cultural features. The main tourist attractions of the Netherlands (Holland)

Jean-Hubert Martin, one of the most famous and respected international curators, spoke about the Museum of the 21st century, transcultural exhibitions and the difficulties of preserving contemporary art in an interview with Posta-Magazine.

In 2021, a few months before the closing of the main building of the Pushkin Museum im. A. S. Pushkin for reconstruction, in the empty halls of the museum, the exhibition “The Ancients Stole All Our Ideas” curated by Jean-Hubert Martin will unfold.

The basis of the exhibition, which consists of thirty thematic chapters, will be the collection of the Pushkin Museum, which will be supplemented by numerous works from other Russian and foreign collections. Jean-Hubert Martin is known for high-profile projects that push the boundaries of art, in which he combines different cultures, mixes eras, recognized masterpieces and works that traditional art history looks down on. Such will be the upcoming exhibition in Moscow: a complex, multi-layered narrative, each chapter of which will be opened by a landmark work for the Pushkin Museum, presented in an unexpected context from a number of works by domestic and foreign artists, as well as anonymous masters of ancient civilizations. In a word, it will be a time of discoveries, so loved by Marten himself.

The former director of the Pompidou Center in Paris, the Kunsthalle in Bern and other major museums, Jean-Hubert Martin first showed the art of Ilya Kabakov to the European public, curated the first Paris exhibition of Kazimir Malevich, discovered the names of Christian Boltanski, Annette Messager, Daniel Buren and others who have already become classics in their lifetime. He has a long-standing friendship with Russia: he co-curated the legendary Paris-Moscow (1979) and Moscow-Paris (1981) cross-exhibitions, as well as the 3rd Moscow Biennale of Contemporary Art in 2009.

We met Jean-Hubert Martin at the Pushkin Museum at the annual international conference "Vipper's Readings", dedicated to the development of museums in the modern world and the "Pushkin XXI" program, which is designed to acquaint the viewer with contemporary art of our day and at the same time integrate it into the classical heritage.

: In your lecture at the Wipper Readings, you spoke about the need for museums to adapt to modern realities, in particular to digital culture. What model of communication with the viewer, in your opinion, is the most promising?

: I'm not saying that all museums should change, but in some cases it is necessary to move away from the chronological principle of presenting information. If the viewer is not a professional art critic and does not have highly specialized knowledge on the topic, he cannot relate what he sees in the exhibition with the historical context.

For me, it is important what they say and how the works of art themselves look, and this is read without additional prompts in the form of explications, even by an unprepared viewer. I am interested in finding parallels in the art of different eras and cultures. I believe that a work of art only wins if we present it not in a dry academic language, but in a playful way, depriving it in a sense of the halo of sacredness, which often interferes with unbiased, direct perception.

You also said that you want the audience to perceive the exhibitions as entertainment, a pleasant pastime, like, for example, a musical concert, but at the same time, of course, intellectual. Does the perception of museums by the general public as establishments of a “high”, and therefore difficult to perceive, culture persist today, in your opinion?

I think yes. Which, in general, is not so wrong. But we need a balance: on the one hand, we must explain the value of a great work of art, but, on the other hand, nothing prevents us from presenting less “valuable” works or objects of mass culture. This destroys the existing hierarchy of "high" and "low", allows you to look at art with a fresh look, discover unexpected analogies.

In the UK and a number of other countries, museums are now seen not only as custodians of cultural heritage, but also as agents of positive social change. What potential do museums have in this capacity, in your opinion?

The social aspect is extremely important. People from different social strata meet in the museum. Even if they do not communicate with each other at the exhibition, they are united by the very fact that they are in the same space, where they were led by a common need: to understand the world through art. Returning to what I said earlier about entertainment, I think that by appealing to the emotions of the audience, allowing them to enjoy art, the curator awakens their curiosity, motivates them to learn more about the artist, era, etc.

