The former assistant of Medinsky is now setting up a business on Poklonnaya Hill. A scandal on social networks was caused by the publication of a photograph of an employee of the Museum of the Great Patriotic War on Poklonnaya Hill against the backdrop of Nazi banners

FORMER ASSISTANT OF MINISTER MEDINSKY NOW ESTABLISHES BUSINESS ON POKLODNAYA GORDA

V Museum of the Great Patriotic War 1941-1945 on the Poklonnaya Hill after the death of V.I. Zaborovsky occurred personnel changes in the guide.

For the position Deputy Director for Development 26-year-old Mrs. K.D., notorious for the readers of "LR", came. Trubinov.

The fact is that this person named Christina, without proper work experience, education (bachelor's degree in architecture), makes it impossible for the museum staff to work. She allows herself obscene statements, including in relation to people several times older than her. Many highly qualified employees of the museum have already left their positions precisely because of Mrs. Trubinova. Not understanding the main social orientation of a memorial of this level and scale, she pursues a policy of maximizing the profits of the museum by winding up unnecessary services to schools, cadets and other socially oriented organizations. Raises the issue of raising prices for excursions at a double rate, including for schoolchildren.

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Newspaper " Literary Russia" already wrote about Mrs. Trubinova during her work at the Ministry of Culture.

Given the age, work experience, education, lifestyle and attitude towards people, such a person is simply not able to be responsible for the development and preservation of a large-scale monument to the Heroes of the Fatherland - the Museum of the Great Patriotic War of 1941-1945.

Victory Day went as expected, nothing unforeseen happened, the same shamefully draped blue Mausoleum, the same absence of Stalin's name and the presence of symbols that have nothing to do with victory - but
Something else is more interesting, and I suggest that everyone pay attention to this ...

All of us the other day "rejoiced" at the information that a prominent de-Sovietizer and de-communizer was left by the new old president in his familiar place with wording like "completely satisfied" (according to insiders and political experts).

Let's now get acquainted with the results of the activities of Mr. Minister and his offspring, the notorious RVIO, with the help of which he realizes the above-described potential, and we will do this in conjunction with Victory Day.
Day, about which much has been said here, the celebration of which in Lately every time it gets between the anti-Soviet minority - the authorities and the pro-Soviet majority - society ...

"Museum of Victory": memory to heroes or nameless victory?
If there is an abstract museum of an abstract victory over an abstract enemy on Poklonnaya Hill, then something will happen that cannot be corrected - the betrayal of the dead

Vital important question about the immunity of man and society to fascism, you always ask yourself in memorable dates- June 22, January 27, May 9 and others. There was and is an absolute evil in the world that has tried and is trying to destroy a person, how can one not think about what will help protect oneself from it and where, in what places the future generation's immunity to this evil is undermined.
On May 9, 1995, on the 50th anniversary of the Victory, the Central Museum of the Great Patriotic War of 1941-1945 was opened on Poklonnaya Hill.

I specifically cite here the full official original name museum, and, readers forgive me for the long phrase, I will henceforth use only it. Because 23 years later, it is no longer called that, what next. It can’t be more strong protection than memory and special places of memory where it is stored and carefully transferred. Unless, of course, those who are involved in its storage and transmission set themselves just such a task. And if not? What is happening with the "places of power" today and is it not necessary to draw public attention again and again to, I will not hesitate to say, their "creeping occupation"? By whom and how - let's try to figure it out.

Questions to the museum management appeared in September 2017, when social media users were struck by a scandal with photos of the deputy development director Central Museum Great Patriotic War Christina Trubinova against the background of fascist banners with a swastika. Next to her were two smiling young men with machine guns, one of whom was dressed in the uniform of a Standartenführer. Trubinova published the photos herself on her page on the VKontakte social network, and then promptly deleted them.

Let me briefly remind you that Trubinova is the “chick of the nest” of the Minister of Culture Vladimir Medinsky, like the current director of the Central Museum of the Great Patriotic War Alexander Shkolnik appointed 28 April 2017 after death Vladimir Zabarovsky. Shkolnik is a former adviser to Medinsky, deputy executive director of the Russian Military Historical Society, which is headed by the Minister of Culture.

