http://www.mmoma.ru/en/exhibitions/gogolevsky/Журнал ДИ - - Gogolevsky 10 en<p>The exhibition at the Moscow Museum of Modern Art for the first time in Russia offers an unprecedented personal retrospective of a well-known master of the &lsquo;Soviet Pop Art&rsquo;, or Sots Art, presenting works from the 70ies and up to the present days.</p>Mon, 13 Feb 2012 19:18:00 +0400<p><span style="font-size: medium;">Curator: Andrey Erofeev</span></p> <p>The exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art for the first time in&nbsp;Russia offers an&nbsp;unprecedented personal retrospective of&nbsp;a&nbsp;well-known master of&nbsp;the &lsquo;Soviet Pop Art&rsquo;, or&nbsp;Sots Art, presenting works from the 70ies and up&nbsp;to&nbsp;the present days. The display includes over 120 works by&nbsp;the artist and is&nbsp;divided into 9&nbsp;sections, gradually presenting the development and metamorphoses of&nbsp;Leonid Sokov`s signature artistic and symbolic language.</p> <p>Sokov`s name is&nbsp;tightly linked with the conception and development of&nbsp;the Sots Art movement, which inspires Russian artists for many decades starting from the early 70s. Developing as&nbsp;a&nbsp;reaction against the aesthetical paradigm of&nbsp;Academic art and the doctrine of&nbsp;Socialist Realism, as&nbsp;well as&nbsp;the regime at&nbsp;large, the strategies of &lsquo;non-official&rsquo; art, implicated the critical revision of&nbsp;the cliches formed in&nbsp;the national collective imagination and ideology along with the shattering of&nbsp;the existing political order. The members of&nbsp;Sots Art movement, who associated themselves with this creed, followed it&nbsp;through ironical participation in&nbsp;parodying cultural artefacts, which due to&nbsp;their simplicity, intentional roughness and eclecticism for a&nbsp;long time weren`t considered art even among modernists. Sots-art proposed an&nbsp;alternative not only to&nbsp;Socialist Realism but also to&nbsp;the classical modernism and the succeeding movements of&nbsp;the liberal &laquo;underground&raquo; Russian art of&nbsp;the 1960s. Sokov`s works vividly demonstrate the characteristic features and techniques of&nbsp;the so-called &laquo;second avant-garde&raquo; that sprung up&nbsp;in&nbsp;various centers of&nbsp;contemporary culture all over the world defined as&nbsp;&laquo;postmodernism&raquo;.</p> <p>Being a&nbsp;typical postmodernist Sokov brings together the derivatives of&nbsp;modern civilization such as&nbsp;everyday objects, sacred symbols, fasces, mass-media images and the elements of&nbsp;classical world art, folk motifs, pagan idols and artifacts.</p> <p>Sokov`s famous sculptural signs dialogues became the trademark of&nbsp;Sots Art. The artist puts face to&nbsp;face various representations of&nbsp;Soviet and &laquo;Western&raquo; civilizations. The encounters of&nbsp;Marilyn Monroe and Stalin, Giacometti`s &laquo;Walking Man&raquo; and a&nbsp;typical monument of&nbsp;Lenin, folk wooden toys and imperial fasces within the space of&nbsp;one artwork reveal the geopolitical conflict of&nbsp;cultures of&nbsp;the 20th century, the polarized perception and &laquo;doublethinking&raquo; of&nbsp;a&nbsp;modern man no&nbsp;matter which political systems he&nbsp;considers himself being a&nbsp;part&nbsp;of.</p> <p>Sacred objects like depictions of&nbsp;political leaders, heraldic state symbols, classical art masterpieces are presented in&nbsp;Sokov`s work with a&nbsp;perspective that unfailingly makes the spectator shriek with laughter. The element of&nbsp;humor allows the audience to&nbsp;see the world in&nbsp;a&nbsp;different dimension, for a&nbsp;short time liberating people from subservience of&nbsp;authorities and cults. Leonid Sokov`s art praises playful popular nihilism, manifested in&nbsp;anecdotes and jokes, toys and folklore, and elevates it&nbsp;to&nbsp;the level of&nbsp;national cultural tradition.</p> <p>The present show will feature all artist&rsquo;s most famous artworks and series from various important public collections such as&nbsp;The Freedman Gallery (Albright College), Jane Voorhees Zimmerli Art Museum, Galleria Mazzoli, The State Tretyakov Gallery, The Cultural Foundation &laquo;Ekaterina&raquo;, and private collections in&nbsp;Russia, the USA and Europe as&nbsp;well as&nbsp;less known pieces from the artist`s studio, including a&nbsp;range of&nbsp;his paintings rarely exhibited in&nbsp;Russia and beyond.</p> <p>The exhibition will be&nbsp;followed by&nbsp;a&nbsp;catalogue, profoundly presenting Leonid Sokov`s oeuvre. Among the contributors to&nbsp;the publication are such renowned authors as&nbsp;art theoretician Boris Groys, art historians Andrey Erofeev, Julia Tulovski from the Jane Voorhees Zimmerli Art Museum, Gleb Napreenko, and the artist himself.</p> <p>&nbsp;</p> <p><strong>Strategic media partner:</strong></p> <p><a href="http://artchronika.ru/" target="_blank"><img src="/images/logotypes/artxronika_logo_new.jpg" border="0" alt="" /></a></p>./images/cms/data/iphone/exhibitions/sokov_120.jpg./images/cms/data/iphone/exhibitions/sokov_280.jpgState Museum of Modern Art, 10 Gogolevsky Boulevard <p>The exhibition at the Moscow Museum of Modern Art for the first time in Russia offers an unprecedented personal retrospective of a well-known master of the &lsquo;Soviet Pop Art&rsquo;, or Sots Art, presenting works from the 70ies and up to the present days.</p><p>Curator: Andrey Erofeev</p> <p>The exhibition at&nbsp;the Moscow Museum of&nbsp;Modern Art for the first time in&nbsp;Russia offers an&nbsp;unprecedented personal retrospective of&nbsp;a&nbsp;well-known master of&nbsp;the &lsquo;Soviet Pop Art&rsquo;, or&nbsp;Sots Art, presenting works from the 70ies and up&nbsp;to&nbsp;the present days. The display includes over 120 works by&nbsp;the artist and is&nbsp;divided into 9&nbsp;sections, gradually presenting the development and metamorphoses of&nbsp;Leonid Sokov`s signature artistic and symbolic language.</p> <p>Sokov`s name is&nbsp;tightly linked with the conception and development of&nbsp;the Sots Art movement, which inspires Russian artists for many decades starting from the early 70s. Developing as&nbsp;a&nbsp;reaction against the aesthetical paradigm of&nbsp;Academic art and the doctrine of&nbsp;Socialist Realism, as&nbsp;well as&nbsp;the regime at&nbsp;large, the strategies of &lsquo;non-official&rsquo; art, implicated the critical revision of&nbsp;the cliches formed in&nbsp;the national collective imagination and ideology along with the shattering of&nbsp;the existing political order. The members of&nbsp;Sots Art movement, who associated themselves with this creed, followed it&nbsp;through ironical participation in&nbsp;parodying cultural artefacts, which due to&nbsp;their simplicity, intentional roughness and eclecticism for a&nbsp;long time weren`t considered art even among modernists. Sots-art proposed an&nbsp;alternative not only to&nbsp;Socialist Realism but also to&nbsp;the classical modernism and the succeeding movements of&nbsp;the liberal &laquo;underground&raquo; Russian art of&nbsp;the 1960s. Sokov`s works vividly demonstrate the characteristic features and techniques of&nbsp;the so-called &laquo;second avant-garde&raquo; that sprung up&nbsp;in&nbsp;various centers of&nbsp;contemporary culture all over the world defined as&nbsp;&laquo;postmodernism&raquo;.</p> <p>Being a&nbsp;typical postmodernist Sokov brings together the derivatives of&nbsp;modern civilization such as&nbsp;everyday objects, sacred symbols, fasces, mass-media images and the elements of&nbsp;classical world art, folk motifs, pagan idols and artifacts.