RUSSIA / MOSCOW: ARTISARTISART

until Sunday September 02 2012
Mon.-Sun. 12:00 - 20:00, the Museum is closed last Monday of the month
Moscow Museum of Modern Art
25 Petrovka street
Moscow
Russia

Press
T : +7 (495) 694 6660
pr@mmoma.ru

The exhibition contains artworks, starting from the early avant-garde to the newest artistic tendencies. A considerable part of works has been selected specially for this project and is exhibited in the museum for the first time. Among exhibiting artists are Boris Anisfeld, Kazimir Malevich, David Burliuk, Alexander Rodchenko, Alexander Labas, Andrei Voznesensky, Igor Makarevich, Dmitri Prigov, Ivan Chuikov, Viktor Pivovarov, Francisco Infante, Vitaly Komar and Alexander Melamid, Yuri Albert, Konstantin Zverzdochetov, Timur Novikov, Aidan Salakhova, Alexander Djikia, Oleg Kulik, Irina Nakhova, George Puzenkov, Andrei Roiter, Andrei Bartenev, Blue Noses art group, Elena Kovylina, Anya Zhelud, etc. Special projects by Olga Treivas, Dmitry Teselkin, Shahar Marcus and Ivan Plyushch will also be on view.

The title of the new selection from the collection of Moscow Museum of Modern Art «ARTisARTisART» refers to the «Two Hours in an Empty Tank» poem by Joseph Brodsky (1965). The tautologically sophisticated line, a repercussion of the self-reflection so characteristic of art, has become a starting point for the main idea of the new display. The idea is to understand art as an honest and many-sided open commentary. Two hours, mentioned by Brodsky, are an approximate period of time, which a viewer usually spends in the museum. MMoMA invites him to find himself in the area of crisscross references and mutually enriching dialogues between authors, artworks, the architecture of the museum’s halls and the viewer himself.


Twenty-five topics of the exhibition deal with diverse, sometimes incompatible ways of interpretation and commenting. Each theme demonstrates not only a new logic of communication with art, but also a new form of emotional experience. It reveals the potential of the commentary in a different way. It helps the visitor to occupy the main place in the exhibition by right; he or she becomes the key element in the series of endless commenting. Moving on through the halls, the visitor experiences the whole chain of intellectual, psychological and emotional conditions. He is to notice the semantic links between the hall’s architecture and the theme of the exhibition, played up in the unique museum space, and to become aware of the diversity of philosophical ideas and aesthetic strategies, saturating main art tendencies of the past century.