute sound track, than passed it&nbsp;to&nbsp;the Saint-Petersburg filmmaker Evgeni Ufit who made a&nbsp;30-minite black-and-white video. The result will be&nbsp;premiered at&nbsp;the Media Forum.</p> <p>Answer me&nbsp;is&nbsp;a&nbsp;dialogue concocted by&nbsp;Michelangelo Antonioni and realized and conceptualized by&nbsp;the artist Anri Sala (Albania/France) outside of&nbsp;its cinematic context. Answer me&nbsp;is&nbsp;a&nbsp;conversation held by&nbsp;a&nbsp;voice and a&nbsp;drum, where the viewer through an&nbsp;inadequacy of&nbsp;his communicative skills understands only the verbal part.</p> <p>Imagines installation by&nbsp;Yuri Albert (Russia) reminds&nbsp;us of&nbsp;a&nbsp;small cinema hall with several rows of&nbsp;chairs, but with scrolling text instead of&nbsp;a&nbsp;screen. On&nbsp;it&nbsp;the text of&nbsp;a&nbsp;book by&nbsp;Philostratus the Elder (c. 170-247), Imagines, is&nbsp;displayed the main source of&nbsp;information on&nbsp;ancient Greek paintings we&nbsp;have today.</p> <p>A&nbsp;polyscreen version of&nbsp;the Four Columns of&nbsp;Vigilance video performance by&nbsp;the TOTART duo (Russia) was created specially for the Expanded Art/ Expanded Cinema project. The pioneers of&nbsp;Russian video art and one of&nbsp;the few that work earnestly with video language, made a&nbsp;video on&nbsp;the subject of&nbsp;visualization of&nbsp;a&nbsp;word, realized with literary examples for the 11&nbsp;irregular verbs of&nbsp;the Russian language.</p> <p>In&nbsp;Translations by&nbsp;Ilya Permyakov (Russia) a&nbsp;projectionist, reflected in&nbsp;the projection window&rsquo;s glass is&nbsp;busy rewinding film from one bobbin to&nbsp;another. Beyond the window in&nbsp;the auditorium the film is&nbsp;shown. Vague shapes reflect the scenes of&nbsp;the film upon the glass. An&nbsp;indistinct hum is&nbsp;muffled by&nbsp;the chirping of&nbsp;the projector. The only distinct sound is&nbsp;the voice of&nbsp;an&nbsp;interpreter who is&nbsp;translating the film synchronically.</p> <p><span style="font-size: medium;">3.Video Art as&nbsp;an&nbsp;Impression of&nbsp;Reality&nbsp;/ &laquo;The Third Cinema&raquo; </span></p> <p><em>There is&nbsp;a&nbsp;division of&nbsp;cinema into feature film and documentary. And there also is&nbsp;video art exploring technology, formal catgories of&nbsp;its own existence and aestetitization of&nbsp;the signal. However, another objective by&nbsp;which video art defines its role in&nbsp;the world is&nbsp;the chronicle of&nbsp;art as&nbsp;a&nbsp;social movement against anything, documentation of&nbsp;social realities by&nbsp;artistic means, by&nbsp;radical performances with viewer participation. </em></p> <p>The central themes of&nbsp;works by&nbsp;the Kazakh video artist Almagul Menlibaeva (Kazakhstan) are linked to&nbsp;the heritage of&nbsp;a&nbsp;nomadic and shamanistic culture in&nbsp;which she has ben born and raised. Milk for Lambs (2010) is&nbsp;an&nbsp;artistic exploration of&nbsp;one of&nbsp;the Tengriist (the sky religion&rsquo;s) myths.<br /> <br /> The Rehyen video (meaning flock in&nbsp;Avar) by&nbsp;Taus Makhacheva (Russia) stages the dychotomy of&nbsp;friend-or-foe in&nbsp;her national culture. To&nbsp;get into a&nbsp;flock of&nbsp;sheep, a&nbsp;stranger ahs to&nbsp;put on&nbsp;a&nbsp;Dagestan shepherd&rsquo;s fur coat and stand on&nbsp;all fours. What is&nbsp;his goal in&nbsp;doing all this and what is&nbsp;he&nbsp;ready to&nbsp;do&nbsp;to&nbsp;be&nbsp;included into a&nbsp;community?<br /> <br /> A&nbsp;man treads a&nbsp;needle&nbsp;&mdash; another moment and he&nbsp;will succeed; upon this painting its video double is&nbsp;projected. The digital image gradually transforms the original, viewers&rsquo; silhouettes and historical scenes are glimpsed, and the lighting is&nbsp;changed, as&nbsp;is&nbsp;the style and the audience&rsquo;s perception of&nbsp;a&nbsp;moving picture. He&nbsp;was a&nbsp;Good Man by&nbsp;Ranbir Kaleka (India) is&nbsp;a&nbsp;classic painting which doesn&rsquo;t want to&nbsp;stay as&nbsp;it&nbsp;is&nbsp;in&nbsp;the era of&nbsp;moving images, but will not get a&nbsp;cinematic form either.<br /> <br /> Harun Faroki&rsquo;s (Germany) Feasting or&nbsp;Flying is&nbsp;a&nbsp;video installation illustrating the creative method of&nbsp;the artist and filmmaker, author of&nbsp;more than 90&nbsp;films, whose works retrospectives have been presented at&nbsp;world&rsquo;s major film festivals. Faroki combines cinema material on&nbsp;suicide with the aim of&nbsp;analyzing the very process of&nbsp;a&nbsp;cinema work&rsquo;s birth. &laquo;Some dissect a&nbsp;bird in&nbsp;order to&nbsp;eat&nbsp;it,&raquo;&nbsp;&mdash; says&nbsp;he. &laquo;Others in&nbsp;order to&nbsp;discover how to&nbsp;fly&raquo;.</p> <p>Johanna Billing (Sweden), I&rsquo;m Lost Without Your Rhythm. Much of&nbsp;Billing&rsquo;s work is&nbsp;based on&nbsp;two equal principals: contemporary dance and video performance. In&nbsp;this case the video presents the process of&nbsp;training for a&nbsp;dance performance, recorded in&nbsp;several days. The audience was invited to&nbsp;watch these rehearsals and could interfere with the context as&nbsp;it&nbsp;saw fit.</p> <p>Elena Kovylina (Russia) is&nbsp;one of&nbsp;the most well-known performance artists not only in&nbsp;Russia, but also abroad, winner of&nbsp;the Innovation All-Russian Contemporary Art Competition award. In&nbsp;her works she develops the traditions of&nbsp;Western feminist art, exploring the body and gender problematics. At&nbsp;the opening of&nbsp;the MMoMA exposition she will show a&nbsp;new performance, Sons of&nbsp;a&nbsp;Bitch.<br /> <br /> <span style="font-size: medium;">4. Simulated Reality... New Heroes </span></p> <p><em>It&nbsp;may seem that video artists are sure: social reality is&nbsp;a&nbsp;closed interactive installation, and there is&nbsp;nothing beyond the screen. As&nbsp;fits the artistic avant-garde they strive to&nbsp;break out through into the real life, breaking the cinema stylistics of&nbsp;the 1950&rsquo;s by&nbsp;contemporary special effects, creating a&nbsp;storm with rotating blades of&nbsp;a&nbsp;helicopter. Video art today is&nbsp;inventing a&nbsp;new hero for itself, one who would be&nbsp;not a&nbsp;viewer, who will tell new stories at&nbsp;the intersection of&nbsp;image and sound.</em><br /> <br /> Nuit Blanche. In&nbsp;all the playing with the categories of&nbsp;&laquo;artistic&raquo;, &laquo;cinematic&raquo; and &laquo;technological&raquo; Arev Manoukian (Canada) aims to&nbsp;challenge the imagination. The Nuit Blanch video is&nbsp;stylized to&nbsp;look like the black-and-white films of&nbsp;the 1950&rsquo;s, but the story of&nbsp;a&nbsp;sudden infatuation of&nbsp;the two strangers is&nbsp;told using the state-of-art digital technology.<br /> <br /> Boris Eldagsen (Germany), NO&nbsp;CURE. The work&rsquo;s structure is&nbsp;based on&nbsp;karaoke-singing the lyrics of&nbsp;songs by&nbsp;The Cure. The composer wrote music using leitmotifs of&nbsp;Richard Wagner&rsquo;s opera G&ouml;tterd&auml;mmerung (Twilight of&nbsp;the Gods) to&nbsp;accompany the lyrics, and the artist Boris Eldagsen made 80-year-old Germans sing these. The word-play of&nbsp;the title is&nbsp;a&nbsp;comment on&nbsp;life and extinction, grandeur and memory.