calendario eventi  :: 

X

16/12/2009

Four Exhibitions

State Museum of Modern Art of the Russian Academy of Arts, Moscow

Socialist realism: Inventory of an archive. Art of the 1930s-1940s from the collection of ROSIZO
Curated byZelfira Tregulova

«Socialist Realism: Inventory of an Archive» marks the 50th anniversary of the State Museum and Exhibition Center ROSIZO and the 10th anniversary of the Moscow Museum of Modern Art. For the first time, this project presents a unique collection of Soviet art of the 1930s-1940s from the keepings of ROSIZO.

The history of this collection dates back to 1937-1939, when a large-scale exhibition entitled «Industry of Socialism» was in preparation. A great stratum of paintings, sculptures and graphic pieces created for the exhibition that was never realized, settles down in the holdings of the Direction of Special Exhibitions and Panoramas, founded in 1940. In 1951, the Special Archive of Artworks is created within the Zagorsk Museum and Reserve, and about 1.500 pieces from the Direction are transported there. In 1958, this Archive is transformed into the Special Centralized Depository of Artworks, and the next portion of works enriches it, including portraits of late or fallen-from-grace Soviet leaders — Stalin, first of all.

The unique collection of the Special Archive demonstrates how ideology-driven was the authorities’ approach to art and creative production, even during the Thaw. At first glance, it is hard to understand what was so riotous about B. Tsvetkov’s «Hydro-Aviation» (1933) or «Float Delivery» (1937) that praised the Soviet utopia of «higher, and higher, and higher». However, the Special Archive, which kept supplying many museums in the country during the Khrushchev Thaw and Brezhnev stagnation, was tight with these works of «dubious background», that is to say patronage of Stalin’s regime. By the way, sometimes it appears that canvases like «Frontier Guards in Batumi» (1932) by V. Lyushin or «Tank Attack» (1933) by E. Zernova, created for the exhibition devoted to the 15th anniversary of the Red Army, could seem too unusual and avant-garde to artistic councils of the 70s. These and many other circumstances led to keeping many works in the archive that was handed over to ROSIZO in the early 1990s; this collection displays the peculiarity of «Soviet idealism» of first Stalinist decades and the troubles of «struggling for the banner», as art critic Ekaterina Degot put it.

It is no wonder that art of this transition period (1920s-1930s) still attracts the attention of curators and spectators. It is proved by several successful exhibitions carried out recently in Europe and Russia, such as «Communism: Factory of Dream» (2003, Frankfurt), «Soviet Idealism» (2005, Liege), «Red Army Studi» and «Struggling for the Banner» (2008, Moscow). Works from ROSIZO holdings took part in all these exhibitions. On the one hand, it is a perfect starting point for a discourse, on the other — an extremely interesting creative phenomenon that shows many cases when painterly skills force their way through tight limits of ideology and appear in original aesthetic treatment.

Of course, works from ROSIZO archives are of uneven artistic quality. However, in this display the pieces «blurt» much about the life they portray — that it is not a «radiant way» but rather a hard existence without light, joy, or hope. These canvases depict workers’ meetings and discussions, labor at a plant or a carpet factory, or a foundry, a grocery store, or a culinary department.

The most controversial pieces — in the context of today’s perception — are those that enriched the archive in the 1950s, after the cult of Stalin was dismissed. For many years, the tower in Zagorsk became a place to hold dismantled monumental portraits of the leader, executed by main official painters of the time — A. Gerasimov, V. Svarog, and B. Efanov. All these paintings praised the personality of Stalin and created a new mythical history of the country, as well as the legend of higher authority embodied in one man. The mythological representations of power, created by socialist realism, borrowed from the universal artistic experience but exaggerated it. Apart from portraits of the Leader of Nations, they are visible in paintings depicting Stalin’s military companions, such as V. Molotov, K. Voroshilov and others. It should be noted that the methods of extreme psychological impact on the potential audience were very effective, for artists didn’t hesitate to employ unexpected and risky tricks that flattered the authorities.