How are museums integrated into the art market?

Museums are connected to the art market in the sense that from time to time they buy works of art for their funds, and they can also cooperate with commercial galleries that provide works for this or that exhibition project. Otherwise, the museum and commercial spheres in France are strictly separated. Thus, according to professional ethics, a curator cannot work in a museum and at the same time be involved in the art market.

What are the features of the leadership of the Museum of Classical and Modern Art?

These are completely different things. The Museum of Modern Art deals not only with the works, but often with the artists themselves, with whom it is necessary to build a dialogue. And, say, in the museum of antiquities you work exclusively with the works of the past, which you interpret. I often get the feeling that if Rembrandt or Hogarth showed up in the curator's office, he would kick them out, because his views on the art of Rembrandt and Hogarth would not coincide with what he might have heard from the authors themselves. (Laughs.)

And the actual museumification of contemporary art is associated with certain difficulties...

One of the problems of modern art museums is that many works - installations - take up a lot of space and, moreover, are often fragile and quickly destroyed. If painting and sculpture are not so difficult to move from storage to the museum hall and back, then the situation is different with contemporary art: it often requires specific technical skills for installation and dismantling - the ability to handle cameras, video projectors, lighting equipment, etc.

Technology is developing so fast - what about the obsolescence of video formats, for example?

There are two opposing points of view on this. Some believe that, say, in the installation of Nam June Paik (American-Korean artist, video art pioneer. — Note. ed.) of the 1950s today you need to use the same TV model that was in the original. Others, often the artists themselves, have a much easier attitude to this, allowing such technical replacements, if this does not violate the artistic intent. Thus, storage of VHS cassettes is very expensive for museums, which require not only certain conditions, but also the restoration of the film. There are even special companies that restore VHS and digitize them.

The general principle of your curatorial practice can be defined as overcoming temporal and spatial boundaries and generally accepted concepts. How widespread is this approach today?

One of the most pronounced trends today is the concept of transhistorical and transcultural exhibitions. In French, we designate it with the term décloisonnement, which means "removal of borders, barriers." It has its supporters and opponents and is now the subject of discussion and controversy. In the late 1960s, when I was a student, we were taught that in one exhibition one cannot present objects from different historical and geographical contexts if they do not have any points of intersection. But this academic approach is gradually losing ground with the development of globalization. Today we are much freer. Both artists and viewers perceive the world differently, they are able to compare and draw analogies. Therefore, objects from completely unrelated contexts can appear in one exhibition space, but at the same time they are united according to some other feature: shape, color, material. It stimulates imagination and new ideas. I am convinced that in the interpretation of art we should not be limited to the historical aspect. Which, in fact, only emphasizes its poetic, timeless essence.

It seems to me that this is similar to what is happening in the modern theater, where the viewer often becomes a co-author or a direct participant in the performance.

Yes, this trend is observed in other forms of art. In a musical concert, for example, Mozart can be side by side with The Beatles and Cage at the same time, and this is interesting because it allows you to get rid of labels and formed ideas. Moreover, this approach attracts a young audience to museums, which is formed by modern eclectic culture.

When you first started practicing your approach, did you encounter resistance? How did you overcome it?

It wasn't easy. (Laughs.) In 1978, when I curated Malevich's first exhibition in Paris, I noticed a curious thing: critics and journalists approached me and asked questions as if I were Malevich's living voice. It seemed so strange to me. And I thought: I don’t want to remain a specialist in Malevich for the rest of my life. I am very curious. For me, art is a fantastic field, an inexhaustible source of discoveries. While I highly value professionals in one or another narrow field, I myself am much more interested in the history of art in all its diversity and complexity. But at the same time, it gives me pleasure to analyze specific works, discovering new meanings and hidden meanings in them. Hence my synthetic approach.

At what stage is the preparation of the exhibition at the Pushkin Museum now?

