Parallel universes
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The last secular week showed that there is no longer any strength to keep the mournful appearance, if only because the illusions have disappeared that it is necessary to keep it for some certain time. A year later, with the general loss of their usual way of life, secular Muscovites and Petersburgers noticed that spring was actually coming. The week was full of events: there was a place in the schedule for tea drinking with Victoria Shelyagova, and for the opening day of the exhibition in honor of the King and the Jester group. There is no contradiction: the precepts and principles of punk rock are close to Mrs. Shelyagova, as few people in our world are.
The week began with an event that was paradoxical in its pre-war days. The cognac brand Francois de Martignac, which entered the Russian market in 2022, hosted a presentation party at MMOMA. Sasha Frolova, an artist who is very responsive to commercial collaborations, was involved in the event. She made an inflatable composition in the color of the label, with a golden fragment symbolizing cognac. Music played, decent guests came, the executive director of the museum, Vasily Tsereteli, spoke.
On the last day of winter, the guests of Victoria Shelyagova greeted the spring with a whistle at the “House of Porcelain” on Neglinnaya. That is, there really were not only pies at a smartly laid table, not only photographs in man-made flower thickets from the Blush by Yasya studio, not only a string ensemble, but also a certain professional whistler. Alexander Rappoport and Ksenia Solovieva tried to find out from Mrs. Shelyagova whether there would be losses if they whistled so actively in the room, and if it did happen, then which of the participants in the tea party would suffer. We agreed that a whistle using technical means (clay whistles) compares favorably with a simple whistle. Among those who eventually ventured to try the whistle were Igor Mirkurbanov, Irada Zeynalova, Elena Krygina and others.
The same evening, Mrs. Zeynalova went to the Museum of Architecture, where Mikhail Rozanov’s personal exhibition “Steel. Glass. Concrete”, a joint project for the Marianna Sardarova Ruarts Museum and Foundation. In the photographs, European modernism is the architecture of post-war optimism, taken by Mr. Rozanov before the pandemic. About the same time, only in the optics of unofficial Soviet artists of the 1960s-1980s, an exhibition opened in the Russian Museum (in the Marble Palace) from the collection of Natalia Opaleva “Parallel Universes”. At the vernissage and the subsequent cocktail at Astoria, all three states of the Russian cultural and administrative process were present in the person of I. O. General Director of the “Russian Museum” Anna Tsvetkova, who rejected “I. O.” a month ago, Anna Yalova, director of the St. Petersburg Manege, and ex-director of the State Tretyakov Gallery, Zelfira Tregulova. Ms. Opaleva said what an honor it is for a collector to have an exhibition in the Russian Museum (she already has her second one). The guests, among whom art professionals predominated, said among themselves that Ms. Opaleva is not only a collector, but also a very good person, and this is the last thing you expect to hear about someone in the art community.
The creators of the exhibition at the Winzavod tried to look at the phenomenon of punk as academically and broadly as possible, so the installation of a very dirty public restroom was side by side with infographics that recorded Leo Tolstoy and Jean-Paul Sartre in proto-punks. The guests, however, treated the opening as a fun carnival, presenting fantasies on the theme of punk dress code. Among the guests there were also elderly, noticeably drinking people, probably trying to carry the punk culture in themselves through the years. They just didn’t bother with the skin and spikes: Sergey Troitsky aka the Spider was generally in a fleece jacket. But he was the only one who tried to break the rules and smoke right in the exhibition space. The second half of the exposition, or rather, a separate touching exhibition, is dedicated to the Korol i Shut group, and the entire project was provoked by the Kinopoisk service, which released a series about this group. However, no matter how commercial the reasons for last week’s exhibitions were, they say that everything forbidden one day becomes allowed. And spring comes.
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