Êîëëåêöèÿ «Ñîâðåìåííîå èñêóññòâî»

Âèãìàí Ì., Àáñîëþòíûé òàíåö. âîñïîìèíàíèÿ, ïèñüìà, ñòàòüè — 2021 (Garage Dance. 06)

«Ìýðè Âèãìàí: Àáñîëþòíûé òàíåö. Âîñïîìèíàíèÿ, ïèñüìà, ñòàòüè» ïîä ðåäàêöèåé Âàëüòåðà Ñîðåëëà — øåñòàÿ ïóáëèêàöèÿ â èçäàòåëüñêîé ñåðèè Ìóçåÿ ñîâðåìåííîãî èñêóññòâà «Ãàðàæ» GARAGE DANCE, ïîñâÿùåííîé èñòîðèè ñîâðåìåííîãî òàíöà.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Geometry of Now — 2021

Ýòà êíèãà — êàòàëîã è ñáîðíèê òåêñòîâ ôåñòèâàëÿ «Ãåîìåòðèÿ íàñòîÿùåãî», ïðîõîäèâøåãî â Ìîñêâå 20-27 ôåâðàëÿ 2017 ãîäà â áóäóùåì äîìå V—A—C. «Ãåîìåòðèÿ íàñòîÿùåãî» îáúåäèíèëà áîëåå ñåìèäåñÿòè õóäîæíèêîâ, èññëåäîâàòåëåé, ïèñàòåëåé, êðèòèêîâ è êóðàòîðîâ ñî âñåãî ìèðà âîêðóã ôåíîìåíà çâóêà êàê ïðåäìåòà è âûðàçèòåëüíîãî ñðåäñòâà, ñïðîâîöèðîâàâ ñòîëêíîâåíèå ðàçëè÷íûõ èäåé è ìåòîäîâ. Ïðîãðàììà ôåñòèâàëÿ âêëþ÷àëà â ñåáÿ èíñòàëëÿöèè, âèçóàëüíûå ðàáîòû, ïåðôîðìàíñû, êîíöåðòû, ëåêöèè è ñåìèíàðû.  êíèãå ïðåäñòàâëåíû: òåêñòû êóðàòîðîâ è èññëåäîâàòåëåé, ôîòîäîêóìåíòàöèÿ èíñòàëëÿöèé ñ îïèñàíèÿìè, àðõèâíûå ìàòåðèàëû è ôîòîãðàôèè çäàíèÿ ÃÝÑ-2 âî âðåìÿ ñòðîéêè, ñíÿòûå Ñåðãååì Ñàïîæíèêîâûì, à òàêæå êàäðû ìóçûêàëüíîé ïðîãðàììû ôåñòèâàëÿ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Àíòóôüåâ Å., Ñìåðòü. [äëÿ äåòåé ìëàäøåãî è ñðåäíåãî øêîëüíîãî âîçðàñòà] — 2021 (V-A-C press - èçäàòåëüñêàÿ ïðîãðàììà ×àñòíîãî ó÷ðåæäåíèÿ êóëüòóðû "Ìóçåé "Âèêòîðèÿ - èñêóññòâî áûòü ñîâðåìåííûì")