In a fairly advanced one, we did a lot, because it was originally planned for 2019, but due to the project for the reconstruction of the main building, it was shifted to 2021. I have been working on this exhibition for almost two years, I already have a general structure and a list of exhibits. Of course, some details will change in the process, but the basic concept is ready.

Tell us about your recent art history discoveries, perhaps while working on an exhibition at the Pushkin Museum.

A couple of weeks ago I received the catalog of the exhibition "The Art of Laughter" at the Frans Hals Museum, which I read from cover to cover with great pleasure. The exhibition is dedicated to the comic painting of the 17th century, the golden age of Dutch art, and is the result of many years of research. Pictures with humorous plots are quite an interesting cultural fact for the then Protestant society. For a long time it was believed that this painting, often frivolous content, served as an anti-example, showing how one should not behave. But, you must admit, it is difficult to imagine a father of a family who hung a scene with women of easy virtue in his dining room at home, who tells his children that they should in no case repeat it in life. Of course, there were people who strictly adhered to religious norms, but there were others who took morality less seriously and also had enough money to order paintings of this kind from artists.

How is art education changing today?

Everything depends on the country. I can talk about how things are in France. Since the 1960s and 1970s, with the advent of conceptual art, art schools have developed very rapidly. In some cases, even too fast. In the late 1970s, there was a moment when drawing and painting were completely stopped in universities, but now we are returning to this again. I hope that a certain balance has been established today. We have many art schools, and each specializes in one direction or another, so students can choose based on their interests and the skills they want to master.

The first thing that tourists associate with the Netherlands is the legal sale of soft drugs in coffee shops. Amsterdam is presented as a city devoid of prejudices, a city of free people and free thinking. Abortions, prostitution, euthanasia, same-sex marriages are legalized here. At the same time, Holland can be called a country of contrasts and paradoxes, for example, for wearing fur products in this country, animal rights activists can pour paint on the street - and this is also a consequence of the freedoms provided to residents by the state.

The Netherlands is an amazing country in which its capital is radically different from most other cities. Nominally, the monarch has power here, but in fact the country is ruled by the parliament. Holland has a very low crime rate and is one of the safest countries in Europe. Here, people of all races and colors are treated liberally, the same rule applies to tourists. The national traits of the Dutch are courtesy, punctuality and thrift, and visitors will feel quite comfortable among the friendly and calm hosts of the country.

There are several traditions that everyone who comes to the Netherlands needs to know. It is not customary to dance in restaurants here - for this it is better to go to a disco. The Dutch do not shake hands when they meet and almost never give compliments, the stinginess of this people is also manifested in this. At the same time, they are very tolerant of other people's opinions, they never get into an argument and respond even to rudeness with politeness and a smile. They never flaunt their wealth, nor should tourists. In this country, such gestures are considered bad form, the same as lack of punctuality - the Dutch simply cannot stand this. Copyright www.site

Holland has its own attitude to the process of eating. For example, in their culture there is a rule "one cup - one cookie", and they still strictly observe it. They do not eat "yesterday's" food, so they usually cook exactly as much as they can eat. At the same time, the Dutch are very fond of holidays - they are happy to celebrate the celebrations of the royal family, national holidays, birthdays. A person of a different culture, having fallen on a Dutch birthday, will be very surprised - at the holiday it is customary to congratulate not only the birthday man, but also all those present.

Another interesting tradition that tourists will be curious about is hunting for old things. Approximately once a month, residents throw away large items on the street - old furniture, household appliances, interior elements, building materials, anything, everything that they no longer need. Almost all items are in excellent condition. Such dumps become popular places, a kind of free flea market, where any Dutchman can pick up the right thing. The pragmatic, thrifty Dutch do not consider this something shameful, on the contrary, they are happy to use the opportunity to save money or find an original thing for their home.

Majority of the population of the Netherlands lives in cities. The old Dutch cities are very peculiar, but similar to each other, and this is striking primarily in residential areas: the houses here are made of dark red stone, and to revive their architectural appearance, all wooden parts on the facade are painted with white oil paint.