</p> <p>Sokov`s famous sculptural signs dialogues became the trademark of&nbsp;Sots Art. The artist puts face to&nbsp;face various representations of&nbsp;Soviet and &laquo;Western&raquo; civilizations. The encounters of&nbsp;Marilyn Monroe and Stalin, Giacometti`s &laquo;Walking Man&raquo; and a&nbsp;typical monument of&nbsp;Lenin, folk wooden toys and imperial fasces within the space of&nbsp;one artwork reveal the geopolitical conflict of&nbsp;cultures of&nbsp;the 20th century, the polarized perception and &laquo;doublethinking&raquo; of&nbsp;a&nbsp;modern man no&nbsp;matter which political systems he&nbsp;considers himself being a&nbsp;part&nbsp;of.</p> <p>Sacred objects like depictions of&nbsp;political leaders, heraldic state symbols, classical art masterpieces are presented in&nbsp;Sokov`s work with a&nbsp;perspective that unfailingly makes the spectator shriek with laughter. The element of&nbsp;humor allows the audience to&nbsp;see the world in&nbsp;a&nbsp;different dimension, for a&nbsp;short time liberating people from subservience of&nbsp;authorities and cults. Leonid Sokov`s art praises playful popular nihilism, manifested in&nbsp;anecdotes and jokes, toys and folklore, and elevates it&nbsp;to&nbsp;the level of&nbsp;national cultural tradition.</p> <p>The present show will feature all artist&rsquo;s most famous artworks and series from various important public collections such as&nbsp;The Freedman Gallery (Albright College), Jane Voorhees Zimmerli Art Museum, Galleria Mazzoli, The State Tretyakov Gallery, The Cultural Foundation &laquo;Ekaterina&raquo;, and private collections in&nbsp;Russia, the USA and Europe as&nbsp;well as&nbsp;less known pieces from the artist`s studio, including a&nbsp;range of&nbsp;his paintings rarely exhibited in&nbsp;Russia and beyond.</p> <p>The exhibition will be&nbsp;followed by&nbsp;a&nbsp;catalogue, profoundly presenting Leonid Sokov`s oeuvre. Among the contributors to&nbsp;the publication are such renowned authors as&nbsp;art theoretician Boris Groys, art historians Andrey Erofeev, Julia Tulovski from the Jane Voorhees Zimmerli Art Museum, Gleb Napreenko, and the artist himself.</p>201205232012070164235http://www.mmoma.ru/en/exhibitions/gogolevsky/leonid_sokov_ugol_zreniya/http://www.mmoma.ru/en/exhibitions/gogolevsky/leonid_sokov_ugol_zreniya/<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 2: Imaginary world/ Phantasms</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><a href="%content get_page_url(63105)%"><strong>Section&nbsp;1: Reality/Ordinary world</strong></a><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>./images/cms/data/iphone/exhibitions/dvper_b120.jpg./images/cms/data/iphone/exhibitions/dvper_b280.jpgMoscow Museum of Modern Art, 10, Gogolevsky boulevard<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 2: Imaginary world/ Phantasms</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>201203142012050663104http://www.mmoma.ru/en/exhibitions/gogolevsky/fantasii/http://www.mmoma.ru/en/exhibitions/gogolevsky/fantasii/<p>The Moscow Museum of Modern Art and the Esquire magazine present the exhibition Dust and Scratches.</p>Fri, 27 Jan 2012 18:58:00 +0400<p><span style="font-size: medium;">Curator&nbsp;&mdash; Maxim Nikanorov, art director of&nbsp;the Esquire magazine</span></p> <p>The Moscow Museum of&nbsp;Modern Art and the Esquire magazine present the exhibition Dust and Scratches. The project curated by&nbsp;Maxim Nikanorov, the art director of&nbsp;the Esquire magazine, will bring together the works of&nbsp;the leading world photographers of&nbsp;today. The majority of&nbsp;the authors in&nbsp;question have never been exhibited in&nbsp;Moscow as&nbsp;yet.</p> <p>The title of&nbsp;the show evokes the eponymous web project&nbsp;&mdash; the Dust and Scratches gallery offers its visitors the opportunity to&nbsp;acquire the best samples of&nbsp;contemporary art photography at&nbsp;a&nbsp;poster price. Thanks to&nbsp;the collaboration of&nbsp;the Esquire magazine, hundreds of&nbsp;leading world photographers, including the winners of&nbsp;the World Press Photo Award and other prestigious competitions, agreed to&nbsp;show and sell their works at&nbsp;the Dust and Scratches gallery. Maxim Nikanorov has personally selected each piece among thousands of&nbsp;photos the gallery presents.</p> <p>The exhibition features the works by&nbsp;such art photographers as&nbsp;Piero Martinello, Steven Barritt, Jack Redcliffe, Amy Touchette, Brian Sorg, Jeroen Hofman, Keliy Anderson-Staley, Erick Refner, Adam Panczuk et&nbsp;al.</p>./images/cms/data/iphone/exhibitions/das_120.jpg./images/cms/data/iphone/exhibitions/das_280.jpgMoscow Museum of Contemporary Art under the Russian Academy of Arts, 10, Gogolevsky boulevard<p>The Moscow Museum of Modern Art and the Esquire magazine present the exhibition Dust and Scratches.</p><p><strong>Curator&nbsp;&mdash; Maxim Nikanorov, art director of&nbsp;the Esquire magazine</strong></p> <p>The Moscow Museum of&nbsp;Modern Art and the Esquire magazine present the exhibition Dust and Scratches. The project curated by&nbsp;Maxim Nikanorov, the art director of&nbsp;the Esquire magazine, will bring together the works of&nbsp;the leading world photographers of&nbsp;today. The majority of&nbsp;the authors in&nbsp;question have never been exhibited in&nbsp;Moscow as&nbsp;yet.</p> <p>The title of&nbsp;the show evokes the eponymous web project&nbsp;&mdash; the Dust and Scratches gallery offers its visitors the opportunity to&nbsp;acquire the best samples of&nbsp;contemporary art photography at&nbsp;a&nbsp;poster price. Thanks to&nbsp;the collaboration of&nbsp;the Esquire magazine, hundreds of&nbsp;leading world photographers, including the winners of&nbsp;the World Press Photo Award and other prestigious competitions, agreed to&nbsp;show and sell their works at&nbsp;the Dust and Scratches gallery. Maxim Nikanorov has personally selected each piece among thousands of&nbsp;photos the gallery presents.</p> <p>The exhibition features the works by&nbsp;such art photographers as&nbsp;Piero Martinello, Steven Barritt, Jack Redcliffe, Amy Touchette, Brian Sorg, Jeroen Hofman, Keliy Anderson-Staley, Erick Refner, Adam Panczuk et&nbsp;al.</p>201202142012021963098http://www.mmoma.ru/en/exhibitions/gogolevsky/dust_and_scratches/http://www.mmoma.ru/en/exhibitions/gogolevsky/dust_and_scratches/<p>The exhibition project TRICK. OFF THE LIGHT by Svetlana Lanshakova deals with several personal and common themes and moods, which run through the whole epoch of the newest history of Moscow.</p>Thu, 29 Dec 2011 21:07:00 +0400<p><span style="font-size: medium;">with the participation of&nbsp;Denis Kozyrev and Anton Lanshakov </span></p> <p>The exhibition project TRICK. OFF THE LIGHT by&nbsp;Svetlana Lanshakova deals with several personal and common themes and moods, which run through the whole epoch of&nbsp;the newest history of&nbsp;Moscow. Lanshakova uses a&nbsp;unique etching technique to&nbsp;create her series, devoted to&nbsp;the modern face of&nbsp;the city, its streets and its residents. Her works reflect the author&rsquo;s private look at&nbsp;Moscow&rsquo;s corners, which have not changed since the 1970s. Lanshakova can catch the correct perspective, the play of&nbsp;light and shadow, which helps to&nbsp;reveal the hidden beauty of&nbsp;everyday landscapes. All together, the viewer can see an&nbsp;official portrait of&nbsp;the dynamic contemporary metropolis, which is&nbsp;changing very quickly. The exhibition is&nbsp;based on&nbsp;several major themes, which are the contemporary capital, sketches of&nbsp;the concealed side-streets and images of&nbsp;their inhabitants.<br /> <br /> Almost monochrome prints conceal a&nbsp;wealth of&nbsp;emotions and feelings, which are rendered by&nbsp;means of&nbsp;subtle tones and the light/shadow contrast. Impenetrable black shadows jointly support light accents, which are pouring from each composition. And even in&nbsp;the very gloomy work one can find a&nbsp;powerful light, embracing the whole series of&nbsp;works by&nbsp;Svetlana Lanshakova devoted to&nbsp;Moscow of&nbsp;the present day.