This is the same RVIO that was previously “famous” for the installation of a memorial plaque to the Hitlerite in St. Petersburg Karl Mannerheim and numerous scandals, both with the installation of various monuments and with commemorative actions. Authors IA REGNUM a lot has been written about this organization and repeatedly said that the RVIO and the Ministry of Culture are destroying the historical memory of the country, removing the Soviet past from it and replacing it with the past Vlasov.

I agree with the author's suggestion. Daria Alekseevathat the RVIO, declaring among its tasks including"preservation and popularization of the historical and cultural military-historical heritage of Russia", engaged in the murder of history, creating instead historical reconstructions rude and impudent substitutions, fakes, the purpose of which is to erase the memory of real events. Especially if they are Soviet.

This is done on the sly in the Central Museum of the Great Patriotic War. Firstly, the name of the museum before the arrival of the new leadership was quickly castrated - to the "Museum of Victory", as if there was no Great Patriotic War. Or was it not such in the opinion of the new director and his patrons?

Let me remind you that in 1995, in accordance with the decree of the government of the Russian Federation, the museum was named Central Museum of the Great Patriotic War of 1941-1945 The order of the Ministry of Culture on amendments to the charter of the Central Museum of the Great Patriotic War was signed by the Deputy Minister of Culture Vladimir Aristarkhov March 21, 2017. The document introduced the "abbreviated" name of the institution - the Victory Museum (on English language— Victory Museum). Previously, the abbreviated name of the museum was officially "TsM WWII".

The new abbreviated name now appears everywhere. At first it was changed in official documents and on the museum website, but now it has become generally accepted and appears everywhere, up to official address of the President of Russia.

Isn't it clear that the removal of the mention of the Great Patriotic War from the name of the museum indicates that the Victory has become abstract. Now it's not a concrete victory Soviet people over concrete fascism in the Great Patriotic War, but the abstract victory of an abstract army over an abstract, but very pretty enemy. What's wrong?

I have already said about the "abstractness" of the Victory itself - there is no Great Patriotic War. Now about the "abstract army". Soviet banners and flags suddenly disappeared from the Central Museum of the Great Patriotic War. This is how the Hall of Generals looked like before the de-Sovietists came:

That's it - now.

Now about why this abstract enemy is so cute and to whom. On the eve of Victory Day in 2018, a scandal almost erupted. Against the background of the disappearance of Soviet symbols and the very concept of " Soviet army”(according to the museum staff and visitors) Nazi symbols are actively appearing in obscene form in the museum. By decent appearance, I mean the Nazi banners trampled into the mud with the boot of the winner, firstly, and military uniform and technology, where it has historically been, secondly. You can't erase words from a song, and you can't erase a swastika from history.

Everything else, in my opinion, falls under the definitions of the Federal Law "On the prohibition of propaganda of fascism in Russian Federation”, which introduces a ban on propaganda or public demonstration of the symbols of organizations that collaborated with the Nazis or deny the results of the Nuremberg Tribunal. You can’t call anything other than propaganda that could appear in the museum on the eve of May 9th.

On May 3, 2018, a photograph from the Central Museum of the Great Patriotic War appeared on the Cello Case Telegram channel (this is evidenced by the background in the photo), which depicts a stand with posters with a swastika and a portrait of Adolf Hitler against the backdrop of the Nazi banner. On the other side of the cube, as we can see, the signing of the Tripartite Pact is located against the background of the panorama of the Nazi march. This stand was supposed to appear in the exposition of the Hall of Historical Truth, opened on May 8.

At the opening, as a result, another version was presented, simpler: without Hitler, a march with swastikas and without SS men. We placed several canonical photographs on a gray background: apparently, someone nevertheless advised changing the exposure.

As the authors of the channel write, the idea of ​​the original stand belonged to Shkolnik. He, according to an anonymous channel, called it " brainstorming collective" to turn the museum into a "platform for discussion". The question immediately arises, what kind of discussions?

I dare to put forward a version that is not around "unique documents and rare archival materials that tell about the origins of the birth of fascism", as stated in the letter of the President of the Russian Federation to the participants and guests grand opening Hall, but about reconciliation with the Vlasovites and the White Guards. With those who went to serve the Nazis. For this, Soviet symbols are also removed, which is in vain to annoy the white emigre "allies".