One of the attractions of modern Dutch cities, which is of particular interest to tourists, is towers with battle and music (usually folk). In Amsterdam, for example, there are five such chimes, and there are more than seventy of them throughout the country.

As in other capitalist countries, in most industrial cities there are well-to-do quarters, built up with beautiful mansions or comfortable high-rise buildings, and working-class districts, such as the Jordan in Amsterdam with its narrow and crooked streets and old overcrowded houses. part of the population does not have their own housing and is forced to rent it.

In the Netherlands, there is an acute shortage of apartments and there is a large. In the old city quarters, part of the housing stock does not meet modern requirements.

The old types of rural buildings have almost completely disappeared in the Netherlands, they can be seen mainly only in the famous ethnographic museum near the city of Nema. Here, in the open air, peasant houses and household items from all parts of the country are collected. In the so-called Frisian and Low German types of houses, residential and utility rooms are combined under one high gable pyramidal tiled roof. In the exposition of the museum, everyday scenes are “played out”, and superbly executed large wind-up dolls act as actors; in this way, a complete and, as it were, revived traditional life of the Dutch in different regions and provinces is created.

As in other countries, Catholic families in the Netherlands have many children. Not uncommon, for example, families with 5-6 children.

The destiny of married women is housekeeping and children. It is noteworthy that in the village, livestock care, cow milking, and work in greenhouses are carried out mainly by male farmers.

In the Netherlands, mainly in rural areas, some family customs still exist. Until now, often the first child is called the name of the father's parents, and the second - the name of the mother's parents, so that in the family there may be children with the same name.

Echoes of old communal relations are visible in many family customs. For example, fellow villagers take an active part in the construction of a new house by one of them, help a new family that has moved to their village to settle down. Preparing for the wedding is often done by all the women of the village or city block where the newlyweds are located. In the village, they are building for the young, their house is decorated with greenery. In cities, weddings are held no less solemnly. in a smartly dressed carriage they drive up to the town hall, where civil registration of marriage is held. The subsequent wedding in the church is not always held. Be sure to arrange a celebration in the bride's house, which until recently lasted two days.

There are many youth unions and societies in the Netherlands, including house clubs that unite boys and girls in their place of residence.

In recent years, more and more segments of the population of the Netherlands, especially workers, are participating in the political life of the country. Mass rallies and demonstrations mark the Day of International Solidarity of Workers - May 1, the progressive public of the country, and above all the Communist Netherlands, demonstrating high awareness in the struggle for life rights.

Of the national holidays, the most popular are April 30 - the Queen's birthday and April 5 - the day of the liberation of the Netherlands from Nazi occupation. For the Netherlands, where floriculture has long been practiced, the summer flower festival is very characteristic. On this day, all houses, fences, cars are decorated with bouquets and garlands of fresh flowers. Processions are moving along the streets with figures of animals and people made of flowers - heroes of folk tales.

It has long been a custom for the Dutch to celebrate the third Tuesday of September every year. On this day, the regular session of the States General opens in The Hague with a speech from the throne by the king (or queen). According to the established tradition, the queen drives up to the palace in a "golden" carriage, she is met by royal guards in medieval costumes; thunders, nearby streets are filled with people.

The Dutch also celebrate many calendar holidays. Among them, the most popular are the days of St. Nicholas and St. Martin. These winter holidays are even more popular than Christmas and; many customs and rituals are associated with them - ritual fires, noisy festive processions, and traditional dishes.

A big spring holiday -, or, as this holiday of meeting spring is often called in the southern provinces. In North Brabant, carnival is a celebration of fun, fun, jokes; on this day, the "prince of the carnival" is chosen. holiday - masks, and many of them are an expression of sharp political satire.