</p> <p><strong>Author:</strong><br /> Etcher<br /> Member of&nbsp;the Russian Creative Union of&nbsp;Artists</p> <p><strong>Group exhibitions:</strong><br /> &laquo;Art Manezh&raquo; (2007, 2008)<br /> &laquo;Artesania&raquo; (2008)<br /> &laquo;Russian Perspective&raquo; (Denmark, 2008)<br /> &laquo;Russian Art Week&raquo; (2009)<br /> &laquo;We&nbsp;Lived in&nbsp;Moscow&raquo; (Kovcheg Gallery, 2010), <br /> &laquo;Russian Gallery&nbsp;&mdash; XXI&nbsp;c. Watercolor. Print&raquo; (Austria&nbsp;&mdash; Germany, 2011)<br /> Joint exhibition (Svetlana Lanshakova&nbsp;&mdash; Andrei Volkov) &laquo;Moscow. Light of&nbsp;the 70s&raquo; (2009) in&nbsp;the State Literature Museum. <br /> <br /> <strong>Solo exhibition:</strong><br /> &laquo;Edge&amp; Etching&raquo;</p> <p><strong>Participation in&nbsp;projects:</strong><br /> &laquo;My&nbsp;Wives&raquo; by&nbsp;Denis Kozyrev and Karl Haimel, <br /> &laquo;Tying in&nbsp;a&nbsp;Bow&raquo; by&nbsp;Vladimir Klavikho-Telepnev, &laquo;Mantis&raquo; by&nbsp;Dmitry Kavargi,<br /> &laquo;Ancient Railroad Stations&raquo; by&nbsp;Vladimir Gladkikh, &laquo;My&nbsp;Lorca&raquo; by&nbsp;Anna Gwirtz, <br /> Sergei Kosiyanov&rsquo;s series of&nbsp;etchings &laquo;Moscow&raquo;, &laquo;St-Petersburg&raquo;, &laquo;Flowers&raquo;.</p> <p>Works by&nbsp;Svetlana Lanshakova are in&nbsp;collections of&nbsp;the State Literature Museum, in&nbsp;private collections in&nbsp;Russia, Austria, Israel, Sweden, and USA.</p>./images/cms/data/iphone/exhibitions/igra_sveta_120.jpg./images/cms/data/iphone/exhibitions/igra_sveta_280.jpgState Museum of Contemporary Art of the Russian Academy of Arts, 10/11 Gogolevsky Boulevard<p>The exhibition project TRICK. OFF THE LIGHT by Svetlana Lanshakova deals with several personal and common themes and moods, which run through the whole epoch of the newest history of Moscow.</p><p><strong>with the participation of&nbsp;Denis Kozyrev and Anton Lanshakov</strong></p> <p>The exhibition project TRICK. OFF THE LIGHT by&nbsp;Svetlana Lanshakova deals with several personal and common themes and moods, which run through the whole epoch of&nbsp;the newest history of&nbsp;Moscow. Lanshakova uses a&nbsp;unique etching technique to&nbsp;create her series, devoted to&nbsp;the modern face of&nbsp;the city, its streets and its residents. Her works reflect the author&rsquo;s private look at&nbsp;Moscow&rsquo;s corners, which have not changed since the 1970s. Lanshakova can catch the correct perspective, the play of&nbsp;light and shadow, which helps to&nbsp;reveal the hidden beauty of&nbsp;everyday landscapes. All together, the viewer can see an&nbsp;official portrait of&nbsp;the dynamic contemporary metropolis, which is&nbsp;changing very quickly. The exhibition is&nbsp;based on&nbsp;several major themes, which are the contemporary capital, sketches of&nbsp;the concealed side-streets and images of&nbsp;their inhabitants.<br /> <br /> Almost monochrome prints conceal a&nbsp;wealth of&nbsp;emotions and feelings, which are rendered by&nbsp;means of&nbsp;subtle tones and the light/shadow contrast. Impenetrable black shadows jointly support light accents, which are pouring from each composition. And even in&nbsp;the very gloomy work one can find a&nbsp;powerful light, embracing the whole series of&nbsp;works by&nbsp;Svetlana Lanshakova devoted to&nbsp;Moscow of&nbsp;the present day.</p> <p><strong>Author:</strong><br /> Etcher<br /> Member of&nbsp;the Russian Creative Union of&nbsp;Artists</p> <p><strong>Group exhibitions:</strong><br /> &laquo;Art Manezh&raquo; (2007, 2008)<br /> &laquo;Artesania&raquo; (2008)<br /> &laquo;Russian Perspective&raquo; (Denmark, 2008)<br /> &laquo;Russian Art Week&raquo; (2009)<br /> &laquo;We&nbsp;Lived in&nbsp;Moscow&raquo; (Kovcheg Gallery, 2010), <br /> &laquo;Russian Gallery&nbsp;&mdash; XXI&nbsp;c. Watercolor. Print&raquo; (Austria&nbsp;&mdash; Germany, 2011)<br /> Joint exhibition (Svetlana Lanshakova&nbsp;&mdash; Andrei Volkov) &laquo;Moscow. Light of&nbsp;the 70s&raquo; (2009) in&nbsp;the State Literature Museum. <br /> <br /> <strong>Solo exhibition:</strong><br /> &laquo;Edge&amp; Etching&raquo;</p> <p><strong>Participation in&nbsp;projects:</strong><br /> &laquo;My&nbsp;Wives&raquo; by&nbsp;Denis Kozyrev and Karl Haimel, <br /> &laquo;Tying in&nbsp;a&nbsp;Bow&raquo; by&nbsp;Vladimir Klavikho-Telepnev, &laquo;Mantis&raquo; by&nbsp;Dmitry Kavargi,<br /> &laquo;Ancient Railroad Stations&raquo; by&nbsp;Vladimir Gladkikh, &laquo;My&nbsp;Lorca&raquo; by&nbsp;Anna Gwirtz, <br /> Sergei Kosiyanov&rsquo;s series of&nbsp;etchings &laquo;Moscow&raquo;, &laquo;St-Petersburg&raquo;, &laquo;Flowers&raquo;.</p> <p>Works by&nbsp;Svetlana Lanshakova are in&nbsp;collections of&nbsp;the State Literature Museum, in&nbsp;private collections in&nbsp;Russia, Austria, Israel, Sweden, and USA.</p>201201172012021962887http://www.mmoma.ru/en/exhibitions/gogolevsky/svetlana_lanshakova_igra_sveta/http://www.mmoma.ru/en/exhibitions/gogolevsky/svetlana_lanshakova_igra_sveta/<p>Moscow Museum of Modern Art presents The State exhibition by Dmitry Tsvetkov. He is a representative of the generation of Moscow artists who started their careers in the 1990s, at the beginning of the Russian contemporary art scene.</p>Tue, 18 Oct 2011 17:52:00 +0400<p>Moscow Museum of&nbsp;Modern Art presents The State exhibition by&nbsp;Dmitry Tsvetkov. He&nbsp;is&nbsp;a&nbsp;representative of&nbsp;the generation of&nbsp;Moscow artists who started their careers in&nbsp;the 1990s, at&nbsp;the beginning of&nbsp;the Russian contemporary art scene. Among them Oleg Kulik, Anatoly Osmolovsky, Dmitry Gutov and others may be&nbsp;named. At&nbsp;present, they stand out in&nbsp;Russian art&nbsp;&mdash; surely, this concerns Dmitry Tsvetkov as&nbsp;well.<br /> <br /> The exhibition demonstrates the development of&nbsp;the author&rsquo;s concept regarding &laquo;new visual symbols of&nbsp;Russia&raquo;. Among them there are uniforms, orders, weapons and coats of&nbsp;arms. The artist makes these attributes of&nbsp;power attractive and magnificent. Thus, Tsvetkov creates a&nbsp;grotesque, ironic, sarcastic and absurd image of&nbsp;the State. For example, the crown of&nbsp;the Russian Empire is&nbsp;made of&nbsp;silk and decorated with chrystals, a&nbsp;3-meter-high military papakha is&nbsp;bead-embroidered, whereas hand grenades or&nbsp;daggers are knitted. The diversity of&nbsp;items forms an&nbsp;alternative symbol system of&nbsp;the invented state, where, like in&nbsp;a&nbsp;distorting mirror, the viewers can easily recognize many familiar things.<br /> <br /> The author&rsquo;s reflection about the state and its presentation are serially exhibited in&nbsp;12&nbsp;halls; each of&nbsp;them is&nbsp;devoted to&nbsp;the artist&rsquo;s specific series or&nbsp;project. The exhibition in&nbsp;the MMoMA will show the artist&rsquo;s famous artworks from the collections of&nbsp;Moscow Museum of&nbsp;Modern Art, Tretyakov Gallery, National Centre of&nbsp;Contemporary Art and other collections.</p> <p><strong><span style="font-size: medium;">Dmitry Tsvetkov</span></strong></p> <p>Born in&nbsp;1961 in&nbsp;Kolomna. Lives and works in&nbsp;Moscow. <br /> <br /> <strong>Selected solo exhibitions:</strong><br /> Bez ponyatiev (together with Linor Goralik). M. &amp;&nbsp;U.&nbsp;Gelman gallery, Moscow, 2009<br /> Otkupyur (together with S.&nbsp;Rumyantseva). Krokin-gallery, Moscow, 2004<br /> Gold Rush. Krokin-gallery, Moscow, 2001<br /> Philately. M.