Of course, neither the original stand, nor the one that was presented as a result, has anything to do with the “origins of the birth of fascism”. Because if you start talking about the origins, then you can agree on a lot of things and find a lot of interesting documents: who only did not support fascism different ways from Western partners. And obviously such a discussion is not included in the plans of the RVIO.

But the version of "reconciliation" with the traitors is justified. The stories with the monument to Reconciliation and the Mannerheim plaque prove that the RVIO and the Vlasovites have no ideological contradictions.

Let me remind you that another demonstrative embarrassment of Medinsky, Shkolnik and the Russian Military Historical Society is “ reconstruction of the battle of 1942 near Smolensk, in which Hero died Soviet Union Alexander Matrosov», February 27, 2017.

If this Vlasov shame passed the reader by, then let me remind you what the matter was. Firstly, Matrosov died not in 1942 near Smolensk (liberated on September 25, 1943), but on February 27, 1943 in the Kalinin (Pskov) region. And secondly, the RVIO staged a real defile of the uniforms of Hitler's henchmen of all kinds, writes the portal " APN North-West».

For example, among the “reenactors” depicting the German infantry, there was a fellow with a chevron “Kuban army” of the 1st Cossack division Helmut von Pannwitz. The fact that neither near Smolensk in 1942, nor near Pskov in 1943 could in any way be, did not embarrass the organizers. Apparently, the RVIO really wanted to attract ideologically close traitor Cossacks to the "reconstruction" with at least a carcass, at least a scarecrow.

And one beautiful girl, who shared her impressions with journalists, generally represented the "Russian Liberation People's Army". Yes, yes, not the ROA, whose future commander, the traitor Andrei Vlasov, had not even been captured at the end of February 1942, namely the SS RONA brigade Bronislav Kaminsky, the most cruel and bloody traitor of the Great Patriotic War. The same punisher who first slaughtered the partisans and civilians of the Lokot Republic, and then, with his consolidated RONA regiment, suppressed the Warsaw Uprising with such cruelty that even the Germans were outraged.

Let's go back to the museum. All this "background" of the current management of the Central Museum of the Great Patriotic War suggests that it is not a matter of preserving historical memory and there is no careful transmission to their descendants. More precisely, in the form in which it should be transferred, without surrender to the enemy. They don't care, depicted on the monument Mikhail Kalashnikov in the center of Moscow, a drawing of an AK-47 assault rifle or a drawing of a German StG 44 assault rifle, Matrosov died near Smolensk or near Pskov, and when exactly, whether the flags of the victorious army hang or not.

All this suggests that the current wave of de-Sovietization is worse than the first. If earlier a certain assessment was declared in the museum, with which one could objectively argue, now the past is simply glossed over.
For example, this is how the creators of the museum assessed the contribution to the victory of the Supreme Commander Joseph Stalin:

You can argue with the tricolor in the Hall of Generals, but why argue if there are no flags at all? What to do if there is simply no symbolism of the army led by Stalin? There is no war name? What then is the point in facts, assessments and interpretations?
There will be no point, there will be a gradual peace with fascism and the Vlasovites not in the minds of the leaders of the RVIO and the Ministry of Culture, but in the minds of our children. And if in the Central Museum of the Great Patriotic War to do exactly what you want - to rewrite history - the RVIO fails, then this will be done gradually, with such trifles.

But these “little things” are part of a large process of creeping de-Sovietization aimed at tearing the historical fabric, at eradicating the memory of the Soviet past. And such tricks end with the loss of the state and the Maidan. Why Maidan? Yes, because the rejection of one's memory and one's symbols always leads to the immersion of society in a swamp and it is destroyed by those who have everything in order with self-identification.

Therefore, it is necessary to talk about the immunity of each person and society as a whole against rapprochement with fascism, even for a millimeter.
If there is an abstract museum of an abstract victory over an abstract enemy on Poklonnaya Hill, then something will happen that cannot be corrected - the betrayal of the dead.
Because the heroes of the Great Patriotic War are dead, but not abstract. And you can’t betray them, but protecting them is a sacred duty.