Folk festivals, processions of mummers, dances are held on the days of kermes - once religious, and now almost everywhere secular holidays, very common in the Netherlands.

An indispensable part of folk holidays -. Competitions are often arranged in running, in throwing a spear, in shooting from a bow or a gun. There are about 450 shooting clubs in the Netherlands, many of which are the "heirs" of shooting guilds.

Very popular in the Netherlands. More than 2 million Dutch people are members of various sports clubs. A truly national sport and at the same time a favorite pastime for people of all ages. This is also favored by the natural conditions of the Netherlands. In frosty winters, when numerous canals and lakes freeze, the whole country seems to turn into one huge skating rink. Previously, skates were also an important means of transportation: it was not uncommon to see an elderly Dutch woman on the ice hurrying to the market, or a postman, a doctor. There are many Dutch athletes among the repeated speed skating champions.

He won the greatest popularity in the country. The Netherlands national team is one of the strongest in the world, and club teams have repeatedly won various cups played in Europe. Widely developed in the country. In recent years, judo has become very popular. Dutch athletes have won victories in this sport even with the best Japanese wrestlers.

Well placed children in schools. Much is attached to the artistic, aesthetic education of children.

The Netherlands introduced a mandatory eight-year free - from 7 to 15 years. Preparation for school from 4 to 6 years is often received in kindergartens. The first school education is six years old. Complete secondary general education is provided by gymnasiums and real schools (atheniums) with a six-year term of study. After graduating from these schools, students are eligible to enter. There are secondary schools with a duration of study of 3 to 4 years, which do not give the right to enter higher educational institutions.

Secondary education can be obtained either in public or private schools; the latter are often divided into Protestant and Catholic. give 15 higher educational institutions of the country, including 6 universities.

The natural sciences are especially well developed in the Netherlands. In this area, the country's scientists have made a great contribution to world science. The mechanic, physicist and mathematician Huygens (XVII century) created the wave theory, was one of the first researchers in the field of probability theory. His merits in astronomy are enormous: he worked on the creation of a "planetary" machine - the prototype of the modern planetarium. An outstanding physicist, the creator of the electronic theory was Lorentz (XIX-XX centuries). In the field of biology, Levenguk, the founder of scientific microscopy (XVIII century), is widely known.

The Dutch can be proud of the fact that in their country in 1618 the first in Europe began to appear. were also the first European state in which already since 1919 radio programs began to be regularly transmitted.

Perhaps, in no other area of ​​world culture, the Netherlands has made such a significant contribution as in the visual arts.

Works of the Dutch masters of the XVI-XVII centuries. still amaze audiences. In the Dutch art school formed during this period, which had a huge impact on the entire further development of European art, the realistic direction prevailed.

In the paintings of Jan, Johannes Vermeer, Peter Hoch and other famous masters of that era, the everyday life of the people is displayed with many accurately grasped details that give the paintings a touch of special confidence. In the canvases of the Van Eyck brothers, the founders of the Dutch art of the 15th century, and Pieter Brueghel, a deep love for their native country, for the depiction of the life of ordinary people, is manifested.

Realistic is even more clearly traced in the first half of the 17th century, in the heyday of Netherlandish painting. In this "gold" in the Netherlands, essentially all genres of fine arts develop. Great success was achieved by the portrait genre, including the group. One of the best portrait painters of that time was Frans Hals. associated with the name of Adrian van, who depicted scenes from peasant life on his canvases. Jan van Dyck and Hercules Segers worked in the landscape genre. and others. Such masters of the Dutch still life as Pieter Klas, Billem Heda and others are widely known. The largest representative of Dutch realism in the middle of the 17th century. considered the great Rembrandt. His multi-genre (paintings on mythological and historical subjects, portraits, landscapes) is imbued with deep realism and a subtle understanding of human psychology.

