http://www.mmoma.ru/en/exhibitions/tverskoy/Журнал ДИ - - Tverskoy 9 en<p>The Moscow Museum of Modern Art is pleased to announce the first Museum solo show Displacement by Italian artist Giada Ripa, as part of the Year of Cultural Exchange between Italy and Russia.</p>Mon, 05 Dec 2011 12:40:00 +0400<p><strong>The book Displacement is&nbsp;published by&nbsp;Moleskine and will be&nbsp;presented at&nbsp;MMoMA during the exhibition</strong></p> <p>The Moscow Museum of&nbsp;Modern Art (MMoMA) is&nbsp;pleased to&nbsp;announce the first Museum solo show Displacement by&nbsp;Italian artist Giada Ripa, as&nbsp;part of&nbsp;the Year of&nbsp;Cultural Exchange between Italy and Russia. The show will present new works as&nbsp;well as&nbsp;works from the series Falling Icons and Beyond the Oil Route, two projects created between 2004 and 2011.</p> <p>Giada lives and works in&nbsp;Italy and New York. Her career started after studying at&nbsp;the International Center of&nbsp;Photography in&nbsp;New York City. In&nbsp;the last few years, her work has focused on&nbsp;the analysis of&nbsp;space as&nbsp;a&nbsp;means for exploring personal identity. In&nbsp;addition to&nbsp;her documentary approach to&nbsp;photography, Giada has developed a&nbsp;body of&nbsp;work characterized by&nbsp;introspection and experimentation. During her travels through the former Soviet Union satellite countries, through the Caucasus and Central Asia, from Georgia to&nbsp;Turkestan, a&nbsp;pressing need for a&nbsp;more personalized way of&nbsp;expression slowly emerged.</p> <p>Her photographic documentary work in&nbsp;Beyond the Oil Route, focusing on&nbsp;religious minorities and the faces of&nbsp;the hidden people living beyond the former Silk Road, now known as&nbsp;the Oil Route, gave her a&nbsp;starting point for a&nbsp;new form of&nbsp;investigation based on&nbsp;deep introspection.<br /> In&nbsp;her photographs from the series Displacement and Falling Icons, Giada appears as&nbsp;a&nbsp;woman in&nbsp;transit, a&nbsp;wandering figure, an&nbsp;anonymous presence in&nbsp;places that are in&nbsp;transition themselves.</p> <p>Falling Icons is&nbsp;a&nbsp;poetic narration of&nbsp;&laquo;the art of&nbsp;falling,&raquo; in&nbsp;which a&nbsp;contemporary woman obsessively confronts herself with foreign and distant places loaded with symbolic stratifications and cultural, historical and geopolitical implications. In&nbsp;these images, space takes over the human figure transforming it&nbsp;into a&nbsp;mere pawn swept up&nbsp;in&nbsp;the processes of&nbsp;transformation of&nbsp;these territories.</p> <p>In&nbsp;sites of&nbsp;spellbound fascination, Giada places herself in&nbsp;the scene with a&nbsp;fragile stability, a&nbsp;delicate feminine figure captured in&nbsp;the moment of&nbsp;greatest resistance to&nbsp;the forces of&nbsp;gravity. Some of&nbsp;these images aim to&nbsp;restore an&nbsp;identity to&nbsp;places and faces, to&nbsp;recreate a&nbsp;relationship between land and its inhabitants. Created in&nbsp;Turkestan or&nbsp;the Amazon, the Caucasus or&nbsp;Central Asia, they record instances of&nbsp;uprooting, of&nbsp;not belonging, of&nbsp;precariousness, with a&nbsp;language that is&nbsp;direct in&nbsp;appearance only, respectful of&nbsp;the places, yet permeated by&nbsp;a&nbsp;subtle sense of&nbsp;ambiguity. They are born perhaps from an&nbsp;awareness within the author of&nbsp;the transitory nature of&nbsp;one&rsquo;s own presence, searching not only for the identity of&nbsp;others, but also that of&nbsp;herself.</p> <p><em>&laquo;...Displacement starts when our curiosity begins to&nbsp;be&nbsp;as&nbsp;unlimited as&nbsp;the infinite choices this contemporary world offers&nbsp;us. </em><br /><em> Displacement is&nbsp;what we&nbsp;experience daily when confronting ourselves with the outer world, with the unknown.</em><br /><em> Displacement is&nbsp;what makes&nbsp;us uncertain to&nbsp;then generate around&nbsp;us new energies.</em><br /><em> Whether it&nbsp;is&nbsp;incapacity to&nbsp;familiarize with the new territories&nbsp;or, in&nbsp;the opposite, the incapacity to&nbsp;alienate from&nbsp;it, in&nbsp;the end, the result is&nbsp;the same.</em><br /><em> The wonderment or&nbsp;psychological tension that can rise from the encounter with new territories can both enlarge one&rsquo;s vision as&nbsp;well as&nbsp;perilously obfuscate its real purpose...&raquo;</em></p> <p><span style="font-size: medium;">About the Artist:</span></p> <p>Born in&nbsp;London and raised in&nbsp;Brussels, Giada Ripa graduated with an&nbsp;M.&nbsp;A. in&nbsp;International Relations and moved to&nbsp;New York in&nbsp;1997. Based between New York City and Milan, she started her career as&nbsp;a&nbsp;photographer in&nbsp;1999 after studying at&nbsp;the International Center of&nbsp;Photography in&nbsp;New York working both as&nbsp;an&nbsp;artist and a&nbsp;correspondent photographer for some of&nbsp;the most influential Italian and foreign magazines. Since then, Giada has roamed the world, using its topographies as&nbsp;a&nbsp;backdrop for her examination of&nbsp;personal dislocation in&nbsp;both public and private spaces. In&nbsp;2000, Denis Curti curated her first solo show at&nbsp;the Spazio San Carpoforo in&nbsp;Milan. In&nbsp;2002, Biz-Art in&nbsp;Shanghai and the Italian Institute of&nbsp;Beijing invited Giada to&nbsp;present her work in&nbsp;two solo shows. A&nbsp;great deal of&nbsp;Giada&rsquo;s artistic and documentary practices have focused on&nbsp;that area of&nbsp;the world, mainly China, Central Asia, and the Caucasus. She concentrates on&nbsp;the analysis of&nbsp;space as&nbsp;a&nbsp;means for exploring personal identity and has developed a&nbsp;body of&nbsp;work characterized by&nbsp;introspection and experimentation. She often uses landscapes and energy production sites as&nbsp;a&nbsp;backdrop for her performances during which she confronts herself with foreign and distant places loaded with cultural, historical and geopolitical implications. Since 2005, she has been teaching in&nbsp;conjunction with the Master of&nbsp;Art program of&nbsp;Domus Academy in&nbsp;Milan as&nbsp;well as&nbsp;in&nbsp;several other workshops and collaborates with the International Center of&nbsp;Photography in&nbsp;New York.</p> <p><span style="font-size: medium;">Past shows:</span></p> <p><strong>2011</strong> Un&rsquo;Ita&rsquo;, Arianna Rosica &amp;&nbsp;flashart, curator, Industria Super Studios, New York, USA; Sputnik Gallery, New York; <strong>2010</strong> Latheral Bodies, Arterra Museum, Spazio Thetis, Arsenale, Venice, Italy; Detour Journey; The Moleskine notebook experience, Rafaela Guidobono, curator, Bund 18&nbsp;Gallery, Shanghai, China; <strong>2009</strong> Falling Icons, Elena Agudio e&nbsp;Maddelena d&rsquo;Alfonso curators, Oratorio della Passione di&nbsp;S.&nbsp;Ambrogio, Milan; L&rsquo;intenzione del vedere, La&nbsp;citta` e&nbsp;la&nbsp;donna; Insaartcenter Seoul, Korea; L&rsquo;intenzione del vedere; La&nbsp;citta` e&nbsp;la&nbsp;donna, Rivus Gallery, Incheon Catholic University, Incheon, Korea ; <strong>2008</strong> Beyond the Oil Route, Palazzo delle Esposizioni, Festival Roma; CHINA08&nbsp;at the RCA, Yanki Lee, curator, Royal College of&nbsp;Art, London, UK; CHINA08&nbsp;at the RCA, Yanki Lee, curator, CRG Gallery New York; Latino Latino America, Castello di&nbsp;Barletta, Raffaela Guidobono, curator, Bari, Italy; Singular, Luxe Gallery, New York, USA; <strong>2007</strong> Abstract Realities, CVZ Contemporary, New York, USA; 2006&nbsp;Hermes: 10&nbsp;Oggetti, 10&nbsp;racconti, 10&nbsp;Fotografie, Grazia Neri Gallery, Milan, Italy; Bearing the Female Figure, Allen Frame curator, PS122, New York;<strong> 2006</strong> Voices of&nbsp;a&nbsp;New Generation of&nbsp;Women, International Museum of&nbsp;Women of&nbsp;San Francisco curator, UN&nbsp;Headquarters, New York, USA ; <strong>2004</strong>&nbsp;Portraits, Esso Gallery, New York, USA; Field of&nbsp;Depth; Landscape in&nbsp;Emerging Photography, Carlos Motta curator, Latin Collector Gallery, New York, USA; <strong>2003</strong> Group Show, Emanuel Lambion curator, Mus&eacute;e du&nbsp;Botanique, Brussels, Belgium; <strong>2002</strong> Advance Notice, International Center of&nbsp;Photography, Allen Frame curator, New York, USA; Your-Self, Sesto Senso, Stefano Pasquini curator, Bologna, Italy; Lost in&nbsp;Space, Italian Cultural Institute, Bejing, China; Lost in&nbsp;Space, BizArt, Davide Quadrio curator, Shanghai, China; <strong>2000</strong> Private Space; Displacement &amp;&nbsp;Illusions, Spazio San Carpoforo, Denis Curti curator, Milan; <strong>1999</strong> International Center of&nbsp;Photography Museum, New York, USA<br /> <br /> <span style="font-size: medium;">Future Shows:</span></p> <p><strong>2012</strong> Project B&nbsp;Gallery, Milan, Italy; Duo show, Elena Abbiatici, curator, Camera 16&nbsp;Gallery, Milan, Italy; Sputnik Gallery, New York, USA; 2012&nbsp;ARCO, Madrid; <strong>2011</strong>&nbsp;MMoMA, Displacement, EreditareIlPaesaggio and Bogdan Mamonov curators, Moscow Museum of&nbsp;Modern Art</p> <p>Publications &amp;&nbsp;Catalogues:</p> <p><strong>2011</strong> The Invisible Pipeline, text by&nbsp;Giovanna Calvenzi, Book commissioned by&nbsp;Eni ; Displacement, texts by&nbsp;Viktor Misiano, Marco Buttino, Giovanna Calvenzi and EreditareIlPaesaggio curatorial group, Moleskine; <strong>2009</strong> Falling Icons, catalogue, text by&nbsp;Elena Agudio, Maddalena D&rsquo;Alfonso and Marina Berio; <strong>2002</strong> Lost in&nbsp;Space, catalogue, text by&nbsp;Micaela Giovanotti</p> <p><span style="font-size: medium;">Awards: </span></p> <p><strong>2009</strong> Terna Award short-list finalist<br /> <strong>2006</strong> International Museum of&nbsp;Women of&nbsp;San Francisco&nbsp;&mdash; Imagining Ourselves: Voices of&nbsp;a&nbsp;New Generation of&nbsp;Women , presented at&nbsp;the United Nations in&nbsp;New York</p> <p><a href="http://sygroup.ru/" target="_blank"><img src="/images/logotypes/logo_beluga.gif" border="0" alt="" width="114" height="80" /></a></p>./images/cms/data/iphone/exhibitions/perem_120.jpg./images/cms/data/iphone/exhibitions/perem_280.jpgMoscow Museum of Modern Art, Tverskoy blvd, 9 <p>The Moscow Museum of Modern Art is pleased to announce the first Museum solo show Displacement by Italian artist Giada Ripa, as part of the Year of Cultural Exchange between Italy and Russia.