Is it possible to do architecture in Russia today? Who takes part in this process and why are Russian architects not involved in world-wide architectural discourse? Is it possible for Moscow to become the centre of the world architectural discourse? ...
The light design in architecture should be aesthetic, functional and
energy-efficient. For the first time over recent years at ARH Moscow
exhibition not only the section LIGHT IN ARCHITECTURE is substantially
KREMLIN. FUTUREWHICHHASNOTHAPPENED Shchusev State Museum of Architecture, Enfilade of Main Building. Model of The Grand Kremlin Palacemade by Russian architect Vasily Bazhenov Opening – May 29 8 p.m.
MASTERPIECES OF WORLD ARCHITECTURE Shchusev State Museum of Architecture, courtyard, May 19 – June 5 Curator: Marina Kalmykova
PORTFOLIO PROGRAM Shchusev State Museum of Architecture, May 26 – June 10 Curator of the program: Alisa Bagdonayte. Opening – May 25 8 p.m.
CANAL GRANDE. The main street of Venice in Italian photographs late XIX - early XX century
The Italian city of Venice, which was founded in the Middle Ages, on the islands, went into the cultural consciousness of Europe as the center of an amazing and unique architecture. The city, in which channels took the place of ordinary streets, never ceases to occupy the imagination of artists, photographers and numerous tourists.
The Grand Canal - Canal Grande united in itself all functions of the city's main street, cutting through a wavy line the map of Venice. The Grand Canal has become a major transport artery of the city, on it were located significant administrative offices and were formed trading spaces. Representatives of the wealthiest and most aristocratic families of Venice traditionally built their homes here, which made its shores in a kind of exhibition of the best palace's facades northern Italy. Not by chance, local residents called it the "Canal - palace".
Architectural structures that shape the shore of the Grand Canal, allow to trace the changing styles of palace architecture of Venice - from the Gothic and Renaissance to Neoclassicism and historicism. It's the best works of Mauro Kodussi, JacopoSansovino, Antonio da Ponte, Baltassare Longena and other Italian architects.
Collection that will be presented at the Museum of Architecture, is comparable in terms with the collection of the world-famous Italian Alinari Museum of Photography .Here are collected unique exhibits - original photos created in the famous Italian photo-workshops of Alinari, Anderson, Salviati. Together these works, many of which were created at the dawn of photography in the 1850-1870-s, form the architectural image of the Grand Canal. It's true masterpieces of photographic art, which are among the best pictures of Venice .The exhibition will present rare views of the Grand Canal - pictures, hand-painted and reminiscent of painterly technique.
The exhibition is an unprecedented event in the cultural life of Moscow: most of the unique exhibits that have no analogues in Russian and foreign museums, will be shown for the first time.
Curators of the exhibition Julia Ratomskaya - Senior Lecturer, The Faculty of General History of art. RSUH Svetlana Troshina - Senior research fellow of Schusev State Museum of Architecture,the keeper of a collection of unique foreign photographs.
ALESSANDRO PAPETTI MOSCOW. FACTORIES OF UTOPIA
an exhibition of 25 large paintings by Alessandro Papetti Schusev State Museum of Architecture till June 17, 2012
The exhibition Moscow, Factories of Utopia by the Italian painter Alessandro Papetti will be held at Muar, Moscow Museum of Architecture from April 26 to June 17. A pictorial survey in 30 large canvasses in which the artist revisits and brings to life some of the most symbolic places of the Soviet industrialization process in the mid of the XX Century: the three great engineering and car factories, ZIL, ZLK and the First PGZ. In this exhibition Papetti returns to industrial archaeology, one of the main topics of his poetics, with paintings of places where humans are no longer present but whose past activities have left strong traces, still perceivable and poignant, even more so as most probably these huge areas will be soon redeveloped. The exhibition is curated by Umberto Zanetti and supported by the Italy Russia Foundation, The Italian Embassy in Moscow and The Italian Institute of Culture and is part of the cycle of shows of Identity, the Moscow Biennial of Architecture. A catalogue will be published in Italian Russian and English by Alberto Allemandi, with essays by the historian Alessandro de Magistris and the art critic Alexander Evangely.