And to whom the "strings" from the RVIO are stretched abroad - it's understandable.
It is also understandable that the result of the “creeping occupation” of the Central Museum of the Great Patriotic War and the underground renaming of streets and squares throughout the country will be that the Russians will be called a non-people who are not worthy of living. "Western partners" will not hesitate.

---
The ending is not an exaggeration - this is exactly how it is, unfortunately.
Well, about all kinds of flirting Russian authorities only the deaf-blind-mute does not know about fascism - everyone notes this, and here several posts were devoted to the topic, the story is unfortunate, but, alas, only one of the signs of the rehabilitation of fascism as a trend ...

However, this is not all, citizens, do not disperse.
Finally, I offer you a certain riddle, which I myself did not pay attention to on May 9th, and only today it was thrown to me in the comments.
I hope for your help, watch and share your thoughts, please ...


Everyone saw this photo, from the procession Immortal Regiment(also 2018) ?
There is "nothing like that" in it, of course, unless this unverified (!)

A few days ago a scandal in in social networks was caused by the publication of a photograph of the Deputy Director for Development of the Museum of the Great Patriotic War on Poklonnaya Hill Kristina Trubinova against the backdrop of fascist banners with a swastika and two smiling young men with machine guns, one of whom is posing as a standartenführer. The comic here is that we cannot publish this photo, according to federal law"On the prohibition of propaganda of fascism in the Russian Federation", which introduces a ban on propaganda or public demonstration of the symbols of organizations that collaborated with the Nazis or deny the results of the Nuremberg Tribunal. And in the social network "Vkontakte" Trubinova was not afraid to publish it. Apparently, this law does not apply to the madam of the development director.

A little background. On April 21, 2017, the director of the Museum of the Great Patriotic War, Vladimir Zabarovsky, died in Moscow, and the Ministry of Culture appointed Alexander Shkolnik, deputy executive director of the Russian Military Historical Society, adviser to the Minister of Culture of the Russian Federation, in his place. It should be noted that both the Ministry of Culture and the Russian Military Historical Society (RVIO), which was previously “famous” for the installation of a memorial plaque to Hitlerist Karl Mannerheim in St. Petersburg, are headed by Vladimir Medinsky.

Medinsky's former assistant, 26-year-old Kristina Trubinova, became deputy director for development; she graduated from the Moscow Architectural Institute and in no way in her short working biography was connected with museum, historical or archival work. The "development" of the Trubinov Museum began to be carried out completely in accordance with the policy of the Ministry of Culture - a course towards commercialization and "innovation". The museum should entertain and make a profit.

The response of the museum management to the scandal with photographs is interesting: the press service of the Victory Museum explained that the pictures were taken “several years ago during the quest organized in the quest room based on the film “Seventeen Moments of Spring”. Personally, the very word “quest room”, used in the same sentence with a film about the war, seems to me a shame.

But the fact that during the passage of the “quest” in the “quest room” you can take a picture in a Nazi uniform (and we are clearly not talking about reenactors “playing” for the Germans!) and publish a photo on a social network is already beyond any understanding of oneself and its history. And the fact that such an “explanation” seems sufficient to the museum management raises questions for this organization. By the way, about the museum.

In 1995, in accordance with a decree of the government of the Russian Federation, the museum was named the Central Museum of the Great Patriotic War of 1941-1945. And it bore such a heroic name almost until the arrival of Medinsky's team there. The order of the Ministry of Culture to amend the charter of the Central Museum of the Great Patriotic War was signed by Deputy Minister of Culture Vladimir Aristarkhov on March 21, 2017, a month before the death of the elderly museum director. The document introduces the "abbreviated" name of the institution - the Victory Museum (in English - Victory Museum). Previously, the abbreviated name of the museum was officially "TsM WWII".

Now only the new abbreviated name appears on the museum's website, starting with the logo in the center at the top of the website page until the new CEO. Also on the site is the RVIO badge, where other partners are represented. What is the “abbreviated name”, what kind of “victory” in question? And is it really not clear that the removal of the mention of the Great Patriotic War from the name of the museum suggests that the Victory has become abstract - not the Victory of the Soviet people over fascism, but just such a victory, you know. Such a common victory, but over whom, when?

