T
Отыграть назад: 20 лет галереи Ruarts в 20 главных выставках
Ровно 20 лет назад коллекционер Марианна Сардарова открыла в Зачатьевском переулке галерею Ruarts, где с 2004 года и по сей день можно видеть работы топовых российских и зарубежных художников, работающих в самых разных медиумах, включая живопись, графику, фото, видео, скульптуру и инсталляцию. Из любви к арту и самой институции попросили руководителя научного отдела фонда и галереи Ruarts Надежду Цветкович собрать ретроспективу выставок, которые определили каждый год.
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«Искусство — это иллюзия»
Выставка «Искусство — это иллюзия» стала дебютной в галерее Ruarts. Кураторами выступили Антонио Джеуза и Олеся Туркина — они посвятили проект появлению и развитию новых медиа в современном искусстве. Экспозиция дала представление об истории видеоарта в России с начала 1990-х до рубежа тысячелетий, ознаменовав начало его пути в музейное пространство. Показали, однако, не только его, но и экспериментальное кино, интерактивные инсталляции и даже компьютерные игры. Благодаря яркой кураторской команде, известным художникам и продуманному ретроспективному подходу выставка дала мощный импульс для дальнейшего развития галереи Ruarts.
Сергей Бугаев (Африка), из серии «Индустр», 2003
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Первый показ работ Спенсера Туника в Москве
«Обнаженный мир» — первый показ снимков американского художника Спенсера Туника впервые в Москве. Туник специализируется на инсталляциях, создавая масштабные композиции из человеческих фигур в городских и природных пространствах. Фотограф начал творческий путь в 1992 году, когда число позировавших не превышало и десятка, но со временем акции художника приобрели массовый характер: максимальное количество участников, вовлеченных в процесс фотосъемки в Мехико (2007), достигло 18 000 человек. На открытии в Ruarts присутствовал сам художник, охотно делившийся мыслями о своем творчестве с журналистами и арт-критиками.
Спенсер Туник, «Melbourne 4», 2001
Спенсер Туник, «Pennsylvania 3», 2004
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Выставка японской художницы Кимико Йошиды
«MARRY ME!» японской фотохудожницы Кимико Йошиды стала следующей сенсацией среди экспозиций Ruarts. Основной корпус творчества Кимико составляют серии автопортретов-перевоплощений, в которых Йошида примеряет на себя женские образы из разных культур и исторических периодов. Это всегда нежные, чувственные произведения: с обнаженными плечами, осторожным взглядом, покорными губами, трепещущими ресницами и вуалью невесты — символом перехода в иное состояние. Эти фотографии говорят о темах уязвимости и эротизма. Кимико Йошида родилась в Токио в 1963 году, но, чувствуя давление со стороны патриархально-консервативного японского общества, в 1995 году переехала во Францию. Кимико делилась: «С тех пор, как я покинула родину, чтобы избежать рабской и униженной доли японских женщин, я последовательно развивала в своем творчестве феминистский протест против современных клише относительно соблазнения и добровольного служения женщин, как и против гендерных стереотипов вообще».
Кимико Йошида, «The Piazetta Bride. Self-portrait», 2002
Кимико Йошида, «The Tamates Bride, Vanuatu. Self-portrait», 2003
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«Медийный образ и подсознание»
О влиянии СМИ на психику и поведение человека
Групповую выставку под названием «Медийный образ и подсознание» собрала куратор Александра Дементьева. На ней показали работы Петра Аксенова, Алины и Джеффа Блюмис, Фила Ниблока, Куна Тэйса и Франка Тэйса. Основными критериями отбора были их актуальность и выразительность. Бельгийцы Кун и Франк Тэйс, например, исследовали, как образы влияют на психическое состояние и поведение человека. Их видеотемы часто углубляются в трагические повествования, насыщенные политическими и историко-философскими подтекстами. Главный вопрос, затронутый художниками: как современные люди могут сохранять субъективную точку зрения, независимую от стереотипов СМИ?