Alessandro Papetti was born in Milan in 1958.
The years from 1980 to 1986 were a time of study and of his first solo shows, followed by his participation in exhibitions in Italian public spaces from 1988 onwards.
Between 1988 and 1990, his painting concentrated on the theme of Ritratti visti dall’alto (Portraits viewed from above), a cycle to which Giovanni Testori would devote an article in the Corriere della Sera in 1989. This wide-angle view of real life was followed by a cicle of paintings, created between 1990 and 1992, entitled Reperti (Finds), in which his attention was more focused on detail, a sort of analytical study of form, and on the marks left by time in factory workshop and interiors. A natural consequence was that, from 1992, Papetti’s study of industrial archaeology would become more in-depth, as shown by the 1996 exhibition at the Musei Civici in Villa Manzoni, Lecco, amongst others.
From 1992 on, he began participating in exhibitions in public spaces and various art fairs in Europe and the United States. In 1995, he met writer and biographer James Lord, who dedicated an important critical text to him in 1996. In that period, the subjects of interiors and portraits were running parallel in Papetti’s painting, with particular attention to the study in-depth examination of the nude, topics of the show La forza dell’immagine, la pittura del realismo in Europa held at the Gropius Bau Museum in Berlin in 1996, and Sui Generis PAC in Milan, commissioned by Alessandro Riva. Together with the need to “move out”, to go head-to-head with the “container” with a psychologically different attitude, these studies led him to create the paintings in the cycle Acqua (Water), from 1998 on, exhibited for the first time at the Studio Forni in Milan in 1999. Bodies suspended in motionless swimming pools or, as in the series Il bagno di notte (Night-swimming), caught just before plunging into the blackness of a see illuminated only by a livid, lunar light. These were some of the first images of figures in outdoor setting.
The result of his new pictorial cycle and of the preceding cycle dedicated to industrial environments was the production of Cantieri navali (Shipyards). In the first show dedicated to this new theme in 2003, at the Galleria dello Scudo in Verona, Papetti exhibited the landscape of industrial ports, dry docks and gigantic hulls, together with a cycle of huge faceless nudes. It was the expression of the bodies of ships and humans in their greatness and fragility. Between 2003 and 2004, he as invited to take part in many museum exhibitions, such as the one dedicated to Giovanni Testori at the Palazzo Reale in Milan or the exhibition La ricerca dell’identita (The search of identity) commissioned by Vittorio Sgarbi and showing in various different public spaces in Italy.
In 2005, he took part in the exhibition Miracolo a Milano (Miracle in Milan) at Palazzo della Ragione and Il paesaggio italiano contemporaneo (Contemporary Italian Landscape) at Palazzo Ducale in Gubbio.
In the same year, the Fondazione Mudima dedicated a first retrospective to him, entitled Il disagio della pittura (The Awkwardness of Painting) in which Papetti exhibited the last twenty years of his painting in a selection of works ranging from “Testorian” figures viwed from above, to the latest paintings of that period on the theme of the Citta (City). Six months later came the show entitled Il ventre della citta (The belly of the city). Rapid urban landscape “portraits”, a “run-by” across streets and piazzas in front of people and palazzos within which life seemed to tick away motionlessly and where the windows represented the passage from inside to outside, from a secret, personal life to the life forcibly shared in the chaos of space that flows by quickly. Snatched images of time and place represented in the exhibition fundamentally by the two opposing outside and inside themes.
In all these years, Papetti has regularly retraced his steps, revisiting to his past pictorial cycles.
His interest in the subject of industrial archaeology has led him to continued study of the method and subject, and to the production of a series of paintings dedicated to the former Renault factory, exhibited in 2007 at the Musee des Annees 30 in Paris, in a show entitled Ile Seguin.