<br /> <br /> Snowdrop is&nbsp;a&nbsp;new work by&nbsp;PROVMYZA duo (Russia), which looks into the way that man sees and perceives the world around him. It&nbsp;speaks about defamiliarization and distancing as&nbsp;methods that allow man to&nbsp;see the world as&nbsp;something bigger than him. As&nbsp;in&nbsp;their other works, Galina Myznikova and Sergey Provorov turn to&nbsp;the aesthetics suitable for cinema theatres but discuss questions characteristic of&nbsp;visual art. That&rsquo;s probably why these artists are met with equal enthusiasm by&nbsp;both professional communities.</p> <p>Viktor Alimpiev (Russia), Vot. A&nbsp;group of&nbsp;French actors performs a&nbsp;vocalise&nbsp;&mdash; a&nbsp;musical composition made only of&nbsp;vowels. At&nbsp;some point a&nbsp;viewer reads clearly a&nbsp;vocalise analogue to&nbsp;the word &laquo;vot&raquo;, emphasized by&nbsp;the musical and compositional logic&nbsp;&mdash; the voices synchronize and sound in&nbsp;accord.<br /> For the Media Forum opening a&nbsp;research-catalogue will be&nbsp;published, wiht a&nbsp;selection of&nbsp;key articles on&nbsp;the interaction of&nbsp;the two spheres of&nbsp;screen culture and representation of&nbsp;the works by&nbsp;Media Forum participants in&nbsp;all their variety of&nbsp;perception and analysis of&nbsp;the &laquo;expanded cinema&raquo; theme.</p> <p>More information&nbsp;at: <br /> The official MIFF Media Forum web-site:<br /> www.2010.mediaforum.mediaartlab.ru</p>./images/cms/data/iphone/video/mforum_120.jpg./images/cms/data/iphone/exhibitions/mforum_280.jpgMoscow Museum of Modern Art (17 Ermolaevsky Lane)<p>The space of intersection of the languages of art and cinema has for twenty years been the subject of analysis and discussion of the participants of the Media Forum at the Moscow Film Festival: artists, film makers, and art and film critics.</p><p><strong>Organizers:</strong> MediaFest and MediaArtLab Centre for art and culture <br /> <strong>Co-organizers:</strong> Moscow Museum of&nbsp;Modern Art, the Garage Centre for Contemporary Culture <br /> <strong>Supported&nbsp;by:</strong> the Royal Netherlands Embassy, Mondrian Foundation (Nnetherlands), Goethe Insitut, Moskau, Japan Foundation</p> <p><strong>Curator of&nbsp;the exhibition projects: </strong>Olga Shishko (art historian, curator, director and founder of&nbsp;the MediaArtLab, director of&nbsp;the MIFF Media Forum)<br /> <strong>Co-curator of&nbsp;the exhibition project: </strong>Kirill Razlogov (art historian, professor, director of&nbsp;the Russian Institute for Cultural Research, art director of&nbsp;the MIFF)<br /> <strong>Producer of&nbsp;the exhibition projects:</strong> Elena Rumyantseva (programme director of&nbsp;the MediaArtLab and the MIFF Media Forum).</p> <p><strong>The list of&nbsp;artists: </strong><em>Tan (the Netherlands), Johanna Billing (Sweden), Harun Faroсki (Germany), Gary Hill (USA), Anri Sala (Albania/France), Leslie Thornton (USA), Ranbir Kaleka (India), Arev Manoukian (Canada), Boris Eldagsen (Germany), Juri Kalendarev (Italy&nbsp;/ Russia), Evgeny Ufit (Russia), Doug Aitken (USA), Taus Makhacheva (Russia), Keren Cytter (Israel/Germany), Ilya Permyakov (Russia), the Tot-Art group (Russia), Elena Kovylina (Russia), Almagul Menlibaeva (Kazakhstan), Provmyza group (Russia), Blue Soup group (Russia), Juri Albert (Russia) and Victor Alimpiev (Russia).</em></p> <p>The space of&nbsp;intersection of&nbsp;the languages of&nbsp;art and cinema has for twenty years been the subject of&nbsp;analysis and discussion of&nbsp;the participants of&nbsp;the Media Forum at&nbsp;the Moscow Film Festival: artists, film makers, and art and film critics. This year the programme&rsquo;s organizers have realized probably the most grandiose project in&nbsp;all Media Forum history, a&nbsp;project dedicated to&nbsp;the adjacent cinema and video art aesthetics.<br /> <br /> The central part of&nbsp;this project is&nbsp;the Expanded Cinema exhibition opens on&nbsp;June 14th 2011&nbsp;at the Moscow Museum of&nbsp;Modern Art. The display that consists of&nbsp;videos by&nbsp;well-known artists is&nbsp;divided into several thematic sections which demonstrate the key idea of&nbsp;the project&nbsp;&mdash; the idea of&nbsp;Expanded Cinema. This exhibition is&nbsp;not retrospective in&nbsp;character, on&nbsp;the contrary, it&nbsp;tries to&nbsp;analyze and describe the current situation in&nbsp;the art of&nbsp;moving images, that&rsquo;s why all works presented were created in&nbsp;the last few years, some of&nbsp;them&nbsp;&mdash; especially for this project.<br /> <br /> &laquo;The language with which video art speaks is&nbsp;distinct from that of&nbsp;cinema. Now under the influence of&nbsp;video psychology cinema is&nbsp;mutating and media art defines new ways for its development: the opportunities to&nbsp;work with space, at&nbsp;the intersection of&nbsp;visual and audio images, using interactive communication with the viewer,&raquo;&nbsp;&mdash; says Olga Shishko, the project&rsquo;s curator. &laquo;Planning the exposition of&nbsp;the Expanded Art/ Expanded Cinema exhibition we&nbsp;aimed to&nbsp;attract the audience attention specifically to&nbsp;the visual characteristics of&nbsp;video art (composition, rhythm, texture, and proportions), and also to&nbsp;the conceptual aspects of&nbsp;its language, to&nbsp;video&rsquo;s intervention into the viewer&rsquo;s own personal space&raquo;.<br /> <br /> Most of&nbsp;the works on&nbsp;display will be&nbsp;housed by&nbsp;the MMoMA, where the attempt has been made to&nbsp;codify the interrelations of&nbsp;these two spheres of&nbsp;screen culture. Each of&nbsp;the museum&rsquo;s floors is&nbsp;given to&nbsp;one of&nbsp;the aspects to&nbsp;the mutual fluctuation of&nbsp;themes, ideas and images.</p> <p><strong>1. Spaces of&nbsp;Memory&nbsp;/ Distorted Subjectivity</strong></p> <p>Video art can afford much of&nbsp;what is&nbsp;simply not done in&nbsp;traditional cinema: to&nbsp;break the narrative into several screens, to&nbsp;combine temporal currents moving with different speed in&nbsp;one image, to&nbsp;allow various styles to&nbsp;clash and interrupt each other, to&nbsp;combine materials of&nbsp;completely different nature seamlessly within a&nbsp;work.<br /> <br /> In&nbsp;her double-channel installation Rise and Fall Fiona Tan (Netherlands/Indonesia) tells a&nbsp;story of&nbsp;an&nbsp;old woman: the woman and her memories projected on&nbsp;one screen, the scenes of&nbsp;her youth&nbsp;&mdash; on&nbsp;the other. The narrative winds between past and present, alternated by&nbsp;images of&nbsp;flowing water&nbsp;&mdash; a&nbsp;metaphor of&nbsp;human life.<br /> <br /> The author of&nbsp;a&nbsp;book of&nbsp;interviews with 26&nbsp;artists pushing the limits of&nbsp;linear narrative, Doug Aitken (USA) in&nbsp;many of&nbsp;his works emphasizes to&nbsp;the viewer the passage of&nbsp;time which is&nbsp;unlike the everyday one. His House depicts the artist&rsquo;s parents facing one another, their gaze locked, seemingly without noticing that the house crumbles and disappears around them in&nbsp;front of&nbsp;the audience.