The traditions of the "golden age" in painting continued in the Netherlands in the following centuries. Suffice it to recall such prominent painters as Van Gogh and Jan Barthold Jongkind (19th century). In the XX century. Mondrian, a representative of "neoplasticism" (a type of abstract painting) and abstractionist K. Appel, were very popular in the Netherlands. Masters of Dutch painting and sculpture Cuzeyn and Visser received international recognition.

Among the graphics, the most popular is Maurits Escher, whose engravings have been shown in many countries around the world.

A hard worker, a wrestler, occupies a particularly large place in the work of the famous Dutch communist sculptor Frederick Seeger. Among his works are images of public figures, workers, resistance fighters (including himself). Seeger is one of the first foreign sculptors who embodied), Gerard Korne-lis van het Reve, Wolkers, Willem Hermans and Harry Mulish.

Dutch music has a rich tradition associated with the activities of the talented medieval composers Johannes van Ockeghem and Jakob Obrecht. The Amsterdam Philharmonic is known all over the world, led by the outstanding conductor Bernard Haitink. Philharmonic orchestras of The Hague and Rotterdam enjoy considerable popularity. Among contemporary composers, the most popular are Billem Paper and Henk Badings.

In recent years, significant advances have been made in the field of choreographic art in the Netherlands.’ The two main ballet companies have achieved international recognition. Especially popular is the Dutch National, led by Rudy Danzig.

The Netherlands gave the world famous names of painters and philosophers, athletes and mathematicians. Culture of the Netherlands rich heritage, which is available for the admiration of the whole world. Every schoolchild knows about Descartes' system from a mathematics course, but no one emphasized that this Frenchman - a physicist and mathematician - made scientific discoveries in the Netherlands. Paintings by Van Gogh and Rembrandt are valued at millions of euros and are kept in museum galleries in Amsterdam. The philosophical works of Spinoza are the subject of study at universities, and the originals of his works are kept in the central library of Amsterdam. It can be said that culture this country belongs to the whole world...

Religion in the Netherlands

The composition of the population by religion is very diverse in the country, so it is unambiguous to say which religion netherlands in impossible. The largest share of believers, as much as 33%, belongs to Protestants, followed by Catholics, Muslims, Hindus and Buddhists in descending order. There are other religions, they are in the total composition of 2.2%.

Economy of the Netherlands

The high development of agriculture, crop production, animal husbandry, as well as competently used Geography of the Netherlands, make planned high rates of annual GDP growth of the country . Economy of the Netherlands stable, since it relies not only on natural resources, natural gas and oil production, but also develops high technologies in medicine, electronics and construction, and profits from tourism to the country. The country's high industrialization goes hand in hand with state environmental protection programs, which indicates a high level of development of the Dutch society.

Science of the Netherlands

The Netherlands is famous for its hydraulic engineering inventions throughout the world. Science of the Netherlands and their studies of the sea depths are funded at the state level, and programs for the development of the sea, the study of its secrets, are prescribed for decades to come.

Art of the Netherlands

Netherlands are rich and famous not only for works of art of the Middle Ages, but also for modern ones. The art of the Netherlands today includes modern art museums in Amsterdam and The Hague, an open-air quay of futuristic sculptures in Rotterdam, the Amsterdam Ballet, which is rightfully considered the best in Europe, the Amsterdam and The Hague Symphony Royal Orchestras are also part of the musical art of the Netherlands.

Cuisine of the Netherlands

Solid, simple in a rustic way, sometimes strange in terms of product compatibility, will not leave the traveler indifferent. The Russian soul will be pleased to eat their favorite herring, which is a traditional dish of the Dutch - haring. The cuisine is rich in seafood dishes baked over a fire with potatoes. The Dutch eat a lot of dairy products. Vegetables fill various soups from peas, celery, with sausages. Lard and pork feet, meat sausages are popular in the Netherlands, and are similar in this to German cuisine.