Алина и Джефф Блюмис, Проект «Фабрика клонов», 2006
Алина и Джефф Блюмис, Проект «Фабрика клонов», 2006
Алина и Джефф Блюмис, Проект «Фабрика клонов», 2006
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Исследование концепции «расширенного видения»
Следующий коллективный проект под названием «Хороший художник» стал серьезным исследованием концепции «расширенного видения», которую ввела в дискурс московская арт-группа — Инспекция «Медицинская герменевтика». На экспозиции представили знаковые фигуры той эпохи, принявшие это направление, — Сергей Ануфриев, Сергей Бугаев (Африка), Герман Виноградов, Инал Савченков и Юрий Шабельников. Многие из творцов создавали работы в знаменитой «Студии 50А», основанной Сергеем Борисовым, и часто выступали в качестве моделей для его снимков.
Юрий Шабельников, «Нотр-Дам» из серии «Конец фильма», 2008
Фото экспозиции «Хороший художник», 2008
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Сублимация несчастья художника в культовые серии
Показ культовых серий «Дождь», «Надежда» и «Горе» известного голландского фотографа Эрвина Олафа. Эрвин рассказывает, что первая из них появилась после того, как он отказался от идеи создания серии под названием «Счастье», поскольку сам чувствовал себя глубоко несчастным. «Когда я увидел своих моделей в „боевой готовности”, — размышляет Олаф, — был в ужасе от банальности своей концепции — попытки воссоздать то, что давно перестало существовать». Закончив серию, Олаф сосредоточился на «Надежде», где персонажи запечатлены в безмолвной паузе, зажатые между событием и их реакцией на него. «Не знаю, что происходит с моими персонажами; предоставляю зрителям возможность интерпретировать и чувствовать», — объясняет художник. Серия «Горе», созданная в 2008 году, стала первым случаем, когда Олаф призвал своих моделей выражать свои эмоции. Эта работа показывает растущее значение, которое Олаф придавал физической красоте, в отличие от его более ранних работ, которые часто исследовали темы искажения и провокации.
Эрвин Олаф, «Кафе-мороженое» из серии «Дождь», 2004
Эрвин Олаф, из серии «Надежда. Портреты», 2004
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Эротическая выставка Корнели Толленс
Шестую годовщину галереи Ruarts отметили эротической выставкой фотографий известной голландской художницы Корнели Толленс. В фотоработах Толленс бросает вызов лицемерному отношению современного общества к женщине, которая низводится до уровня не более чем объекта сексуального желания, а также стремится разрушить ценности фаллоцентрической культуры. Визуальная эстетика кадров Толленс схожа с работами провокационных фотографов, таких как Роберт Мэпплторп, Нобуёси Араки и Беттина Реймс, которые последовательно исследовали тонкую грань между притягательным и отталкивающим.
Корнели Толленс, «Невозможная любовь-11», 1996
Корнели Толленс, «Эмоции-1», 1997
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«Если хочешь плавать – плавай»
Вита Буйвид о водной стихии
Проект Виты Буйвид, озаглавленный цитатой великого кормчего китайского народа Мао Цзэдуна, фокусировался на эстетике и практике взаимодействия человека с водной стихией и включал такие серии, как «Методы исследования орнамента» и «Пловцы». Работы впечатляют набором техник, начиная от рисунка и цветной фотографии и заканчивая скульптурой.
Вита Буйвид, Серия «Методы исследования орнамента №3», 2009
Вита Буйвид, Серия «Команда №2», 2011
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Фотопроект французского актера, режиссера и сценариста Венсана Переса
Галерея Ruarts представила фотопроект известного французского актера, режиссера и сценариста Венсана Переса, в котором приняли участие звезды Большого театра. Серия под названием «Балет» из 50 работ была частью обширного международного фотопроекта Переса «Париж-Москва» с выдающимися звездами балета. Серия началась в парижской опере Гарнье, где Перес работал с ведущими французскими артистами балета Николя Ле Ришем и Элизабет Платель. В Москве Венсан представил эксклюзивные портреты звезд Большого театра — Николая Цискаридзе, Екатерины Шипулиной, Марии Александровой, Светланы Захаровой.