<br /> <br /> In&nbsp;the Four Seasons video by&nbsp;Karen Cytter (Israel/Germany) various cinema styles clash, quotations from famous films are overlaid. Here is&nbsp;late Hitchcock, Hollywood glamour, 1980s-kitsch and an&nbsp;echo of&nbsp;Tennessee Williams&rsquo;s &laquo;A&nbsp;Streetcar Named Desire&raquo; creating together a&nbsp;witty and complicatedly structured narrative.<br /> <br /> Leslie Thornton (USA) has been one of&nbsp;the first of&nbsp;artists to&nbsp;notice the adjacence of&nbsp;cinema and art spaces as&nbsp;early as&nbsp;the 1980s and put it&nbsp;into action in&nbsp;her work, mixing not only cinema and video art, but also archive footage, science fiction elements, ethnographical materials, influenceing greatly the works of&nbsp;future interpreters of&nbsp;screen culture. She will present her most recent work Binocular at&nbsp;the Media Forum.<br /> <br /> Blizzard video installation of&nbsp;the Bluesoup group (Russia) presents a&nbsp;mystical Russian winter landscape with a&nbsp;dark forest, hills and a&nbsp;gloomy sky. People are running somewhere driven by&nbsp;a&nbsp;snow storm. No&nbsp;question asked by&nbsp;the viewer while wathcing this hi-tech work is&nbsp;to&nbsp;be&nbsp;answered.</p> <p><strong>2. Language&nbsp;/ Tex t/&nbsp;Sound and Moving Image&nbsp;/ Poetics of&nbsp;Language and Space</strong></p> <p>Some artists see moving images as&nbsp;a&nbsp;special communication system and start analyzing it&nbsp;from the point of&nbsp;contemporary linguistics and the very categories of&nbsp;language in&nbsp;which the image speaks to&nbsp;us.</p> <p>The classic of&nbsp;American art Gary Hill (USA) has made two videos, Loop Through and&nbsp;Is a&nbsp;Bell Ringing in&nbsp;the Empty Sky as&nbsp;a&nbsp;tribute to&nbsp;the legendary Isabelle Huppert. A&nbsp;moving portrait of&nbsp;the film actress consists of&nbsp;two projections, on&nbsp;each of&nbsp;them Huppert is&nbsp;presented in&nbsp;a&nbsp;different state of&nbsp;mind. In&nbsp;discomfort, agitated, shy, playful or&nbsp;bored she looks at&nbsp;an&nbsp;invisible point between the two cameras</p> <p>In&nbsp;conventional cinema it&nbsp;is&nbsp;usual to&nbsp;film the images first and then invite a&nbsp;composer to&nbsp;add a&nbsp;sound track to&nbsp;the pre-made visual stream. Silent Horizon is&nbsp;an&nbsp;attempt to&nbsp;radically reconsider this process, making the sound central in&nbsp;a&nbsp;composition, while the image seen as&nbsp;a&nbsp;light projection is&nbsp;projected onto a&nbsp;sound sculpture, a&nbsp;&laquo;resonant screen&raquo;. First the sculptor Yuri Kalendarev (Russia /Italy) created a&nbsp;30-minute sound track, than passed it&nbsp;to&nbsp;the Saint-Petersburg filmmaker Evgeni Ufit who made a&nbsp;30-minite black-and-white video. The result will be&nbsp;premiered at&nbsp;the Media Forum.</p> <p>Answer me&nbsp;is&nbsp;a&nbsp;dialogue concocted by&nbsp;Michelangelo Antonioni and realized and conceptualized by&nbsp;the artist Anri Sala (Albania/France) outside of&nbsp;its cinematic context. Answer me&nbsp;is&nbsp;a&nbsp;conversation held by&nbsp;a&nbsp;voice and a&nbsp;drum, where the viewer through an&nbsp;inadequacy of&nbsp;his communicative skills understands only the verbal part.</p> <p>Imagines installation by&nbsp;Yuri Albert (Russia) reminds&nbsp;us of&nbsp;a&nbsp;small cinema hall with several rows of&nbsp;chairs, but with scrolling text instead of&nbsp;a&nbsp;screen. On&nbsp;it&nbsp;the text of&nbsp;a&nbsp;book by&nbsp;Philostratus the Elder (c. 170-247), Imagines, is&nbsp;displayed the main source of&nbsp;information on&nbsp;ancient Greek paintings we&nbsp;have today.</p> <p>A&nbsp;polyscreen version of&nbsp;the Four Columns of&nbsp;Vigilance video performance by&nbsp;the TOTART duo (Russia) was created specially for the Expanded Art/ Expanded Cinema project. The pioneers of&nbsp;Russian video art and one of&nbsp;the few that work earnestly with video language, made a&nbsp;video on&nbsp;the subject of&nbsp;visualization of&nbsp;a&nbsp;word, realized with literary examples for the 11&nbsp;irregular verbs of&nbsp;the Russian language.</p> <p>In&nbsp;Translations by&nbsp;Ilya Permyakov (Russia) a&nbsp;projectionist, reflected in&nbsp;the projection window&rsquo;s glass is&nbsp;busy rewinding film from one bobbin to&nbsp;another. Beyond the window in&nbsp;the auditorium the film is&nbsp;shown. Vague shapes reflect the scenes of&nbsp;the film upon the glass. An&nbsp;indistinct hum is&nbsp;muffled by&nbsp;the chirping of&nbsp;the projector. The only distinct sound is&nbsp;the voice of&nbsp;an&nbsp;interpreter who is&nbsp;translating the film synchronically.</p> <p><strong>3.Video Art as&nbsp;an&nbsp;Impression of&nbsp;Reality&nbsp;/ &laquo;The Third Cinema&raquo; </strong></p> <p>There is&nbsp;a&nbsp;division of&nbsp;cinema into feature film and documentary. And there also is&nbsp;video art exploring technology, formal catgories of&nbsp;its own existence and aestetitization of&nbsp;the signal. However, another objective by&nbsp;which video art defines its role in&nbsp;the world is&nbsp;the chronicle of&nbsp;art as&nbsp;a&nbsp;social movement against anything, documentation of&nbsp;social realities by&nbsp;artistic means, by&nbsp;radical performances with viewer participation.</p> <p>The central themes of&nbsp;works by&nbsp;the Kazakh video artist Almagul Menlibaeva (Kazakhstan) are linked to&nbsp;the heritage of&nbsp;a&nbsp;nomadic and shamanistic culture in&nbsp;which she has ben born and raised. Milk for Lambs (2010) is&nbsp;an&nbsp;artistic exploration of&nbsp;one of&nbsp;the Tengriist (the sky religion&rsquo;s) myths.<br /> <br /> The Rehyen video (meaning flock in&nbsp;Avar) by&nbsp;Taus Makhacheva (Russia) stages the dychotomy of&nbsp;friend-or-foe in&nbsp;her national culture. To&nbsp;get into a&nbsp;flock of&nbsp;sheep, a&nbsp;stranger ahs to&nbsp;put on&nbsp;a&nbsp;Dagestan shepherd&rsquo;s fur coat and stand on&nbsp;all fours. What is&nbsp;his goal in&nbsp;doing all this and what is&nbsp;he&nbsp;ready to&nbsp;do&nbsp;to&nbsp;be&nbsp;included into a&nbsp;community?<br /> <br /> A&nbsp;man treads a&nbsp;needle&nbsp;&mdash; another moment and he&nbsp;will succeed; upon this painting its video double is&nbsp;projected. The digital image gradually transforms the original, viewers&rsquo; silhouettes and historical scenes are glimpsed, and the lighting is&nbsp;changed, as&nbsp;is&nbsp;the style and the audience&rsquo;s perception of&nbsp;a&nbsp;moving picture. He&nbsp;was a&nbsp;Good Man by&nbsp;Ranbir Kaleka (India) is&nbsp;a&nbsp;classic painting which doesn&rsquo;t want to&nbsp;stay as&nbsp;it&nbsp;is&nbsp;in&nbsp;the era of&nbsp;moving images, but will not get a&nbsp;cinematic form either.