Customs and traditions of the Netherlands

The Dutch love to relax with families, so the most important holiday for families with children on December 5 is Santa Claus Day, it is celebrated by absolutely all the Dutch. Only believers celebrate Christmas with a trip to church and a quiet family dinner, and pyrotechnic explosions rumble on the streets at this time. In second place is the traditional celebration of the Dutch Queen's Day on April 30 - according to custom, this is the day of orange. Customs and traditions of the Netherlands all painted in bright colors of good mood.

Sports of the Netherlands

Football is loved in many countries of the world, but the Netherlands is among the top ten teams in the world in terms of football. Sports of the Netherlands rich with well-known names in tennis, speed skating, hockey, golf.

MinistrycultureRussian FederationandStateMuseum of the OrientPrepresentexhibition» Territory of earthly hopes. Decorative painting of KoreaXIX- startXXcentury."

On February 2, 2018, the exhibition “Territory of Earthly Hopes. Decorative Painting of Korea in the 19th – Early 20th Centuries. The exhibition project will allow visitors to expand their understanding of traditional Korean art, as well as provide an opportunity to look into the world of old Korea, learn about life values ​​and ethical ideals, customs and beliefs of a people whose history goes back centuries.

In the 19th century, decorative painting in Korea was an integral part of the national way of life. Made on paper or silk, multi-color or almost monochrome paintings were found in almost every home.
Their role was not limited to the task of decorating the home, they saturate the living space with benevolent symbols, were used as talismans, and performed social-hierarchical, educational and educational functions. Depending on the plot, the painting was placed in one place or another in the house with its strictly demarcated female and male halves. A significant part of it was made on multi-leaf screens, which were widely used in everyday life and were an important attribute of any ceremony, defining its character and atmosphere.

A joint exhibition project of the State Museum of Oriental Art, the Kahwe Museum and the Korean Foundation (Republic of Korea) will present to the Moscow audience 27 works from the collection of the South Korean private Kahwe Museum. Visitors will be able to see wonderful examples of Korean folk art. minhwa which, in a touching, naively idealized form, express the eternal dreams of ordinary people about a happy and long life, prosperity, and harmony in family relationships.

When: 3February– 25 February 201 8 of the year.

Where:.

January 18 at the State Museum of the East a new exhibition season opens with the works of the outstanding master of contemporary art of Dagestan, graphic artist, painter
and stage designer Ibragimkhalil Supyanov. Exhibition “Fragments of Time. Ibragimkhalil Supyanov" will introduce visitors to different periods of the artist's work -
from figurative painting of the 1960s-1980s to later works full of multi-valued symbols and hidden meanings.

The work of the Dagestani artist Ibragimkhalil Supyanov is an amazing, fantastic, uniquely original world in which
the centuries-old traditional culture of the people and modern artistic trends are organically combined. Supyanov's works are notable for their bright coloring, expressiveness, they attract with a variety of emblematic signs and ornamental motifs. Painting, graphics, three-dimensional objects, theatrical curtains - everything created by the master is interconnected, each work continues the previous one.

The easel painting of the artist is filled with deep philosophical content. The paintings resemble mysterious artifacts, dotted with ancient signs. Represented
in the exposition of a series of graphic sheets "Healing Book", "Water Stones", "Remember the Song" offer the viewer to unravel the artist's encrypted messages, based on their inner feelings and emotions.

A significant place in the work of Ibragimkhalil Supyanov is occupied by theatrical art, to which he devoted many years of work. At the exhibition at the State Museum of the East, one can see wonderful examples of the artist's scenography: sketches for opera, ballet and drama productions.

Particular attention should be paid to the creative method of the master, his complex
and multistage technology. In painting, he uses a variety of materials: sand, glue, varnish, tile grout, cement. The author works in series that arise by themselves
in the process of experiments with space, plane and volumes. This is how the cycles “Scenes from the life of the people”, “Ten stories about the tukhum Isao”, “Dogs”, “Birds” and others appeared.