</p><p><strong>The book Displacement is&nbsp;published by&nbsp;Moleskine and will be&nbsp;presented at&nbsp;MMoMA during the exhibition</strong></p> <p>The Moscow Museum of&nbsp;Modern Art (MMoMA) is&nbsp;pleased to&nbsp;announce the first Museum solo show Displacement by&nbsp;Italian artist Giada Ripa, as&nbsp;part of&nbsp;the Year of&nbsp;Cultural Exchange between Italy and Russia. The show will present new works as&nbsp;well as&nbsp;works from the series Falling Icons and Beyond the Oil Route, two projects created between 2004 and 2011.</p> <p>Giada lives and works in&nbsp;Italy and New York. Her career started after studying at&nbsp;the International Center of&nbsp;Photography in&nbsp;New York City. In&nbsp;the last few years, her work has focused on&nbsp;the analysis of&nbsp;space as&nbsp;a&nbsp;means for exploring personal identity. In&nbsp;addition to&nbsp;her documentary approach to&nbsp;photography, Giada has developed a&nbsp;body of&nbsp;work characterized by&nbsp;introspection and experimentation. During her travels through the former Soviet Union satellite countries, through the Caucasus and Central Asia, from Georgia to&nbsp;Turkestan, a&nbsp;pressing need for a&nbsp;more personalized way of&nbsp;expression slowly emerged.</p> <p>Her photographic documentary work in&nbsp;Beyond the Oil Route, focusing on&nbsp;religious minorities and the faces of&nbsp;the hidden people living beyond the former Silk Road, now known as&nbsp;the Oil Route, gave her a&nbsp;starting point for a&nbsp;new form of&nbsp;investigation based on&nbsp;deep introspection.<br /> In&nbsp;her photographs from the series Displacement and Falling Icons, Giada appears as&nbsp;a&nbsp;woman in&nbsp;transit, a&nbsp;wandering figure, an&nbsp;anonymous presence in&nbsp;places that are in&nbsp;transition themselves.</p> <p>Falling Icons is&nbsp;a&nbsp;poetic narration of&nbsp;&laquo;the art of&nbsp;falling,&raquo; in&nbsp;which a&nbsp;contemporary woman obsessively confronts herself with foreign and distant places loaded with symbolic stratifications and cultural, historical and geopolitical implications. In&nbsp;these images, space takes over the human figure transforming it&nbsp;into a&nbsp;mere pawn swept up&nbsp;in&nbsp;the processes of&nbsp;transformation of&nbsp;these territories.</p> <p>In&nbsp;sites of&nbsp;spellbound fascination, Giada places herself in&nbsp;the scene with a&nbsp;fragile stability, a&nbsp;delicate feminine figure captured in&nbsp;the moment of&nbsp;greatest resistance to&nbsp;the forces of&nbsp;gravity. Some of&nbsp;these images aim to&nbsp;restore an&nbsp;identity to&nbsp;places and faces, to&nbsp;recreate a&nbsp;relationship between land and its inhabitants. Created in&nbsp;Turkestan or&nbsp;the Amazon, the Caucasus or&nbsp;Central Asia, they record instances of&nbsp;uprooting, of&nbsp;not belonging, of&nbsp;precariousness, with a&nbsp;language that is&nbsp;direct in&nbsp;appearance only, respectful of&nbsp;the places, yet permeated by&nbsp;a&nbsp;subtle sense of&nbsp;ambiguity. They are born perhaps from an&nbsp;awareness within the author of&nbsp;the transitory nature of&nbsp;one&rsquo;s own presence, searching not only for the identity of&nbsp;others, but also that of&nbsp;herself.</p> <p><em>&laquo;...Displacement starts when our curiosity begins to&nbsp;be&nbsp;as&nbsp;unlimited as&nbsp;the infinite choices this contemporary world offers&nbsp;us. </em><br /><em> Displacement is&nbsp;what we&nbsp;experience daily when confronting ourselves with the outer world, with the unknown.</em><br /><em> Displacement is&nbsp;what makes&nbsp;us uncertain to&nbsp;then generate around&nbsp;us new energies.</em><br /><em> Whether it&nbsp;is&nbsp;incapacity to&nbsp;familiarize with the new territories&nbsp;or, in&nbsp;the opposite, the incapacity to&nbsp;alienate from&nbsp;it, in&nbsp;the end, the result is&nbsp;the same.</em><br /><em> The wonderment or&nbsp;psychological tension that can rise from the encounter with new territories can both enlarge one&rsquo;s vision as&nbsp;well as&nbsp;perilously obfuscate its real purpose...&raquo;</em></p> <p><span style="font-size: medium;">About the Artist:</span></p> <p>Born in&nbsp;London and raised in&nbsp;Brussels, Giada Ripa graduated with an&nbsp;M.&nbsp;A. in&nbsp;International Relations and moved to&nbsp;New York in&nbsp;1997. Based between New York City and Milan, she started her career as&nbsp;a&nbsp;photographer in&nbsp;1999 after studying at&nbsp;the International Center of&nbsp;Photography in&nbsp;New York working both as&nbsp;an&nbsp;artist and a&nbsp;correspondent photographer for some of&nbsp;the most influential Italian and foreign magazines. Since then, Giada has roamed the world, using its topographies as&nbsp;a&nbsp;backdrop for her examination of&nbsp;personal dislocation in&nbsp;both public and private spaces. In&nbsp;2000, Denis Curti curated her first solo show at&nbsp;the Spazio San Carpoforo in&nbsp;Milan. In&nbsp;2002, Biz-Art in&nbsp;Shanghai and the Italian Institute of&nbsp;Beijing invited Giada to&nbsp;present her work in&nbsp;two solo shows. A&nbsp;great deal of&nbsp;Giada&rsquo;s artistic and documentary practices have focused on&nbsp;that area of&nbsp;the world, mainly China, Central Asia, and the Caucasus. She concentrates on&nbsp;the analysis of&nbsp;space as&nbsp;a&nbsp;means for exploring personal identity and has developed a&nbsp;body of&nbsp;work characterized by&nbsp;introspection and experimentation. She often uses landscapes and energy production sites as&nbsp;a&nbsp;backdrop for her performances during which she confronts herself with foreign and distant places loaded with cultural, historical and geopolitical implications. Since 2005, she has been teaching in&nbsp;conjunction with the Master of&nbsp;Art program of&nbsp;Domus Academy in&nbsp;Milan as&nbsp;well as&nbsp;in&nbsp;several other workshops and collaborates with the International Center of&nbsp;Photography in&nbsp;New York.</p> <p><span style="font-size: medium;">Past shows:</span></p> <p><strong>2011</strong> Un&rsquo;Ita&rsquo;, Arianna Rosica &amp;&nbsp;flashart, curator, Industria Super Studios, New York, USA; Sputnik Gallery, New York; <strong>2010</strong> Latheral Bodies, Arterra Museum, Spazio Thetis, Arsenale, Venice, Italy; Detour Journey; The Moleskine notebook experience, Rafaela Guidobono, curator, Bund 18&nbsp;Gallery, Shanghai, China; <strong>2009</strong> Falling Icons, Elena Agudio e&nbsp;Maddelena d&rsquo;Alfonso curators, Oratorio della Passione di&nbsp;S.&nbsp;Ambrogio, Milan; L&rsquo;intenzione del vedere, La&nbsp;citta` e&nbsp;la&nbsp;donna; Insaartcenter Seoul, Korea; L&rsquo;intenzione del vedere; La&nbsp;citta` e&nbsp;la&nbsp;donna, Rivus Gallery, Incheon Catholic University, Incheon, Korea ; <strong>2008</strong> Beyond the Oil Route, Palazzo delle Esposizioni, Festival Roma; CHINA08&nbsp;at the RCA, Yanki Lee, curator, Royal College of&nbsp;Art, London, UK; CHINA08&nbsp;at the RCA, Yanki Lee, curator, CRG Gallery New York; Latino Latino America, Castello di&nbsp;Barletta, Raffaela Guidobono, curator, Bari, Italy; Singular, Luxe Gallery, New York, USA; <strong>2007</strong> Abstract Realities, CVZ Contemporary, New York, USA; 2006&nbsp;Hermes: 10&nbsp;Oggetti, 10&nbsp;racconti, 10&nbsp;Fotografie, Grazia Neri Gallery, Milan, Italy; Bearing the Female Figure, Allen Frame curator, PS122, New York;<strong> 2006</strong> Voices of&nbsp;a&nbsp;New Generation of&nbsp;Women, International Museum of&nbsp;Women of&nbsp;San Francisco curator, UN&nbsp;Headquarters, New York, USA ; <strong>2004</strong>&nbsp;Portraits, Esso Gallery, New York, USA; Field of&nbsp;Depth; Landscape in&nbsp;Emerging Photography, Carlos Motta curator, Latin Collector Gallery, New York, USA; <strong>2003</strong> Group Show, Emanuel Lambion curator, Mus&eacute;e du&nbsp;Botanique, Brussels, Belgium; <strong>2002</strong> Advance Notice, International Center of&nbsp;Photography, Allen Frame curator, New York, USA; Your-Self, Sesto Senso, Stefano Pasquini curator, Bologna, Italy; Lost in&nbsp;Space, Italian Cultural Institute, Bejing, China; Lost in&nbsp;Space, BizArt, Davide Quadrio curator, Shanghai, China; <strong>2000</strong> Private Space; Displacement &amp;&nbsp;Illusions, Spazio San Carpoforo, Denis Curti curator, Milan; <strong>1999</strong> International Center of&nbsp;Photography Museum, New York, USA<br /> <br /> <span style="font-size: medium;">Future Shows:</span></p> <p><strong>2012</strong> Project B&nbsp;Gallery, Milan, Italy; Duo show, Elena Abbiatici, curator, Camera 16&nbsp;Gallery, Milan, Italy; Sputnik Gallery, New York, USA; 2012&nbsp;ARCO, Madrid; <strong>2011</strong>&nbsp;MMoMA, Displacement, EreditareIlPaesaggio and Bogdan Mamonov curators, Moscow Museum of&nbsp;Modern Art</p> <p>Publications &amp;&nbsp;Catalogues:</p> <p><strong>2011</strong> The Invisible Pipeline, text by&nbsp;Giovanna Calvenzi, Book commissioned by&nbsp;Eni ; Displacement, texts by&nbsp;Viktor Misiano, Marco Buttino, Giovanna Calvenzi and EreditareIlPaesaggio curatorial group, Moleskine; <strong>2009</strong> Falling Icons, catalogue, text by&nbsp;Elena Agudio, Maddalena D&rsquo;Alfonso and Marina Berio; <strong>2002</strong> Lost in&nbsp;Space, catalogue, text by&nbsp;Micaela Giovanotti</p> <p><span style="font-size: medium;">Awards: </span></p> <p><strong>2009</strong> Terna Award short-list finalist<br /> <strong>2006</strong> International Museum of&nbsp;Women of&nbsp;San Francisco&nbsp;&mdash; Imagining Ourselves: Voices of&nbsp;a&nbsp;New Generation of&nbsp;Women , presented at&nbsp;the United Nations in&nbsp;New York</p>201112212012012262637http://www.mmoma.ru/en/exhibitions/tverskoy/dzhada_ripa_peremewenie/http://www.mmoma.ru/en/exhibitions/tverskoy/dzhada_ripa_peremewenie/<p>Ignacio Burgos is well known to the international audience: his personal exhibitions are shown in major world capitals, and his works are kept in museums and private collections around the world.