<br /> <br /> Harun Faroki&rsquo;s (Germany) Feasting or&nbsp;Flying is&nbsp;a&nbsp;video installation illustrating the creative method of&nbsp;the artist and filmmaker, author of&nbsp;more than 90&nbsp;films, whose works retrospectives have been presented at&nbsp;world&rsquo;s major film festivals. Faroki combines cinema material on&nbsp;suicide with the aim of&nbsp;analyzing the very process of&nbsp;a&nbsp;cinema work&rsquo;s birth. &laquo;Some dissect a&nbsp;bird in&nbsp;order to&nbsp;eat&nbsp;it,&raquo;&nbsp;&mdash; says&nbsp;he. &laquo;Others in&nbsp;order to&nbsp;discover how to&nbsp;fly&raquo;.</p> <p>Johanna Billing (Sweden), I&rsquo;m Lost Without Your Rhythm. Much of&nbsp;Billing&rsquo;s work is&nbsp;based on&nbsp;two equal principals: contemporary dance and video performance. In&nbsp;this case the video presents the process of&nbsp;training for a&nbsp;dance performance, recorded in&nbsp;several days. The audience was invited to&nbsp;watch these rehearsals and could interfere with the context as&nbsp;it&nbsp;saw fit.</p> <p>Elena Kovylina (Russia) is&nbsp;one of&nbsp;the most well-known performance artists not only in&nbsp;Russia, but also abroad, winner of&nbsp;the Innovation All-Russian Contemporary Art Competition award. In&nbsp;her works she develops the traditions of&nbsp;Western feminist art, exploring the body and gender problematics. At&nbsp;the opening of&nbsp;the MMoMA exposition she will show a&nbsp;new performance, Sons of&nbsp;a&nbsp;Bitch.<br /> <br /> <strong>4. Simulated Reality... New Heroes </strong></p> <p>It&nbsp;may seem that video artists are sure: social reality is&nbsp;a&nbsp;closed interactive installation, and there is&nbsp;nothing beyond the screen. As&nbsp;fits the artistic avant-garde they strive to&nbsp;break out through into the real life, breaking the cinema stylistics of&nbsp;the 1950&rsquo;s by&nbsp;contemporary special effects, creating a&nbsp;storm with rotating blades of&nbsp;a&nbsp;helicopter. Video art today is&nbsp;inventing a&nbsp;new hero for itself, one who would be&nbsp;not a&nbsp;viewer, who will tell new stories at&nbsp;the intersection of&nbsp;image and sound.<br /> <br /> Nuit Blanche. In&nbsp;all the playing with the categories of&nbsp;&laquo;artistic&raquo;, &laquo;cinematic&raquo; and &laquo;technological&raquo; Arev Manoukian (Canada) aims to&nbsp;challenge the imagination. The Nuit Blanch video is&nbsp;stylized to&nbsp;look like the black-and-white films of&nbsp;the 1950&rsquo;s, but the story of&nbsp;a&nbsp;sudden infatuation of&nbsp;the two strangers is&nbsp;told using the state-of-art digital technology.<br /> <br /> Boris Eldagsen (Germany), NO&nbsp;CURE. The work&rsquo;s structure is&nbsp;based on&nbsp;karaoke-singing the lyrics of&nbsp;songs by&nbsp;The Cure. The composer wrote music using leitmotifs of&nbsp;Richard Wagner&rsquo;s opera G&ouml;tterd&auml;mmerung (Twilight of&nbsp;the Gods) to&nbsp;accompany the lyrics, and the artist Boris Eldagsen made 80-year-old Germans sing these. The word-play of&nbsp;the title is&nbsp;a&nbsp;comment on&nbsp;life and extinction, grandeur and memory.<br /> <br /> Snowdrop is&nbsp;a&nbsp;new work by&nbsp;PROVMYZA duo (Russia), which looks into the way that man sees and perceives the world around him. It&nbsp;speaks about defamiliarization and distancing as&nbsp;methods that allow man to&nbsp;see the world as&nbsp;something bigger than him. As&nbsp;in&nbsp;their other works, Galina Myznikova and Sergey Provorov turn to&nbsp;the aesthetics suitable for cinema theatres but discuss questions characteristic of&nbsp;visual art. That&rsquo;s probably why these artists are met with equal enthusiasm by&nbsp;both professional communities.</p> <p>Viktor Alimpiev (Russia), Vot. A&nbsp;group of&nbsp;French actors performs a&nbsp;vocalise&nbsp;&mdash; a&nbsp;musical composition made only of&nbsp;vowels. At&nbsp;some point a&nbsp;viewer reads clearly a&nbsp;vocalise analogue to&nbsp;the word &laquo;vot&raquo;, emphasized by&nbsp;the musical and compositional logic&nbsp;&mdash; the voices synchronize and sound in&nbsp;accord.<br /> For the Media Forum opening a&nbsp;research-catalogue will be&nbsp;published, wiht a&nbsp;selection of&nbsp;key articles on&nbsp;the interaction of&nbsp;the two spheres of&nbsp;screen culture and representation of&nbsp;the works by&nbsp;Media Forum participants in&nbsp;all their variety of&nbsp;perception and analysis of&nbsp;the &laquo;expanded cinema&raquo; theme.</p> <p>More information&nbsp;at: <br /> The official MIFF Media Forum web-site:<br /> www.2010.mediaforum.mediaartlab.ru</p>201105142011060338153http://www.mmoma.ru/en/exhibitions/ermolaevsky/rasshirennoe_kino_chast_1/http://www.mmoma.ru/en/exhibitions/ermolaevsky/rasshirennoe_kino_chast_1/<p>The name of Yuri Zlotnikov is closely associated with the whole period of the development of the Russian contemporary art of the second half of the 20th century.</p>Wed, 23 Mar 2011 19:22:00 +0300<p>The name of&nbsp;Yuri Zlotnikov is&nbsp;closely associated with the whole period of&nbsp;the development of&nbsp;the Russian contemporary art of&nbsp;the second half of&nbsp;the 20th century. Years of&nbsp;the totalitarian regime resulted in&nbsp;a&nbsp;cultural catastrophe, when contemporary art was considered illegal and was deprived of&nbsp;avant-garde art energy and the very meaning of&nbsp;the notion &laquo;contemporary&raquo;. It&nbsp;was Zlotnikov&rsquo;s art that became a&nbsp;saving link connecting artistic searches of&nbsp;the post-war period with achievements of&nbsp;the Russian culture of&nbsp;the first quarter of&nbsp;the 20th century.</p> <p><em>The Signal System</em> by&nbsp;Zlotnikov is&nbsp;one of&nbsp;the utmost and remarkable phenomena in&nbsp;the Russian art history. It&nbsp;has implanted ideas of&nbsp;the Russian avant-garde to&nbsp;the art tradition, which is&nbsp;influencing the present art processes.</p> <p>But art discoveries of&nbsp;Zlotnikov are not limited to&nbsp;his celebrated<em> Signal System</em> only. The artist has early realized the impossibility of&nbsp;wide application of&nbsp;his aesthetic principles. For many years after Khrushchev Thaw period, Zlotnikov has been searching and finding opportunities to&nbsp;keep his artworks in&nbsp;the conditional and designed condition that is&nbsp;required for an&nbsp;authentic modernist art piece. His artworks are in&nbsp;opposition not only to&nbsp;the Soviet art, from official art to&nbsp;legalized youth surrealism, but also to&nbsp;the non-conformist camp, from the generation of&nbsp;the so-called &laquo;men of&nbsp;the sixties&raquo; to&nbsp;Moscow conceptual art.</p> <p>The artist Yuri Zlotnikov has transformed and introduced&nbsp;us to&nbsp;a&nbsp;life-asserting impulse of&nbsp;the modernist art. At&nbsp;present, when the question on&nbsp;the formal language for representation is&nbsp;raised in&nbsp;the Russian actual art and the painting is&nbsp;not treated as&nbsp;a&nbsp;marginal phenomenon, it&nbsp;is&nbsp;difficult to&nbsp;overestimate the role of&nbsp;artistic achievements of&nbsp;Zlotnikov.</p> <p>The exhibition will be&nbsp;divided into four conditional sections reflecting wide aesthetic and ethic views of&nbsp;the artist. They are<em> Person</em>, <em>Signals</em>, <em>Cosmos</em> and <em>Space</em> and <em>Time</em>, the last stage including the most recent artworks.