Ars vs Bellum
#1 2020 (66)
War in any form brings home to humanity a sense of its vulnerability, of the closeness of mortality; the accompanying hardship and the immediacy of death exacerbate and heighten our perception of being. The Czech philosopher Jan Patocka (1907-1977) articulated the sense of breakdown of a wider morality in the world that was felt in the years after 1918: “The First World War gave rise to a number of explanations that reflected people’s desire to understand the monstrosity of that event, one that, although initiated by the human race, nevertheless appeared beyond the horizon of understanding of man, whether as an individual or as a larger unit; in itself war became, in a certain sense, a phenomenon that had come from beyond the boundaries of the planet itself.” Men of letters - writers, playwrights and poets - as well as artists and sculptors, composers, filmmakers and philosophers from both sides of the conflict would reconsider, each in their own way, the dramatic and existential experience of war, in prose and poetry, painting and sculpture, music and cinema.
Ars vs Bellum | World War I. 1914-1918. The Metronome of Memory
#1 2020 (66)
The “phenomenon of war” in 20 th century art as it emerged from World War I - a brief cultural resume, drawn from both sides of the conflict.
Ars vs Bellum | The Spanish Civil War: Prelude to World War II
#1 2020 (66)
The events of the Spanish Civil War horrified the world, and supporters of the Spanish people and the democratically elected Republican government united to oppose reactionary fascism. On April 26 1937, the Condor legion, a unit of the German Luftwaffe assigned for special duty with General Franco’s Nationalist forces, attacked and destroyed Guernica, a town of 6,000 people. In its terrible fate, Guernica became a symbol for the whole world, a forerunner of the destruction of the cities of World War II - Coventry, Stalingrad and Dresden...
Ars vs Bellum | Art in War: War in Art. The Great Patriotic War in Russian Сulture
#1 2020 (66)
In times of momentous conflict between nations, contrary to that popular dictum Inter arma silent Musae - “When guns talk, the muses fall silent” - art and culture retain their voice. From June 1941 to May 1945, through the years of the Great Patriotic War, the muses were certainly involved in the conflict, strengthening the spirit of those who were fighting, raising the morale of those at the front and those behind the lines who contributed so much to the war effort. The cultural canvas of the Great Patriotic War was a broad one, from evacuation of the museum collections of Leningrad and Moscow to the new generation of writers who would find their voice at the front, from the immortal melodies of Shostakovich’s “Leningrad” Symphony, itself an act of resistance to the Nazi blockade, to the moving war songs that caught the mood of the people. For the post-war Soviet generations, as well as for the majority of Russians today, the Second World War is identical with the Great Patriotic War, even though the latter conflict began only with the German invasion of the U.S.S.R. in June 1941, some two years after fighting had broken out in Europe. Such loose equivalences are inevitable: the First World War had seemed to those then living in the Russian Empire to be comparable to the Patriotic War of 1812, when Russia fought another invasion from the west. The Great Patriotic War in Russia, and across the countries of the former Soviet Union, is forever stamped in the memoirs of our parents and grandparents.
Ars vs Bellum | Monuments of the Great Patriotic War. "NO ONE IS FORGOTTEN, NOTHING IS FORGOTTEN"
#1 2020 (66)
Monuments of the Great Patriotic War: the Piskarevskoye Memorial Cemetery, the “Heroes of the Battle of Stalingrad” memorial complex, the Khatyn Memorial. “The Unbowed Man”, Ensemble to the Victims of Nazism, the monument to the Soviet Soldier in Rzhev, the War Memorial “The Liberator Warrior”.
“GRANY” FOUNDATION PRESENTS
Alexandra Khudyakova. "Love dolls like the Queen loved them"
#4 2019 (65)
The relatively new art of doll making has developed in a short space of time into a scintillating new form, combining aesthetic elements adopted from a range of older artistic genres with decorative attributes drawn from a wide perspective of history. This young form has reached a concentration of perfection in the work of Alexandra Khudyakova, an artist who creates a cornucopia of visual riches, one which can be as elaborate in its detail as it remains tantalizing and allusive in meaning.
“GRANY” FOUNDATION PRESENTS
#3 2016 (52)
The “Tretyakov Gallery Magazine” and Garage Museum of Contemporary Art have been collaborators since the latter’s opening, with articles on the shows of Antony Gormley and Mark Rothko, and the exhibition of works from Frangois Pinault’s collection appearing in these pages. Co-editor Natella Voiskounski met with Garage Chief Curator Kate Fowle recently to discuss Garage’s Louise Bourgeois exhibition - one of the major events of the past exhibition season, which introduced Moscow viewers to the artist’s works from the last two decades of her life. Bourgeois was among the very few artists who represented both modern and contemporary art - she belonged to the 20th and 21st centuries equally, both chronologically and artistically.