</p>Mon, 24 Oct 2011 19:44:00 +0400<p>Moscow Museum of&nbsp;Modern Art continues the program of&nbsp;the Year of&nbsp;Spain in&nbsp;Russia with the solo exhibition of&nbsp;Ignacio Burgos, one of&nbsp;the most interesting contemporary artists in&nbsp;his country. His art is&nbsp;recognizable and self-contained; for long years, the master is&nbsp;faithful to&nbsp;his style and does not surrender to&nbsp;the dictation of&nbsp;markets, galleries, and curators. His manner can be&nbsp;defined as &lsquo;figurative expressionism&rsquo;: in&nbsp;his canvases, the exquisite palette of&nbsp;blues, purples and ochres comes into balance with a&nbsp;special Mediterranean light, and soft but precise brushwork.</p> <p>During his career, Ignacio Burgos travelled a&nbsp;lot and lived in&nbsp;different cities, from Barcelona and New York to&nbsp;Shanghai and Casablanca. These migrations brought a&nbsp;variety of&nbsp;themes and subjects to&nbsp;his oeuvre: here one can find Arabic and Chinese women, soldiers of&nbsp;Egyptian army, participants of&nbsp;a&nbsp;yacht race, children on&nbsp;the seashore, etc. These pictures have nothing heroic or&nbsp;dramatic in&nbsp;them, these stories are about real life, about how people act in&nbsp;simple everyday situations. However, works by&nbsp;Ignacio Burgos contain something timeless and universal, something that remounts to&nbsp;the heritage of&nbsp;Spanish classics, such as&nbsp;Goya, Velasquez, or&nbsp;Ribera.</p> <p>Ignacio Burgos is&nbsp;well known to&nbsp;the international audience: his personal exhibitions are shown in&nbsp;major world capitals, and his works are kept in&nbsp;museums and private collections around the world. Apart from painting, the artist has worked with photography and metal, and created glass sculptures. The exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art familiarizes the Russian public with Ignacio Burgos&rsquo;s painted works, represented in&nbsp;their full diversity.</p>./images/cms/data/iphone/exhibitions/ignacioburgos_120.jpg./images/cms/data/iphone/exhibitions/ignacioburgos_280.jpgMoscow Museum of Modern Art, Tverskoy blvd, 9<p>Ignacio Burgos is well known to the international audience: his personal exhibitions are shown in major world capitals, and his works are kept in museums and private collections around the world.</p><p>Moscow Museum of&nbsp;Modern Art continues the program of&nbsp;the Year of&nbsp;Spain in&nbsp;Russia with the solo exhibition of&nbsp;Ignacio Burgos, one of&nbsp;the most interesting contemporary artists in&nbsp;his country. His art is&nbsp;recognizable and self-contained; for long years, the master is&nbsp;faithful to&nbsp;his style and does not surrender to&nbsp;the dictation of&nbsp;markets, galleries, and curators. His manner can be&nbsp;defined as &lsquo;figurative expressionism&rsquo;: in&nbsp;his canvases, the exquisite palette of&nbsp;blues, purples and ochres comes into balance with a&nbsp;special Mediterranean light, and soft but precise brushwork.</p> <p>During his career, Ignacio Burgos travelled a&nbsp;lot and lived in&nbsp;different cities, from Barcelona and New York to&nbsp;Shanghai and Casablanca. These migrations brought a&nbsp;variety of&nbsp;themes and subjects to&nbsp;his oeuvre: here one can find Arabic and Chinese women, soldiers of&nbsp;Egyptian army, participants of&nbsp;a&nbsp;yacht race, children on&nbsp;the seashore, etc. These pictures have nothing heroic or&nbsp;dramatic in&nbsp;them, these stories are about real life, about how people act in&nbsp;simple everyday situations. However, works by&nbsp;Ignacio Burgos contain something timeless and universal, something that remounts to&nbsp;the heritage of&nbsp;Spanish classics, such as&nbsp;Goya, Velasquez, or&nbsp;Ribera.</p> <p>Ignacio Burgos is&nbsp;well known to&nbsp;the international audience: his personal exhibitions are shown in&nbsp;major world capitals, and his works are kept in&nbsp;museums and private collections around the world. Apart from painting, the artist has worked with photography and metal, and created glass sculptures. The exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art familiarizes the Russian public with Ignacio Burgos&rsquo;s painted works, represented in&nbsp;their full diversity.</p>201111092011120461988http://www.mmoma.ru/en/exhibitions/tverskoy/ignasio_burgos_retrospektiva_19932011/http://www.mmoma.ru/en/exhibitions/tverskoy/ignasio_burgos_retrospektiva_19932011/<p>Vadim Voinov is one of the leading figures of Saint-Petersburg contemporary art. His special area of interest is Russian history of 1900s&mdash;1980s; and the real objects that, being out of use, have lost their relevance are his material of choice.</p>Mon, 25 Jul 2011 22:34:00 +0400<p><strong>Curator:</strong> Irina Karasik</p> <p>Vadim Voinov is&nbsp;one of&nbsp;the leading figures of&nbsp;Saint-Petersburg contemporary art. His special area of&nbsp;interest is&nbsp;Russian history of&nbsp;1900s&mdash;1980s; and the real objects that, being out of&nbsp;use, have lost their relevance are his material of&nbsp;choice. The artist reclaims them to&nbsp;construct his pictures and, while transforming a&nbsp;material object into a&nbsp;symbol, creates an&nbsp;efficient and polysemic representation of&nbsp;Time. The artistic effect of&nbsp;Vadim Voinov&rsquo;s works relies on&nbsp;the existence of&nbsp;several tension fields: between the symbolic interpretation of&nbsp;an&nbsp;object and its actual materiality, between the abstract representational value of&nbsp;an&nbsp;image and the physical reality of&nbsp;the object composing&nbsp;it, between the title&nbsp;&mdash; concept&nbsp;&mdash; and the syntax of&nbsp;the image, between people and events that are now gone and passed within the veil, and things that, even when appertaining to&nbsp;the past, dwell in&nbsp;the present.</p> <p>From the perspective of&nbsp;the established world art classification, Voinov&rsquo;s oeuvre fits into the assemblage tradition, which operates with the so-called found objects. However, this term refers not so&nbsp;much to&nbsp;the conceptual aspect of&nbsp;his artworks, as&nbsp;to&nbsp;the technical one. What matters to&nbsp;Voinov is&nbsp;not an&nbsp;object as&nbsp;such (a&nbsp;real physical body, idiom, language element etc), but precisely the thing, with the mark of&nbsp;its past existence on&nbsp;it, with the memory of&nbsp;human lives it&nbsp;was involved&nbsp;in, the thing as&nbsp;a&nbsp;participant, a&nbsp;witness and the guardian of&nbsp;history. At&nbsp;artist&rsquo;s will, the objects enter into unexpected compositional interactions, produce semantic combinations, which their appearance and destination can&rsquo;t fully account for. Still, they maintain their utilitarian, historical, emotional and sociopsychological identity.</p> <p>The architectonics of&nbsp;Voinov&rsquo;s art as&nbsp;a&nbsp;set of&nbsp;compositional principles, textural contrasts, spatial dynamics recalls Tatlin&rsquo;s counter-reliefs and Malevich&rsquo;s suprematic constructions. However, another Russian tradition, that dealing with the narrative, literary potential of&nbsp;the image, is&nbsp;no&nbsp;less important for the artist, who may be&nbsp;rightly called the master of&nbsp;history genre now&nbsp;&mdash; at&nbsp;a&nbsp;new stage and with new media available&nbsp;&mdash; succeeding to&nbsp;the experience of&nbsp;Russian history painting. Yet, what really appeals to&nbsp;him, is&nbsp;not so&nbsp;much a&nbsp;historical event, as&nbsp;psychology and mentality of&nbsp;the time.</p> <p>Vadim Voinov&rsquo;s exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art, which is&nbsp;part of&nbsp;the Parallel Program of&nbsp;the IV&nbsp;Moscow Biennale of&nbsp;Contemporary Art, will be&nbsp;the first solo exhibition of&nbsp;the artist in&nbsp;Moscow. His works are held in&nbsp;the collections of&nbsp;major Russian museums. They are a&nbsp;regular focus of&nbsp;Museum curators and make part of&nbsp;most large-scale projects initiated by&nbsp;the State Russian Museum. Three of&nbsp;his solo exhibitions have taken place at&nbsp;the State Hermitage, while the Museum of&nbsp;Non-Conformist Art has established a&nbsp;special gallery dedicated entirely to&nbsp;Voinov&rsquo;s art.</p>./images/cms/data/iphone/exhibitions/4mbsi_voinov_120.jpg./images/cms/data/iphone/exhibitions/4mbsi_voinov_280.jpgMoscow Museum of Modern Art. 9, Tverskoy boulevard<p>Vadim Voinov is one of the leading figures of Saint-Petersburg contemporary art. His special area of interest is Russian history of 1900s&mdash;1980s; and the real objects that, being out of use, have lost their relevance are his material of choice.</p><p><strong>Curator: </strong>Irina Karasik</p> <p>Vadim Voinov is&nbsp;one of&nbsp;the leading figures of&nbsp;Saint-Petersburg contemporary art. His special area of&nbsp;interest is&nbsp;Russian history of&nbsp;1900s&mdash;1980s; and the real objects that, being out of&nbsp;use, have lost their relevance are his material of&nbsp;choice. The artist reclaims them to&nbsp;construct his pictures and, while transforming a&nbsp;material object into a&nbsp;symbol, creates an&nbsp;efficient and polysemic representation of&nbsp;Time. The artistic effect of&nbsp;Vadim Voinov&rsquo;s works relies on&nbsp;the existence of&nbsp;several tension fields: between the symbolic interpretation of&nbsp;an&nbsp;object and its actual materiality, between the abstract representational value of&nbsp;an&nbsp;image and the physical reality of&nbsp;the object composing&nbsp;it, between the title&nbsp;&mdash; concept&nbsp;&mdash; and the syntax of&nbsp;the image, between people and events that are now gone and passed within the veil, and things that, even when appertaining to&nbsp;the past, dwell in&nbsp;the present.