Венсан Перес, Екатерина Шипулина, Николай Цискаридзе, Мария Александрова, 2012
Венсан Перес, «Behind the Swan Lake», 2012
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Коллаборация с лондонской галереей SCREAM
Следуя традиции, галерея Ruarts организовала нечто впечатляющее и памятное в честь девятого дня рождения — объединилась с лондонской галереей SCREAM, принадлежащей Джейми Вуду, сыну гитариста Rolling Stones Ронни Вуда, чтобы представить проект под названием «BREAKING THE ICE». На московской выставке творения показал известный работой с неоновым светом художник Крис Брейси, чьими поклонниками были Дэвид Лашапель, Стелла Маккартни и Вивьен Вествуд. Кроме того, в Ruarts тогда экспонировали и других лондонцев — Сильвию Хоммерт, Грега Миллера, Реджин Шуман, Пакпум Силафан, STATIC, Тсай и Йошикава, Салли Ферст и Хонгксинг.
Пакпум Силафан, «Ali Punches on Coke», 2016
Пакпум Силафан, «Warhol on Pepsi», 2016
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Первая книга-фотоальманах к выставке Алексея Партола
Фонд и галерея актуального искусства Ruarts в рамках специальной программы Биеннале уличного искусства «Артмоссфера» представили уникальный проект Алексея Партола «Части стен» — фотоальманах, посвященный российскому уличному искусству. На сегодняшний день опубликовано три издания этого исследования. Проект «Части Стен» всегда ориентировался на художников, которые начинали творческий путь в городской среде и постепенно проявляли интерес к галерейным и музейным институциям — проект показал более 170 из них.
Марат Морик, Без названия, 2014
Nootk, Без названия, 2016
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Персональные проекты Риккардо Мурелли и Михаила Розанова
«Построения» — две персональные выставки итальянца Риккардо Мурелли и московского фотографа Михаила Розанова, объединенные галереей Ruarts в совместный проект при поддержке Итальянского института культуры в Москве и Maserati. Название довольно точно отражает художественные ориентиры двух авторов. Исследования Розанова в первую очередь сосредоточены на архитектуре, которую он подчиняет упорядоченному ритму и академической строгости. Скульптор-философ Муррелли также основывает свою работу на почти научных принципах, акцентируя взаимодействие линий, где сама форма становится активным элементом.
Михаил Розанов, из серии «Геометрия», 2014
Михаил Розанов, из серии «Геометрия», 2014
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Послание в будущее от уличных художников 0331С и Гриша
«3016» — проект двух уличных художников из Москвы, которые работают под псевдонимами 0331с и Гриша. В экспозицию вошли скульптуры, выполненные из гранита, с высеченными посланиями для потомков. По задумке художников, экспонаты сохранятся и в 3016 году — отсюда и такое загадочное название.
0331с, Гриша, Фотопроект «3016», 2016
0331с, Гриша, Фотопроект «3016», 2016
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Персональная выставка Дмитрия Аске
Галерея Ruarts с гордостью представила персональную выставку Дмитрия Аске, одного из самых видных деятелей современного уличного искусства. По словам самого художника, название проекта отражало сложность современной жизни, в которой люди стремятся проложить свой путь сквозь пелену информации. Персонажи серии, скрытые белым шумом цифровой эпохи, воплощали чувство неопределенности, борьбу с внутренними конфликтами, тревогу и размышления как о прошлом, так и о будущем.
Дмитрий Аске, «Дар», 2017
Дмитрий Аске, «Осознанное сновидение», 2017
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Экспозиция провокационных работ фотографа Нобуёси Араки
Галерея Ruarts совместно с российским представительством Европейского культурного центра открыла персональную выставку одного из самых провокационных культовых фотографов — Нобуёси Араки. Серию «Чудовищный рай» художник создавал в период с 2015 по 2018 год — в нее вошло более 200 снимков. Личный рай Араки опасно колеблется между жизнью и смертью. При всем буйстве и великолепии цветов, кажущейся безобидности мир Нобуёси кишит монстрами, эротическими куклами, связанными веревками, — все это олицетворяет опасность, искушение, чувственное наслаждение и разложение. «Рай, как я всегда говорю, — наполовину ад. С насилием и жестокостью. Без ада нет рая», — твердо убежден Араки.