&nbsp;Galman&rsquo;s gallery, Moscow&nbsp;&mdash; National Centre of&nbsp;Contemporary Art, St-Petersburg, 1999-2000</p> <p><strong>Selected group exhibitions: </strong><br /> Sots-art: Political Art in&nbsp;Russia. Curator&nbsp;&mdash; Andrei Erofeev. <br /> The Tretyakov Gallery, Moscow&nbsp;&mdash; La&nbsp;Maison Rouge&nbsp;/ Foundation Antoine de&nbsp;Galbert, Paris, 2007<br /> Messages from Moscow Artists. Curator&nbsp;&mdash; Georgiy Nikich. Helios Fukuno Creative Cultural Center, Toyama, Japan, 2006<br /> Europalia. Brussels, 2005</p>./images/cms/data/iphone/exhibitions/dcvetikovgos_120.jpg./images/cms/data/iphone/exhibitions/dcvetikovgos_280.jpgState Museum of Contemporary Art of the Russian Academy of Arts, 10/11 Gogolevsky boulevard <p>Moscow Museum of Modern Art presents The State exhibition by Dmitry Tsvetkov. He is a representative of the generation of Moscow artists who started their careers in the 1990s, at the beginning of the Russian contemporary art scene.</p><p>Moscow Museum of&nbsp;Modern Art presents The State exhibition by&nbsp;Dmitry Tsvetkov. He&nbsp;is&nbsp;a&nbsp;representative of&nbsp;the generation of&nbsp;Moscow artists who started their careers in&nbsp;the 1990s, at&nbsp;the beginning of&nbsp;the Russian contemporary art scene. Among them Oleg Kulik, Anatoly Osmolovsky, Dmitry Gutov and others may be&nbsp;named. At&nbsp;present, they stand out in&nbsp;Russian art&nbsp;&mdash; surely, this concerns Dmitry Tsvetkov as&nbsp;well.<br /> <br /> The exhibition demonstrates the development of&nbsp;the author&rsquo;s concept regarding &laquo;new visual symbols of&nbsp;Russia&raquo;. Among them there are uniforms, orders, weapons and coats of&nbsp;arms. The artist makes these attributes of&nbsp;power attractive and magnificent. Thus, Tsvetkov creates a&nbsp;grotesque, ironic, sarcastic and absurd image of&nbsp;the State. For example, the crown of&nbsp;the Russian Empire is&nbsp;made of&nbsp;silk and decorated with chrystals, a&nbsp;3-meter-high military papakha is&nbsp;bead-embroidered, whereas hand grenades or&nbsp;daggers are knitted. The diversity of&nbsp;items forms an&nbsp;alternative symbol system of&nbsp;the invented state, where, like in&nbsp;a&nbsp;distorting mirror, the viewers can easily recognize many familiar things.<br /> <br /> The author&rsquo;s reflection about the state and its presentation are serially exhibited in&nbsp;12&nbsp;halls; each of&nbsp;them is&nbsp;devoted to&nbsp;the artist&rsquo;s specific series or&nbsp;project. The exhibition in&nbsp;the MMoMA will show the artist&rsquo;s famous artworks from the collections of&nbsp;Moscow Museum of&nbsp;Modern Art, Tretyakov Gallery, National Centre of&nbsp;Contemporary Art and other collections.</p> <p>Dmitry Tsvetkov</p> <p>Born in&nbsp;1961 in&nbsp;Kolomna. Lives and works in&nbsp;Moscow. <br /> <br /> Selected solo exhibitions:<br /> Bez ponyatiev (together with Linor Goralik). M. &amp;&nbsp;U.&nbsp;Gelman gallery, Moscow, 2009<br /> Otkupyur (together with S.&nbsp;Rumyantseva). Krokin-gallery, Moscow, 2004<br /> Gold Rush. Krokin-gallery, Moscow, 2001<br /> Philately. M.&nbsp;Galman&rsquo;s gallery, Moscow&nbsp;&mdash; National Centre of&nbsp;Contemporary Art, St-Petersburg, 1999-2000</p> <p>Selected group exhibitions: <br /> Sots-art: Political Art in&nbsp;Russia. Curator&nbsp;&mdash; Andrei Erofeev. <br /> The Tretyakov Gallery, Moscow&nbsp;&mdash; La&nbsp;Maison Rouge&nbsp;/ Foundation Antoine de&nbsp;Galbert, Paris, 2007<br /> Messages from Moscow Artists. Curator&nbsp;&mdash; Georgiy Nikich. Helios Fukuno Creative Cultural Center, Toyama, Japan, 2006<br /> Europalia. Brussels, 2005</p>201111222012010962336http://www.mmoma.ru/en/exhibitions/gogolevsky/dmitrij_cvetkov_gosudarstvo/http://www.mmoma.ru/en/exhibitions/gogolevsky/dmitrij_cvetkov_gosudarstvo/<p>The exhibition will result from a comprehensive research work effectuated by Moscow Museum of Modern Art in collaboration with a renowned Russian curator Viktor Misiano.</p>Thu, 21 Jul 2011 12:13:00 +0400<p><a href="http://www.ic.mmoma.ru/en/"><img src="/images/cms/data/exhibitions/ic_arrow_en.gif" border="0" alt="" /></a></p> <p><strong>Curator:</strong> Viktor Misiano</p> <p style="text-align: justify;">The exhibition will result from a&nbsp;comprehensive research work effectuated by&nbsp;Moscow Museum of&nbsp;Modern Art in&nbsp;collaboration with a&nbsp;renowned Russian curator Viktor Misiano.&nbsp;</p> <p style="text-align: left;">Participants of the &laquo;Impossible community&raquo; project:&nbsp;</p> <p>Konstantin Adjer, Valeriy Ayzenberg, Pawel Althamer, Johanna Billing, Sonia Boyce, Vaast Colson, Didier Courbot, Honore d&rsquo;O, Jeremy Deller, Alberto Garutti, Jens Haaning, Jeanne van Heeswijk, Marcel van der Meijs, Ilya Budraitskis, IRWIN, Suchan Kinoshita, Jiri Kovanda, Yuri Leiderman, Andrei Silvestrov, Anton Litvin, Liza Morozova, Roman Ondak, Adrian Paci, Cesare Pietroiusti,&nbsp;ESCAPE&nbsp;Program, R.&nbsp;E.&nbsp;P., Shimabuku, SOSka, TanzLaboratorium, Moniek Toebosch, Jaan Toomik, Luca Vitone, Yevgeniy Fiks, Vadim Fishkin.</p> <p>The project was made possible by Novatek company.<br /> <a href="http://www.novatek.ru/en/" target="_blank"><img src="/images/logotypes/ic/novatec_en.gif" border="0" alt="" width="125" height="71" /></a></p>./images/cms/data/iphone/exhibitions/ic_120.jpg./images/cms/data/iphone/exhibitions/ic_280.jpgState Museum of Modern Art of the Russian Academy of Arts (10 Gogolevsky Boulevard) <p>The exhibition will result from a comprehensive research work effectuated by Moscow Museum of Modern Art in collaboration with a renowned Russian curator Viktor Misiano.</p><p><strong>Curator:</strong> Viktor Misiano</p> <p>The exhibition will result from a&nbsp;comprehensive research work effectuated by&nbsp;Moscow Museum of&nbsp;Modern Art in&nbsp;collaboration with a&nbsp;renowned Russian curator Viktor Misiano. It&nbsp;is&nbsp;a&nbsp;major event, presenting one of&nbsp;the key lines in&nbsp;international art of&nbsp;the last decades&nbsp;&mdash; the so-called &laquo;Relational Art&raquo;. This trend is&nbsp;highly recognized and actual today even though it&nbsp;is&nbsp;largely based on&nbsp;the traditions of&nbsp;both avant-garde art and European art of&nbsp;1960ies and 70ies.</p> <p>A&nbsp;number of&nbsp;leading artists in&nbsp;Relational art are participants in&nbsp;the &laquo;Impossible community&raquo; project: PawelAlthamer (Poland), Johanna Billing (Sweden), Jens Haaning (Denmark), Didier Courbot (France), Jeremy Deller (UK), Honored&rsquo;O (Belguim), Carl Michael von Hausswolff (Sweden), Jeanne van Heeswijk (the Netherlands), Alberto Garutti (Italy), Joseph Grigely (the US), IRWIN (Slovenia), Suchan Kinoshita (Japan&nbsp;/ Germany), Jiri Kovanda (Czech Republic), CesarePietroiusti (Italy), Shimabuku (Japan&nbsp;/ Germany) et&nbsp;al.</p> <p>Most of&nbsp;the artists have never been exhibited in&nbsp;Russia. That&rsquo;s why Moscow Museum of&nbsp;Modern Art considers a&nbsp;task to&nbsp;acquaint general public with this art trend as&nbsp;a&nbsp;prior and of&nbsp;extreme important one.</p>201109082011100654340http://www.mmoma.ru/en/exhibitions/gogolevsky/nevozmozhnoe_soobwestvo/http://www.mmoma.ru/en/exhibitions/gogolevsky/nevozmozhnoe_soobwestvo/<p>Olga Croitor belongs latest generation of artists, and it usually means that attention to such an art akin linked to the notion of the future.</p>Fri, 15 Jul 2011 19:07:00 +0400<p>Olga Croitor belongs latest generation of&nbsp;artists, and it&nbsp;usually means that attention to&nbsp;such an&nbsp;art akin linked to&nbsp;the notion of&nbsp;the future. In&nbsp;this exhibition it&nbsp;is&nbsp;a&nbsp;few tens of&nbsp;paper collages, which adjoin the dynamic graphic lines and photo clippings 70-80s.</p> <p>Grainy images contain many of&nbsp;the attributes of&nbsp;the late reality, though not directly refer to&nbsp;the images and the tools of&nbsp;ideological propaganda. However, for this reason on&nbsp;the stage the size of&nbsp;a&nbsp;simple sheet of&nbsp;paper is&nbsp;still unfolding actual historical conflict peace-building utopian&nbsp;&mdash; mnogovlozhennye utopian forms of&nbsp;travel in&nbsp;its content, and vice versa.