</p> <p>From the perspective of&nbsp;the established world art classification, Voinov&rsquo;s oeuvre fits into the assemblage tradition, which operates with the so-called found objects. However, this term refers not so&nbsp;much to&nbsp;the conceptual aspect of&nbsp;his artworks, as&nbsp;to&nbsp;the technical one. What matters to&nbsp;Voinov is&nbsp;not an&nbsp;object as&nbsp;such (a&nbsp;real physical body, idiom, language element etc), but precisely the thing, with the mark of&nbsp;its past existence on&nbsp;it, with the memory of&nbsp;human lives it&nbsp;was involved&nbsp;in, the thing as&nbsp;a&nbsp;participant, a&nbsp;witness and the guardian of&nbsp;history. At&nbsp;artist&rsquo;s will, the objects enter into unexpected compositional interactions, produce semantic combinations, which their appearance and destination can&rsquo;t fully account for. Still, they maintain their utilitarian, historical, emotional and sociopsychological identity.</p> <p>The architectonics of&nbsp;Voinov&rsquo;s art as&nbsp;a&nbsp;set of&nbsp;compositional principles, textural contrasts, spatial dynamics recalls Tatlin&rsquo;s counter-reliefs and Malevich&rsquo;s suprematic constructions. However, another Russian tradition, that dealing with the narrative, literary potential of&nbsp;the image, is&nbsp;no&nbsp;less important for the artist, who may be&nbsp;rightly called the master of&nbsp;history genre now&nbsp;&mdash; at&nbsp;a&nbsp;new stage and with new media available&nbsp;&mdash; succeeding to&nbsp;the experience of&nbsp;Russian history painting. Yet, what really appeals to&nbsp;him, is&nbsp;not so&nbsp;much a&nbsp;historical event, as&nbsp;psychology and mentality of&nbsp;the time.</p> <p>Vadim Voinov&rsquo;s exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art, which is&nbsp;part of&nbsp;the Parallel Program of&nbsp;the IV&nbsp;Moscow Biennale of&nbsp;Contemporary Art, will be&nbsp;the first solo exhibition of&nbsp;the artist in&nbsp;Moscow. His works are held in&nbsp;the collections of&nbsp;major Russian museums. They are a&nbsp;regular focus of&nbsp;Museum curators and make part of&nbsp;most large-scale projects initiated by&nbsp;the State Russian Museum. Three of&nbsp;his solo exhibitions have taken place at&nbsp;the State Hermitage, while the Museum of&nbsp;Non-Conformist Art has established a&nbsp;special gallery dedicated entirely to&nbsp;Voinov&rsquo;s art.</p>201109242011103054458http://www.mmoma.ru/en/exhibitions/tverskoy/vadim_voinov_fabula_predmeta/http://www.mmoma.ru/en/exhibitions/tverskoy/vadim_voinov_fabula_predmeta/<p>The village of Maglehem (Population 250) is situated in the bay of Han&ouml; on the south east coast of Baltic Sea (Sweden). During the last 60 years the area has attracted many artists who have found inspiration in its unique nature.</p>Mon, 18 Jul 2011 14:21:00 +0400<p>The village of&nbsp;Maglehem (Population 250) is&nbsp;situated in&nbsp;the bay of&nbsp;Han&ouml; on&nbsp;the south east coast of&nbsp;Baltic Sea (Sweden). During the last 60&nbsp;years the area has attracted many artists who have found inspiration in&nbsp;its unique nature. The relationship between the artistic expression and this nature is&nbsp;the point of&nbsp;departure for this exhibition. On&nbsp;August 8 2011&nbsp;a comprehensive exhibition opens at&nbsp;MMOMA under the banner Maglehem A&nbsp;Place On&nbsp;Earth&nbsp;&mdash; &laquo;When the view makes a&nbsp;difference&raquo;</p> <p>Fifteen artists, all living and working in&nbsp;and around Maglehem, will exhibit paintings, sculptures, lithography and drawings. In&nbsp;addition, the film &laquo;Reflections of&nbsp;the Eye&raquo; a&nbsp;forty-five minute documentary by&nbsp;the filmmaker Robin Woo S&ouml;derberg will be&nbsp;shown. The film introduces the artists, the nature and how art and nature are woven together in&nbsp;so&nbsp;many different ways. The book, Maglehem A&nbsp;Place On&nbsp;Earth, presents the artists through a&nbsp;series of&nbsp;interviews. The Russian photographer, Maria Ionova Gribina shows her large, powerful portraits of&nbsp;each of&nbsp;the fifteen artists</p> <p>The project has its origin in&nbsp;the culture association, Maglekultur. It&nbsp;is&nbsp;their hope that this unique exhibition will inspire similar cross cultural initiatives beyond Maglehem and Moscow and take root wherever artists are expressing the bond between creation and sacred nature.</p> <p>The fifteen participating artists going to&nbsp;Moscow are: <br /> Jan-Bertil Andersson, Hеkan Berg, Еke Carlstr&ouml;m, Pia Carlstr&ouml;m, Maria Hillfon, Curt Hillfon, Thomas Larsson, Еsa Lindsj&ouml;, Anna Rochegova-Cederholm, Malin Sch&ouml;nbeck, Annika Fajersson, Christer Wedman, Erika Wedman, Gunilla Widholm, Irene Trotzig.</p> <p><strong><span style="font-size: medium;">Partners of the Exhibition:</span></strong></p> <p><img src="/images/logotypes/meglehem_part.gif" alt="" /></p> <p><strong><span style="font-size: medium;">Media partners:</span></strong></p> <p><img src="/images/logotypes/meglehem_infopart.gif" alt="" /></p>./images/cms/data/iphone/exhibitions/meglehem_120.jpg./images/cms/data/iphone/exhibitions/meglehem_280.jpgMoscow Museum of Modern Art (9 Tverskoy blvd)<p>The village of Maglehem (Population 250) is situated in the bay of Han&ouml; on the south east coast of Baltic Sea (Sweden). During the last 60 years the area has attracted many artists who have found inspiration in its unique nature.</p><p>The village of&nbsp;Maglehem (Population 250) is&nbsp;situated in&nbsp;the bay of&nbsp;Han&ouml; on&nbsp;the south east coast of&nbsp;Baltic Sea. During the last 60&nbsp;years the area has attracted many artists who have found inspiration in&nbsp;its unique nature. The relationship between the artistic expression and this nature is&nbsp;the point of&nbsp;departure for this exhibition. On&nbsp;August 8 2011&nbsp;a comprehensive exhibition opens at&nbsp;MMOMA under the banner Maglehem A&nbsp;Place On&nbsp;Earth&nbsp;&mdash; &laquo;When the view makes a&nbsp;difference&raquo;</p> <p>Fifteen artists, all living and working in&nbsp;and around Maglehem, will exhibit paintings, sculptures, lithography and drawings. In&nbsp;addition, the film &laquo;Reflections of&nbsp;the Eye&raquo; a&nbsp;forty-five minute documentary by&nbsp;the filmmaker Robin Woo S&ouml;derberg will be&nbsp;shown. The film introduces the artists, the nature and how art and nature are woven together in&nbsp;so&nbsp;many different ways. The book, Maglehem A&nbsp;Place On&nbsp;Earth, presents the artists through a&nbsp;series of&nbsp;interviews. The Russian photographer, Maria Ionova Gribina shows her large, powerful portraits of&nbsp;each of&nbsp;the fifteen artists</p> <p>The project has its origin in&nbsp;the culture association, Maglekultur. It&nbsp;is&nbsp;their hope that this unique exhibition will inspire similar cross cultural initiatives beyond Maglehem and Moscow and take root wherever artists are expressing the bond between creation and sacred nature.</p> <p>The fifteen participating artists going to&nbsp;Moscow are: <br /> Jan-Bertil Andersson, Hеkan Berg, Еke Carlstrцm, Pia Carlstrцm, Maria Hillfon, Curt Hillfon, Thomas Larsson, Еsa Lindsjц, Anna Rochegova-Cederholm, Malin Schцnbeck, Annika Fajersson, Christer Wedman, Erika Wedman, Gunilla Widholm, Irene Trotzig.</p>201108092011091154331http://www.mmoma.ru/en/exhibitions/tverskoy/maglehem_mesto_na_zemle/http://www.mmoma.ru/en/exhibitions/tverskoy/maglehem_mesto_na_zemle/<p>In many artworks by the artist the viewer can see hidden searches of the lost or unidentified time. During his travels through the labyrinths, the artist finds codes and the language of his paintings by intuition.</p>Thu, 19 May 2011 17:27:00 +0400<p>Moscow Museum of&nbsp;Modern Art will host the &laquo;Dima. My&nbsp;Hand&raquo; exhibition by&nbsp;Dima Rakitin at&nbsp;9&nbsp;Tverskoy boulevard. Dima is&nbsp;a&nbsp;pseudonym of&nbsp;artist Dmitri Rakitin, who has been living and working in&nbsp;Paris in&nbsp;recent years. The &laquo;Dima. My&nbsp;Hand&raquo; exhibition contains oil and pastel paintings from a&nbsp;large series of&nbsp;brave and vivid improvisations. A&nbsp;hand is&nbsp;an&nbsp;instrument for an&nbsp;artist. But it&nbsp;hides so&nbsp;many secrets. It&nbsp;narrates about the artist&rsquo;s disposition and temperament. Near there are pastel compositions, wonderfully joyful.<br /> <br /> Paintings born by&nbsp;strong color energy occupy the whole storey. It&nbsp;transforms everyday things and motifs, endowing them with almost magic powers. Play of&nbsp;light, texture, inherent sensation of&nbsp;color creates a&nbsp;simple, but refined world, full of&nbsp;many mysteries. In&nbsp;some inconceivable way, the artist&rsquo;s canvases are related to&nbsp;traditions of&nbsp;the classical Art Nouveau. At&nbsp;the same time, it&nbsp;is&nbsp;one of&nbsp;the most interesting and unique phenomena of&nbsp;the actual art. Lettrist compositions by&nbsp;Dima Rakitin are among the most original works of&nbsp;that sort in&nbsp;the contemporary art practice.<br /> <br /> In&nbsp;many artworks by&nbsp;the artist the viewer can see hidden searches of&nbsp;the lost or&nbsp;unidentified time. During his travels through the labyrinths, the artist finds codes and the language of&nbsp;his paintings by&nbsp;intuition. No&nbsp;doubt, his artistic intuition strongly differs from intellectualism of&nbsp;the contemporary rational artists.</p> <p>Dima Rakitin was born on&nbsp;May&nbsp;28, 1961, in&nbsp;Moscow. His parents were art historians. In&nbsp;his childhood, he&nbsp;was surrounded with paintings and artists. He&nbsp;devoted himself to&nbsp;painting, when he&nbsp;was 14. His artworks participated in&nbsp;different exhibitions in&nbsp;Germany, Holland, Switzerland, France, Spain and Italy. He&nbsp;had solo exhibitions in&nbsp;the Russian Museum in&nbsp;St-Petersburg, the Museum of&nbsp;Architecture in&nbsp;Moscow, the Nashi Khudozhniki Gallery and Tula Art Museum. His artworks are in&nbsp;many prestige collections in&nbsp;Russia, i.