Olga Tobreluts. The New Mythology – Moscow – Russia

Olga Tobreluts. Ups and downs. Oil on canvas. 2012

January 24 to February 24 2013 – Moscow Museum of Modern Art

The Moscow Museum of Modern Art in collaboration with Triumph Gallery present a large-scale retrospective exhibition of Olga Tobreluts, a Russian artist, who became well-known internationally, primarily as a pioneering media art artist and a creator of massive video installations. She is one of the first contemporary artists who picked modern computer technologies as a medium. The latter enabled Tobreluts to develop her own singular yet extremely recognizable style one can clearly tell even in her early works. Tobreluts’s artworks appear to be intricate manipulations, in which historical realities and myths of modern culture are melted together for the purpose of transforming them into a magical super reality.

Olga Tobreluts. Venus. Print. 2003. Courtesy of The Moscow House of Photography.

Olga Tobreluts gave up using computer technologies as her artistic medium in 2003. The year saw her return to painting. She managed to find out her own painting manner by employing ancient painting techniques. She keeps developing her manner while carrying out experiments with the chemical makeup of paints to expand her range of methods of light transmission.
The MMOMA retrospective exhibition will show Olga Tobreluts’ well-known series of works made available courtesy of several museum and private collections. Apart from the above, the artist’s experimental works will be put on display for the first time

Moscow Museum of Modern Art – MMOMA

Edgar Degas. Place de la Concorde – St Petersburg – Russia

Edgar Degas Place de la Concorde Oil on canavas 78.4x117.5 cm

From May 19th, 2012 – State Hermitage Museum

Edgar Degas’ work entitled Place de la Concorde (1876) is on display as part of the Revived Masterpieces series. The characters in the paining are the artist’s friend Ludovic Lepic and his two daughters, crossing the Place de la Concorde in Paris. Completed by the artist in 1876, this canvas is a very important milestone on the work of Edgar Degas and 19th century French painting as a whole. It is simultaneously a realistic portrait, a street scene and an urban landscape in the impressionist key.
For a year and a half, the painting underwent a process of restoration at the Hermitage, the primary goal of which was uncovering the part of the original painting that was caught under the frame. An area with a width of up to 4 cm was not covered with a layer of the lacquer applied later, which also made it possible to verify that the painting was initially made in a silver colour, and then covered with yellow lacquer. Thanks to the painstaking work of the restorers, it was possible to restore the famous canvas to its original condition and restore the true character of the master’s painting.

Hermitage Museum

Boris Vorobyov. Porcelain and Graphic Works – St Petersburg – Russia

Panther (Fury) - 1967 Boris Vorobyov Painted by V.M. Zhbanov Porcelain; under-glazed monochrome painting

Until April first 2012 – State Hermitage -Rotunda, Winter Palace

Beginning in 1936, Boris Vorobyov began both a course of study at the Academy of Arts and a job at the Leningrad Porcelain Factory, which would be tied to his artistic career for more than three decades. He created a great number of models that added to the gold portfolio of the factory; many of them are still being duplicated, and are in as high demand among lovers of porcelain as ever. Contrary to established academic traditions, this artist remained true to the “animalier” style, using his creative gifts to shape a wide variety of materials: porcelain, faience, ceramics, glass, wood and metal.

Around 200 items from the collections of the State Hermitage Museum, the artist’s family and OJSC “Imperial Porcelain Factory” were included in the exhibit.

Every piece represents the artist’s deep appreciation of the value of nature, and of its simultaneous vulnerability; each of them is an embodiment of his serious and thoughtful approach to his models. The thematic range of Boris Vorobyov’s “animalier” style is very broad, but one unique motif in this artist’s work is the polar bear, which he used several times, reaching a pure stylistic conclusion in the classic paired figures of a walking and sitting polar bear.

Tigers and leopards were also frequent characters in Vorobyov’s sculpture. The monumental nature of the sculptures entitled Recumbent Tiger and Panther (Fury) demonstrates the artist’s complete command of form and material, as well as his understanding of the nature of his subjects. Panther is distinguished by its remarkable grace and elegance of form, and the acuity of its sculptural design. Created in the late 1960s, it might be said to represent a capstone to the artist’s many years of work in porcelain. In his work, this sculptor always strove to express the interior character of his subject as he understood and felt it himself.