</p> <p>Geometry Collage inevitably invokes the spirit of&nbsp;the Soviet avant-garde, all of&nbsp;which came straight from the future. The design of&nbsp;his philosophy and art has been dictated by&nbsp;a&nbsp;utopia, which is&nbsp;embodied by&nbsp;a&nbsp;revolutionary play in&nbsp;the life of&nbsp;the new avant-garde forms. Supervening 70s were no&nbsp;less grand counterpoint ambitious project, when the non-incarnated idea yet, paradoxically, rooted in&nbsp;the Soviet civilization. The lack of&nbsp;perfection of&nbsp;its materiality filled sinus indefinitely postponed potentiality. Utopia has changed the original nature, losing the exact spatial and temporal form, and in&nbsp;return poignant content. So&nbsp;a&nbsp;combination of&nbsp;two imagery systems is&nbsp;gentle and productive conflict. Avant-garde lines are transformed into schematic indicating the implicit, invisible, but nevertheless, the culminating point in&nbsp;the documents nostalgic uniform everyday.</p> <p>As&nbsp;stated in&nbsp;the thick of&nbsp;the displayed photographs of&nbsp;the time: &laquo;Life is&nbsp;brief, and the art long&nbsp;/ / And in&nbsp;the battle victorious life.&raquo; These words, like fotovyrezki, it&nbsp;is&nbsp;important to&nbsp;learn from the context. But not to&nbsp;show their hidden meaning, but to&nbsp;see the internal cause its inception.</p>./images/cms/data/iphone/exhibitions/chtonichto_120.jpg./images/cms/data/iphone/exhibitions/chtonichto_280.jpgState Museum of Modern Art of the Russian Academy of Arts (10 Gogolevsky Boulevard)<p>Olga Croitor belongs latest generation of artists, and it usually means that attention to such an art akin linked to the notion of the future.</p><p>Olga Croitor belongs latest generation of&nbsp;artists, and it&nbsp;usually means that attention to&nbsp;such an&nbsp;art akin linked to&nbsp;the notion of&nbsp;the future. In&nbsp;this exhibition it&nbsp;is&nbsp;a&nbsp;few tens of&nbsp;paper collages, which adjoin the dynamic graphic lines and photo clippings 70-80s.</p> <p>Grainy images contain many of&nbsp;the attributes of&nbsp;the late reality, though not directly refer to&nbsp;the images and the tools of&nbsp;ideological propaganda. However, for this reason on&nbsp;the stage the size of&nbsp;a&nbsp;simple sheet of&nbsp;paper is&nbsp;still unfolding actual historical conflict peace-building utopian&nbsp;&mdash; mnogovlozhennye utopian forms of&nbsp;travel in&nbsp;its content, and vice versa.</p> <p>Geometry Collage inevitably invokes the spirit of&nbsp;the Soviet avant-garde, all of&nbsp;which came straight from the future. The design of&nbsp;his philosophy and art has been dictated by&nbsp;a&nbsp;utopia, which is&nbsp;embodied by&nbsp;a&nbsp;revolutionary play in&nbsp;the life of&nbsp;the new avant-garde forms. Supervening 70s were no&nbsp;less grand counterpoint ambitious project, when the non-incarnated idea yet, paradoxically, rooted in&nbsp;the Soviet civilization. The lack of&nbsp;perfection of&nbsp;its materiality filled sinus indefinitely postponed potentiality. Utopia has changed the original nature, losing the exact spatial and temporal form, and in&nbsp;return poignant content. So&nbsp;a&nbsp;combination of&nbsp;two imagery systems is&nbsp;gentle and productive conflict. Avant-garde lines are transformed into schematic indicating the implicit, invisible, but nevertheless, the culminating point in&nbsp;the documents nostalgic uniform everyday.</p> <p>As&nbsp;stated in&nbsp;the thick of&nbsp;the displayed photographs of&nbsp;the time: &laquo;Life is&nbsp;brief, and the art long&nbsp;/ / And in&nbsp;the battle victorious life.&raquo; These words, like fotovyrezki, it&nbsp;is&nbsp;important to&nbsp;learn from the context. But not to&nbsp;show their hidden meaning, but to&nbsp;see the internal cause its inception.</p>201107202011081454329http://www.mmoma.ru/en/exhibitions/gogolevsky/olga_krojtor_chtonichto/http://www.mmoma.ru/en/exhibitions/gogolevsky/olga_krojtor_chtonichto/<p>Irina Nahova, whose artistic career is inherently linked to the Moscow Conceptualism circles, is considered to be one of the first Russian &laquo;total installation&raquo; artists.</p>Fri, 29 Apr 2011 16:20:00 +0400<p><a href="http://4th.moscowbiennale.ru/ru/" target="_blank"><img style="float: left; margin: 0px 20px 10px 0px;" src="/images/logotypes/mbsi4en.jpg" alt="" /></a></p> <p><span style="font-size: medium;">Special Guest of&nbsp;the Forth Moscow Biennale of&nbsp;contemporary art</span></p> <p>Irina Nahova, whose artistic career is&nbsp;inherently linked to&nbsp;the Moscow Conceptualism circles, is&nbsp;considered to&nbsp;be&nbsp;one of&nbsp;the first Russian &laquo;total installation&raquo; artists. She recognized her vocation early in&nbsp;life. A&nbsp;young maximalist, she defined art as&nbsp;a&nbsp;bare necessity of&nbsp;life: &laquo;only the artworks whose creation is&nbsp;urged by&nbsp;vital necessity, develop a&nbsp;life and carry the energy exceeding the need for immediate consumption&raquo;,&nbsp;&mdash; says the artist. This &laquo;maximalist approach&raquo; likens Irina Nahova&rsquo;s art to&nbsp;the art of&nbsp;Russain avant-garde of&nbsp;the 20th century. The works by&nbsp;Irina Nahova are held in&nbsp;museum and private collections in&nbsp;France, Germany, Great Britain, Italy, Russia, Sweden, Switzerland, USA.</p> <p>Irina Nahova started out in&nbsp;art as&nbsp;a&nbsp;painter and her artistic methods&nbsp;&mdash; perspective, layered surfaces, tone and color illusions&nbsp;&mdash; have developed from painterly experience. It&nbsp;with painterly methods, that she created the various environments, including her &laquo;Room&raquo; installations.</p> <p>The large-scale Irina Nahova retrospective will for the first time display in&nbsp;one space the multi-genre works executed in&nbsp;different media and at&nbsp;different stages of&nbsp;the artist&rsquo;s artistic career. This will allow to&nbsp;demonstrate the inseparable connection between her paintings, installations, and objects&nbsp;&mdash; to&nbsp;show the unity of&nbsp;art objects in&nbsp;their motivational and existential singularity.</p> <p>&laquo;Room №&nbsp;2&raquo; will be&nbsp;recreated in&nbsp;original size and detail including the original drawings and documentation from the 1984 and to&nbsp;restore a&nbsp;room recreated in&nbsp;the early 90&prime;</p> <p>Illustrated catalogue is&nbsp;published to&nbsp;a&nbsp;personal exhibition of&nbsp;Irina Nakhova for which wrote an&nbsp;article Andrei Monastirsky, Valentin Dyakonov, Irina Kulik, Elena Petrovskaya, Barbara Walli, Kalliopi Minioudaki.&nbsp;</p>./images/cms/data/iphone/exhibitions/inahova_120.jpg./images/cms/data/iphone/exhibitions/inahova_280.jpgState Museum of Modern Art of the Russian Academy of Arts (10 Gogolevsky Boulevard)<p>Irina Nahova, whose artistic career is inherently linked to the Moscow Conceptualism circles, is considered to be one of the first Russian &laquo;total installation&raquo; artists.</p><p>Special Guest of&nbsp;the Forth Moscow Biennale of&nbsp;contemporary art.</p> <p>During the exhibition meeting with artist will be organized</p> <p>&nbsp;</p> <p>Irina Nahova, whose artistic career is&nbsp;inherently linked to&nbsp;the Moscow Conceptualism circles, is&nbsp;considered to&nbsp;be&nbsp;one of&nbsp;the first Russian &laquo;total installation&raquo; artists. She recognized her vocation early in&nbsp;life. A&nbsp;young maximalist, she defined art as&nbsp;a&nbsp;bare necessity of&nbsp;life: &laquo;only the artworks whose creation is&nbsp;urged by&nbsp;vital necessity, develop a&nbsp;life and carry the energy exceeding the need for immediate consumption&raquo;,&nbsp;&mdash; says the artist. This &laquo;maximalist approach&raquo; likens Irina Nahova&rsquo;s art to&nbsp;the art of&nbsp;Russain avant-garde of&nbsp;the 20th century. The works by&nbsp;Irina Nahova are held in&nbsp;museum and private collections in&nbsp;France, Germany, Great Britain, Italy, Russia, Sweden, Switzerland, USA.