Let us also recall the persistent pushing through by structures headed by Medinsky of various kinds of odious projects that are covered with arguments about the “need for reconciliation” - this is far from trifles. So, for example, on the official website of the Ministry of Culture since November 26, 2015, there is a quote about the need for repentance in order to achieve national unity attributed to Vladimir Putin.

Not only is the author of this quote the white émigré activist Nikolai Lobanov-Rostovsky, but in his (and his associates’) interpretation, repentance comes down solely to Russians throwing ashes on their heads for Soviet period stories. And, of course, in this "initiative" to erect a monument to Reconciliation in Sevastopol, we are not talking at all about the demarcation of the "whites" - in fact, who served Hitler and who did not? The question is that under the pretext of "reconciliation" there is a rehabilitation of those participants in the White movement who subsequently supported Hitler.

Apparently, a peace with fascism in the minds of the leaders of the RVIO and the Ministry of Culture, as in the case of Trubinina, is possible. This was also shown by the recent scandal with the installation in St. Petersburg of a memorial plaque to Karl Mannerheim, Hitler's henchman, who helped the Nazi invaders keep Leningrad in the blockade ring. After many months of protests by public activists, blockade survivors, residents of St. Petersburg and other regions, politicians, historians and journalists, the Mannerheim board, solemnly installed in mid-June 2016 on Zakharyevskaya Street, was secretly dismantled on October 13 and taken to the Military Chamber in Tsarskoye Selo.

The Minister of Culture opened the board together with the then head of the presidential administration, Sergei Ivanov. And after its dismantling, he did not change his opinion about Mannerheim - "Karl Mannerheim, no matter how we assess his difficult subsequent political fate, is certainly a hero of the First World War," Medinsky said, blaming some " marginal groups” with a certain level of “discussion culture”.

Isn't all this the very notorious Bandera de-Sovietization, which in Ukraine has already passed into the next stage - de-Russification. And if the RVIO, which declares among its tasks including “preservation and popularization of the historical and cultural military-historical heritage of Russia”, is engaged in the murder of history, creating rude and arrogant substitutions, fakes, the purpose of which is to erase the memory of real events instead of historical reconstructions and museums , then is it any wonder when the Russians, as a result of all this, will be called non-people? Who renounced his conquests and capitulated to the enemy.

And how do we intend in such a situation to respond to the external challenges that the West throws at us, if inside Russia a sweet young girl allows herself to be proudly photographed against the backdrop of fascist swastika, and the structure in which it works discards its essence? And the structure standing above in general almost directly declared about the ideology destructive for the country. What else should the above events speak of, if not that Russia was defeated? Until the end, the question is open.

Reaction Russian society to the Ukrainian events, where a real tragedy of the people unfolding, who abandoned their history and build instead of it a certain construct based on Russophobia and fascism, has been a reaction of an almost healthy society for three years now. The shock from the death of people in the Donbass, in the House of Trade Unions in Odessa, the cruelty of the events on the Maidan was strong. But why "almost" healthy?

Because this reaction - indignation, empathy, condemnation of injustice and barbarity, was on the extreme events, when the beast revealed itself in all its black beauty. Here is a swastika, here is another neo-Nazi symbolism, here are falling monuments, here are dying children, here are burnt people, here are “subhumans” and “Colorados”. Everything is simple and clear: black is black - and something stirred in every soul. Well, if the same process does not manifest itself so simply and straightforwardly, is Russia ready to defend itself? Maidan also did not begin in one day, and not with the marches of the unfinished SS men, he walked "on soft paws" and showed himself in things that at first glance were not very significant.

For example, a wave of initiatives to rename streets, lanes, entire cities, as well as the appearance of new monuments, literally swept Russia on the eve of the 100th anniversary of the Great October Socialist Revolution. It would seem, what a trifle - well, there was Ivanov Street, it will become Sidorov Street. Of course, a trifle, if you do not understand that this trifle is part of a creeping de-Sovietization aimed at tearing the historical fabric, at eradicating the memory of the Soviet past.