The Quartet Series (based on I.A. Krylov’s fable of the same name) 1949 Boris Vorobyov Design for the painting by I.I. Riznich Porcelain; over-glazed colour painting, gilding

nimals were the main, but not the only theme that attracted Boris Vorobyov’s style. Literary images from the work of I.A. Krylov, A.S. Pushkin, M.Y. Lermontov, N.V. Gogol, A.P. Chekhov, S.V. Mikhalkov, translated into the language of porcelain sculpture, became equally important for the artist. Immediately after their creation, these works drew great interest from collectors and lovers of porcelain and were in high demand. Although these sculptures had literary antecedents, they were, nonetheless, works of art of their own right. Each of these groups is characterized by the freshness of the artistic approach taken to creating them and the absence of compositional and artistic cliche’s. Each of these figures preserves its own individuality.

The series of characters based on N.V. Gogol’s The Government Inspector and Dead Souls, which are often called the “Gogol types” was literally created in one breath; in four months, according to the artist. These figures all produce a similar impression; their nearly identical height emphasizes and even grotesquely overdoes the character traits and “typecasting” expressed in Gogol’s prose.

The sculptural cycle dedicated to Chekhov’s stories presents not only characters, but plot groups. The Chekhov series, while remaining without the domain of indoor sculpture, demonstrates the artist’s tremendous sculptural and compositional virtuosity.

These series of literary cycles concluded with a group of sculptures dedicated to the works of M.Y. Lermontov. The primary artistic principle at work here is that of the conventionality of the sculptural form, emphasized by the contrast between black and white tones and the various structures of the material. The artistic devices used here made it possible to express a dramatic internal duality, the psychological conflict that Lermontov’s characters are embroiled in.

In addition to the porcelain pieces from the collections of the State Hermitage Museum and that artist’s family, this exhibit includes thirty works of graphic art by Boris Vorobyov. The strongest impression is made by the watercolors, created by the artist in the 1980s, while he was severely ill; working from memory, the sculpture put an entire gallery of animal images, from both memory and fantasy, down on paper.

As part of this exhibit, the artists of the Imperial Porcelain Factory have presented their own decorative rendition of the image of the polar bear, transforming the same classical form created by Boris Vorobyov into a new, non-standard type of art object.

The “animalier” had been given the undeserved label of a “light genre.” Boris Vorobyov’s work is full of a deep and sincere approach to sculpture. Highly valuing his characters, he aspired to place the world of “out little brothers” on the same level with the human world, or even higher. Boris Yakovlevich Vorobyov felt that the aim of his work was to make sure that “these “porcelain animals” showed people the beauty of nature, forced them to listen to the voice of nature and fall in love with it.”

Museum Hours

Ostengruppe «Рoster. Design. Art» – Moscow – Russia

December 15, 2011 to January 15, 2012 – Moscow Museum of Modern Art, 25 Petrovka str

OstenGruppe is an association founded by designers Eric Belousov, Igor Gurovich and Anna Naumova. It appeared in Moscow in 2002, during the period of the rapid growth of the Russian advertising industry. The group’s activities are based on principles of the alternative culture, i. e. pre-revolutionary protest, radical attitude to the visual language, principal stand, liking for avant-garde thinking, ideology of the cultural diktat. OstenGruppe is a group of artists with their own styles, skills and dispositions. Individuality of each member contributes to the whole image of the group.

During a rather short period of time, the OstenGruppe has become a cult group in the Russian design. Not differentiating between the «low» and «high» genres, the group focuses its attention on the genre of the street poster art, seemingly non-topical in the 21st century. Following traditions of the 20th century graphic art and using cutting-edge achievements in the field of visual culture, the designers breathe new life into the social and plastic achievements of the Russian avant-garde art. The «art of the day» principle becomes vividly apparent in collaboration of the OstenGruppe with the Cultural Centre DOM. The lab provided design for music events. The poster transforms from a street advertisement into a method of the alternative visual culture.

