Art Exhibition

The Roaring Nineties. Freedom without Borders

17 December 2019 – 1 March 2020

The art of the 1990s was distinguished by its truly Babylonian diversity. All kinds of artistic escapades rapidly burst into cultural and took the lead there, as a challenge to traditional art. The boundaries of the cultural space broadened. Various installations, extremist in nature, reminiscent of pictorial or sculptural landfills, pretentious performances, and scandalous public actions soon affirmed an aesthetic of the new realm of freedom.

It is this diversity of ideas and styles that will reaveal to the spectators the artistic life of the 1990s. Works by Vladislav Mamyshev-Monro, Vasily Komar, Alexander Melamid, Mikhail Roginsky, Viktor Pivovarov, Igor Makarevich, Timur Novikov, Bella Matveyeva, Olga Tobreluts, Marina Koldobskaya, Hipper-Pupper and many others will bring to life the dashing absurdity of those years.

Works by such masters as Viktor Danilov, Mikhail Gavrichkov, Ostap Dragomoshchenko, Vasily Golubev, Alexander Lotsman, Evgeny Tikotsky, Vladimir Kanischev and others will add sarcasm and irony to the exhibition. Portraits of Russian nouveaux riches (known as ‘new Russians’), criminal street showdowns, bacchanalia of love scenes, and hobos fill the art of the 1990s with reckless humor mixed with the anxious lyricism and the novelty of experience that befell people at the time.

Representatives of the old Soviet generation embody their mournful observations of the moral degradation of their compatriots who betrayed the values of the ‘great era’, in the images of ugly ‘turlics’ (Gely Korzhev); a lonely ‘winner’ on waste land (Vitaly Tyulenev), homeless people and janitors (Alexey Shtern and Viktor Mymrin) and people crippled as a result of collision with the mad reality (Ernst Neizvestny), or in the scene of a feast during the last coven of life (Natalia Nesterova), etc.

The exhibition that includes works by more than 150 Russian artists of different generations combines artistic phenomena and trends sometimes opposite in character. It is an attempt to look from without, as it were, at the events that have become history, with all its problems and contradictions. The spectators will have an opportunity to enter into a dialogue with time and correlate their own memories with the artistic pronouncements of those years.

Within the framework of the exhibition, a wide educational program is planned, including films, discussions, master classes, musical and theatrical performances, authors’ guided tours, and a conference.