</p> <p><em>The Person</em> section will show artworks of&nbsp;1950-1960s. Among them there are <em>Balakovo</em> series, portraits and self-portraits, and the series devoted to&nbsp;Moscow, the city, where the artist has been born and has lived his life.</p> <p>The next section will present the renowned works by&nbsp;Zlotnikov, his masterpieces of&nbsp;1957-1962. <em>The Signals series</em> was created during five years of&nbsp;Khrushchev Thaw period.</p> <p><em>The Cosmos</em> section will combine works created from the mid-1960s till the end of&nbsp;the 20th century. Among them there is&nbsp;<em>History, Dante&rsquo;s Circles of&nbsp;Hell, Dramatic Composition, Antithesis to&nbsp;Black Square by&nbsp;K.&nbsp;Malevich</em> and <em>Metaphysical Composition</em>.<br /> This scaled historical retrospective show will end with numerous abstract artworks of&nbsp;the last ten years. Despite of&nbsp;their tiny size, these A4&nbsp;size pieces of&nbsp;art display the same grand message, the same cosmism and interest to&nbsp;a&nbsp;human being, which distinguish artworks by&nbsp;Yuri Zlotnikov for almost 70&nbsp;years of&nbsp;his artistic career.</p> <p>&nbsp;</p> <p>The scientific conference dedicated to Zlotnikov's art will be held in the end of May.</p> <p>&nbsp;</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/uzolotnikov_120.jpg./images/cms/data/iphone/exhibitions/uzolotnikov_280.jpgMoscow Museum of Modern Art (17 Ermolaevsky)<p>The name of Yuri Zlotnikov is closely associated with the whole period of the development of the Russian contemporary art of the second half of the 20th century.</p><p>The name of&nbsp;Yuri Zlotnikov is&nbsp;closely associated with the whole period of&nbsp;the development of&nbsp;the Russian contemporary art of&nbsp;the second half of&nbsp;the 20th century. Years of&nbsp;the totalitarian regime resulted in&nbsp;a&nbsp;cultural catastrophe, when contemporary art was considered illegal and was deprived of&nbsp;avant-garde art energy and the very meaning of&nbsp;the notion &laquo;contemporary&raquo;. It&nbsp;was Zlotnikov&rsquo;s art that became a&nbsp;saving link connecting artistic searches of&nbsp;the post-war period with achievements of&nbsp;the Russian culture of&nbsp;the first quarter of&nbsp;the 20th century.</p> <p>The Signal System by&nbsp;Zlotnikov is&nbsp;one of&nbsp;the utmost and remarkable phenomena in&nbsp;the Russian art history. It&nbsp;has implanted ideas of&nbsp;the Russian avant-garde to&nbsp;the art tradition, which is&nbsp;influencing the present art processes.</p> <p>But art discoveries of&nbsp;Zlotnikov are not limited to&nbsp;his celebrated Signal System only. The artist has early realized the impossibility of&nbsp;wide application of&nbsp;his aesthetic principles. For many years after Khrushchev Thaw period, Zlotnikov has been searching and finding opportunities to&nbsp;keep his artworks in&nbsp;the conditional and designed condition that is&nbsp;required for an&nbsp;authentic modernist art piece. His artworks are in&nbsp;opposition not only to&nbsp;the Soviet art, from official art to&nbsp;legalized youth surrealism, but also to&nbsp;the non-conformist camp, from the generation of&nbsp;the so-called &laquo;men of&nbsp;the sixties&raquo; to&nbsp;Moscow conceptual art.</p> <p>The artist Yuri Zlotnikov has transformed and introduced&nbsp;us to&nbsp;a&nbsp;life-asserting impulse of&nbsp;the modernist art. At&nbsp;present, when the question on&nbsp;the formal language for representation is&nbsp;raised in&nbsp;the Russian actual art and the painting is&nbsp;not treated as&nbsp;a&nbsp;marginal phenomenon, it&nbsp;is&nbsp;difficult to&nbsp;overestimate the role of&nbsp;artistic achievements of&nbsp;Zlotnikov.</p> <p>The exhibition will be&nbsp;divided into four conditional sections reflecting wide aesthetic and ethic views of&nbsp;the artist. They are Person, Signals, Cosmos and Space and Time, the last stage including the most recent artworks.</p> <p>The Person section will show artworks of&nbsp;1950-1960s. Among them there are Balakovo series, portraits and self-portraits, and the series devoted to&nbsp;Moscow, the city, where the artist has been born and has lived his life.</p> <p>The next section will present the renowned works by&nbsp;Zlotnikov, his masterpieces of&nbsp;1957-1962. The Signals series was created during five years of&nbsp;Khrushchev Thaw period.</p> <p>The Cosmos section will combine works created from the mid-1960s till the end of&nbsp;the 20th century. Among them there is&nbsp;History, Dante&rsquo;s Circles of&nbsp;Hell, Dramatic Composition, Antithesis to&nbsp;Black Square by&nbsp;K.&nbsp;Malevich and Metaphysical Composition.<br /> This scaled historical retrospective show will end with numerous abstract artworks of&nbsp;the last ten years. Despite of&nbsp;their tiny size, these A4&nbsp;size pieces of&nbsp;art display the same grand message, the same cosmism and interest to&nbsp;a&nbsp;human being, which distinguish artworks by&nbsp;Yuri Zlotnikov for almost 70&nbsp;years of&nbsp;his artistic career.</p>201104262011060532428http://www.mmoma.ru/en/exhibitions/ermolaevsky/kosmos_yuriya_zlotnikova/http://www.mmoma.ru/en/exhibitions/ermolaevsky/kosmos_yuriya_zlotnikova/<p>Rauf Mamedov is a postmodernist. He employs the core principles and elements of this movement to attract the viewer&rsquo;s attention to the biggest problem of today &mdash; the loss of moral and ethical virtues.</p>Wed, 02 Feb 2011 20:46:00 +0300<p>Moscow Museum of&nbsp;Modern Art presents &laquo;Silentium&raquo; solo exhibition by&nbsp;Rauf Mamedov. Works by&nbsp;this artist are like philosophical, ethical and poetic treatises that have taken visual form. Permeating Mamedov&rsquo;s art, is&nbsp;the theme of&nbsp;uniqueness of&nbsp;human life. His works are united by&nbsp;a&nbsp;single meaning: finding the courage to&nbsp;love by&nbsp;adopting the &laquo;other&raquo; and being able to&nbsp;answer the questions: How are we&nbsp;related to&nbsp;each other? And who are we&nbsp;in&nbsp;the face of&nbsp;God?<br /> <br /> Rauf Mamedov is&nbsp;a&nbsp;postmodernist. He&nbsp;employs the core principles and elements of&nbsp;this movement to&nbsp;attract the viewer&rsquo;s attention to&nbsp;the biggest problem of&nbsp;today&nbsp;&mdash; the loss of&nbsp;moral and ethical virtues. Self-ironic, independent of&nbsp;the opinion of&nbsp;others, devoid of&nbsp;any envy or&nbsp;inferiority complexes, the artist liberally appropriates ideas and motives of&nbsp;the old masters&rsquo; works.<br /> <br /> Mamedov works with people marked by&nbsp;a&nbsp;special sign&nbsp;&mdash; the Down&rsquo;s syndrome. These people completely lack aggression, rage, hatred, or&nbsp;envy. They have retained&nbsp;&mdash; though, not by&nbsp;their own choice&nbsp;&mdash; a&nbsp;child&rsquo;s view of&nbsp;the world. Their faces are unfailingly lit by&nbsp;joy. And this joy lights hopes&nbsp;&mdash; in&nbsp;the midst of&nbsp;dire circumstances of&nbsp;tragedy, loneliness, or&nbsp;death&nbsp;&mdash; for possible but often unattainable happiness. Their presence in&nbsp;the photographs allows the artist to&nbsp;achieve his true goal: to&nbsp;make the audience think and feel, love and empathize.