Over the last fifteen years, Papetti has exhibited his works at important art fairs and collaborated with several foreign galleries. In 2011 has attended the Biennale di Venezia with the Italian Pavillon, curated by Vittorio Sgarbi and the Cuban Pavillon as well.
KREMLIN. FUTUREWHICHHASNOTHAPPENED. Model of the Grand Kremlin Palace of the architect of Vasily Bazhenov.
Opening May 29th at 19 00 Enfilade the Main building.
State scientific research Shchusev Museum of Architecture opens permanent display, and it presents to public the model Big Kremlin Palace, built in the 70-s of the 18th century by the great Russian architect Vasily Bazhenov.
The model is a unique monument of classicism and one of the most ambitious architectural models in the world. It is connected with the ambition of Ekaterine II: to build on the spot the Kremlin walls greatest Palace showing the strength and power of the Russian Crown.
The design was entrusted to the young architect Vasily Bazhenov. The project radically changed the entire look of the Kremlin ensemble and Red Square. To work on a model of the Great Kremlin Palace, best Russian and German masters worked on under the guidance of the architect, it was built the special model house. In may 1771, once a month, they have to let public- so is still in the process of creating a work of Bazhenov has become one of the major Moscow sights.
Model perfectly embodies the idea of architect and differs accurate reproduction of all details. Its central part was made dismountable, which opens the viewers a view on the State rooms. This is the earliest in Russia project classical Palace interiors of this magnitude and one of the few of interiors Bazhenov which came to us.
Founding of the Palace took place June 1, 1773, but widely deployed two years later construction was stopped by Empress. Architectural ensemble Bazhenov was not to take place on the Kremlin Hill, but the model of the Palace remained evidence of ambitious projects of the Russian monarchy, the architectural symbol of the enlightenment in Russia.
The fate of Bazhenov's model was dramatic. In the 19th century it long traveled, moving from a model house in the Armoury Chamber, then to Rumyancevsky, and then the Polytechnic Museums and over the territory of the Kremlin, where seven years was disassembled in the lower areas the Bell Tower of the great Ivan.
In 1936, the model of Kremlin Palace was handed over to the Museum of architecture, executive of which made many efforts for its rebuilding and restoration. Assembled it was exhibited in the big Cathedral of the Donskoy monastery, where there was a branch of the Shchusev Museum. However, in 1991, after the return of the monastery to the Russian Orthodox Church, the model was disassembled and moved to the main building of the Museum on the Vozdvizhenskay St. Twenty years it was in storerooms disassembled.
Today most preserved fragments of the models presented again to the visitors of the Shchusev State Museum of Architecture in a permanent exhibition. It reminds us of the time of brilliant and daring projects that make up the glory of the Russian State.
Contact for press: Julia Zakopaiko: +7 (495) 697-38-56, +7 (915) 450-43-49 firstname.lastname@example.org
The exhibition duration: may 26th – june 10th Opening: May 25th, 19-00 Ruined Wing. 3d floor.
The PORTFOLIO program aimed on research on contemporary definitions of architecture will be launched on May 26th at the Shchusev State Museum of Architecture, Moscow.
PORTFOLIO has been set up to build up relationships between Museum of Architecture that preserves international architectural heritage and the contemporary artists, architects and designers who deal with recent knowledge on architecture today.
Among the invited participants thee are there will be as young as established architects and artists. They work in different disciplines such as architecture, design, photography, street-art, contemporary art, and convey unique vision on what is architecture and how they perceive it. The participants of the program will all have one thing in common – to edit, to think over and to analyze the future or contemporary architectural and social environments within the practices and disciplines they represent.
For participation in PORTFOLIO 2012 are invited:
Alexandra Paperno / MAMA Design / Archeological community of Ryazansky Prospekt / Alexander Gronsky / Misha Most / Alexey Dushkin / Anton Kochurkin / Julia Ivashkina / Diana Machulina / Stanislav Shuripa
The first exhibition in the cycle will be “Parietes” performed by Alexandra Paperno.