Ïñèõîëîãè ðåêîìåíäóþò ãîâîðèòü î ñìåðòè ñ äåòüìè ïðÿìî, íå èñïîëüçóÿ ìåòàôîð. Ïðîáëåìà â òîì, ÷òî ó íàñ äëÿ ñàìèõ ñåáÿ íåò ïðÿìîãî îòâåòà íà ýòîò âîïðîñ. Ïîýòîìó êíèæêà, êîòîðóþ âû ñåé÷àñ äåðæèòå, íàáîð íàøèõ ñîáñòâåííûõ îáðûâî÷íûõ, âîçìîæíî îøèáî÷íûõ ðåøåíèé ýòîé çàãàäêè. Ìû çíàåì òîëüêî, ÷òî â ïðèðîäå íè÷òî íå èñ÷åçàåò áåññëåäíî, âðåìåíà ãîäà ñìåíÿþò äðóã äðóãà, ðîñòîê ðàñò¸ò, öâåòîê öâåò¸ò, à ñåìåíà ïàäàþò â çåìëþ. Ñìåðòè áîÿëèñü íå âñåãäà è íå âåçäå. Ñ òå÷åíèåì âðåìåíè ëþäè îòíîñèëèñü ê íåé ïî-ðàçíîìó — îäíè âîñïðèíèìàëè êàê äàííîñòü, à äðóãèå ðîìàíòèçèðîâàëè.  íåêîòîðûõ ñòðàíàõ — íàïðèìåð, â Ìåêñèêå — îíà ÿâëÿåòñÿ ÷àñòüþ áîëüøîãî ïðàçäíèêà. Íî ÷àñòî íàø ñòðàõ ñìåðòè íàñòîëüêî âåëèê, ÷òî õî÷åòñÿ ñèëüíî çàæìóðèòüñÿ è ïðåäñòàâèòü, ÷òî åå âîâñå íå ñóùåñòâóåò. Õóäîæíèêè Åâãåíèé Àíòóôüåâ è Ëþáîâü Íàëîãèíà ïðèäóìàëè ýòó êíèãó, ÷òîáû îñòîðîæíî, íî âìåñòå ñ òåì îòêðûòî ïîãîâîðèòü íà òåìó, êîòîðîé òàê ÷àñòî áîÿòñÿ âçðîñëûå. Êàæäàÿ ñòðàíèöà ïðèãëàøàåò ïîðàçìûøëÿòü î òîì, ÷òî òàêîå ñìåðòü, è ïîäðóæèòüñÿ ñ íåé, âåäü ïîðîé äîñòàòî÷íî ëèøü ðàçîáðàòüñÿ â âîïðîñå, è âñå ïóãàþùåå îêàæåòñÿ ïðîñòûì è åñòåñòâåííûì. «Ñìåðòü» — øåñòàÿ êíèãà â äåòñêîé ñåðèè V—A—C Press. Ïðîåêò îáðàùàåòñÿ ê òðàäèöèè ñîâåòñêîé èëëþñòðàöèè, ïðåäñòàâèòåëè êîòîðîé íå òîëüêî çàíèìàëèñü îôîðìëåíèåì êíèã äëÿ äåòåé, íî òàêæå èãðàëè êëþ÷åâóþ ðîëü â ñòàíîâëåíèè èñêóññòâà ñâîåãî âðåìåíè. Êíèãà ñîäåðæèò èíòåðàêòèâíûå ýëåìåíòû, ïîï-àï-êîíñòðóêöèè, çàäàíèÿ è èãðû, à òåêñò ïåðåâåäåí íà àíãëèéñêèé ÿçûê. Ýòà êíèãà áûëà çàäóìàíà â 2020 ãîäó, íî êîâèä ïîìåøàë âûïóñòèòü åå â ñðîê. Âîçìîæíî, ñåé÷àñ íå ëó÷øèé ìîìåíò äëÿ åå âûõîäà. Ìèð ìåíÿåòñÿ, è ñàìà òåìà ñòàëà áîëåçíåííîé. Íî êíèãè æèâóò â ñâîåì îñîáîì ïðîñòðàíñòâå — è îäíàæäû äîæäóòñÿ ñâîåãî ñðîêà. Åâãåíèé Àíòóôüåâ — ðîññèéñêèé õóäîæíèê, àâòîð îáúåêòîâ è èíñòàëëÿöèé. Åãî ðàáîòû ïðåäñòàâëåíû â ÌÌÎÌÀ (Íüþ-Éîðê), Tate Modern (Ëîíäîí), M HKA (Àíòâåðïåí), Centre Pompidou (Ïàðèæ), ÌÌÀÌ (Ìîñêâà). Ëþáîâü Íàëîãèíà — ðîññèéñêèé õóäîæíèê, êîëëåêöèîíåð àíòèêâàðíûõ èãðóøåê. Âûïóñêíèöà Ìîñêîâñêîãî ãîñóäàðñòâåííîãî óíèâåðñèòåòà ïå÷àòè.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ramaya Tegegne. Collection Cahiers d`Artistes 2021 [— 158] — 2021

Ramaya Tegegne (*1985) is an artist and cultural organizer based in Geneva, Switzerland. Her practice addresses the processes by which the field of art is constituted by investigating its dominant and structural mechanisms. Tegegne examines the power relations, narratives, selection and production conditions of art and culture in the current context. In 2017 she launched the campaign Wages For Wages Against for the remuneration of artists in Switzerland. She is currently co-running the art and critical theory bookshop La Dispersion in Geneva.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Elena Montesinos. Collection Cahiers d`Artistes 2021 [—157] — 2021