</p>./images/cms/data/iphone/exhibitions/silentium_120.jpg./images/cms/data/iphone/exhibitions/silentium_280.jpgMoscow Museum of Modern Art at 17 Yermolaevsky Lane<p>Rauf Mamedov is a postmodernist. He employs the core principles and elements of this movement to attract the viewer&rsquo;s attention to the biggest problem of today &mdash; the loss of moral and ethical virtues.</p><p>Moscow Museum of&nbsp;Modern Art presents &laquo;Silentium&raquo; solo exhibition by&nbsp;Rauf Mamedov. Works by&nbsp;this artist are like philosophical, ethical and poetic treatises that have taken visual form. Permeating Mamedov&rsquo;s art, is&nbsp;the theme of&nbsp;uniqueness of&nbsp;human life. His works are united by&nbsp;a&nbsp;single meaning: finding the courage to&nbsp;love by&nbsp;adopting the &laquo;other&raquo; and being able to&nbsp;answer the questions: How are we&nbsp;related to&nbsp;each other? And who are we&nbsp;in&nbsp;the face of&nbsp;God?<br /> <br /> Rauf Mamedov is&nbsp;a&nbsp;postmodernist. He&nbsp;employs the core principles and elements of&nbsp;this movement to&nbsp;attract the viewer&rsquo;s attention to&nbsp;the biggest problem of&nbsp;today&nbsp;&mdash; the loss of&nbsp;moral and ethical virtues. Self-ironic, independent of&nbsp;the opinion of&nbsp;others, devoid of&nbsp;any envy or&nbsp;inferiority complexes, the artist liberally appropriates ideas and motives of&nbsp;the old masters&rsquo; works.<br /> <br /> Mamedov works with people marked by&nbsp;a&nbsp;special sign&nbsp;&mdash; the Down&rsquo;s syndrome. These people completely lack aggression, rage, hatred, or&nbsp;envy. They have retained&nbsp;&mdash; though, not by&nbsp;their own choice&nbsp;&mdash; a&nbsp;child&rsquo;s view of&nbsp;the world. Their faces are unfailingly lit by&nbsp;joy. And this joy lights hopes&nbsp;&mdash; in&nbsp;the midst of&nbsp;dire circumstances of&nbsp;tragedy, loneliness, or&nbsp;death&nbsp;&mdash; for possible but often unattainable happiness. Their presence in&nbsp;the photographs allows the artist to&nbsp;achieve his true goal: to&nbsp;make the audience think and feel, love and empathize.</p>201102102011031327462http://www.mmoma.ru/en/exhibitions/ermolaevsky/rauf_mamedov_silentium/http://www.mmoma.ru/en/exhibitions/ermolaevsky/rauf_mamedov_silentium/<p>Started in January 2007 after several years of scrupulous investigations and methodical research, History of Russian Video Art is a three-part project consisting of a series of exhibitions, lectures, screenings and publications illustrating the birth, first steps and further development of video as an artistic form in Russia.</p>Fri, 19 Nov 2010 20:17:00 +0300<p>Researcher and Curator: Antonio Geusa</p> <p>Started in&nbsp;January 2007 after several years of&nbsp;scrupulous investigations and methodical research, History of&nbsp;Russian Video Art is&nbsp;a&nbsp;three-part project consisting of&nbsp;a&nbsp;series of&nbsp;exhibitions, lectures, screenings and publications illustrating the birth, first steps and further development of&nbsp;video as&nbsp;an&nbsp;artistic form in&nbsp;Russia.</p> <p>Before the opening of&nbsp;the first event, the exhibition Volume&nbsp;1, there was little systematic knowledge of&nbsp;the evolution of&nbsp;video art and its cultural value. Over the past years, History of&nbsp;Russian Video Art has filled all the gaps and managed to&nbsp;put video art on&nbsp;the map of&nbsp;Russian contemporary art, once and for all. Many important goals have been reached along the way:</p> <ul> <li>the project has tracked down the starting point (Andrey Monastyrsky&rsquo;s Conversation with a&nbsp;Lamp, 1985);</li> <li>has acquainted the public with the pioneers working in&nbsp;semi-clandestine conditions to&nbsp;avoid the censoring control of&nbsp;the state; </li> <li>has saved a&nbsp;few pivotal works from irreparable damage or&nbsp;loss; </li> <li>has proved that video was the most powerful instrument that artists had at&nbsp;their disposal to&nbsp;speak to&nbsp;Russia and to&nbsp;the world about their identity, roles and expectations after the collapse of&nbsp;the Soviet Union;</li> <li>has offered a&nbsp;thorough outline of&nbsp;the directions taken and the problems embraced by&nbsp;video artists working in&nbsp;the crucial decade in&nbsp;between the old and new millennia.</li> </ul> <p>Volume 3&nbsp;continues to&nbsp;narrate the history of&nbsp;video art making in&nbsp;Russia, starting from where the exhibition Volume&nbsp;2 (March 2009) stopped. The most relevant achievements in&nbsp;the field of&nbsp;Russian video art made in&nbsp;recent years (approximately the past five years) are on&nbsp;display in&nbsp;the exhibition. This is&nbsp;a&nbsp;unique opportunity to&nbsp;come closer to&nbsp;the work of&nbsp;those artists who have gained national and international critical and public acclaim for their videos, to&nbsp;experience the newest tendencies explored by&nbsp;the young generation and to&nbsp;get to&nbsp;know the production made in&nbsp;many different regions of&nbsp;the Russian Federation.</p> <p>Volume 3&nbsp;enjoys the collaboration of&nbsp;experts in&nbsp;the field of&nbsp;art and new technologies who have chosen some of&nbsp;the forty works exhibited in&nbsp;the premises and compiled thematic programs for the projection room located on&nbsp;the 4th floor. Here the public will enjoy new videos every day, which will allow to&nbsp;include a&nbsp;great number of&nbsp;works in&nbsp;the display. Particularly valuable are these contributions, because one of&nbsp;the main tasks of&nbsp;the whole project is&nbsp;to&nbsp;promote discussion, debate critical views and familiarize with unknown expressions.</p> <p>At&nbsp;the same time, throughout the duration of&nbsp;the exhibition, the public has the chance to&nbsp;view rare video documentaries on&nbsp;artists and people who have played a&nbsp;relevant role in&nbsp;the development of&nbsp;video art, as&nbsp;well as&nbsp;take part in&nbsp;open discussions and attend master classes given by&nbsp;the artists themselves.</p> <p>Volume 3&nbsp;is an&nbsp;unprecedented attempt to&nbsp;offer the widest possible overview&nbsp;&mdash; in&nbsp;total, more than five hundred works are to&nbsp;be&nbsp;shown&nbsp;&mdash; of&nbsp;the way Russian artists today use video technology to&nbsp;express their feelings and present their views of&nbsp;the world we&nbsp;live&nbsp;in. This the final part of&nbsp;the project History of&nbsp;Russian Video Art and the starting point of&nbsp;a&nbsp;future approach to&nbsp;video art as&nbsp;a&nbsp;form with its own 25-year old history and tradition.</p> <p>Random list of&nbsp;participants:</p> <p>AES+F, Viktor Alimpiev, Vika Begalskaya, Blue Noses, Bluesoup, Sergey Bratkov, Aleksey Buldakov, Dmitry Bulnigin, Aristarkh Chernyshev, Olga Chernysheva, Vladislav Efimov, Electroboutique, Dmitry Gutov, Iced Over Architects, Anna Yermolaeva, Andrey Kuzkin, Anton Litvin, Vladimir Logutov, Vladislav Mamyshev-Monroe, Roman Minaev, Andrey Monastyrsky, Elena Nemkova, Sergey Ogurtsov, Kirill Preobrazhensky, PROVMYZA, Aidan Salakhova, Sergey Shekhovtsov, Sergey Shutov, Sergey Teterin, Leonid Tishkov, Olga Tobreluts, TOTART, Evgeniy Umansky, What Is&nbsp;to&nbsp;Be&nbsp;Done?, Where Dogs Run, Vadim Zakharov, ZerGut, and many more.