</p> <p>Irina Nahova started out in&nbsp;art as&nbsp;a&nbsp;painter and her artistic methods&nbsp;&mdash; perspective, layered surfaces, tone and color illusions&nbsp;&mdash; have developed from painterly experience. It&nbsp;with painterly methods, that she created the various environments, including her &laquo;Room&raquo; installations.</p> <p>The large-scale Irina Nahova retrospective will for the first time display in&nbsp;one space the multi-genre works executed in&nbsp;different media and at&nbsp;different stages of&nbsp;the artist&rsquo;s artistic career. This will allow to&nbsp;demonstrate the inseparable connection between her paintings, installations, and objects&nbsp;&mdash; to&nbsp;show the unity of&nbsp;art objects in&nbsp;their motivational and existential singularity.</p> <p>&laquo;Room №&nbsp;2&raquo; will be&nbsp;recreated in&nbsp;original size and detail including the original drawings and documentation from the 1984 and to&nbsp;restore a&nbsp;room recreated in&nbsp;the early 90&prime;</p> <p>Illustrated catalogue is&nbsp;published to&nbsp;a&nbsp;personal exhibition of&nbsp;Irina Nakhova for which wrote an&nbsp;article Andrei Monastirsky, Valentin Dyakonov, Irina Kulik, Elena Petrovskaya, Barbara Walli, Kalliopi Minioudaki. In&nbsp;catalogue will be&nbsp;presented works, enable light up&nbsp;creativity of&nbsp;artist, including works which are not represented in&nbsp;exposition.</p>201105192011070332888http://www.mmoma.ru/en/exhibitions/gogolevsky/irina_nahova_komnaty/http://www.mmoma.ru/en/exhibitions/gogolevsky/irina_nahova_komnaty/<p>Moscow Museum of Modern Art presents an exhibition dedicated to the 50th anniversary of the first man in space &mdash; Hello Gagarin: Popularity Is Irreparable, part of Debut exhibition programme.</p>Fri, 08 Apr 2011 18:10:00 +0400<p><span style="font-size: medium;">Supported by&nbsp;the embassy of&nbsp;Mexico in&nbsp;Russia and National Council for culture and arts (CONACULTA)</span></p> <p><strong>Curator: Valentina Baumann</strong></p> <p>Moscow Museum of&nbsp;Modern Art presents an&nbsp;exhibition dedicated to&nbsp;the 50th anniversary of&nbsp;the first man in&nbsp;space&nbsp;&mdash; Hello Gagarin: Popularity Is&nbsp;Irreparable, part of&nbsp;Debut exhibition programme. The project was planned and implemented by&nbsp;the creative tandem of&nbsp;Mexican artist Jessica &lsquo;La Negra&rsquo; Lopez and poet Minerva Reynosa, with the assistance of&nbsp;Valentina Baumann, Russian curator of&nbsp;the project.</p> <p>The idea of&nbsp;the exhibition consists in&nbsp;the crossing of&nbsp;art and poetry, reality and myth, everyday life and stories with great characters, as&nbsp;well as&nbsp;Mexican and Russian cultural traditions. The theme of&nbsp;travel lies in&nbsp;its basis, not only as&nbsp;a&nbsp;geographical displacement, but also as&nbsp;a&nbsp;symbol of&nbsp;how risky is&nbsp;to&nbsp;go&nbsp;outside, to&nbsp;move, to&nbsp;overcome, to&nbsp;change, as&nbsp;well as&nbsp;the analogy of&nbsp;the creative process. In&nbsp;this context, the authors refer to&nbsp;the image of&nbsp;Gagarin, which combines a&nbsp;unique historical event and everyday flow of&nbsp;life, and helps the authors and the audience to&nbsp;reconstruct a&nbsp;kind of&nbsp;myth about a&nbsp;man in&nbsp;space, an&nbsp;astronaut.</p> <p>***</p> <p><span style="font-size: medium;">Jessica &lsquo;La Negra&rsquo; Lopez</span></p> <p>Born in&nbsp;Monterrey (Mexico, Nuevo Le&oacute;n) in&nbsp;1979, currently lives and works in&nbsp;Mexico City. She graduated from the Faculty of&nbsp;Visual Arts of&nbsp;the Autonomous University of&nbsp;Nuevo Leon (UANL, 2001). The main direction of&nbsp;her works is&nbsp;painting, and the basic flow in&nbsp;which it&nbsp;operates is&nbsp;Hyperrealism. Jessica has also participated in&nbsp;projects that involved drawing, photography, video, installation, and performance. She has exhibited at&nbsp;various venues in&nbsp;Mexico City, Monterrey and Tijuana. Her solo exhibitions include Once in&nbsp;My&nbsp;Tent There Were a&nbsp;Thousand People, and Then I&nbsp;Burned It&nbsp;Along with All the Inside (Enrique Guerrero Gallery, Mexico City, 2010), Cool Kids Never Have the Time (Center for the Arts II, Park), Fundidora (Monterrey, Nuevo LEON, 2009), 101 Most Powerful Women (Forbes, 2006), (Enrique Guerrero Gallery, Mexico City, 2007), 101 Ways Not to&nbsp;Think about You (Alternative Gallery Eleven, San Pedro Garza Garcia, Nuevo Leon, 2003). Her works have honorary prizes and awards (Bienal Arte Emergente 2008; XXIV Rese&ntilde;a de&nbsp;la&nbsp;Pl&aacute;stica Nuevoleonesa). She is&nbsp;scholar of&nbsp;the state program of&nbsp;young artists support (J&oacute;venes Creadores FONCA 2009, &lsquo;Painting&rsquo; category). She used to&nbsp;teach at&nbsp;the Faculty of&nbsp;Visual Arts of&nbsp;UANL. She took part in&nbsp;international art festivals in&nbsp;Colombia, USA, Spain, Switzerland, and China.</p> <p><span style="font-size: medium;">Minerva Reynosa</span></p> <p>Born and works in&nbsp;Monterrey (Mexico, Nuevo Leon, 1979). Poet, essayist, and also a&nbsp;regular participant in&nbsp;various visual art projects. She regularly collaborates with various periodicals in&nbsp;Mexico and other countries, has received several literary awards for poetry and was granted various state scholarship programs to&nbsp;support young artists. Initiator, co-organizer and active participant in&nbsp;various art projects, such as&nbsp;Spring of&nbsp;the Poets (Alliance Francaise, Monterrey, March 2006-2007), Meeting of&nbsp;Young Writers in&nbsp;Northern Mexico and Southern United States (with the support of&nbsp;CONARTE and state government, Monterrey, Nuevo Leon, 2005-2007). She is&nbsp;currently engaged in&nbsp;an&nbsp;international art project PIMP M(t)Y POETRY: enchulamientos po&eacute;ticos (Pimp My&nbsp;Poetry: Poetic Upgrade). Her works have been repeatedly published in&nbsp;anthologies of&nbsp;contemporary Mexican poetry and has released several own books, and participated in&nbsp;international poetry festivals.</p>./images/cms/data/iphone/exhibitions/privet_gagarinu_120.jpg./images/cms/data/iphone/exhibitions/privet_gagarinu_280.jpgState Museum of Contemporary Art of the Russian Academy of Arts (10 Gogolevsky Boulevard)<p>Moscow Museum of Modern Art presents an exhibition dedicated to the 50th anniversary of the first man in space &mdash; Hello Gagarin: Popularity Is Irreparable, part of Debut exhibition programme.</p><p><strong>Supported by&nbsp;the embassy of&nbsp;Mexico in&nbsp;Russia and National Council for culture and arts (CONACULTA)</strong></p> <p><strong>Curator: Valentina Baumann</strong></p> <p>Moscow Museum of&nbsp;Modern Art presents an&nbsp;exhibition dedicated to&nbsp;the 50th anniversary of&nbsp;the first man in&nbsp;space&nbsp;&mdash; Hello Gagarin: Popularity Is&nbsp;Irreparable, part of&nbsp;Debut exhibition programme. The project was planned and implemented by&nbsp;the creative tandem of&nbsp;Mexican artist Jessica &lsquo;La Negra&rsquo; Lopez and poet Minerva Reynosa, with the assistance of&nbsp;Valentina Baumann, Russian curator of&nbsp;the project.