&nbsp;e. the Russian Museum, Moscow Museum of&nbsp;Modern Art, National Center of&nbsp;Contemporary Art, as&nbsp;well as&nbsp;museums in&nbsp;Archangelsk, Novo-Jerusalem, Tver, Tula, Yaroslavl. His artworks are remarkable for their inimitable intonation.</p> <p>During the exhibition, visitors can watch the &laquo;Dima&raquo; film, made by&nbsp;the Berlin-based group &laquo;Goslab&raquo;. It&nbsp;is&nbsp;a&nbsp;film essay about the artist&rsquo;s wonderful personality, organic and original.</p> <p>For the exhibition an&nbsp;album has been published. It&nbsp;is&nbsp;a&nbsp;kind of&nbsp;the artist&rsquo;s notebook.</p>./images/cms/data/iphone/exhibitions/drakitin_120.jpg./images/cms/data/iphone/exhibitions/drakitin_280.jpgMoscow Museum of Modern Art (9 Tverskoy)<p>In many artworks by the artist the viewer can see hidden searches of the lost or unidentified time. During his travels through the labyrinths, the artist finds codes and the language of his paintings by intuition.</p><p>Moscow Museum of&nbsp;Modern Art will host the &laquo;Dima. My&nbsp;Hand&raquo; exhibition by&nbsp;Dima Rakitin at&nbsp;9&nbsp;Tverskoy boulevard. Dima is&nbsp;a&nbsp;pseudonym of&nbsp;artist Dmitri Rakitin, who has been living and working in&nbsp;Paris in&nbsp;recent years. The &laquo;Dima. My&nbsp;Hand&raquo; exhibition contains oil and pastel paintings from a&nbsp;large series of&nbsp;brave and vivid improvisations. A&nbsp;hand is&nbsp;an&nbsp;instrument for an&nbsp;artist. But it&nbsp;hides so&nbsp;many secrets. It&nbsp;narrates about the artist&rsquo;s disposition and temperament. Near there are pastel compositions, wonderfully joyful.<br /> <br /> Paintings born by&nbsp;strong color energy occupy the whole storey. It&nbsp;transforms everyday things and motifs, endowing them with almost magic powers. Play of&nbsp;light, texture, inherent sensation of&nbsp;color creates a&nbsp;simple, but refined world, full of&nbsp;many mysteries. In&nbsp;some inconceivable way, the artist&rsquo;s canvases are related to&nbsp;traditions of&nbsp;the classical Art Nouveau. At&nbsp;the same time, it&nbsp;is&nbsp;one of&nbsp;the most interesting and unique phenomena of&nbsp;the actual art. Lettrist compositions by&nbsp;Dima Rakitin are among the most original works of&nbsp;that sort in&nbsp;the contemporary art practice.<br /> <br /> In&nbsp;many artworks by&nbsp;the artist the viewer can see hidden searches of&nbsp;the lost or&nbsp;unidentified time. During his travels through the labyrinths, the artist finds codes and the language of&nbsp;his paintings by&nbsp;intuition. No&nbsp;doubt, his artistic intuition strongly differs from intellectualism of&nbsp;the contemporary rational artists.</p> <p>Dima Rakitin was born on&nbsp;May&nbsp;28, 1961, in&nbsp;Moscow. His parents were art historians. In&nbsp;his childhood, he&nbsp;was surrounded with paintings and artists. He&nbsp;devoted himself to&nbsp;painting, when he&nbsp;was 14. His artworks participated in&nbsp;different exhibitions in&nbsp;Germany, Holland, Switzerland, France, Spain and Italy. He&nbsp;had solo exhibitions in&nbsp;the Russian Museum in&nbsp;St-Petersburg, the Museum of&nbsp;Architecture in&nbsp;Moscow, the Nashi Khudozhniki Gallery and Tula Art Museum. His artworks are in&nbsp;many prestige collections in&nbsp;Russia, i.&nbsp;e. the Russian Museum, Moscow Museum of&nbsp;Modern Art, National Center of&nbsp;Contemporary Art, as&nbsp;well as&nbsp;museums in&nbsp;Archangelsk, Novo-Jerusalem, Tver, Tula, Yaroslavl. His artworks are remarkable for their inimitable intonation.</p> <p>During the exhibition, visitors can watch the &laquo;Dima&raquo; film, made by&nbsp;the Berlin-based group &laquo;Goslab&raquo;. It&nbsp;is&nbsp;a&nbsp;film essay about the artist&rsquo;s wonderful personality, organic and original.</p> <p>For the exhibition an&nbsp;album has been published. It&nbsp;is&nbsp;a&nbsp;kind of&nbsp;the artist&rsquo;s notebook.</p>201105242011061933209http://www.mmoma.ru/en/exhibitions/tverskoy/dima_rakitin_dima_moya_ruka/http://www.mmoma.ru/en/exhibitions/tverskoy/dima_rakitin_dima_moya_ruka/<p>New York, the so-called city that never sleeps, has always been and still is one giant photo-op.</p>Thu, 19 May 2011 20:52:00 +0400<p>New York, the so-called city that never sleeps, has always been and still is&nbsp;one giant photo-op. One cannot turn on&nbsp;the television, go&nbsp;to&nbsp;a&nbsp;movies or&nbsp;open a&nbsp;magazine or&nbsp;newspaper without coming face to&nbsp;face with a&nbsp;picture of&nbsp;New York City, be&nbsp;it&nbsp;of&nbsp;the Statue of&nbsp;Liberty, Wall Street Stock Exchange, Times Square, Central Park, Coney Island, or&nbsp;one of&nbsp;the countless skyscrapers that pepper the city&rsquo;s landscape.<br /> <br /> Traveling throughout Russia for the past two years, before it&nbsp;goes to&nbsp;Hungary, Germany, France, and eventually New York where it&nbsp;will end its tour in&nbsp;2012, the New York, Then and Now, curated by&nbsp;Moscow based Andrey Martynov, is&nbsp;a&nbsp;poignant sampling of&nbsp;New York City images as&nbsp;seen from the eyes of&nbsp;twenty-nine international photographers, both amateur and professional, dead and alive. Though focusing on&nbsp;life in&nbsp;New York, the exhibition is&nbsp;the story of&nbsp;every city, every person. We&nbsp;work. We&nbsp;play. We&nbsp;live. We&nbsp;die. It&nbsp;is&nbsp;also, in&nbsp;no&nbsp;small way, by&nbsp;the very subjects the photographers choose to&nbsp;document, and the manner in&nbsp;which they do&nbsp;so&nbsp;&mdash; the images range from fanciful, realistic, abstract, to&nbsp;staged, sharply focused, highly manipulated and blurred&nbsp;&mdash; an&nbsp;autobiography of&nbsp;each photographer&rsquo;s interests, concerns, and personality.<br /> <br /> From a&nbsp;homeless man on&nbsp;the street, to&nbsp;the proverbial intellectual, in&nbsp;his small and overstuffed, art and book laden apartment, photographer Carlos Escolastico, from Sevilla, Spain, chooses to&nbsp;focus on&nbsp;where and how people live. Russian photographer Valery Orlov, and New York based Jennifer Drucker, Arthur Leipzig, Anita Chernewski, and Jill Connor, all look to&nbsp;the old and weathered face of&nbsp;Brooklyn&rsquo;s Coney Island, the once legendary, turn of&nbsp;the century, amusement park. Barry Kornbluh&rsquo;s photographs, many taken from the window of&nbsp;his downtown New York apartment, present the jazzy side of&nbsp;the city. Walter Rosenblum&rsquo;s (1919-2006), and Arthur Leipzig&rsquo;s photographs take&nbsp;us back to&nbsp;New York during the 1940s. German based photographer Kerstin Drobek transforms public locations into orchestrated individual happenings. New York based Marcy V. Hargan, along with Polish photographer Zbigniew Kosc, captures the city&rsquo;s brilliant architecture in&nbsp;varying seasons, while Edward Rubin&rsquo;s photograph of&nbsp;Christo and Jean Claude&rsquo;s 2005 installation of&nbsp;7,503 saffron colored gates in&nbsp;Central Park, almost the twin of&nbsp;Georges Seurat&rsquo;s A&nbsp;Sunday Afternoon on&nbsp;the Island of&nbsp;La&nbsp;Grande Jatte (1884-1886), offers proof positive that despite all change, entertainment, people, and their poses, remain virtually the same.</p>./images/cms/data/iphone/exhibitions/new_york_tis_120.jpg./images/cms/data/iphone/exhibitions/new_york_tis_280.jpgMoscow Museum of Modern Art (9 Tverskoy Boulevard)<p>New York, the so-called city that never sleeps, has always been and still is one giant photo-op.</p><p>New York, the so-called city that never sleeps, has always been and still is&nbsp;one giant photo-op. One cannot turn on&nbsp;the television, go&nbsp;to&nbsp;a&nbsp;movies or&nbsp;open a&nbsp;magazine or&nbsp;newspaper without coming face to&nbsp;face with a&nbsp;picture of&nbsp;New York City, be&nbsp;it&nbsp;of&nbsp;the Statue of&nbsp;Liberty, Wall Street Stock Exchange, Times Square, Central Park, Coney Island, or&nbsp;one of&nbsp;the countless skyscrapers that pepper the city&rsquo;s landscape.&nbsp;<br /> <br /> Traveling throughout Russia for the past two years, before it&nbsp;goes to&nbsp;Hungary, Germany, France, and eventually New York where it&nbsp;will end its tour in&nbsp;2012, the New York, Then and Now, curated by&nbsp;Moscow based Andrey Martynov, is&nbsp;a&nbsp;poignant sampling of&nbsp;New York City images as&nbsp;seen from the eyes of&nbsp;twenty-nine international photographers, both amateur and professional, dead and alive. Though focusing on&nbsp;life in&nbsp;New York, the exhibition is&nbsp;the story of&nbsp;every city, every person. We&nbsp;work. We&nbsp;play. We&nbsp;live. We&nbsp;die. It&nbsp;is&nbsp;also, in&nbsp;no&nbsp;small way, by&nbsp;the very subjects the photographers choose to&nbsp;document, and the manner in&nbsp;which they do&nbsp;so&nbsp;&mdash; the images range from fanciful, realistic, abstract, to&nbsp;staged, sharply focused, highly manipulated and blurred&nbsp;&mdash; an&nbsp;autobiography of&nbsp;each photographer&rsquo;s interests, concerns, and personality.<br /> <br /> From a&nbsp;homeless man on&nbsp;the street, to&nbsp;the proverbial intellectual, in&nbsp;his small and overstuffed, art and book laden apartment, photographer Carlos Escolastico, from Sevilla, Spain, chooses to&nbsp;focus on&nbsp;where and how people live. Russian photographer Valery Orlov, and New York based Jennifer Drucker, Arthur Leipzig, Anita Chernewski, and Jill Connor, all look to&nbsp;the old and weathered face of&nbsp;Brooklyn&rsquo;s Coney Island, the once legendary, turn of&nbsp;the century, amusement park. Barry Kornbluh&rsquo;s photographs, many taken from the window of&nbsp;his downtown New York apartment, present the jazzy side of&nbsp;the city. Walter Rosenblum&rsquo;s (1919-2006), and Arthur Leipzig&rsquo;s photographs take&nbsp;us back to&nbsp;New York during the 1940s. German based photographer Kerstin Drobek transforms public locations into orchestrated individual happenings. New York based Marcy V. Hargan, along with Polish photographer Zbigniew Kosc, captures the city&rsquo;s brilliant architecture in&nbsp;varying seasons, while Edward Rubin&rsquo;s photograph of&nbsp;Christo and Jean Claude&rsquo;s 2005 installation of&nbsp;7,503 saffron colored gates in&nbsp;Central Park, almost the twin of&nbsp;Georges Seurat&rsquo;s A&nbsp;Sunday Afternoon on&nbsp;the Island of&nbsp;La&nbsp;Grande Jatte (1884-1886), offers proof positive that despite all change, entertainment, people, and their poses, remain virtually the same.