</p> <p>Screenings timetable (3rd floor)</p> <p>17 December 2010 Video Art: Ufa (Curator: Kristina Abramcheva)<br /> 18 December 2010 Video Art from Samara (Curator: Vladimir Logutov)<br /> 19 December 2010 PUSTO, 2002-2008, Selected (Curators: K. Peretrukhina, I. Saminskaya, Y. Kazhdan, A. Parshikov)<br /> 20 December 2010 Aleksandra Mitlyanskaya: Selected Video Works<br /> 21 December 2010 Southern Wave: Video from Northern Caucasus (Curator: Irina Yashkova)<br /> 22 December 2010 Videopa (Curator: Mikhail Surkov)<br /> 23 December 2010 Sergey Sapozhnikov, Kayani<br /> 24 December 2010 Vidiot 1 (Curator: Kirill Preobrazhensky)<br /> 25 December 2010 Vidiot 2 (Curator: Kirill Preobrazhensky)<br /> 26 December 2010 The House on Furmanny Lane (Directed by Andrey Silvestrov)<br /> 27 December 2010 OUTVIDEO (Curator: Arseny Sergeev)<br /> 28 December 2010 Prigov Family: Selected Video Works<br /> 29 December 2010 Escape: Selected Video Works<br /> 30 December 2010 German Vinogradov: Selected Video Works<br /> 31 December 2010 Oleg Kulik, Gobi Test (Summer)<br /> 2 January 2011 Dmitry Gutov, New Year<br /> 3 January 2011 Aleksandra Dementeva: Selected Works<br /> 4 January 2011 Ilya Trushevsky: Three Videos<br /> 5 January 2011 Glyuklya i Tsaplya: Selected Video Works<br /> 6, 7 January 2010 Volga-Volga (Directed by Pavel Labazov, Andrey Silvestrov)<br /> 8 January 2010 Dmitry Bulnygin: Selected Video Works<br /> 9 January 2010 Better Porno than Never (Curator: Andrey Silvestrov)</p> <p>10 January 2010 Valeriya Guy Germanika, Iron Wings</p> <p>11 January 2011 Video on King&rsquo;s Hill (Curator: Evgeny Umansky)<br /> 12 January 2011 Why Not?: No Festival (Curator: Anastasya Bogomolova)<br /> 13 January 2010 Vidiot 3 (Curator: Kirill Preobrazhensky)<br /> 14 January 2010 Vidiot 4 (Curator: Kirill Preobrazhensky)<br /> 15 January 2010 TOTART: Selected Video Works<br /> 16 January 2010 Video Art from Rostov-on-Don (Curator: Aleksey Kuripko)<br /> 17 January 2010 Vershoks and Rootlets of Video Art from the Urals (Curator: Vladimir Seleznev)<br /> 18 January 2011 Rethorical Visuality (Curator: Vladlena Gromova)<br /> 19 January 2011 We Go Looking at the Way We Go&hellip; Media Forum 2000-2011 (Curator: Olga Shishko)<br /> 20 January 2010 Leonid Tishkov: Selected Video Works<br /> 21 January 2010 Oleg Kulik, Gobi Test (Winter)<br /> 22 January 2010 Residence/experience (Curators: Viktoriya Marchekova, Dmitry Venkov)<br /> 23 January 2010 Yuri Leiderman: Selected Videos<br /> 24 January 2010 Sudios 2006-2010 (Curator: Daria Kamyshnikova)<br /> 25 January 2011 Made in PRO ARTE. Videos by Young Artists (Curator: Yana Klichuk)<br /> 26, 27 January 2011 History of Russian Video Art &ndash; Volume 1 (Part 1)<br /> 28, 29 January 2010 History of Russian Video Art &ndash; Volume 2 (Part 1)<br /> 30 January 2010 History of Russian Video Art &ndash; Tom 3 (People&rsquo;s choice)</p>./images/cms/data/iphone/exhibitions/ist_vid3_120.jpg./images/cms/data/iphone/exhibitions/ist_vid3_280.jpgMoscow Museum of Modern Art at 17 Yermolaevsky Lane <p>Started in January 2007 after several years of scrupulous investigations and methodical research, History of Russian Video Art is a three-part project consisting of a series of exhibitions, lectures, screenings and publications illustrating the birth, first steps and further development of video as an artistic form in Russia.</p><p>Started in January 2007 after several years of scrupulous investigations and methodical research, History of Russian Video Art is a three-part project consisting of a series of exhibitions, lectures, screenings and publications illustrating the birth, first steps and further development of video as an artistic form in Russia.</p> <p>Volume 3 continues to narrate the history of video art making in Russia, starting from where the exhibition Volume 2 (March 2009) stopped. The most relevant achievements in the field of Russian video art made in recent years (approximately the past five years) are on display in the exhibition. This is a unique opportunity to come closer to the work of those artists who have gained national and international critical and public acclaim for their videos, to experience the newest tendencies explored by the young generation and to get to know the production made in many different regions of the Russian Federation.</p>201012172011012325821http://www.mmoma.ru/en/exhibitions/ermolaevsky/istoriya_rossijskogo_videoarta_tom/http://www.mmoma.ru/en/exhibitions/ermolaevsky/istoriya_rossijskogo_videoarta_tom/<p>Ivan Chuikov has long been and remains a challenging figure in the international art scene &mdash; this is what makes him truly unique.</p>Fri, 15 Oct 2010 16:43:00 +0400<p><strong>Curator:</strong> Mila Bredikhina</p> <p>Ivan Chuikov has long been and remains a&nbsp;challenging figure in&nbsp;the international art scene&nbsp;&mdash; this is&nbsp;what makes him truly unique. The universally acknowledged classic of&nbsp;conceptual art who opened a&nbsp;window to&nbsp;Europe, &lsquo;the prince of&nbsp;emptiness&rsquo;, &lsquo;the heretic of&nbsp;the easel&rsquo;, the embodied contradiction, the dandy of&nbsp;postmodernism... All these titles exist simultaneously, assuming that the artist stays true to&nbsp;his enduring method&nbsp;&mdash; the combination of&nbsp;sharp thought and flawless plastic quality.</p> <p>Windows series, Ivan Chuikov&rsquo;s trademark, is&nbsp;the ultimate metaphor of&nbsp;the border between periods, art and life, artist and the world. The secret concealed behind the veil of&nbsp;every description, the secret that the author keeps putting in&nbsp;our minds, is&nbsp;still an&nbsp;intriguing one.<br /> <br /> The heresy of&nbsp;simplicity, new to&nbsp;Ivan Chuikov, is&nbsp;balanced in&nbsp;the exhibition with Yin-Yang, the playful series of&nbsp;puzzles, while Virtual Sculptures and the elegant Labyrinth frame the famous cycles&nbsp;&mdash; Variants, Road Signs, and Fragments&nbsp;&mdash; the unique and recognizable Chuikov&rsquo;s paintings that, starting from Bather (1970), has become the heritage and emblem of&nbsp;Russian art.<br /> <br /> The display unites all major installations by&nbsp;the artist (Theory of&nbsp;Reflection, Device for Watching Emptiness, Split Identity), as&nbsp;well as&nbsp;lesser-known works and Far and Close album.</p> <p>Far and Close is&nbsp;the assembly of&nbsp;records done in&nbsp;a&nbsp;single breath on&nbsp;May&nbsp;18, 1976; today they look like a&nbsp;mature, accomplished and surpassed plan for the next thirty-odd years. The review of&nbsp;all the genres of&nbsp;painting, the reflections of&nbsp;reality and imagination, the relations of&nbsp;the event and its representation were stated here for the first time, even before the abovementioned cycles appeared.<br /> <br /> Curiously enough, Ivan Chuikov treats the text, which is&nbsp;a&nbsp;rare material in&nbsp;his art, in&nbsp;his recognizable manner, by&nbsp;appropriating and fragmenting the time&nbsp;&mdash; in&nbsp;the same way as&nbsp;he&nbsp;would later appropriate and fragment the space of&nbsp;his own or&nbsp;someone else&rsquo;s visual statement.