</p> <p>The idea of&nbsp;the exhibition consists in&nbsp;the crossing of&nbsp;art and poetry, reality and myth, everyday life and stories with great characters, as&nbsp;well as&nbsp;Mexican and Russian cultural traditions. The theme of&nbsp;travel lies in&nbsp;its basis, not only as&nbsp;a&nbsp;geographical displacement, but also as&nbsp;a&nbsp;symbol of&nbsp;how risky is&nbsp;to&nbsp;go&nbsp;outside, to&nbsp;move, to&nbsp;overcome, to&nbsp;change, as&nbsp;well as&nbsp;the analogy of&nbsp;the creative process. In&nbsp;this context, the authors refer to&nbsp;the image of&nbsp;Gagarin, which combines a&nbsp;unique historical event and everyday flow of&nbsp;life, and helps the authors and the audience to&nbsp;reconstruct a&nbsp;kind of&nbsp;myth about a&nbsp;man in&nbsp;space, an&nbsp;astronaut.</p> <p>***</p> <p><strong>Jessica &lsquo;La Negra&rsquo; Lopez</strong></p> <p>Born in&nbsp;Monterrey (Mexico, Nuevo Le&oacute;n) in&nbsp;1979, currently lives and works in&nbsp;Mexico City. She graduated from the Faculty of&nbsp;Visual Arts of&nbsp;the Autonomous University of&nbsp;Nuevo Leon (UANL, 2001). The main direction of&nbsp;her works is&nbsp;painting, and the basic flow in&nbsp;which it&nbsp;operates is&nbsp;Hyperrealism. Jessica has also participated in&nbsp;projects that involved drawing, photography, video, installation, and performance. She has exhibited at&nbsp;various venues in&nbsp;Mexico City, Monterrey and Tijuana. Her solo exhibitions include Once in&nbsp;My&nbsp;Tent There Were a&nbsp;Thousand People, and Then I&nbsp;Burned It&nbsp;Along with All the Inside (Enrique Guerrero Gallery, Mexico City, 2010), Cool Kids Never Have the Time (Center for the Arts II, Park), Fundidora (Monterrey, Nuevo LEON, 2009), 101 Most Powerful Women (Forbes, 2006), (Enrique Guerrero Gallery, Mexico City, 2007), 101 Ways Not to&nbsp;Think about You (Alternative Gallery Eleven, San Pedro Garza Garcia, Nuevo Leon, 2003). Her works have honorary prizes and awards (Bienal Arte Emergente 2008; XXIV Rese&ntilde;a de&nbsp;la&nbsp;Pl&aacute;stica Nuevoleonesa). She is&nbsp;scholar of&nbsp;the state program of&nbsp;young artists support (J&oacute;venes Creadores FONCA 2009, &lsquo;Painting&rsquo; category). She used to&nbsp;teach at&nbsp;the Faculty of&nbsp;Visual Arts of&nbsp;UANL. She took part in&nbsp;international art festivals in&nbsp;Colombia, USA, Spain, Switzerland, and China.</p> <p><strong>Minerva Reynosa</strong></p> <p>Born and works in&nbsp;Monterrey (Mexico, Nuevo Leon, 1979). Poet, essayist, and also a&nbsp;regular participant in&nbsp;various visual art projects. She regularly collaborates with various periodicals in&nbsp;Mexico and other countries, has received several literary awards for poetry and was granted various state scholarship programs to&nbsp;support young artists. Initiator, co-organizer and active participant in&nbsp;various art projects, such as&nbsp;Spring of&nbsp;the Poets (Alliance Francaise, Monterrey, March 2006-2007), Meeting of&nbsp;Young Writers in&nbsp;Northern Mexico and Southern United States (with the support of&nbsp;CONARTE and state government, Monterrey, Nuevo Leon, 2005-2007). She is&nbsp;currently engaged in&nbsp;an&nbsp;international art project PIMP M(t)Y POETRY: enchulamientos po&eacute;ticos (Pimp My&nbsp;Poetry: Poetic Upgrade). Her works have been repeatedly published in&nbsp;anthologies of&nbsp;contemporary Mexican poetry and has released several own books, and participated in&nbsp;international poetry festivals.</p>201104142011051932535http://www.mmoma.ru/en/exhibitions/gogolevsky/privet_gagarinu_populyarnost_nepopravima/http://www.mmoma.ru/en/exhibitions/gogolevsky/privet_gagarinu_populyarnost_nepopravima/<p>Spanish Art of the 21st Century in the Contemporary Art Collection of Museo Patio Herreriano, Valladolid</p>Sat, 19 Mar 2011 02:32:00 +0300<p><strong>Curator:</strong> Maria de&nbsp;Corral<br /><br /> <img src="/images/logotypes/vir_er.gif" alt="" /><br /> <strong><span style="font-size: medium;">The exhibition is&nbsp;organized within Russia&nbsp;&mdash; Spain Year 2011 </span></strong><br /><strong><span style="font-size: medium;"> with the support of&nbsp;&laquo;Alliance&raquo; Oil Company (Russia) and T&eacute;cnicas Reunidas (Spain)</span></strong><br /> <br /> Participating artists: Juan Usl&eacute;, Fernando S&aacute;nchez Castillo, Sergio Prego, Jos&eacute; Manuel Ballester, Jorge Galindo, Laura Torrado, Antoni Muntadas, Jordi Colomer, &Aacute;ngela de&nbsp;la&nbsp;Cruz, Pello Irazu, Cristina Lucas and others.</p> <p>The &laquo;Fiction and Reality&raquo; show at&nbsp;the Moscow Museum of&nbsp;Modern Art is&nbsp;held within Russia&nbsp;&mdash; Spain Year 2011. The project presents works by&nbsp;Spanish artists form the collection at&nbsp;the Patio Herreriano Museum. The Museum opened in&nbsp;the city of&nbsp;Valladolid in&nbsp;2002. Its collection comprises oeuvres by&nbsp;Spanish masters dated from 1918 to&nbsp;the present, which have been aquired by&nbsp;the Association &laquo;Contemporary Art Collection&raquo; since 1987. The Collection counts over 1000&nbsp;works, and is&nbsp;considered to&nbsp;be&nbsp;the biggest collection of&nbsp;contemporary Spanish art. The works acquired by&nbsp;Spanish pr&iacute;vate companies are donated to&nbsp;the Association and are exhibited at&nbsp;the Patio Herreriano Museum.<br /> <br /> The curator of&nbsp;the exhibition is&nbsp;the chief coordinator of&nbsp;the Collection&nbsp;&mdash; Maria de&nbsp;Corral, world famous art historian. For the project in&nbsp;Moscow she has selected works which best illustrate the full spectrum of&nbsp;contemporary Spanish art. The exhibition will include a&nbsp;range of&nbsp;works in&nbsp;various media&nbsp;&mdash; painting, video, photography, installation, sculpture, drawings&nbsp;&mdash; created in&nbsp;the past decade, and will feature artists who are all important figures in&nbsp;the contemporary Spanish art scene.<br /> <br /> The key theme selected for the show by&nbsp;Maria de&nbsp;Corral is&nbsp;the interplay of&nbsp;fiction and reality. The curator states that the past decade forced&nbsp;us to&nbsp;review the notions of&nbsp;the real and the virtual worlds. With the development of&nbsp;new technologies the gap between reality and fiction has become enormous. Fiction and reality are the new source of&nbsp;inspiration for the artists of&nbsp;this century.<br /> <br /> The first exhibition room presents photography. Almost all works feature people. Photographs by&nbsp;artists Dami&agrave;n Ucieda and Laura Torrado create the illusion of&nbsp;action. Whereas Dami&agrave;n&rsquo;s characters look like imaginary film actors, Laura Torrado makes up&nbsp;theatrical scenes marked by&nbsp;incredible femininity. In&nbsp;the works by&nbsp;the artists&rsquo; duo Cabello and Carceller girls dress up&nbsp;as&nbsp;David Bowie and Brad Pitt, and Txomin Badiola unfolds before the viewer a&nbsp;multi-episode drama.<br /> <br /> In&nbsp;the black and white graphic works by&nbsp;Jos&eacute; Miguel Pere&ntilde;&iacute;guez people vanish completely, and abstract symbols take their place. Executed with academic precision, these drawings conjure up&nbsp;images of&nbsp;dreams. Chus Garc&iacute;a Fraile conjures up&nbsp;enchanting images of&nbsp;a&nbsp;nocturnal city with surprisingly simple means, Ester Parteg&aacute;s plays with consumer society imagery.<br /> <br /> Maggie Cardel&uacute;s, Concha P&eacute;rez and Sandra Gamarra create an&nbsp;illusion of&nbsp;intimacy. The artists abandon traditional techniques, and combine photography, sculpture, installation, and painting. The next room develops the idea of&nbsp;space, employing solely painterly medium. Alfonso Albacete creates a&nbsp;realistic interior, which, in&nbsp;its turn, serves as&nbsp;a&nbsp;background for an&nbsp;impossibly bright abstract composition. In&nbsp;Philipp Fr&ouml;hlich&rsquo;s dream-like scene, house interiors suddenly merge with wild nature. Jorge Galindo combines surrealism, kitch and pop-art. Abstract works by&nbsp;Felicidad Moreno and Nico Munuera are also exhibited in&nbsp;this gallery.