Once such a trick with the rejection of one's past has already ended sadly: the collapse of the USSR and the catastrophe of millions of people. But then they acted, albeit new for Soviet man technologies, but cruder and clumsier, they were hit in the forehead with films about "repentance", articles about Soviet heroes in which there was not a word of truth, and so on and so forth. But the de-Sovietizers have not gone away, and their descendants have grown up, who are already completely different.

19:59 , 09.10.2017

Recently, the publication of a photo of Kristina Trubinova, deputy director for development of the Central Museum of the Great Patriotic War, caused a scandal on social networks. In the photo, Trubinova poses against the backdrop of Nazi banners with a swastika with two young people, one of whom is dressed in the uniform of a Standartenführer.

Back in the days of Boris Yeltsin, the Federal Law "On the Prohibition of Propaganda of Fascism in the Russian Federation" came into force. According to Art. 5 of this law, everyone is obliged to counteract the propaganda of fascism government bodies, and according to Art. 8 the decision to prosecute for propaganda of fascism is made by the court on the basis of the materials provided. There are also relevant articles in the Code of Administrative Offenses of the Russian Federation on this matter.

In addition, as you know, in Russia they are punished for corruption, misappropriation of state funds, violation of labor laws, and so on. Unfortunately, the above legal components do not work for everyone.

So, recently the publication of a photo of Kristina Trubinova, deputy director for development of the Central Museum of the Great Patriotic War (CM WWII), located in Moscow on Poklonnaya Gora, caused a scandal in social networks. In the photo, Trubinova poses against the backdrop of Nazi banners with a swastika with two young people, one of whom is dressed in the uniform of a Standartenführer. According to the Federal Law “On the Prohibition of Propaganda of Fascism in the Russian Federation”, we are not entitled to publish this photo, but in order to emphasize the reliability of the above information, we will nevertheless do it.

And a few more photographs from the personal archive of Christina Trubinova, posted by her on social networks.

On April 21, 2017, Vladimir Zabarovsky, director of the Central Committee of the Great Patriotic War, who had held this post since 2003, died in Moscow. In his place, Minister of Culture Vladimir Medinsky appointed Deputy Executive Director of the Russian Military Historical Society and concurrently his own adviser Alexander Shkolnik (he graduated from the Faculty of Journalism of the Ural State University, held senior positions on radio and television, was a member of the Federation Council from Sverdlovsk region). And on the orders of Medinsky, his ex-assistant, 26-year-old Kristina Trubinova, who had previously graduated from the Moscow Architectural Institute and had no experience in museum, historical or archival activities, became Shkolnik's deputy by order of Medinsky. Actually, this was not needed: the new management immediately decided on the course for the museum's commercialization and an "innovative" approach to work. In their opinion, the museum should entertain and make a profit.

By order of the Ministry of Culture, signed by Deputy Minister of Culture Vladimir Aristarkhov, the mention of the Great Patriotic War was "utilized" from the name of the Central World War II by rebranding. Now the institution is simply referred to as the Victory Museum.

Under Vladimir Zabarovsky, the Central Museum of the Great Patriotic War performed its direct functions of a cult memorial

Under Minister Medinsky, the Victory Museum is being turned into a shopping and entertainment complex

Over the past few months, Medinsky's team, represented by Shkolnik and Trubinova, has been turning the museum into an entertainment venue with beer and selfies. Patriotic education(the main purpose of such institutions) is reduced to zero: all events for young people and veterans are paid according to the principle “money in the morning, chairs in the evening”. Paradoxically, a restaurant is open in the museum building under the unofficial name " Blockade Leningrad". Its windows are pasted over with pictures of besieged Leningrad, where people were dying of hunger. Weddings, birthdays, corporate parties are celebrated here, and selected museum staff dine daily.

The restaurant under the unofficial name "Blockadny Leningrad" is located in a protected area

According to the sources of The CrimeRussia, from the moment new managers come to the museum, its employees lose their jobs — they are fired, recruiting “their own” people, and this staff is inflated. For example, if the late director Zabarovsky had one assistant, then the current one has as many as five, and the museum's press service is staffed by almost a dozen people. By the way, it was the press service that reacted to the scandal with the photos of Kristina Trubinova. According to her statement, the pictures were taken several years ago, which means that talking about them now is not relevant and pointless. Yes and your page Trubinova deleted VKontakte.