The "Everyfeelingism" of Iliazd
#1 2016 (50)
Better known as Iliazd, Ilia Zdanevich (1894-1975) contrived to remain at the forefront of the avant-garde all his life. From his youthful efforts to his more mature work, through middle age to old age, he was always at the very epicentre of the avant-garde. During his long lifetime - Iliazd lived to the age of 81 - art movements came and went with dizzying speed, with avant-garde styles in a constant state of flux, appearing, disappearing, reorganizing, merging, changing names. The most consistent figure of the avant-garde, Iliazd was something of a living monument - and he was our compatriot. As the exhibition "Iliazd. The 20th Century of Ilia Zdanevich" runs at Moscow's Pushkin Museum of Fine Arts, curator Boris Fridman recalls a unique figure in 20th century culture.
Special issue. THE ART OF BUDDHISM
ORGYEN TOBGYAL RINPOCHE, UPON ARRIVAL IN MOSCOW, GAVE AN INTERVIEW TO NATELLA VOISKUNSKI, CO-EDITOR OF THE "TRETYAKOV GALLERY" MAGAZINE.
Alexander Rozhin, Natella Voiskounski
The "Tretyakov Gallery" Magazine and Its "Alexander Golovin. Heritage" Special Issue
Papers of the International academic conference "ALEXANDER GOLOVIN AND THE CULTURE OF THE SILVER AGE" (14.10.2014 - 15.10.2014, State Tretyakov Gallery)
The Cone Sisters: Collectors for Pleasure
#4 2013 (41)
The New York Jewish Museum's show last year, "Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore", proved breathtaking. The exhibition displayed only a small part of what has been called "a collection of collections" of exquisite paintings, graphic works, prints, sculpture, furniture, embroidery, rugs, and textiles. But the core of the collection, its pride and glory, is Matisse, whose portraiture, still-lifes, sculpture and landscapes were on view. The exhibition told the fascinating story of the two sisters who, led by a female instinct for buying beautiful and often useless — or at least unnecessary — things, developed a perfect taste for genuine art and became distinguished collectors of 19th- and 20th-century modern European art. "A thing of beauty is a joy forever," wrote the British poet John Keats, and once the Cone sisters had experienced the joy of art, they cherished this sublime feeling throughout their lives.
A Renaissance Assassinated
#4 2013 (41)
The exhibition "Boris Kosarev: Modernist Kharkiv 1915-1931" at the Ukrainian Museum in New York explores the destinies of Kharkov modernism through the life and artwork of one of its most pre-eminent figures. The tally of years, as on a tombstone, defines the brief period of the development and flourishing of modernism in Kharkov.
Special issue. SWITZERLAND–RUSSIA: ON THE CROSSROADS OF CULTURES
This Russia-Switzerland special issue of the “Tretyakov Gallery” magazine is dedicated to the cultural ties between our two nations. With its alpine landscapes, ancient cities, age-old castles, picturesque meadows, and Lake Geneva and its surroundings, Switzerland has long enchanted poets, artists and musicians alike with its romantic, soulful spirit.
In his “Letters of a Russian Traveller”, Nikolai Karamzin was the first to give an extensive and clear account of the unforgettable impression that Switzerland had made on him. We remember the great historian and writer’s words: “Why am I not a painter! Why couldn’t I, that very instant, commit to paper the fertile, green Hasli Valley that unfolded in front of my eyes like a most beautiful garden in bloom, surrounded by wild, rocky mountains rising up all the way to the skies!”
Editor-in-chief Alexander Rozhin
Co-editor Natella Voiskounski
#3 2007 (16)
Richard Serra is undeniably a great name in contemporary art. Each of his installations or exhibitions is considered a major artistic event. Serra’s sculpture is associated with a certain laconism in form, as well as minimal plastic means aimed to reach the maximum of expression. His multi-tone self-supporting steel installations are the result of a new sculptural mentality and reveal a novel semantics in sculpture.
FRIENDS OF THE TRETYAKOV
#2 2006 (11)
Alexandre Gertsman, prominent New York art dealer, collector and founder and president of the International Foundation of Russian and Eastern European Art- INTART- has chronicled the post-Soviet “moment” through numerous museum and university exhibitions, cultural festivals, symposia, and lectures across the United States, Europe and Russia, with documented complementary books and catalogues of the artists represented. INTART offers a unique opportunity as a representative of both prominently established and lesser known, beginning Russian artists, whose collective experience invariably extracts varied response and discourse, promoting cross-cultural communication.
The Modern Russian Portrait
#4 2005 (09)
Modern culture – and modern art, in particular – has encompassed the term “re-actualization”, which refers to cases when a phenomenon or genre is taken out of the archive and presented to the cultural community in a new light, with new meanings and a new functional orientation.