</p> <p>In&nbsp;the next room, the works on&nbsp;display are executed in&nbsp;mixed media to&nbsp;show how artists use new technologies mixed with traditional painting techniques, to&nbsp;expand the boundaries of&nbsp;painting . The exhibition is&nbsp;concluded with video works by&nbsp;Fernando S&aacute;nchez Castillo, Sergio Prego, El&nbsp;Perro and Cristina Lucas.</p> <p>The thematic division is&nbsp;only arbitrary, since any real classification demands detachment which is&nbsp;virtually impossible when dealing with the art of&nbsp;our contemporaries.</p> <p>All works displayed at&nbsp;the &laquo;Fiction and Reality&raquo; show are not only reflective of&nbsp;the true Spanish nature, but they have enough creative potential to&nbsp;be&nbsp;understood outside of&nbsp;the country of&nbsp;origin. The curator believes that this project presents the most accessible way of&nbsp;communication between the two countries&nbsp;&mdash; the laguage of&nbsp;art is&nbsp;international as&nbsp;it&nbsp;blurs territorial, social, and language borders.</p> <p>***</p> <p><span style="font-size: medium;">Information on&nbsp;the curator:</span></p> <p>Maria de&nbsp;Corral&nbsp;&mdash; art critic and independent curator. Director of&nbsp;the 51st Venice Biennial, 2005. Advisor and Coordinator of&nbsp;Colecci&oacute;n de&nbsp;Arte Contempor&aacute;neo (Museo Patio Herreriano, Valladolid). Adjunct Senior Curator of&nbsp;Dallas Museum of&nbsp;Art (2005-2008). From 1990 until 1994 Director of&nbsp;the Museo Nacional Centro de&nbsp;Arte Reina Sof&iacute;a. Director of&nbsp;Visual Arts Department of&nbsp;Fundaci&oacute; &laquo;la&nbsp;Caixa&raquo;. Since 2000 Director of&nbsp;ExpoActual.</p> <p><img src="/images/logotypes/vir_bot_logo_en.gif" alt="" /></p>./images/cms/data/iphone/exhibitions/vir_120.jpg./images/cms/data/iphone/exhibitions/vir_280.jpgState Museum of Modern Art of the Russian Academy of Arts, 10 Gogolevsky Blvd.<p>Spanish Art of the 21st Century in the Contemporary Art Collection of Museo Patio Herreriano, Valladolid</p><p>Curator: Maria de&nbsp;Corral<br /> <br /> The exhibition is&nbsp;organized within Russia&nbsp;&mdash; Spain Year 2011 <br /> with the support of&nbsp;&laquo;Alliance&raquo; Oil Company (Russia) and T&eacute;cnicas Reunidas (Spain)<br /> <br /> Participating artists: Juan Usl&eacute;, Fernando S&aacute;nchez Castillo, Sergio Prego, Jos&eacute; Manuel Ballester, Jorge Galindo, Laura Torrado, Antoni Muntadas, Jordi Colomer, &Aacute;ngela de&nbsp;la&nbsp;Cruz, Pello Irazu, Cristina Lucas and others.</p> <p>The &laquo;Fiction and Reality&raquo; show at&nbsp;the Moscow Museum of&nbsp;Modern Art is&nbsp;held within Russia&nbsp;&mdash; Spain Year 2011. The project presents works by&nbsp;Spanish artists form the collection at&nbsp;the Patio Herreriano Museum. The Museum opened in&nbsp;the city of&nbsp;Valladolid in&nbsp;2002. Its collection comprises oeuvres by&nbsp;Spanish masters dated from 1918 to&nbsp;the present, which have been aquired by&nbsp;the Association &laquo;Contemporary Art Collection&raquo; since 1987. The Collection counts over 1000&nbsp;works, and is&nbsp;considered to&nbsp;be&nbsp;the biggest collection of&nbsp;contemporary Spanish art. The works acquired by&nbsp;Spanish pr&iacute;vate companies are donated to&nbsp;the Association and are exhibited at&nbsp;the Patio Herreriano Museum.<br /> <br /> The curator of&nbsp;the exhibition is&nbsp;the chief coordinator of&nbsp;the Collection&nbsp;&mdash; Maria de&nbsp;Corral, world famous art historian. For the project in&nbsp;Moscow she has selected works which best illustrate the full spectrum of&nbsp;contemporary Spanish art. The exhibition will include a&nbsp;range of&nbsp;works in&nbsp;various media&nbsp;&mdash; painting, video, photography, installation, sculpture, drawings&nbsp;&mdash; created in&nbsp;the past decade, and will feature artists who are all important figures in&nbsp;the contemporary Spanish art scene.<br /> <br /> The key theme selected for the show by&nbsp;Maria de&nbsp;Corral is&nbsp;the interplay of&nbsp;fiction and reality. The curator states that the past decade forced&nbsp;us to&nbsp;review the notions of&nbsp;the real and the virtual worlds. With the development of&nbsp;new technologies the gap between reality and fiction has become enormous. Fiction and reality are the new source of&nbsp;inspiration for the artists of&nbsp;this century.<br /> <br /> The first exhibition room presents photography. Almost all works feature people. Photographs by&nbsp;artists Dami&agrave;n Ucieda and Laura Torrado create the illusion of&nbsp;action. Whereas Dami&agrave;n&rsquo;s characters look like imaginary film actors, Laura Torrado makes up&nbsp;theatrical scenes marked by&nbsp;incredible femininity. In&nbsp;the works by&nbsp;the artists&rsquo; duo Cabello and Carceller girls dress up&nbsp;as&nbsp;David Bowie and Brad Pitt, and Txomin Badiola unfolds before the viewer a&nbsp;multi-episode drama.<br /> <br /> In&nbsp;the black and white graphic works by&nbsp;Jos&eacute; Miguel Pere&ntilde;&iacute;guez people vanish completely, and abstract symbols take their place. Executed with academic precision, these drawings conjure up&nbsp;images of&nbsp;dreams. Chus Garc&iacute;a Fraile conjures up&nbsp;enchanting images of&nbsp;a&nbsp;nocturnal city with surprisingly simple means, Ester Parteg&aacute;s plays with consumer society imagery.<br /> <br /> Maggie Cardel&uacute;s, Concha P&eacute;rez and Sandra Gamarra create an&nbsp;illusion of&nbsp;intimacy. The artists abandon traditional techniques, and combine photography, sculpture, installation, and painting. The next room develops the idea of&nbsp;space, employing solely painterly medium. Alfonso Albacete creates a&nbsp;realistic interior, which, in&nbsp;its turn, serves as&nbsp;a&nbsp;background for an&nbsp;impossibly bright abstract composition. In&nbsp;Philipp Fr&ouml;hlich&rsquo;s dream-like scene, house interiors suddenly merge with wild nature. Jorge Galindo combines surrealism, kitch and pop-art. Abstract works by&nbsp;Felicidad Moreno and Nico Munuera are also exhibited in&nbsp;this gallery.</p> <p>In&nbsp;the next room, the works on&nbsp;display are executed in&nbsp;mixed media to&nbsp;show how artists use new technologies mixed with traditional painting techniques, to&nbsp;expand the boundaries of&nbsp;painting . The exhibition is&nbsp;concluded with video works by&nbsp;Fernando S&aacute;nchez Castillo, Sergio Prego, El&nbsp;Perro and Cristina Lucas.</p> <p>The thematic division is&nbsp;only arbitrary, since any real classification demands detachment which is&nbsp;virtually impossible when dealing with the art of&nbsp;our contemporaries.</p> <p>All works displayed at&nbsp;the &laquo;Fiction and Reality&raquo; show are not only reflective of&nbsp;the true Spanish nature, but they have enough creative potential to&nbsp;be&nbsp;understood outside of&nbsp;the country of&nbsp;origin. The curator believes that this project presents the most accessible way of&nbsp;communication between the two countries&nbsp;&mdash; the laguage of&nbsp;art is&nbsp;international as&nbsp;it&nbsp;blurs territorial, social, and language borders.</p> <p>***</p> <p>Information on&nbsp;the curator:</p> <p>Maria de&nbsp;Corral&nbsp;&mdash; art critic and independent curator. Director of&nbsp;the 51st Venice Biennial, 2005. Advisor and Coordinator of&nbsp;Colecci&oacute;n de&nbsp;Arte Contempor&aacute;neo (Museo Patio Herreriano, Valladolid). Adjunct Senior Curator of&nbsp;Dallas Museum of&nbsp;Art (2005-2008). From 1990 until 1994 Director of&nbsp;the Museo Nacional Centro de&nbsp;Arte Reina Sof&iacute;a. Director of&nbsp;Visual Arts Department of&nbsp;Fundaci&oacute; &laquo;la&nbsp;Caixa&raquo;. Since 2000 Director of&nbsp;ExpoActual.</p>201103302011050927909http://www.mmoma.ru/en/exhibitions/gogolevsky/vymysel_i_realnost/http://www.mmoma.ru/en/exhibitions/gogolevsky/vymysel_i_realnost/