</p>201106282011073133112http://www.mmoma.ru/en/exhibitions/tverskoy/nyujork_togda_i_sejchas/http://www.mmoma.ru/en/exhibitions/tverskoy/nyujork_togda_i_sejchas/<p>For the first time ever in Russia, Moscow Museum of Modern Art presents a solo exhibition of legendary American photographer Roxanne Lowit. The exhibition is part of the parallel program of the 6th Moscow International Festival Fashion and Style in Photography 2011.</p>Fri, 01 Apr 2011 04:49:00 +0400<p><strong>Producers &amp;&nbsp;Curators:</strong> ZAK &amp;&nbsp;Ja&rsquo;bagh Kaghado</p> <p>For the first time ever in&nbsp;Russia, Moscow Museum of&nbsp;Modern Art presents a&nbsp;solo exhibition of&nbsp;legendary American photographer Roxanne Lowit. The exhibition is&nbsp;part of&nbsp;the parallel program of&nbsp;the 6th Moscow International Festival Fashion and Style in&nbsp;Photography 2011.</p> <p>For many years, covers and fashion stories by&nbsp;Roxanne Lowit were published in&nbsp;top international glossy magazines such as&nbsp;Vogue, Vanity Fair, Elle, V&nbsp;Magazine, Glamour, and Tatler. Roxanne&rsquo;s camera captured most fabulous style icons from the world of&nbsp;fashion, art, theatre, and cinema, such as&nbsp;Andy Warhol, Salvador Dal&iacute;, Yves Saint-Laurent, Johnny Depp, Jean-Michel Basquiat, Damien Hirst, Steven Meisel, David Bowie, and many others.</p> <p>After three decades of&nbsp;shooting, Roxanne Lowit created the unique backstage ambiance and changed fashion photography forever, having become as&nbsp;much a&nbsp;celebrity as&nbsp;those she photographed. Roxanne has received a&nbsp;great number of&nbsp;awards, and for many photographers and fans of&nbsp;her talent, she has evolved into a&nbsp;unique style icon.</p> <p>Lowit started taking pictures in&nbsp;the late 70s with her Kodak 110&nbsp;Instamatic, photographing her own designs at&nbsp;New York fashion shows. She was soon covering all designers in&nbsp;Paris where her friends&nbsp;&mdash; models like Jerry Hall&nbsp;&mdash; would sneak her backstage. It&nbsp;was there that she found her place (and career) in&nbsp;fashion. &laquo;For&nbsp;me, that&rsquo;s where it&nbsp;was happening,&raquo; she says.</p> <p>Lowit did not go&nbsp;to&nbsp;school to&nbsp;become a&nbsp;photographer. She graduated from the Fashion Institute of&nbsp;Technology (FIT) in&nbsp;New York with a&nbsp;degree in&nbsp;art history and textile design. It&nbsp;was during her successful career as&nbsp;textile designer that she realized something: &laquo;I&nbsp;painted and there were people whom&nbsp;I wanted to&nbsp;sit for me&nbsp;but who had no&nbsp;time, so&nbsp;I started taking pictures of&nbsp;them. I&nbsp;liked the opportunity of&nbsp;getting instant images, so&nbsp;I traded in&nbsp;my&nbsp;paintbrushes for a&nbsp;camera.&raquo;</p> <p>The Metropolitan Museum of&nbsp;Art, the Whitney Museum of&nbsp;American Art, and the Victoria &amp;&nbsp;Albert Museum in&nbsp;London have all exhibited works by&nbsp;Roxanne Lowit. Her images are on&nbsp;display as&nbsp;part of&nbsp;the permanent collection at&nbsp;the Kobe Fashion Museum in&nbsp;Japan. Roxanne&rsquo;s many group shows include the Gagosian Gallery and Art Basel Miami Beach. She has had solo shows in&nbsp;New York, Paris, Monte Carlo, Amsterdam, D&uuml;sseldorf, and Berlin. Her books, Moments (1990) and People (2001), provide striking visual chronicles of&nbsp;the creative energy of&nbsp;the international nightlife from the past thirty years. Roxanne&rsquo;s latest book entitled Dior Backstage (2010) is&nbsp;considered by&nbsp;the IPA to&nbsp;be&nbsp;the best photo-book of&nbsp;2010.</p> <p>***</p> <p>Visual artist Ja&rsquo;bagh Kaghado, who started his career in&nbsp;photography assisting Roxanne Lowit for many years in&nbsp;NYC, Paris, and London, will be&nbsp;the special guest collaborator at&nbsp;Roxanne Lowit&rsquo;s exhibition in&nbsp;Moscow. Ja&rsquo;bagh will be&nbsp;showing his new show "My Beautiful Distortion"&nbsp;made specially for the show. <br /> Ja&rsquo;bagh&rsquo;s is&nbsp;considered to&nbsp;be&nbsp;one of&nbsp;the most influential young visual artists in&nbsp;Moscow after his debut exhibition Moskva Raw commissioned by&nbsp;the Moscow Museum of&nbsp;Modern Art in&nbsp;2008 made him the youngest artist to&nbsp;have a&nbsp;major solo show at&nbsp;the Museum at&nbsp;the age of&nbsp;27.</p> <p>***</p> <p><strong><span style="font-size: medium;">Artist talk with Roxanne Lowit will be&nbsp;held at&nbsp;the Moscow Museum of&nbsp;Modern Art (9&nbsp;Tverskoy Blvd) on&nbsp;April&nbsp;12, 2011. </span></strong></p> <p><strong><span style="font-size: medium;">Please confirm your attendance via rsvp@mmoma.ru</span></strong></p> <p><br /> Official partner &mdash; Dior<br /> General media partner&nbsp;&mdash; Harper&rsquo;s Bazaar</p>./images/cms/data/iphone/exhibitions/icons_style_120.jpg./images/cms/data/iphone/exhibitions/icons_style_280.jpgMoscow Museum of Modern Art at 9 Tverskoy Boulevard<p>For the first time ever in Russia, Moscow Museum of Modern Art presents a solo exhibition of legendary American photographer Roxanne Lowit. The exhibition is part of the parallel program of the 6th Moscow International Festival Fashion and Style in Photography 2011.</p><p><strong>Producers &amp;&nbsp;Curators:</strong> ZAK &amp;&nbsp;Ja&rsquo;bagh Kaghado</p> <p>For the first time ever in&nbsp;Russia, Moscow Museum of&nbsp;Modern Art presents a&nbsp;solo exhibition of&nbsp;legendary American photographer Roxanne Lowit. The exhibition is&nbsp;part of&nbsp;the parallel program of&nbsp;the 6th Moscow International Festival Fashion and Style in&nbsp;Photography 2011.</p> <p>For many years, covers and fashion stories by&nbsp;Roxanne Lowit were published in&nbsp;top international glossy magazines such as&nbsp;Vogue, Vanity Fair, Elle, V&nbsp;Magazine, Glamour, and Tatler. Roxanne&rsquo;s camera captured most fabulous style icons from the world of&nbsp;fashion, art, theatre, and cinema, such as&nbsp;Andy Warhol, Salvador Dal&iacute;, Yves Saint-Laurent, Johnny Depp, Jean-Michel Basquiat, Damien Hirst, Steven Meisel, David Bowie, and many others.</p> <p>After three decades of&nbsp;shooting, Roxanne Lowit created the unique backstage ambiance and changed fashion photography forever, having become as&nbsp;much a&nbsp;celebrity as&nbsp;those she photographed. Roxanne has received a&nbsp;great number of&nbsp;awards, and for many photographers and fans of&nbsp;her talent, she has evolved into a&nbsp;unique style icon.</p> <p>Lowit started taking pictures in&nbsp;the late 70s with her Kodak 110&nbsp;Instamatic, photographing her own designs at&nbsp;New York fashion shows. She was soon covering all designers in&nbsp;Paris where her friends&nbsp;&mdash; models like Jerry Hall&nbsp;&mdash; would sneak her backstage. It&nbsp;was there that she found her place (and career) in&nbsp;fashion. &laquo;For&nbsp;me, that&rsquo;s where it&nbsp;was happening,&raquo; she says.</p> <p>Lowit did not go&nbsp;to&nbsp;school to&nbsp;become a&nbsp;photographer. She graduated from the Fashion Institute of&nbsp;Technology (FIT) in&nbsp;New York with a&nbsp;degree in&nbsp;art history and textile design. It&nbsp;was during her successful career as&nbsp;textile designer that she realized something: &laquo;I&nbsp;painted and there were people whom&nbsp;I wanted to&nbsp;sit for me&nbsp;but who had no&nbsp;time, so&nbsp;I started taking pictures of&nbsp;them. I&nbsp;liked the opportunity of&nbsp;getting instant images, so&nbsp;I traded in&nbsp;my&nbsp;paintbrushes for a&nbsp;camera.&raquo;</p> <p>The Metropolitan Museum of&nbsp;Art, the Whitney Museum of&nbsp;American Art, and the Victoria &amp;&nbsp;Albert Museum in&nbsp;London have all exhibited works by&nbsp;Roxanne Lowit. Her images are on&nbsp;display as&nbsp;part of&nbsp;the permanent collection at&nbsp;the Kobe Fashion Museum in&nbsp;Japan. Roxanne&rsquo;s many group shows include the Gagosian Gallery and Art Basel Miami Beach. She has had solo shows in&nbsp;New York, Paris, Monte Carlo, Amsterdam, D&uuml;sseldorf, and Berlin. Her books, Moments (1990) and People (2001), provide striking visual chronicles of&nbsp;the creative energy of&nbsp;the international nightlife from the past thirty years. Roxanne&rsquo;s latest book entitled Dior Backstage (2010) is&nbsp;considered by&nbsp;the IPA to&nbsp;be&nbsp;the best photo-book of&nbsp;2010.</p> <p>***</p> <p>Visual artist Ja&rsquo;bagh Kaghado, who started his career in&nbsp;photography assisting Roxanne Lowit for many years in&nbsp;NYC, Paris, and London, will be&nbsp;the special guest collaborator at&nbsp;Roxanne Lowit&rsquo;s exhibition in&nbsp;Moscow. Ja&rsquo;bagh will be&nbsp;showing some new images made specially for the show. <br /> Ja&rsquo;bagh&rsquo;s is&nbsp;considered to&nbsp;be&nbsp;one of&nbsp;the most influential young visual artists in&nbsp;Moscow after his debut exhibition Moskva Raw commissioned by&nbsp;the Moscow Museum of&nbsp;Modern Art in&nbsp;2008 made him the youngest artist to&nbsp;have a&nbsp;major solo show at&nbsp;the Museum at&nbsp;the age of&nbsp;27.</p> <p>***</p> <p><strong>Artist talk with Roxanne Lowit will be&nbsp;held at&nbsp;the Moscow Museum of&nbsp;Modern Art (9&nbsp;Tverskoy Blvd) on&nbsp;April&nbsp;12, 2011.