Today these canvases are restored and set on stretchers; they have entered the art-historical life and are often demonstrated at exhibitions that show no nostalgia for the regime gone, but aim at the analysis of the complex creative situation of those years and methods of representation produced by the official art. That is why the broad span of pieces chosen for the project «Socialist Realism: Inventory of an Archive» includes the transition aesthetics of «Soviet idealism», the mass introduction of strictly controlled official methods, and the formulas that were fully developed by the masters of Socialist realism.

..........................................

Holidays and weekdays. Art of the 1970s-1980s.

The painting and graphics collection of the 1970s-1980s constitutes an important part of the «ROSIZO» State Museum and Exhibition Center holdings. «Holidays and Weekdays» exhibition is timed to coincide with the «ROSIZO» 50th anniversary and the Moscow Museum of Modern Art 10th anniversary.

The 1970s are a significant stage in the development of Russian art, when Russia’s art scene was characterized by extreme diversity and dynamism. Gone were the battles with Social Realism, which had dominated the art scene of the preceding period. There was no longer a dominant art trend. Even «official» artists each worked in their individual artistic manner. Industrial scenes by D. V. Zhuravlev differ radically from similar works by A. V. Panteleyev, crisp landscapes by V. N. Sidorov are nothing like academic paintings by B. V. Scherbakov.

That period was marked by the opposition of official and underground art. However, everything was interrelated, and formal quests often lead rather conformist artists to the art radicals and dissidents’ camp. The merits of underground artists in fighting against boredom and the preponderance of officialdom are now well recognized. 2009 marks the 35th anniversary of the «Bulldozer Exhibition» — an important landmark in that struggle. Heroic efforts of non-conformists gradually widened the boundaries of the permissible for most artists who were still affiliated the Artists’ Union, and yet did not support official ideology with their art. They concentrated their efforts on figural searches, which what this exhibition aims to show. The paintings on view highlight the achievements of the artists, demonstrating the multifaceted art of the 1970s-1980s, which we have started to forget with time. Subsequent turmoils and revolutions edged it out, and the new artist generation sets entirely different tasks.

«ROSIZO» State Museum and Exhibition Center was founded by the USSR Ministry of Culture in 1959 to acquire, store art works and distribute them to museums, and to organize art exhibitions. «ROSIZO» still fulfills many of these functions. At present, it largely focuses on organizing art shows in Russia and abroad. It is for its exhibition activity, that «ROSIZO» is famous all over the world.

The formation of the «ROSIZO» collection has been complex. In Soviet times, the decision-making in acquiring art works was handled by the State Expertise Commission for the Ministry of Culture. Naturally, most art works at that period of time were bought from official artists, working within Soviet ideology. The vast majority of these works were then transferred to regional museums. As a result, a very small number of these works is left in «ROSIZO» collection. Exhibition activity in organizing Soviet art shows abroad lead to the creation of an exhibition fund, to which the best of the Soviet time acquisitions were selected. Thanks to this, we can now see works by T. Nazarenko, N. Nesterova, A. Sitnikov, O. Bulgakova and many other famous artists in the collection. After the collapse of the Soviet Union in the post-perestroika period, the unclaimed by museums holdings of the USSR Ministry of Culture and Zagorsk Art Archive were handed over to «ROSIZO». That is how painting by O. Tselkov, Y. Rukhin, V. Makarenko, I. Kiblitsky, V. Kalinin made their way to the «ROSIZO» collection.

It should be noted, that the «ROSIZO» collection covers the entire territory of the former USSR. Alongside well-known Moscow and Saint Petersburg artists, the collection also features regional art schools. The famous Vladimir School is represented by K. Brittov, V.Yukin, and V. Kokurin, and the art of the Caucuses — by Y. Abisalov, M. Kelesayev, Sh. Bedoyev. The collection includes works by N. Karacharskov from Cheboksary, O.Ponomarev and A. Pozdeyev from Krasnodar, A. Panteleyev from Vologda, A. Sidikov and R. Kharisov from Ufa. Works by artists from former soviet republics complement the show.