Elena Montesinos is a cultural agitator in the best possible sense. She bubbles over with ideas for artistic or curatorial projects. These are not always realised, for a variety of reasons: because of exorbitant production costs, because they are rejected outright, because they are too unsettling, or simply because they are illegal. In her Cahier d—Artistes entitled UNRELEASED, 20 unpublished projects are given a literary staging by The Montesinos Foundation. The Cahier offers audiences a journey through Elena Montesinos— world of fantasy, in which she can realise her activist and transformative potential without restriction.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Noha Mokhtar. Collection Cahiers d`Artistes 2021 [— 156] — 2021

Noha Mokhtar (Geneva, 1987) is a Swiss-Egyptian artist and anthropologist. In her transdisciplinary work she seeks a critical engagement with concepts of culture, colonialism, gender and power. She is interested in the mechanisms of reproduction of places, objects, and bodies. How do we shape the world around us, and how are we shaped by it? How do political processes or social transformations take form and become visible? From intimate narratives to digital infrastructure Noha Mokhtar's work opens spaces for social and cultural identities and diasporic biographies to be revealed. Her artistic practice includes photography, video, sculpture, installation, as well as writing, and borrows from ethnographic methods, such as fieldwork research and interviews. Often, her projects flirt with the line between fiction and documentary. She is currently pursuing a PhD in Social Anthropology and Critical Media Practice at Harvard University. She is also co-founder of the publishing initiative Edition Hors-Sujet.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Marie Matusz. Collection Cahiers d`Artistes 2021 [— 155] — 2021

Marie Matusz (1994, Toulouse) lives and works in Basel and Berlin. Her work results from critical engagement with forms and their inherent meanings, evolving through in-depth research into philosophical, sociological, and linguistic theories. By juxtaposing elements and textures, she creates an aesthetic of management and develops a choreography of the viewer while the works seem to remain motionless and static. This suspension goes beyond the physical, as it seeks to activate a suspension of time. Her work plays with this moment of idleness by presenting objects from various historical archives taken from our classical lexicon, and reexamining them through contemporary lenses and production techniques. Recent solo exhibitions include Until We Turn Blue (Dorothea Von Stetten Art Award), Kunstmuseum Bonn (2020); Epoche, Kunst Raum Riehen (2020); Golden Hour, Atelier Amden (2019); and Caravan, Aargauer Kunsthaus (2019). Marie Matusz received the Swiss Art Award in 2021.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Sandra Knecht. Collection Cahiers d`Artistes 2021 [— 154] — 2021

Sandra Knecht (* 1968, Zurich) has a Master fine Art in Arts ZHDK and is an artist who uses cooking as a central component of her artistic work. In art and cooking, she has been exploring the questions of what home is and how identity is formed for many years. With her food happenings and installations, she has been in various art museums at home and abroad. Among others, at Art Basel, the Venice Biennale, the Museum Fundaci£ Joan Mir£ in Barcelona, the Museum Tinguely Basel, the Kunsthaus Zurich, the Kunstmuseum Basel, the Kunsthaus Baselland and the Locarno Film Festival. She has won prizes including the Swiss Art Award 2022, Werkbundpreis Deutschland 2016, the ADC Award 2017.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Andreas Hochuli. Collection Cahiers d`Artistes 2021 [— 153] — 2021

Andreas Hochuli is an artist who was born in 1982. Numerous key galleries and museums such as Fri Art Kunsthalle Fribourg have featured Andreas Hochuli's work in the past. Andreas Hochuli (*1982, Zurich) first studied art history, philosophy and literature at the University of Lausanne, before obtaining a Bachelor—s degree in Visual Arts from the ECAL/ University of Art and Design in Lausanne. Andreas Hochuli presented his work at the Kunsthaus Langenthal, the Swiss Institute of New York and at the Basis, Frankfurt. He was granted a Swiss Art Awards in 2014

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Roman Gysin. Collection Cahiers d`Artistes 2021 [—152] — 2021