</strong></p> <p><strong><span>Please confirm your attendance via rsvp@mmoma.ru</span></strong></p> <p><strong></strong><br /> Official sponsor&nbsp;&mdash; Dior<br /> Main media partner&nbsp;&mdash; Harper&rsquo;s Bazaar</p>201104122011051532220http://www.mmoma.ru/en/exhibitions/tverskoy/roksan_louit_ikony_stilya/http://www.mmoma.ru/en/exhibitions/tverskoy/roksan_louit_ikony_stilya/<p>The new project &laquo;Festivals&raquo; includes about 40 paintings, the presentation of&nbsp;the exhibition is&nbsp;expected in&nbsp;Moscow Museum of&nbsp;Modern Art in&nbsp;March 2011.</p>Wed, 02 Feb 2011 19:57:00 +0300<p>The new project &laquo;Festivals&raquo; includes about 40 paintings, the presentation of&nbsp;the exhibition is&nbsp;expected in&nbsp;Moscow Museum of&nbsp;Modern Art in&nbsp;March 2011. All the works of&nbsp;the painter are new and created especially for this project.</p> <p>The Artist is&nbsp;mostly attracted by&nbsp;similarity in&nbsp;the sphere of&nbsp;emotions. Peace here is&nbsp;a&nbsp;feeling of&nbsp;eternity, blessed peace, that evokes glad and cheerful expectation, the hope, that new life lacking of&nbsp;problems and mistakes is&nbsp;setting&nbsp;in, and all illness is&nbsp;left in&nbsp;previous, past life. Fests are distinguished from common days by&nbsp;the special, ecstatic state of&nbsp;mind, happiness, excitement, love, ardor. Shorin regards Festivals as&nbsp;a&nbsp;sacral process and hopes to&nbsp;create the icons of&nbsp;modern world in&nbsp;his own forms.</p> <p>"Fests are often associated with childhood, when you have been looking forward to&nbsp;see the Christmas tree and presents under&nbsp;it, or&nbsp;when you with your mother were painting eggs for Easter, when sitting on&nbsp;your father&rsquo;s shoulders, surrounded with flags, balloons and happy people, listening to&nbsp;the loud music you were moving with 1st of&nbsp;May demonstration. But this simplicity is&nbsp;just a&nbsp;vision. Every nation and every country has its own system of&nbsp;Festivals, which is&nbsp;official and obligatory. The first of&nbsp;such fests, that was established by&nbsp;Sinai government, was Saturday in&nbsp;the culture of&nbsp;ancient Jews. Saturday was a&nbsp;seventh day of&nbsp;a&nbsp;week, and it&nbsp;was connected with the creation, when God, after creating the world in&nbsp;6&nbsp;days, saw, that it&nbsp;was good, and had rest. Sunday became this kind of&nbsp;a&nbsp;day for Christian culture, it&nbsp;was a&nbsp;first day of&nbsp;a&nbsp;week, connected with Christ Resurrection. Besides Fests, connecting with sacral sphere, there exist also society, governmental and personal fests, that seem to&nbsp;be&nbsp;less of&nbsp;divine essence. But all the festivals are united by&nbsp;common features: every fest means peace, freedom from work and problems, when the time around you seems to&nbsp;be&nbsp;frozen, stopped. Every Fest is&nbsp;a&nbsp;kind of&nbsp;canonized event, with its own attributes and rituals."</p>./images/cms/data/iphone/exhibitions/shorinpr_120.jpg./images/cms/data/iphone/exhibitions/shorinpr_280.jpgMoscow Museum of Modern Art at 9 Tverskoy Boulevard <p>The new project &laquo;Festivals&raquo; includes about 40 paintings, the presentation of&nbsp;the exhibition is&nbsp;expected in&nbsp;Moscow Museum of&nbsp;Modern Art in&nbsp;March 2011.</p><p>The new project &laquo;Festivals&raquo; includes 43&nbsp;paintings, the presentation of&nbsp;the exhibition is&nbsp;expected in&nbsp;Moscow Museum of&nbsp;Modern Art in&nbsp;March 2011. All the works of&nbsp;the painter are new and created especially for this project.</p> <p>Fests are often associated with childhood, when you have been looking forward to&nbsp;see the Christmas tree and presents under&nbsp;it, or&nbsp;when you with your mother were painting eggs for Easter, when sitting on&nbsp;your father&rsquo;s shoulders, surrounded with flags, balloons and happy people, listening to&nbsp;the loud music you were moving with 1st of&nbsp;May demonstration. But this simplicity is&nbsp;just a&nbsp;vision. Every nation and every country has its own system of&nbsp;Festivals, which is&nbsp;official and obligatory. The first of&nbsp;such fests, that was established by&nbsp;Sinai government, was Saturday in&nbsp;the culture of&nbsp;ancient Jews. Saturday was a&nbsp;seventh day of&nbsp;a&nbsp;week, and it&nbsp;was connected with the creation, when God, after creating the world in&nbsp;6&nbsp;days, saw, that it&nbsp;was good, and had rest. Sunday became this kind of&nbsp;a&nbsp;day for Christian culture, it&nbsp;was a&nbsp;first day of&nbsp;a&nbsp;week, connected with Christ Resurrection. Besides Fests, connecting with sacral sphere, there exist also society, governmental and personal fests, that seem to&nbsp;be&nbsp;less of&nbsp;divine essence. But all the festivals are united by&nbsp;common features: every fest means peace, freedom from work and problems, when the time around you seems to&nbsp;be&nbsp;frozen, stopped. Every Fest is&nbsp;a&nbsp;kind of&nbsp;canonized event, with its own attributes and rituals . The Artist is&nbsp;mostly attracted by&nbsp;similarity in&nbsp;the sphere of&nbsp;emotions. Peace here is&nbsp;a&nbsp;feeling of&nbsp;eternity, blessed peace, that evokes glad and cheerful expectation, the hope, that new life lacking of&nbsp;problems and mistakes is&nbsp;setting&nbsp;in, and all illness is&nbsp;left in&nbsp;previous, past life. Fests are distinguished from common days by&nbsp;the special, ecstatic state of&nbsp;mind, happiness, excitement, love, ardor. Shorin regards Festivals as&nbsp;a&nbsp;sacral process and hopes to&nbsp;create the icons of&nbsp;modern world in&nbsp;his own forms.</p>201103052011040327453http://www.mmoma.ru/en/exhibitions/tverskoy/dmitrij_shorin_prazdniki/http://www.mmoma.ru/en/exhibitions/tverskoy/dmitrij_shorin_prazdniki/<p>Olga and Oleg Tatarintsev are rightly considered to stand among the leading followers of minimalist art tradition. Their works can be found in important museums of contemporary art and private collections all around the world.</p>Mon, 17 Jan 2011 16:45:00 +0300<p><span style="font-size: small;">Curated by Sergey Popov</span></p> <p>&nbsp;</p> <p>Moscow Museum of&nbsp;Modern Art presents The Maximum Exclusions, an&nbsp;exhibition by&nbsp;Olga and Oleg Tatarintsev. The artists who are usually seen as&nbsp;a&nbsp;couple work seldom together in&nbsp;fact, which is&nbsp;why their joint projects are so&nbsp;important. Olga and Oleg Tatarintsev are rightly considered to&nbsp;stand among the leading followers of&nbsp;minimalist art tradition. Their works can be&nbsp;found in&nbsp;important museums of&nbsp;contemporary art and private collections all around the world.</p> <p>Their unique position on&nbsp;the art scene of&nbsp;Moscow is&nbsp;justified by&nbsp;the fact that ceramic, their favorite material, is&nbsp;usually excluded from the context of&nbsp;contemporary art. The Tatarintsev couple ruin all stereotypes with the mere fact of&nbsp;their long-lasting activity. Their objects of&nbsp;radically simple form are extremely complex in&nbsp;intellectual content and execution (some of&nbsp;them may take up&nbsp;to&nbsp;one year in&nbsp;the making); they are in&nbsp;the state of&nbsp;dialog with the whole tradition of&nbsp;world art, from Russian avant-garde to&nbsp;the newest post-minimalist sculpture.</p> <p>The Maximum Exclusions exhibition unites 10&nbsp;objects that present main stages in&nbsp;the creative career of&nbsp;the artists, along with several paintings. Among the exhibits are well-known sculptures, such as&nbsp;Segments, Road, and Steps, which speculate on&nbsp;different notions like parts and whole, structure and chaos, free growth of&nbsp;elements and their subordination to&nbsp;a&nbsp;precise plan, or&nbsp;repetition of&nbsp;similar fragments. Tatarintsev&rsquo;s objects are realized with the help of&nbsp;an&nbsp;easily recognizable geometry, but also with color, which is&nbsp;an&nbsp;essential component in&nbsp;their art. In&nbsp;their sculptures, architectonics combines with painterly principles that turn the cold monumental objects into living works of&nbsp;art.</p> <p>The Maximum &nbsp;Exclusions project explores space as&nbsp;the platform for experiments in&nbsp;art. The artists reveal characteristics of&nbsp;space through objects and paintings alike. In&nbsp;Olga Tatarintseva&rsquo;s large-scale canvases, the carefully planned geometry of&nbsp;form is&nbsp;the foundation for a&nbsp;new ambience in&nbsp;the familiar surroundings. This is&nbsp;the very The Maximum Exclusions by&nbsp;Tatarintsev&nbsp;&mdash; these artists have the power to&nbsp;create extraordinary things in&nbsp;the space of&nbsp;contemporary art, which seems infinite but is&nbsp;really full of&nbsp;limitations.</p> <p>***</p> <p>Oleg Tatarintsev was born on&nbsp;September&nbsp;17, 1966 in&nbsp;Baku, Azerbaijan. Olga was born on&nbsp;April&nbsp;4, 1967 in&nbsp;Ukraine. Both graduated from the Lvov Academy of&nbsp;Arts. In&nbsp;1993, the artists moved to&nbsp;Moscow. Their works were displayed in&nbsp;70&nbsp;exhibitions in&nbsp;Russia and abroad, including 11&nbsp;personal shows.</p> <p>The works can be&nbsp;found in&nbsp;the collections of&nbsp;the Moscow Museum of&nbsp;Modern Art, All-Russian Museum of&nbsp;Decorative and Folk Art (Moscow), Museum of&nbsp;Stroganov Academy of&nbsp;Art and Industry (Moscow), Ludwig Museum at&nbsp;the State Russian Museum (St&nbsp;Petersburg), Elagin Ostrov Palace Museum (St&nbsp;Petersburg), Museum of&nbsp;Decorative Art of&nbsp;Stieglitz Academy of&nbsp;Art and Industry (St&nbsp;Petersburg), Ukrainian National Museum of&nbsp;Monumental Ceramics (Oposhnya), Memorial House of&nbsp;Maximilian Voloshin (Koktebel), Lvov Academy of&nbsp;Arts, the collection of&nbsp;the Mayor of&nbsp;Moscow, as&nbsp;well as&nbsp;private collections around the world.</p> <p>The catalogue of&nbsp;the exhibition will include the most important works by&nbsp;the artists.