Supyanov's sculptures are a three-dimensional embodiment of his painting. Here he also creates his own special, mysterious world - he does things that are not easy to perceive, but at the same time attract attention at first sight and take possession of the space around.

The exhibition project of the State Museum of the East will acquaint visitors
with the works of one of the leading Dagestan artists, whose work has received worldwide recognition.

The exhibition is open from January 19– February 4 201 8 by the address:Moscow, Nikitskyboulevard, 12-a.

Ministry of CultureRussian Federation, the State Museum of the East and the Roerich Museumpresent an exhibition

On December 19, the Roerich Museum, a branch of the State Museum of Oriental Art, opens the exhibition “Nicholas Roerich. Climbing. The exhibition project will present about 190 works that will tell about the main stages of the creative path of the great Russian artist: from early historical paintings to philosophical landscapes and parable paintings. A special section of the exhibition will be devoted to works related to important topics that went through the whole life of Nicholas Roerich - the protection and preservation of cultural heritage monuments, as well as his spiritual quest.

Exhibition “Nicholas Roerich. Climbing” will allow you to get acquainted with the works of an amazing person, artist, traveler and thinker, whose work has entered the golden fund of world culture. The uniqueness of the project lies in the fact that this is the first experience of an exhibition-research, the purpose of which is the desire to show the creativity and personality of Nicholas Roerich as objectively as possible.

The exposition will include works provided by the State Russian Museum, the State Tretyakov Gallery, the State Museum of the East, and the Nicholas Roerich Museum in New York. The exhibition will feature such iconic works by the artist as the Oriflamma Madonna and Saint Francis.

An album-catalog has been prepared for the exhibition, which tells about the main stages of the creative path, great social work, as well as the complex spiritual search of the artist.
Those who wish will be able to attend a series of lectures dedicated to the most important bright aspects of the life and work of Nicholas Roerich and his family.

On the day of the official opening of the exhibition at 17:00, a press conference will be held with the participation of Director of the Roerich Museum Tigran Mkrtychev and Chief Curator of the Nicholas Roerich Museum in New York Dmitry Popov.

The exhibition is open from December 19, 2017 - January 17, 2018 at:Moscow,Maly Znamensky lane, 3/5.

Ministry of Culture Russian Federation and State Museum of the Eastpresent an exhibition

On December 13, the exhibition "Legends of the East" opens at the State Museum of the East. This project will introduce visitors to the magical world of myths and legends, epic tales and legends, which is vividly reflected in the culture of the peoples of the East. The exposition includes more than 300 works of fine and applied art from China, Japan, India, as well as the countries of Southeast Asia (Vietnam, Indonesia, Cambodia, Laos, Myanmar, Thailand).

The works, made in a wide variety of techniques and materials, illustrate ancient legends about the universe, the origin of people, world cataclysms, gods and heroes. The characters of the epic common for the countries of South and Southeast Asia, getting from one region to another, change their appearance, costume, actions, and well-known plots acquire new, unexpected moves. In ancient legends about the creation of the world, constellations, planets come to life, natural phenomena acquire their own amazing features, depicted with great imagination by folk artists. Magical animals come to life in plastic and painting: a dragon and a Chinese qilin, consisting of the bodies of nine animals, the Indian Navagunjara, the Myanmar pinsayupa, a dragon-like beast of the “five beauties”. Man and beast become a single magical creature - such are the elephant-headed god Ganesha and the bird-man Garuda, the man with the head of the boar Zhu Bajie. Fairy tales about beauties and heroes, ancient sages and evil demons will come to life in the halls of the Oriental Museum.

The curators of the project "Legends of the East" tried to show not only the common features that make the myth-making of the countries of this region related, but also the national differences and the specifics of their artistic incarnations. Many items at the exhibition are unique and exhibited for the first time.

The exhibition is open from December 14 – January 28, 201 8 ( Moscow, Nikitsky Boulevard, 12-a) .