Нобуёси Араки, из серии «Чудовищный рай», 2017
Нобуёси Араки, из серии «Чудовищный рай», 2017
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Стрит-арт-художник Марат Морик об уязвимости и хрупкости
Марат Морик — один из самых известных российских художников в мировом стрит-арт-движении, постоянно участвующий в крупных международных фестивалях уличного искусства. В проекте «Слабые места» он исследовал темы человеческой уязвимости и хрупкости. Художник рассмотрел эти концепции с разных точек зрения, ища в них как красоту, так и уродство, несовершенство. «Старение, зависть, агрессия, одиночество, несостоятельность, безумие — все это саундтрек к моим картинам. Я не хочу напрямую вызывать какую-то эмоцию, хочу лишь заинтриговать. Моя задача — погрузить зрителя в атмосферу тревоги и сделать из него свидетеля», — комментировал проект художник.
Марат Морик, «Столкновение», 2018
Марат Морик, «Плохое предчувствие», 2017
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«Сергей Борисов. Новые смыслы»
Знаковые фотоработы 1980-х и 1990-х годов
Персональная выставка известного московского фотографа Сергея Борисова — это знаковые работы 1980-х и 1990-х годов, а также его последние. Всего было 30 пар снимков, один из которых представлял ушедшую эпоху, отражая недавний исторический контекст, а другой запечатлевал настоящий момент, современную Россию. Проект воплотил диалог между прошлым и настоящим, подчеркнув их сходства и различия, а также взаимодействие преемственности и противоречия.
Сергей Борисов, «Полет», 1988
Сергей Борисов, «Купальщики», 1989
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Эксперименты Александра Егорова с цифровой фотографией
Александр Егоров зарекомендовал себя как талантливый экспериментатор в практике цифровой фотографии. Первые пробы к серии начал делать в 2018-м, к 2021-му сложился полноценный проект. В Trading художник использовал камеру смартфона: он фокусировался на производстве и перепроизводстве не только вещей, но и визуальной информации. Егорова вдохновляет какофоническая среда супермаркетов; он сравнивает блуждание по торговому центру с прогулкой в лесу. Фотограф намеренно разбивает изображения на яркие пятна, многократно дублируя их в кадре. Каждый снимок может раздражать оптические рецепторы.
Александр Егоров, «Trading 53», 2021
Фото экспозиции «Trading», 2021
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Большая фоторетроспетива к совершеннолетию галереи
В честь своего восемнадцатилетия галерея Ruarts провела коллективную ретроспективную выставку «Личное пространство». Зритель увидел значимые работы как российских, так и зарубежных художников, которые принимали участие в предыдущих персональных или групповых проектах в галерее. Совпадение тем чувственности и эротики с «совершеннолетием» галереи не случайно: обращение к смелым, порой табуированным темам формировало программу и имидж Ruarts на протяжении почти двух десятилетий.
Кир Эсадов, без названия, 2022
Татьяна Подмаркова, из серии «Stigma», 2013
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Алексей Лука о человеческой памяти
Персональная выставка Алексея Луки, которая запомнилась арт-сообществу и стала знаковым проектом-размышлением для самого автора. Куратором выступила Ольга Турчина, пригласив взглянуть на работы художника как на живую сущность, родственную человеческой памяти. В сфере личной памяти есть уголки, которые таят в себе отголоски прошлого, выведенные на свет яркими лучами нашего подсознания. Эти вспышки освещают значимые моменты давно минувших событий, создавая ассоциации с предметами, которые служат уникальными триггерами прошлого. Выставка родилась с создания работы «Что-то ценное», сделанной в ящике из-под микроскопа — она дала начало целой серии, посвященной повседневным предметам, каждый из которых связан с определенным воспоминанием из жизни.
Алексей Лука, «Мебельный гарнитур № 3. Объект 1», 2022
Алексей Лука, «СНТ „Дружба”», 2023
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Текстильные «ребусы» Виталия Тюрлика
Текстильные панно Виталия Тюрлика часто являют собой сложносочиненные визуальные «ребусы», абсурдные сценарии с игрой слов, аллитерацией и юмором. Художник сознательно избегает серьезности и философских размышлений, но и воздерживается от простых ответов. Работы, созданные специально для этой выставки, иллюстрировали темы, укорененные в причудливом пространстве между сном и реальностью, исследуя состояние сонного паралича, где привычные понятия, отсылки и значения становятся размытыми и искаженными.
Виталий Тюрлик, «Тихая охота», 2023
Виталий Тюрлик, «Это еще цветочки», 2023
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