</p> <p><img src="/images/logotypes/villagio_logo.gif" alt="" /></p>./images/cms/data/iphone/exhibitions/tatarincevi_120.jpg./images/cms/data/iphone/exhibitions/tatarincevi_280.jpgMoscow Museum of Modern Art at 9 Tverskoy Boulevard<p>Olga and Oleg Tatarintsev are rightly considered to stand among the leading followers of minimalist art tradition. Their works can be found in important museums of contemporary art and private collections all around the world.</p><p>Moscow Museum of&nbsp;Modern Art presents The Maximum Exclusions, an&nbsp;exhibition by&nbsp;Olga and Oleg Tatarintsev. The artists who are usually seen as&nbsp;a&nbsp;couple work seldom together in&nbsp;fact, which is&nbsp;why their joint projects are so&nbsp;important. Olga and Oleg Tatarintsev are rightly considered to&nbsp;stand among the leading followers of&nbsp;minimalist art tradition. Their works can be&nbsp;found in&nbsp;important museums of&nbsp;contemporary art and private collections all around the world.<br /> <br /> Their unique position on&nbsp;the art scene of&nbsp;Moscow is&nbsp;justified by&nbsp;the fact that ceramic, their favorite material, is&nbsp;usually excluded from the context of&nbsp;contemporary art. The Tatarintsev couple ruin all stereotypes with the mere fact of&nbsp;their long-lasting activity. Their objects of&nbsp;radically simple form are extremely complex in&nbsp;intellectual content and execution (some of&nbsp;them may take up&nbsp;to&nbsp;one year in&nbsp;the making); they are in&nbsp;the state of&nbsp;dialog with the whole tradition of&nbsp;world art, from Russian avant-garde to&nbsp;the newest post-minimalist sculpture.</p> <p>The Maximum Excusions exhibition unites 10&nbsp;objects that present main stages in&nbsp;the creative career of&nbsp;the artists, along with several paintings. Among the exhibits are well-known sculptures, such as&nbsp;Segments, Road, and Steps, which speculate on&nbsp;different notions like parts and whole, structure and chaos, free growth of&nbsp;elements and their subordination to&nbsp;a&nbsp;precise plan, or&nbsp;repetition of&nbsp;similar fragments. Tatarintsev&rsquo;s objects are realized with the help of&nbsp;an&nbsp;easily recognizable geometry, but also with color, which is&nbsp;an&nbsp;essential component in&nbsp;their art. In&nbsp;their sculptures, architectonics combines with painterly principles that turn the cold monumental objects into living works of&nbsp;art.<br /> <br /> The Maximum Excusions project explores space as&nbsp;the platform for experiments in&nbsp;art. The artists reveal characteristics of&nbsp;space through objects and paintings alike. In&nbsp;Olga Tatarintseva&rsquo;s large-scale canvases, the carefully planned geometry of&nbsp;form is&nbsp;the foundation for a&nbsp;new ambience in&nbsp;the familiar surroundings. This is&nbsp;the very The Maximum Excusions by&nbsp;Tatarintsev&nbsp;&mdash; these artists have the power to&nbsp;create extraordinary things in&nbsp;the space of&nbsp;contemporary art, which seems infinite but is&nbsp;really full of&nbsp;limitations.</p> <p>***</p> <p>Oleg Tatarintsev was born on&nbsp;September&nbsp;17, 1966 in&nbsp;Baku, Azerbaijan. Olga was born on&nbsp;April&nbsp;4, 1967 in&nbsp;Ukraine. Both graduated from the Lvov Academy of&nbsp;Arts. In&nbsp;1993, the artists moved to&nbsp;Moscow. Their works were displayed in&nbsp;70&nbsp;exhibitions in&nbsp;Russia and abroad, including 11&nbsp;personal shows.<br /> <br /> The works can be&nbsp;found in&nbsp;the collections of&nbsp;the Moscow Museum of&nbsp;Modern Art, All-Russian Museum of&nbsp;Decorative and Folk Art (Moscow), Museum of&nbsp;Stroganov Academy of&nbsp;Art and Industry (Moscow), Ludwig Museum at&nbsp;the State Russian Museum (St&nbsp;Petersburg), Elagin Ostrov Palace Museum (St&nbsp;Petersburg), Museum of&nbsp;Decorative Art of&nbsp;Stieglitz Academy of&nbsp;Art and Industry (St&nbsp;Petersburg), Ukrainian National Museum of&nbsp;Monumental Ceramics (Oposhnya), Memorial House of&nbsp;Maximilian Voloshin (Koktebel), Lvov Academy of&nbsp;Arts, the collection of&nbsp;the Mayor of&nbsp;Moscow, as&nbsp;well as&nbsp;private collections around the world.</p> <p>The catalogue of&nbsp;the exhibition will include the most important works by&nbsp;the artists.</p>201102012011022727240http://www.mmoma.ru/en/exhibitions/tverskoy/olga_i_oleg_tatarincevy/http://www.mmoma.ru/en/exhibitions/tverskoy/olga_i_oleg_tatarincevy/<p>Moscow Museum of Modern Art presents a solo exhibition by Cecilia Paredes, internationally renowned Peruvian artist.</p>Wed, 08 Dec 2010 01:19:00 +0300<p>Moscow Museum of&nbsp;Modern Art presents a&nbsp;solo exhibition by&nbsp;Cecilia Paredes, internationally renowned Peruvian artist. Having spent her early years in&nbsp;Peru, she continued her education in&nbsp;the&nbsp;UK and then in&nbsp;Italy. Then Cecilia returned to&nbsp;the American continent, and currently divides her time between Philadelphia, Lima and Costa Rica. Her rather nomadic life and frequent travels are a&nbsp;constant source of&nbsp;inspiration. However, the artist doesn&acute;t break up&nbsp;with her origins, for it&nbsp;was Latin America that made her extremely sensitive to&nbsp;the beauty and variety of&nbsp;nature.<br /> <br /> When she was a&nbsp;child, Cecilia often produced collages from twigs, leaves and other natural materials. She started her professional career as&nbsp;a&nbsp;painter, then passed to&nbsp;three-dimensional objects and finally found herself in&nbsp;photography. The artist describes herself in&nbsp;the following words: &laquo;I&nbsp;am like a&nbsp;crow&nbsp;&mdash; I&nbsp;go flying and pick up&nbsp;whatever&nbsp;I need to&nbsp;express my&nbsp;ideas.&raquo; Paredes refers to&nbsp;her works as&nbsp;photo-performances: with the help of&nbsp;assistants she paints and decorates her own body, penetrates into the image and poses in&nbsp;front of&nbsp;her favourite Hasselblad camera. Cecilia dissolves literally in&nbsp;her pieces, using her body as&nbsp;a&nbsp;blank sheet.<br /> <br /> Private Garden exhibition incorporates works from two extensive series&nbsp;&mdash; animals and landscapes. In&nbsp;the animalistic cycle, Cecilia tries on&nbsp;the appearances of&nbsp;animals or&nbsp;fantastic mythical creatures, which gives birth to&nbsp;amazing hybrids of&nbsp;beasts and human beings. Body-art, animal attributes (such as&nbsp;feathers, antlers, or&nbsp;squames) and digital technologies are all put into play. These reincarnations reflect the inner self of&nbsp;the artist and, at&nbsp;the same time, let her face her fears. Such ritual self-identification with animals has much in&nbsp;common with folklore traditions of&nbsp;the Caribbean and even with classical Greco-Roman mythology. Paredes interprets the genre of&nbsp;self-portrait in&nbsp;her own way: here nature becomes an&nbsp;integral part of&nbsp;the artist&rsquo;s body and soul.</p> <p>The landscape series is&nbsp;a&nbsp;rather recent one&nbsp;&mdash; it&nbsp;is&nbsp;inspired by&nbsp;different cultures that the artist sees during her travels. Here mythological and natural motifs give place to&nbsp;decorative patterns that one can find in&nbsp;different places throughout the world. In&nbsp;her studio, the artist recreates the atmosphere of&nbsp;the spots that she visited, and her painted body merges with the striking backgrounds of&nbsp;her photographs. Moving from one place to&nbsp;another, we&nbsp;have to&nbsp;adapt to&nbsp;the new surroundings to&nbsp;become parts of&nbsp;the landscape. Here the setting consumes the author and becomes a&nbsp;character in&nbsp;its own right, rather than just an&nbsp;addition to&nbsp;the figure.</p> <p>The very special attitude that Cecilia Paredes demonstrates toward the environment penetrates into all aspects of&nbsp;her life. She advocates the protection of&nbsp;the environment and cultural diversity, and is&nbsp;member of&nbsp;Art for Change and Everglades Foundation. The artist has always felt that all answers are in&nbsp;nature. It&nbsp;is&nbsp;very important for her to&nbsp;attract attention to&nbsp;environmental problems and to&nbsp;make people conscious about ecology. While travelling the world, Paredes conveys adventure spirit in&nbsp;her work, having a&nbsp;truly nomadic insight. &laquo;Maybe nature is&nbsp;my&nbsp;home,&raquo; she queries.</p>./images/cms/data/iphone/exhibitions/cecilia_120.jpg./images/cms/data/iphone/exhibitions/cecilia_280.jpgMoscow Museum of Modern Art at 9 Tverskoy Boulevard<p>Moscow Museum of Modern Art presents a solo exhibition by Cecilia Paredes, internationally renowned Peruvian artist.</p><p>Moscow Museum of&nbsp;Modern Art presents a&nbsp;solo exhibition by&nbsp;Cecilia Paredes, internationally renowned Peruvian artist. Having spent her early years in&nbsp;Peru, she continued her education in&nbsp;the&nbsp;UK and then in&nbsp;Italy. Then Cecilia returned to&nbsp;the American continent, and currently divides her time between Philadelphia, Lima and Costa Rica. Her rather nomadic life and frequent travels are a&nbsp;constant source of&nbsp;inspiration. However, the artist doesn&acute;t break up&nbsp;with her origins, for it&nbsp;was Latin America that made her extremely sensitive to&nbsp;the beauty and variety of&nbsp;nature.<br /> <br /> When she was a&nbsp;child, Cecilia often produced collages from twigs, leaves and other natural materials. She started her professional career as&nbsp;a&nbsp;painter, then passed to&nbsp;three-dimensional objects and finally found herself in&nbsp;photography. The artist describes herself in&nbsp;the following words: &laquo;I&nbsp;am like a&nbsp;crow&nbsp;&mdash; I&nbsp;go flying and pick up&nbsp;whatever&nbsp;I need to&nbsp;express my&nbsp;ideas.&raquo; Paredes refers to&nbsp;her works as&nbsp;photo-performances: with the help of&nbsp;assistants she paints and decorates her own body, penetrates into the image and poses in&nbsp;front of&nbsp;her favourite Hasselblad camera. Cecilia dissolves literally in&nbsp;her pieces, using her body as&nbsp;a&nbsp;blank sheet.</p>201012212011012325880http://www.mmoma.ru/en/exhibitions/tverskoy/sesiliya_paredes_chastnyj_sad/http://www.mmoma.ru/en/exhibitions/tverskoy/sesiliya_paredes_chastnyj_sad/