Before Poklonnaya mountain Kristina Trubinova worked for several years in the reception room of Vladimir Medinsky, having managed to pass for boorishness among the employees of the department, which she repeatedly covered in her publications " Literary newspaper". According to sources, it was the stream of numerous complaints that forced Vladimir Medinsky to send Trubinova to Poklonnaya Gora.

From the museum staff, who considered it necessary to remain anonymous, we learned what was happening in the institution. According to our interlocutors, the museum management rents historical dioramas for shooting by modeling agencies. Half-naked models advertise everything on the steps of the Reichstag taken back in 1945. Alexander Shkolnik single-handedly, without any expert opinions of cultural figures and veterans, makes decisions to change decoration buildings and museum expositions: the premises do not need such "reconstructions", but again - money.

This is approximately the background against which long-legged blondes appear in commercials for modeling agencies.

An observation deck has been created on the roof of the museum (recall that there is a government highway nearby). There is information that the construction of this structure was not agreed with the competent authorities, but this structure was built without the necessary labor registration and control guest workers. Museum security reportedly disapproved observation deck because it is unsafe for its visitors. Nevertheless, it functions, and the director, by order of order, under the threat of dismissal, forces all museum employees, including cleaners and accountants, to protect the life and health of tourists. For example, on September 9, on City Day, almost the entire staff of the institution was driven onto the roof to maintain order.

Also, according to the staff, the museum management is constantly "winding up" unnecessary services for schools and various organizations, and the issue of doubling prices for excursions is on the agenda.

Another strange initiative of the museum management, in particular Shkolnik, is the order that everyone register on social networks, ostensibly to promote the image of the institution. After that, the manager announced the need to provide him with links to the personal pages of employees. He also instructed to take pictures of employees in the family circle for further placement of these photos in the lobby of the museum.

So far, there has been no reaction from the Minister of Culture of the Russian Federation Vladimir Medinsky to the actions of his subordinates, despite the fact that active attempts are being made to reprofil memorial complex which is illegal. It is also obvious that budget resources allocated for the maintenance of the museum, mastered by its management, to put it mildly, irrationally. Based on the foregoing, it is obvious that the Victory Museum needs a financial and technical audit.

09:58 — REGNUM

The reaction of the Russian society to the Ukrainian events, where a real tragedy of the people is unfolding, who abandoned their history and constructs instead of it a certain construct based on Russophobia and fascism, for three years now has been the reaction of an almost healthy society. The shock from the death of people in the Donbass, in the House of Trade Unions in Odessa, the cruelty of the events on the Maidan was strong. But why "almost" healthy?

Because this reaction - indignation, empathy, condemnation of injustice and barbarism, was on the extreme events, when the beast revealed itself in all its black beauty. Here is a swastika, here is another neo-Nazi symbolism, here are falling monuments, here are dying children, here are burnt people, here are “non-humans” and “Colorados”. Everything is simple and clear: black is black - and something stirred in every soul. Well, if the same process does not manifest itself so simply and straightforwardly, is Russia ready to defend itself? Maidan also did not begin in one day, and not with the marches of the unfinished SS men, he walked "on soft paws" and showed himself in things that at first glance were not very significant.

For example, a wave of initiatives to rename streets, lanes, entire cities, as well as the appearance of new monuments, literally swept Russia on the eve of the 100th anniversary of the Great October Socialist Revolution. It would seem, what a trifle - well, there was Ivanov Street, it will become Sidorov Street. Of course, a trifle, if you do not understand that this trifle is part of a creeping de-Sovietization aimed at tearing the historical fabric, at eradicating the memory of the Soviet past.

Once such a trick with the rejection of one's past has already ended sadly: the collapse of the USSR and the catastrophe of millions of people. But then they acted, although with new technologies for a Soviet person, but rougher and more clumsy, they hit them in the forehead with films about “repentance”, articles about Soviet heroes in which there was not a word of truth, and so on and so forth. But the de-Sovietizers have not gone away, and their descendants have grown up, who are already completely different.