<br /> <br /> The spectator is&nbsp;supposed to&nbsp;pass through the labyrinths of&nbsp;meaning and revise, together with the artist, the boundaries of&nbsp;far and close.</p> <p>Artworks from the collection of&nbsp;the The State Russian Museum, The State Tretyakov Gallery, The National Center for Contemporary Art, Regina Gallery, XL&nbsp;Gallery, Moscow Museum of&nbsp;Modern Art.</p> <p>&nbsp;</p> <div style="width: 220px;"><img src="/images/logotypes/mts_logo_162.jpg" border="0" alt="" width="162" height="78" /> <div style="font-size: 11px; margin-top: 2px;">THE INNOVATIVE PARTNER OF THE MUSEUM</div> </div>./images/cms/data/iphone/exhibitions/chuikov_120.jpg./images/cms/data/iphone/exhibitions/chuikov_280.jpgMoscow Museum of Modern Art at 17 Ermolaevsky Lane<p>Ivan Chuikov has long been and remains a challenging figure in the international art scene &mdash; this is what makes him truly unique.</p><p><strong>Curator:</strong> Mila Bredikhina</p> <p>Ivan Chuikov has long been and remains a&nbsp;challenging figure in&nbsp;the international art scene&nbsp;&mdash; this is&nbsp;what makes him truly unique. The universally acknowledged classic of&nbsp;conceptual art who opened a&nbsp;window to&nbsp;Europe, &lsquo;the prince of&nbsp;emptiness&rsquo;, &lsquo;the heretic of&nbsp;the easel&rsquo;, the embodied contradiction, the dandy of&nbsp;postmodernism... All these titles exist simultaneously, assuming that the artist stays true to&nbsp;his enduring method&nbsp;&mdash; the combination of&nbsp;sharp thought and flawless plastic quality.</p> <p>Windows series, Ivan Chuikov&rsquo;s trademark, is&nbsp;the ultimate metaphor of&nbsp;the border between periods, art and life, artist and the world. The secret concealed behind the veil of&nbsp;every description, the secret that the author keeps putting in&nbsp;our minds, is&nbsp;still an&nbsp;intriguing one.<br /> <br /> The heresy of&nbsp;simplicity, new to&nbsp;Ivan Chuikov, is&nbsp;balanced in&nbsp;the exhibition with Yin-Yang, the playful series of&nbsp;puzzles, while Virtual Sculptures and the elegant Labyrinth frame the famous cycles&nbsp;&mdash; Variants, Road Signs, and Fragments&nbsp;&mdash; the unique and recognizable Chuikov&rsquo;s paintings that, starting from Bather (1970), has become the heritage and emblem of&nbsp;Russian art.<br /> <br /> The display unites all major installations by&nbsp;the artist (Theory of&nbsp;Reflection, Device for Watching Emptiness, Split Identity), as&nbsp;well as&nbsp;lesser-known works and Far and Close album.</p>201011032010120525560http://www.mmoma.ru/en/exhibitions/ermolaevsky/ivan_chujkov_labirinty/http://www.mmoma.ru/en/exhibitions/ermolaevsky/ivan_chujkov_labirinty/This exhibition presents works by renowned Russian artist Alyona Kirtsova.Thu, 23 Sep 2010 21:13:00 +0400<p>This exhibition presents works by&nbsp;renowned Russian artist Alyona Kirtsova. Her biography and artistic achievements enrich the history of&nbsp;Russian contemporary art with a&nbsp;unique reinterpretation and development of&nbsp;the Modernist tradition in&nbsp;painting that seemed to&nbsp;be&nbsp;lost forever under the Soviet totalitarian regime. Russian art critics labeled Alyona Kirtsova&rsquo;s art as &lsquo;Russian Minimalism&rsquo;. However, when we&nbsp;take into consideration its depth of&nbsp;topics, range of&nbsp;formal searches, and diversity of&nbsp;genres (painting, graphics, objects, photos, installations, land art, and so&nbsp;on), it&nbsp;definitely falls beyond the narrow scope of&nbsp;all stylistic definitions.<br /> <br /> Kirtsova received this &lsquo;minimalist&rsquo; label after her geometric works of&nbsp;the early 1980s, turning points in&nbsp;her career. It&nbsp;was then that her intuitive plastic research of&nbsp;her previous period gained clarity and integrity, thanks to&nbsp;the motif of&nbsp;the interior of&nbsp;a&nbsp;concrete residential block. Kirtsova saw the faceless &lsquo;boxes&rsquo; with slashed windows and doors as&nbsp;heirs of&nbsp;the modernist aesthetics, and she achieved it&nbsp;with maximum effect and persuasion. </p> <p>Then the artist developed a&nbsp;new concept of&nbsp;plastic and non-descriptive nature of&nbsp;the language of&nbsp;painting, which led to&nbsp;the further expansion of&nbsp;her method&rsquo;s limits. Anything that Kirtsova did afterwards&nbsp;&mdash; was it&nbsp;creating &lsquo;memorial tablets&rsquo;, box objects or&nbsp;photographic collages, decorating walls of&nbsp;exhibition spaces or&nbsp;painting canvases&nbsp;&mdash; can be&nbsp;considered as&nbsp;experiments in&nbsp;painting. It&nbsp;was that modernist painting which conceived itself as&nbsp;the matrix, the cosmos and the practical manual of&nbsp;future world order. </p> <p>Kirtsova&rsquo;s art is&nbsp;paradoxical because it&nbsp;combines two seemingly contradictory qualities: speculation and inclination towards metaphysics, on&nbsp;the one hand, and the extraordinary, on&nbsp;the other. That is&nbsp;why warm and soft color schemes accompany the pure and piercing clarity of&nbsp;Kirtsova&rsquo;s formal discoveries. In&nbsp;her geometric compositions, born during examinations of&nbsp;daily routine, the umbilical cord with life is&nbsp;never torn. They retain the protein structure of&nbsp;things. However, in&nbsp;every period of&nbsp;her creation, the artist proposes new interpretations of&nbsp;this painterly matter.<br /> <br /> In&nbsp;the early 80s, Kirtsova explored the inner fabric and molecular structure of&nbsp;the object, and the boundaries that divide it&nbsp;from the outside. A&nbsp;decade later, her attention shifted to&nbsp;the surface of&nbsp;objects. Here, Kirtsova tried to&nbsp;demonstrate its discreteness, permeability, and layered structure. The works of&nbsp;recent years present the disruption of&nbsp;traditionally stereotypical objects. The author is&nbsp;neatly responsive to&nbsp;visual mutations and moves from the palpable image to&nbsp;the virtual. Thus, landscapes assembled of&nbsp;separate horizontal stripes are like compendiums of&nbsp;numerous monochrome canvases slashed into pieces. The corporal, material treatment of&nbsp;color is&nbsp;charged with new parameters, such as&nbsp;plurality, kaleidoscopic nature and hollowness, characteristic of&nbsp;digital images.<br /> <br /> It&nbsp;is&nbsp;impossible to&nbsp;speak of&nbsp;Alyona Kirtsova&rsquo;s oeuvre in&nbsp;the past tense, as&nbsp;the project stays open. Her work is&nbsp;still under way. However, the summary of&nbsp;her creation allows generalizing and concluding that the art of&nbsp;Alena Kirtsova belongs to&nbsp;the most important and innovative phenomena of&nbsp;contemporary Russian visual culture.</p>Moscow Museum of Modern Art (17 Ermolaevsky Lane)This exhibition presents works by renowned Russian artist Alyona Kirtsova.201009282010102425513http://www.mmoma.ru/en/exhibitions/ermolaevsky/alena_kirtsova_matter/http://www.mmoma.ru/en/exhibitions/ermolaevsky/alena_kirtsova_matter/