State Museum and Exhibition Center «ROSIZO» does not have its own exhibition venue. Its collections are either exhibited abroad within «Days of Russian Culture», or are shown as traveling shows in Russian regional museums. Ironically, they have almost never been displayed in Moscow, so the art of the 1970s-1980s is essentially shown in Russia’s capital for the first time. It is symbolic that the exhibition is hosted by one of the city’s youngest and most dynamic museums — Moscow Museum of Modern Art.

The exhibition does not aim to give a comprehensive overview of soviet art of this period. This is so far an insurmountable task for any existing museum. We hope that this show will remind the viewer of the recent past of this country reflected in art, that has been rejuvenated by the «burning pots of wars and tumults» of Russian history.

....................................

The art of russian masters. 90 years of the State Collection of Unique Musical Instruments.

The State Collection of Unique Musical Instruments is one among the oldest collections in Russia. It was initiated by cellist Victor L. Kubatsky (1891-1970). According to the founders’ idea, nationalized instruments from the collection were to be distributed among best performers after a competition; however, such a competition was held one time only.

It is important that the beginnings of this collection are connected with Konstantin V. Tretyakov, namesake of the famous founder of the Tretyakov Gallery. For many years, he collected rare Italian pieces and also commissioned violins from contemporary — mostly French — masters. In 1877-1878, Tretyakov gifted first ten, and after that, five more violins to the Moscow Conservatory; in his letter to Professor I. Grzhimali he stressed one indispensable condition: those violins should never be «sold or changed for others; they should always remain in possession of the Conservatory to be used by poorest students». The Conservatory has fulfilled this condition: for many years, talented young musicians have played instruments from Tretyakov’s collection. In total, Tretyakov passed about 30 instruments of the highest quality to the Conservatory — among them were items made by Antonio Stradivari.

Tretyakov’s collection, which was kept in the Conservatory for about 40 years, neatly joined the State Collection; the instruments were handled over in 1920. The State Collection carried on the tradition of supporting gifted musicians. Among the major concerns of the State Collection was promoting the Russian violin school and providing performers with quality instruments. Right away, instruments from the collection were used by Russian performers of the 20s — from the Bolshoi Theatre, from the famous Stradivari Quartet, from Persimfans (the first symphonic orchestra without conductor), from Viliom Quartet, and so on.

In the 1920s, Kubatsky found some unique instruments in the Crimea and brought them to Moscow. Among them was a cello made by Niccolo Amati and discovered in a derelict mansion in Simferopol; later, Mstislav Rostropovich played this instrument.

In the first stage of forming the collection, which can be roughly defined as 1919-1924, it comprised 111 instruments that still constitute its most valuable part. In 1924, the collection kept in the Bolshoi Theatre was transferred to the State Institute of Musical Science (SIMS). From the very beginning, the collection attracted various professionals, including performing musicians, conservators of old instruments and makers of new ones, historians of music etc. As a result, three independent but interrelated departments appeared — the collection, the scientific commission for instruments, and the workshops. There well-known specialists worked, such as G.A. Morozov, V.N. Oznobischev, A.A. Rozhdestvensky, N.M. Frolov, N.A. Dubinin, I.V. Shamraevsky, and others. One person should be noted specially — E.F. Vitachek, violin-maker and first conservator of the collection.

The work of SIMS employees was fully based on the research of items from the State Collection, made by Stradivari and other great masters. Studying classic violins, Russian masters of those years interpreted old methods in their new works. The SIMS period was the most productive in studying antique instruments from the State Collection. It was then when numerous articles, collected and monographic works on violin were published.