Mit der «Collection Cahiers d—Artistes» unterstutzt die Schweizer Kulturstiftung Pro Helvetia vielversprechende Schweizer Kunstlerinnen und Kunstler aus dem Bereich der Visuellen Kunste, die noch nicht im Besitz einer eigenen monografischen Publikation sind. Das Promotionsinstrument besteht seit 1984. Auf Empfehlung einer unabhangigen Jury wahlt die Pro Helvetia acht Kunstlerinnen und Kunstler aus, die sich auf eine ¦ffentliche Ausschreibung hin beworben haben. Seit 2006 erscheinen die «Cahiers d—Artistes» in der Edizioni Periferia. Die Kunstlerinnen und Kunstler sind massgeblich an der Konzeption der Publikation beteiligt. Die Begleittexte stammen von renommierten Schweizer und internationalen Autorinnen und Autoren. Jedes «Cahier» ist zweisprachig: In der Regel in der Muttersprache des Kunstlers oder der Kunstlerin und in einer frei wahlbaren Zweitsprache. Øâåéöàðñêèé êóëüòóðíûé ôîíä Pro Helvetia ïîñðåäñòâîì «Êîëëåêöèè ïðîèçâåäåíèé èñêóññòâà» îêàçûâàåò ïîääåðæêó ìíîãîîáåùàþùèì øâåéöàðñêèì õóäîæíèêàì-æåíùèíàì è õóäîæíèêàì â îáëàñòè èçîáðàçèòåëüíîãî èñêóññòâà, ó êîòîðûõ åùå íåò ñîáñòâåííîãî ìîíîãðàôè÷åñêîãî èçäàíèÿ. Èíñòðóìåíò ïðîäâèæåíèÿ ñóùåñòâóåò ñ 1984 ãîäà. Ïî ðåêîìåíäàöèè íåçàâèñèìîãî æþðè Pro Helvetia îòáèðàåò âîñåìü æåíùèí-õóäîæíèêîâ, ïîäàâøèõ çàÿâêè íà ó÷àñòèå â îòêðûòîì êîíêóðñå. Ñ 2006 ãîäà «Cahiers d'Artistes» ïîÿâëÿþòñÿ â Edizioni Periferia. Õóäîæíèêè â çíà÷èòåëüíîé ñòåïåíè ó÷àñòâóþò â ðàçðàáîòêå êîíöåïöèè ïóáëèêàöèè. Ñîïðîâîäèòåëüíûå òåêñòû íàïèñàíû èçâåñòíûìè øâåéöàðñêèìè è ìåæäóíàðîäíûìè àâòîðàìè. Êàæäûé «Êàéå» äâóÿçû÷åí: îáû÷íî íà ðîäíîì ÿçûêå õóäîæíèêà è íà ñâîáîäíî âûáèðàåìîì âòîðîì ÿçûêå.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Dorota GawÉda und EglÇ KulbokaitÇ. Collection Cahiers d`Artistes 2021 [— 151] — 2021

Dorota GawÉda (b. 1986, Poland) and EglÇ KulbokaitÇ (b. 1987, Lithuania) are an artist duo established in 2013 and based in Basel (CH). Both are graduates of the Royal College of Art in London (2012). Their work spans performance, fragrance, sculpture, installation, painting and video. They have exhibited internationally including: HeK, Basel (2021); Kunstverein Hamburg (2021); Bundner Kunstmuseum, Chur (2021); Kunstverein Leipzig (2021); Swiss Institute, New York (2020); Den Frie, Copenhagen (2020); MWW, Wroclaw (2020); Kunstverein Dusseldorf (2020 and 2016); Lafayette Anticipations, Paris (2019); Palais de Tokyo, Paris (2018); 6th Athens Biennale (2018); MMOMA, Moscow (2018); Kunsthalle Basel (2017); ICA, London (2017); MOMA, Warsaw (2016); Berlin Biennale 9 (2016); MaM, Paris (2015) among others. Their solo exhibitions included presentations at Istituto Svizzero, Palermo (2021) Swimming Pool Projects, Sofia (2021); Lucas Hirsch Gallery, Dusseldorf (2021); Julia Stoschek Collection, Dusseldorf (2020); Trafo Gallery, Budapest (2020); Amanda Wilkinson Gallery, London (2020 and 2018); Fri Art — Centre d—Art de Fribourg / Kunsthalle Fribourg and Wallriss (2020); Futura, Prague (2019); Cell Project Space, London (2018). They have also participated in numerous international residencies, including Alserkal Arts Foundation, Dubai (UAE); La Becque, La Tour-de-Peilz (CH); Onassis AiR, Athens (GR). GawÉda and KulbokaitÇ are the recipients of the Basler Medienkunstpreis (2021) and Swiss Performance Art Award (2021), as well as nominees for Prix Mobili˜re (2022). The duo is also the founder of YOUNG GIRL READING GROUP ( 2013 - 2021 ).