The up-to-date poster is a platform for socialization of the artistic gesture and at the same time for the plastic experiment. Balancing on the verge of the applied and visual arts, public and individual utterance, the poster is called upon to bridge the gap between the «high» and the «low» cultures. Moreover, the poster performs social functions. It touches upon the issue of communication and its opportunities. What are the limits of the public utterance and do they exist at all?

The exhibition by OstenGruppe in Moscow Museum of Modern Art is called upon to expose the subject of the Russian contemporary poster and print art in the context of development and continuation of the avant-garde art of the 1920s. It is devoted to problems of the tradition and continuity in the Russian visual culture and the importance of the Russian print art in the world context. It is the first exhibition of the lab in the museum space. The exposition contains well-known and new works by the designers. Along with posters, there are objects, small print forms, documentary materials, which narrate the history of the group and introduce the project members to the audience.
A catalogue, illustrated with the most typical artworks by the group, has been published for the exhibition. This edition reflects the specific character of the designers, their approach to the creation of products of mass visual communication.

Igor Gurovich. During his career, he has been working in the field of set design in Russia, Latvia and France. In 1995-2002, he worked as art director at IMA-Press Publishing. Since 2002, he has been a member the OstenGruppe.
Anna Naumova. She has been engaged in print design since 1994. Prior, she had worked as theater artist. She has graduated from the Moscow Polygraphist Institute. For four years, she was working at IMA-Press Publishing. Together with Igor Gurovich and Eric Belousov, she is a founder of the OstenGruppe design lab.
Eric Belousov. In 1983-1985, he worked as graphic designer during his military service. In 1992, he graduated from the Stroganov Art School. In 1997-2002, he worked at IMA-Press Publishing. Since 2002, he has been a member of the OstenGruppe. Since 2007, he has been an academician of the Russian Academy of Graphic Design.

Museum Hours

Dmitry Tsvetkov «The State» – Moscow – Russia

From November 22, 2011 to January 8, 2012 – Moscow museum of modern art

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. Among them Oleg Kulik, Anatoly Osmolovsky, Dmitry Gutov and others may be named. At present, they stand out in Russian art — surely, this concerns Dmitry Tsvetkov as well.

The exhibition demonstrates the development of the author’s concept regarding «new visual symbols of Russia». Among them there are uniforms, orders, weapons and coats of arms. The artist makes these attributes of power attractive and magnificent. Thus, Tsvetkov creates a grotesque, ironic, sarcastic and absurd image of the State. For example, the crown of the Russian Empire is made of silk and decorated with chrystals, a 3-meter-high military papakha is bead-embroidered, whereas hand grenades or daggers are knitted. The diversity of items forms an alternative symbol system of the invented state, where, like in a distorting mirror, the viewers can easily recognize many familiar things.

The author’s reflection about the state and its presentation are serially exhibited in 12 halls; each of them is devoted to the artist’s specific series or project. The exhibition in the MMoMA will show the artist’s famous artworks from the collections of Moscow Museum of Modern Art, Tretyakov Gallery, National Centre of Contemporary Art and other collections.

Museum Hours

15 International Art Fair Art Moscow – Moscow – Russia

September 21 through September 25, 2011 – Central House of Artists

The International Art Fair ART MOSCOW which is the principal annual event on the Russian art market focusing on contemporary actual art will be held at the Central House of Artists.
ART MOSCOW is renewed annually, not only presenting to the public new works, names and galleries, but also introducing vital changes, which deeply affect the development of the project. This year the number of experts in the Expert Council enlarged by entering foreign professionals from Great Britain (Rachael Barrett) and Germany (Anne Maier). The structure of exposition area was also altered. Following the international experience, ART MOSCOW offered the system of equal exposition area. Galleries are offered to stand out for the quality of their expositions but not for their size. During the 2011 ART MOSCOW representations appeared in international activities at key sites of the world art scene in Berlin, Cologne, London, Madrid and Basel. The result of foreign activity is the increased number of foreign participants and the expanding pool of foreign participants in mass-media.
This year over 40 national and international galleries introduce their expositions at 15 ART MOSCOW Fair.

Fair Hours

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