During World War II, the State Collection didn’t lose a single instrument. Owing to its employees and the superintendent of the Bolshoi Theatre, the State Collection was evacuated to the Urals, and after the war it returned to Moscow safe.

In the 1980s-1990s, several exhibitions involving instruments from the State Collection were organized in the Pushkin Museum of Fine Arts, the Tretyakov Gallery, as well as in Cremona, Italy. Two massive volumes were published: «The State Collection in Italy» and «The Great Russian Collection».

Since the early 1990s, new opportunities in expertise, conservation and research of the instruments appeared, as well as new digital archive technologies. It was now possible to exhibit within the walls of the State Collection. For the first time ever, sound quality of the instruments was tested in a cosy musical salon, which hosted some finest performances.

It seems that the world hasn’t seen any considerable music competition that didn’t involve violins from the State Collection. These competitions include Tchaikovsky Competition in Moscow, Marguerite Long — Jacques Thibaud Competition in Paris, Paganini Competition in Genoa, etc.

The State Collection of Unique Musical Instruments is the only «sounding» collection in the world: the instruments aren’t kept on shelves as museum exhibits, but rather are constantly played. The musicians who cooperated with the State Collection include David Oistrakh, Mstislav Rostropovich, Leonid Kogan, Vladimir Spivakov, Victor Tretyakov, Yuri Bashmet, orchestras of Bolshoi and Mariinsky theatres, «Moscow Virtuosos» and «Moscow Soloists» orchestras, the Tchaikovsky Great Symphonic Orchestra, the Russian National Orchestra, as well as various quartets and companies.

...................................

Konstantin Zvezdochetov. «Given Up».
curated by Elena Selina

Konstantin Zvezdochetov show opens within Moscow Museum of Modern Art 10th anniversary celebration. The creative union of Moscow Museum of Modern Art and XL gallery has been formed in the course of collaboration on «Moscow Contemporary» exhibition program, which has been running for over 3 years. «Moscow Contemporary» is a series of large-scale monographic exhibitions reflecting contemporary Russian art. Aidan Salakhova, Victor Pivovarov, Boris Orlov, Oleg Kulik, Irina Korina, Aristarkh Chernyshev, Vladislav Efimov Alexei Shulgin featured in this program.

Konstantin Zvezdochetov is one of the leading artists in contemporary Russian art. He was one of the activists of apartment exhibition projects by the APTART movement — the center of underground art scene in the 1980-s, the «New Wave» leader, integrating the vivacious happy-go-lucky street culture, rock-n-roll drive, and the rowdy aesthetics of true poetry into «rigid» Moscow Conceptualism. Zvezdochetov was an active member of the «Mukhomors» group, which was one of the Russia’s brightest underground art movements in the 1980-s, and the «playing coach» in the «World Champions» group of the 1990-s. He is almost the only member of either group, who did not give up art practice even in the most difficult times for contemporary art.

The most widely exhibited artist in Moscow, Konstantin Zvezdochetov has never had a full scale retrospective in Russia’s capital city. «Given Up» project at the Moscow Museum of Modern Art aims to fill this gap.

The intrigue of the exhibition is deliberately unrevealed: Konstantin Zvezdochetov is preparing a surprise for the viewers. The four floors of the Moscow Museum of Modern Art venue at Ermolaevsky lane will host installations and paintings by the artist. The exhibition will feature new art works as well as well-known ones, including several pieces from the State Tretyakov Gallery.

Museum press office
Head of the Public Relations Department — Ekaterina Kochetkova
e-mail pr@mmoma.ru or international@mmoma.ru, telephone (+7 495) 6946660 or fax (+7 495) 2314410

State Museum of Modern Art of the Russian Academy of Arts
10 Gogolevsky Boulevard, Moscow
Hours:
Mon.-Sun. 12:00 — 20:00
Ticket Office closes at 19:15
Thursday 13:00 — 21:00
Ticket Office closes at 20:15
The Museum is closed last Monday of the month

stampa

permanent link