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

"Ñâîáîäíîå èñêóññòâî. Èòàëüÿíñêèé ôóòóðèçì èç êîëëåêöèè Äæàííè Ìàòòèîëè!, âûñòàâêà, Ñâîáîäíîå èñêóññòâî. èòàëüÿíñêèé ôóòóðèçì èç êîëëåêöèè Äæàííè Ìàòòèîëè. èçäàíèå ê âûñòàâêå, 19 îêòÿáðÿ 2021 - 16 ÿíâàðÿ 2022, Ìîñêâà — 2021

Èçäàíèå ïîäãîòîâëåíî ê âûñòàâêå â ÃÌÈÈ èì. À.Ñ. Ïóøêèíà, ãäå ïðåäñòàâëåíû ïðîèçâåäåíèÿ èòàëüÿíñêèõ õóäîæíèêîâ-ôóòóðèñòîâ íà÷àëà XX âåêà èç ñîáðàíèÿ ìèëàíñêîãî êîëëåêöèîíåðà Äæàííè Ìàòòèîëè (1903—1977). Îí ñôîðìèðîâàë îñíîâíóþ ÷àñòü ñâîåãî ñîáðàíèÿ â ïåðèîä ñ 1943 ïî 1953 ãîä. Ïðè ýòîì Ìàòòèîëè ðóêîâîäñòâîâàëñÿ íå òîëüêî ëè÷íûì âêóñîì, íî â ïåðâóþ î÷åðåäü èñòîðè÷åñêîé öåííîñòüþ ïðîèçâåäåíèé äëÿ ôóòóðèñòñêîãî äâèæåíèÿ. Ìàòòèîëè äîáèâàëñÿ ìåæäóíàðîäíîãî ïðèçíàíèÿ èòàëüÿíñêîãî àâàíãàðäà, ýêñïîíèðóÿ ïðîèçâåäåíèÿ èç ñâîåãî ñîáðàíèÿ çà ðóáåæîì. Âûñòàâêà â ÃÌÈÈ èìåíè À.Ñ. Ïóøêèíà ïðåäîñòàâèëà óíèêàëüíóþ âîçìîæíîñòü ðîññèéñêîìó çðèòåëþ ïîçíàêîìèòüñÿ ñ îäíîé èç ÿð÷àéøèõ ñòðàíèö åâðîïåéñêîãî èñêóññòâà íà÷àëà XX âåêà íà ïðèìåðå 26-òè âûäàþùèõñÿ ïðîèçâåäåíèé, ïîêèíóâøèõ Èòàëèþ âïåðâûå ñ 1972 ãîäà

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Æóðíàë «ÒÐÅÒÜßÊÎÂÑÊÀß ÃÀËÅÐÅß» #1 2021 (70), Ñïåöèàëüíûé âûïóñê «Ãåðìàíèÿ - Ðîññèÿ. Íà ïåðåêðåñòêàõ êóëüòóð». Germany - Russia. On the crossoads of cultures — 2021

Æóðíàë âûõîäèò íà ðóññêîì, íåìåöêîì è àíãëèéñêîì ÿçûêàõ

Ñîäåðæàíèå: ÌÅ×ÒÛ Î ÑÂÎÁÎÄÅ. Ðîìàíòèçì â Ðîññèè è Ãåðìàíèè / Ëþäìèëà Ìàðêèíà; ÐÓÑÑÊÀß ÈÊÎÍÀ  ÃÅÐÌÀÍÈÈ: âûñòàâêè 1929 ãîäà / Àíàñòàñèÿ Ëèøíåâñêàÿ; ÄÂÅÐÜ ÍÀ ÇÀÏÀÄ / Íàòàëèÿ Àâòîíîìîâà; ÐÎÄÑÒÂÎ ÄÓØ. Ðóññêèé àâàíãàðä â çåðêàëå âûñòàâîê Ãåðìàíèè / Õóáåðòóñ Ãàññíåð è äð.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Æóðíàë «ÒÐÅÒÜßÊÎÂÑÊÀß ÃÀËÅÐÅß» #1 2021 (70), Ñïåöèàëüíûé âûïóñê «Ãåðìàíèÿ - Ðîññèÿ. Íà ïåðåêðåñòêàõ êóëüòóð». Deutschlan- Russland. Perrspektiven auf die Kunst-und Museumsszene — 2021