A few days ago, a scandal on social networks was caused by the publication of a photograph of the Deputy Director for Development of the Museum of the Great Patriotic War on Poklonnaya Hill Kristina Trubinova against the backdrop of Nazi banners with a swastika and two smiling young people with machine guns, one of whom is posing as much as a standartenführer. The comic here is that we cannot publish this photo, according to the Federal Law "On the Prohibition of Propaganda of Fascism in the Russian Federation", which imposes a ban on propaganda or public demonstration of the symbols of organizations that collaborated with the Nazis or deny the results of the Nuremberg Tribunal. And in the social network "Vkontakte" Trubinova was not afraid to publish it. Apparently, this law does not apply to the madam of the development director.

A little background. On April 21, 2017, the director of the Museum of the Great Patriotic War, Vladimir Zabarovsky, died in Moscow, and the Ministry of Culture appointed Alexander Shkolnik, deputy executive director of the Russian Military Historical Society, adviser to the Minister of Culture of the Russian Federation, in his place. It should be noted that both the Ministry of Culture and the Russian Military Historical Society (RVIO), which was previously “famous” for the installation of a memorial plaque to Hitlerist Karl Mannerheim in St. Petersburg, are headed by Vladimir Medinsky.

Medinsky's former assistant, 26-year-old Kristina Trubinova, became the deputy director for development; she graduated from the Moscow Architectural Institute and in no way in her short working biography was connected with museum, historical or archival work. The “development” of the Trubinov Museum began to be carried out completely in accordance with the policy of the Ministry of Culture - a course towards commercialization and “innovation”. The museum should entertain and make a profit.

The response of the museum management to the scandal with photographs is interesting: the press service of the Victory Museum explained that the pictures were taken “several years ago during the quest organized in the quest room based on the film “Seventeen Moments of Spring”. Personally, the very word “quest room”, used in the same sentence with a film about the war, seems to me a shame.

But the fact that during the passage of the “quest” in the “quest room” you can take a picture in a Nazi uniform (and we are clearly not talking about reenactors “playing” for the Germans!) and publish a photo on a social network is already beyond any understanding of oneself and its history. And the fact that such an “explanation” seems sufficient to the museum management raises questions for this organization. By the way, about the museum.

In 1995, in accordance with the decree of the government of the Russian Federation, the museum was named Central Museum of the Great Patriotic War of 1941-1945. And he bore such a heroic name almost until the arrival of Medinsky's team there. The order of the Ministry of Culture to amend the charter of the Central Museum of the Great Patriotic War was signed by Deputy Minister of Culture Vladimir Aristarkhov on March 21, 2017, a month before the death of the elderly museum director. The document introduces the "abbreviated" name of the institution - Victory Museum(in English - Victory Museum). Previously, the abbreviated name of the museum was officially "TsM WWII".

The museum's website now exclusively features the new abbreviated name, from the logo in the center at the top of the website page to the address of the new CEO. Also on the site is the RVIO badge, where other partners are represented. What is the “abbreviated name”, what kind of “victory” are we talking about? And is it really not clear that the removal of the mention of the Great Patriotic War from the name of the museum suggests that the Victory has become abstract - not the Victory of the Soviet people over fascism, but just such a victory, you know. Such a common victory, but over whom, when?

It is strange that there is almost no talk about erasing the memory of the Victory over fascism in the public discussion of Trubinina's photographs. The main emphasis in discussing the incident is that the girl does not understand that it is impossible to do this, and that she does not have the experience for such a position. Of course it is. But the process is much broader, and Trubinova is only a marker of this process, which is why such a lethargy of the reaction is striking, although it was. Yes, the girl really does not understand what fascism and its symbols are. But those who are behind it should understand this?

They understand everything. And repeatedly demonstrated their understanding. Here are other "feats" of the RVIO in the field of destroying the memory of the Soviet: at the exposition parade military equipment on the Palace Square Petersburg in August 2017, organized by the RVIO, there were no Soviet symbols at all. The red stars on the caps were not visible at all, if you didn’t come close, and not all “animators” have them. But the self-positioning was excellent: the RVIO banner was fixed on the exhibits, on the tents, on the stage, and then everywhere. Even on Soviet combat vehicles, as if Berlin was taken under this flag.