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Ñîäåðæàíèå: ÌÅ×ÒÛ Î ÑÂÎÁÎÄÅ. Ðîìàíòèçì â Ðîññèè è Ãåðìàíèè / Ëþäìèëà Ìàðêèíà; ÐÓÑÑÊÀß ÈÊÎÍÀ  ÃÅÐÌÀÍÈÈ: âûñòàâêè 1929 ãîäà / Àíàñòàñèÿ Ëèøíåâñêàÿ; ÄÂÅÐÜ ÍÀ ÇÀÏÀÄ / Íàòàëèÿ Àâòîíîìîâà; ÐÎÄÑÒÂÎ ÄÓØ. Ðóññêèé àâàíãàðä â çåðêàëå âûñòàâîê Ãåðìàíèè / Õóáåðòóñ Ãàññíåð è äð.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

×åðíûøîâ Ì. È., Ìèõàèë ×åðíûøîâ. Ìîñêâà, 1961 - 1967 — 2021

"Ïîñëåäíèì ÷åëîâåêîì, êîòîðîãî ìû îæèäàëè âñòðåòèòü â Ìîñêâå â íîÿáðå 1963 ã. áûë âîñåìíàäöàòèëåòíèé þíîøà, êîòîðûé çíàë î íüþ-éîðêñêîé õóäîæåñòâåííîé æèçíè áîëüøå ëþáîãî èç íàñ, õîòÿ ìû áûëè èíòåíñèâíî ïðîèíôîðìèðîâàíû î ïîñëåäíèõ ñîáûòèÿõ â ìèðå èñêóññòâà Íüþ-Éîðêà â ðàìêàõ ïîäãîòîâêè ê ïîåçäêå â Ñîâåòñêèé Ñîþç..." "...Ìû îáíàðóæèëè, ÷òî ïîï-õóäîæíèê áûë ýêñòðàîðäèíàðíîé ëè÷íîñòüþ. Åãî ïîíèìàíèå èñêóññòâà áûëî âûäàþùèìñÿ äëÿ ñòîëü ìîëîäîãî âîçðàñòà. Êðîìå òîãî, ó íåãî áûëà ïïðåâîñõîäíàÿ ôîòîãðàôè÷åñêàÿ ïàìÿòü, êîòîðàÿ, î÷åâèäíî, åìó ñèëüíî ïîìîãàëà. Åãî ðàáîòû áûëè ïåðâûì ïðèìåðîì ÷åòêîãî ïîíèìàíèÿ ïîï-àðòà, êîòîðûé ìû óâèäåëè â ÑÑÑÐ..." Ïîë Ñåêî÷à è Èãîðü Ìèä. Íåîôèöèàëüíîå èñêóññòâî â Ñîâåòñêîì Ñîþçå 1967.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Öåíòð ñîâðåìåííîãî èñêóññòâà «Âèíçàâîä», Ïðåìèÿ Àíàòîëèÿ Çâåðåâà — 2021

 íà÷àëå 2021 ãîäà Ìóçåé AZ îáúÿâèë êîíêóðñ íà ñîèñêàíèåÏðåìèè Àíàòîëèÿ Çâåðåâà. Òåìîé è äåâèçîì êîíêóðñà ñòàë çíàìåíèòûé àôîðèçì «ìèðèñêóñíèêîâ», ïåðåôîðìóëèðîâàííûé Çâåðåâûì â åãî àâòîáèîãðàôèè: «Æèçíü ñêîâàíà, èñêóññòâî ñâîáîäíî». Îò ñîèñêàòåëåé îæèäàëèñü ïðîåêòû, â êîòîðûõ áû îòðàçèëèñü òâîð÷åñêàÿ ñâîáîäà, êðåàòèâíîñòü, ïðåîäîëåíèå ðàìîê ñòåðåîòèïîâ è áàíàëüíîñòåé. Âñå ýòè êà÷åñòâà îöåíèâàë Ýêñïåðòíûé ñîâåò, â êîòîðûé âîøëè âåäóùèå ãàëåðèñòû, êðèòèêè è ïðåïîäàâàòåëè ðàçëè÷íûõ àðò-èíñòèòóöèé.  êîíêóðñå ïðèíÿëî ó÷àñòèå áîëüøîå êîëè÷åñòâî ó÷àñòíèêîâ íå òîëüêî èç Ðîññèè, íî è èç äðóãèõ ñòðàí. Ýòà âûñòàâêà ìûñëèëàñü íå ïðîñòî ïàðàäîì âûäàþùèõñÿ õóäîæíèêîâ; îíà ïðèçâàíà ïîêàçàòü õàðàêòåðíûé ñðåç ñîâðåìåííîãî èñêóññòâà, íàèáîëåå àêòóàëüíûå òðåíäû è ÿâëåíèÿ ñåãîäíÿøíåé ðîññèéñêîé àðò-ñöåíû.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Þëèÿ Ìàéîðîâà. Ðåæèì òèøèíû — 2021 (Èçäàòåëüñêàÿ ïðîãðàììà ôîíäà Still Art)

Àëüáîì ñ ðàáîòàìè Þëèè Ìàéîðîâîé áûë èçäàí ïàðàëëåëüíî ñ ïåðâîé ïåðñîíàëüíîé âûñòàâêîé àâòîðà, îðãàíèçîâàííîé ïðè ïîääåðæêå Ôîíäà Still Art è ïðîøåäøåé â ðàìêàõ XII Ìîñêîâñêîé ìåæäóíàðîäíîé áèåííàëå «Ìîäà è ñòèëü â ôîòîãðàôèè-2021» â Ìóëüòèìåäèà Àðò Ìóçåå. Ïðåäèñëîâèÿ ê èçäàíèþ íàïèñàëè Åëåíà Êàðèñàëîâà, êîëëåêöèîíåð è îñíîâàòåëüíèöà Ôîíäà Still Art, Îëüãà Ñâèáëîâà, äèðåêòîð Ìóëüòèìåäèà Àðò Ìóçåé, Ìîñêâà, Èëÿíà Ýðäíååâà, ãëàâíûé ðåäàêòîð Glamour è Ìýé Ìàñê, ìîäåëü è äèåòîëîã. Þëèÿ Ìàéîðîâà ðàáîòàëà ñ âåäóùèìè ãëÿíöåâûìè èçäàíèÿìè, òàêèìè êàê Interview, Vogue, Glamour, Marie Claire, à òàêæå ñîòðóäíè÷àëà ñ êðóïíåéøèìè áðåíäàìè, âêëþ÷àÿ Louis Vuitton, Apple, La Mer, Omega è Est™e Lauder. Êíèãà âûïóùåíà â ðàìêàõ èçäàòåëüñêîé äåÿòåëüíîñòè Ôîíäà Still Art ïî ðàçâèòèþ è ïîääåðæêå fashion-ôîòîãðàôèè â Ðîññèè.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Àëåêñàíäð Ðîä÷åíêî, 1920-1930-å — 2021 (Èçäàòåëüñêàÿ ïðîãðàììà ôîíäà Still Art)

Òðåòüÿ àâòîðñêàÿ ìîíîãðàôèÿ èç ñîâìåñòíîé èçäàòåëüñêîé ïðîãðàììû Ôîíäà Still Art è ãàëåðåè Lumiere, ïîñâÿùåííîé ïðèçíàííûì ñîâåòñêèì ôîòîãðàôàì. Àëüáîì âêëþ÷àåò â ñåáÿ èçâåñòíûå ðàáîòû ãëàâíîãî ïðåäñòàâèòåëÿ ðóññêîé àâàíãàðäíîé ôîòîãðàôèè Àëåêñàíäðà Ðîä÷åíêî èç êîëëåêöèè Ôîíäà Still Art. Êíèãà ñîñòîèò èç äâóõ ÷àñòåé ïîðòôîëèî ìóçåéíîé ñåðèè 1920-õ—1930-õ ãîäîâ: —Êëàññèêà— — çíàìåíèòûå àâàíãàðäíûå ôîòî-ýêñïåðèìåíòû ôîòîãðàôà è —Ïîðòðåòû— — ôîòîãðàôèè ñåìüè è áëèçêîãî îêðóæåíèÿ, â ÷èñëå êîòîðûõ Âëàäèìèð Ìàÿêîâñêèé, Ëèëÿ Áðèê, Âàðâàðà Ñòåïàíîâà, Îñèï Áðèê, Ëþáîâü Ïîïîâà, Ëåâ Êóëåøîâ è äðóãèå. Âñòóïèòåëüíûå ñëîâà äëÿ êíèãè íàïèñàëè èñêóññòâîâåä è âíóê Àëåêñàíäðà Ðîä÷åíêî Àëåêñàíäð Ëàâðåíòüåâ, èñêóññòâîâåä è ïðàâíó÷êà Ðîä÷åíêî Åêàòåðèíà Ëàâðåíòüåâà, êîëëåêöèîíåð è îñíîâàòåëüíèöà Ôîíäà Still Art Åëåíà Êàðèñàëîâà è êóðàòîð êîëëåêöèè Ôîíäà Still Art è îñíîâàòåëüíèöà ãàëåðåè Lumiere Íàòàëüÿ Ãðèãîðüåâà-Ëèòâèíñêàÿ. Äèçàéí êíèãè ðàçðàáîòàí ãðàôè÷åñêèì äèçàéíåðîì Åâãåíèåì Êîðíååâûì.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Âëàäèìèð Ëàãðàíæ, 1960-1990 — 2021 (Èçäàòåëüñêàÿ ïðîãðàììà ôîíäà Still Art)

 íîâîì èçäàíèè êíèãè ëþáèìîãî êëàññèêà ñîâåòñêîé ôîòîãðàôèè Âëàäèìèðà Ëàãðàíæà ñîáðàíî 150 ñàìûõ èçâåñòíûõ ðàáîò àâòîðà, íà÷èíàÿ ñ 60-õ è çàêàí÷èâàÿ 90-ìè ãîäàìè. Ýòî ïåðâîå êíèæíîå èçäàíèå, áëàãîäàðÿ êîòîðîìó ìîæíî ïðîñëåäèòü ðàçâèòèå òâîð÷åñêîãî ïóòè Âëàäèìèðà Ëàãðàíæà îò îòòåïåëüíûõ ëåò äî ñîâðåìåííîé Ðîññèè. Àëüáîì îòêðûâàåòñÿ âñòóïèòåëüíûì ñëîâîì èñêóññòâîâåäà, õóäîæåñòâåííîãî êðèòèêà, êóðàòîðà, èñòîðèêà ôîòîãðàôèè Ìèõàèëà Ñèäëèíà. Äèçàéí êíèãè ðàçðàáîòàí ãðàôè÷åñêèì äèçàéíåðîì Åâãåíèåì Êîðíååâûì. Èçäàíèå ïîäãîòîâëåíî â ðàìêàõ ðåãèîíàëüíîãî ñîâìåñòíîãî ïðîåêòà ôîíäà Still Art è Ãàëåðåè Ëþìüåð.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Êðàñîòà è ñòèëü: èñòîðèÿ ìîäíîé ôîòîãðàôèè èç ñîáðàíèÿ Ôîíäà Still Art — 2021

Êàòàëîã èçäàí ê âûñòàâêå "Êðàñîòà è ñòèëü. Èñòîðèÿ ìîäíîé ôîòîãðàôèè", îðãàíèçîâàííàÿ Ãîñóäàðñòâåííûì Ýðìèòàæåì ñîâìåñòíî ñ Ôîíäîì Still Art, åæåãîäíî ïðîâîäèìàÿ â ÷åñòü ñâ. Åêàòåðèíû - ïîêðîâèòåëüíèöû ìóçåÿ â Äíè Ýðìèòàæà-2021. Ýêñïîçèöèÿ ðàññêàçûâàåò îá èñòîðèè ôýøí-ôîòîãðàôèè âòîðîé ïîëîâèíû XX — XXI âåêîâ è çíàêîìèò ñ îñíîâíûìè ìîòèâàìè ñîâðåìåííîé ìîäíîé ðåïðåçåíòàöèè íà ïðèìåðå ðàáîò èç êîëëåêöèè Ôîíäà Still Art. Íà âûñòàâêå ïðåäñòàâëåíû àâòîðñêèå îòïå÷àòêè Ýðâèíà Áëþìåíôåëüäà, Õîðñòà Ï. Õîðñòà, Ðè÷àðäà Àâåäîíà, Èðâèíà Ïåííà, Õåëüìóòà Íüþòîíà è Ãè Áóðäåíà, óæå ñòàâøèå êëàññèêîé.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