Round table: thaw in Moscow museums. Round table “New museum strategies” - magazine “Art. Round table “People with intellectual disabilities in theater and museums: participation and interaction”

Maria Sarycheva, moderator - curator, methodologist of the department of inclusive programs of the Garage Museum of Contemporary Art.

Elena Popova- theater critic, graduate student at GITIS. Realizes professional interests in educational, production and project activities integrated theater studio"Circle". She has been working with children and youth with disabilities for 12 years.

Project manager of the Regional public organization for social and creative rehabilitation of children and youth with developmental disabilities and their families “Circle”: All-Russian festival of special theaters “Proteatr”, annual festival “Proteatr. International meetings”, international summer school of special theater and creative rehabilitation “ Theater & Art & Rehabilitation" in Greece, long-term program "Museum open to everyone."

Victoria Khrenova— actress of the integrated theater studio “Krug”, volunteer All-Russian festival special theaters "Proteatr" and the festival "Proteatr. International meetings". Graduate of the program “Clinical-psychological-pedagogical foundations of rehabilitation” creative types activities (means of theatrical art)" of the Moscow State Psychological and Pedagogical University, head of medical and educational programs of the regional charitable public organization "Operation Smile".

Anastasia Pingacheva- clinical psychologist and psychology teacher, medical psychologist at the V. P. Serbsky Center for Psychiatry and Addiction Medicine, actress at the integrated theater studio “Krug”, volunteer at the All-Russian festival of special theaters “Proteatr” and the festival “Proteatr. International meetings".

Nargis Abdullaeva— director, teacher and actress of the integrated theater-studio “Circle II”. Graduated from studio school dramatic art at the Mark Weil Theater “Ilkhom” in Tashkent. Actress at Teatr.doc, collaborates with Moscow puppet theater, children's theater "Snark". Director of the plays “The Light Under Water” and “Sufi Motifs”. In addition to social and drama theater, participates in projects of contemporary choreographers. At the moment, together with choreographer Tatyana Konovalova, she is staging a performance in State Philharmonic Republic of Tuva.

Tatiana Konovalova- dance artist, graduated from the Moscow State Institute of Culture and Arts and master's degree " Artistic practices modern dance"at the Academy of Russian Ballet named after. A. Ya. Vaganova, defended her dissertation “The influence of inclusive dance on the motor patterns of people with special needs.” Teacher-choreographer at the integrated theater-studio “Circle ll”, where in 2017, together with director and actress Nargis Abdullayeva, she staged the play “Sufi Motives”. Works with children dance groups. Since 2013, she has been participating in various projects as a dancer and performer.

Nika Parkhomovskaya- theater critic and producer. Graduated from the Russian State Institute performing arts named after N.K. Cherkasov (formerly SPbGATI) and the “School of Theater Leader”. Author of numerous articles in specialized and information publications, as well as a series of lectures on social theater And creative interaction with people with disabilities. In 2013, she curated the Moscow City Festival of Creativity for Children with Disabilities. Producer of Russia's first inclusive musical "Five Gold". Creative producer of the long-term socio-cultural project “Apartment”, which involves both professional actors and people with autism spectrum disorders - students of the Anton Is Near Center for Autism. Curator of the first inclusive residence of the Union of Theater Workers of the Russian Federation.

Daria Plokhova— dance artist, teacher of contemporary dance, co-founder of the dance cooperative “Isadorino Gore”. Graduated from a master's degree in composition modern forms dance of the Academy of Russian Ballet named after. A. Ya. Vaganova. Since 2012, together with Alexandra Portyannikova, she has created more than 20 different dance projects. In 2017 she became one of the choreographers of the play “PRODVEZNIYE. Blue Bird”, in which students of the Yaroslavl regional public organization of disabled people “Face the World” participated.

Yana Norina- psychotherapist, dance therapist, choreographer. Author of several social dance projects. In 2014, she received a grant from the ZIL Cultural Center to stage an inclusive dance performance On_Choice_Off and conduct dance and movement training for people with special needs intellectual development"I'm dancing." Teaches improvisation and free dance to people of all ages.

Sergey Fursov— Candidate of Sciences, teacher-defectologist, teacher at the Downside Up charity foundation. Founder and director of the inclusive studio “Dancing House”, director, specialist in motor development of children with disabilities, expert of international dance movement. Author of technologies and methods of working with special artists in creative team. Laureate international competitions and festivals.

Polina Zotova- art critic. Graduated from the Faculty of History of Moscow State University. Lomonosov. Head of the department of scientific popularization of art at MMOMA, coordinator of the museum’s children’s, volunteer and inclusive program. Co-curator of the children's exhibition-festival “PLAYMMOMA. Play with modern art! Author of the course “Russian Contemporary Art” for the “Universarium” project, lecturer of the “Synchronization” project. Audio commentator of the highest category.

The St. Petersburg State Museum-Institute of the Roerich Family is located on Vasilyevsky Island, in the ancient mansion of Academician M.P. Botkin, where N.K. visited more than once. Roerich. The basis of the memorial exhibition of the Museum-Institute is the legacy preserved by E.I.’s niece. Roerich Lyudmila Stepanovna Mitusova and her family. Over the several years of the museum's existence, owners of private collections have donated a number of art and other exhibits to the museum. To date, its funds number about 15 thousand items, including personal belongings, manuscripts, paintings, decorative and applied arts, archaeological finds, photographs and other cultural treasures reflecting the broad context of the life and work of the Roerich family.

Round table dedicated to the 70th anniversary of UNESCO and the 80th anniversary of the adoption of the Roerich Pact.

Main topics for discussion:
Protection and respect of cultural values: challenges and threats;
Strategy and technologies for searching, returning and replenishing lost cultural property;
Goals and mechanisms for updating cultural values.

PROGRAM

General session (12:00-13:30)

Opening speech by Mikhail Borisovich Piotrovsky, President of the Union of Museums of Russia, General Director of the State Hermitage

Greetings from Alexander Nikolaevich Voronko, First Deputy Chairman of the Committee for Culture of St. Petersburg

1. Rybak Kirill Evgenievich (Doctor of Culture, Ministry of Culture, Moscow). The role of the Roerich Pact in the actualization of cultural values.

2. Bondarenko Alexey Anatolyevich (Ph.D., Director of the St. Petersburg State Budgetary Institution of Culture "Museum-Institute of the Roerich Family", St. Petersburg). Protection and respect cultural heritage. From the Roerich Pact to the present day.

3. Melnikov Vladimir Leonidovich (candidate of culture, deputy director for scientific work St. Petersburg State Budgetary Institution of Culture "Museum-Institute of the Roerich Family", St. Petersburg). Roerich's project of the World League of Culture and modern public initiatives in the field of preservation and updating of cultural heritage.

4. Spiridonova Yulia Valentinovna (candidate of culture, senior lecturer of the department of theory and history of culture of St. Petersburg state institute culture, head sector "Glass Museum" of the Elaginoostrovsky Palace-Museum of Russian Decorative and Applied Arts and Interior of the 18th-20th centuries). On the question of the prehistory of UNESCO: the International Committee of Museums and the Roerich Pact.

5. Orlova Valentina Trofimovna (Chairman of the Board of the World Club of St. Petersburgers). Experience of cooperation between the World Club of St. Petersburgers and museums and libraries.

6. Kagarov Etti (head of the Kohtla volost, Ida-Viru County, Estonia). Cooperation in the preservation of cultural values.

7. Vladimir Viktorovich Vladimir Viktorovich (Deputy Director for IT, RIIII, member of the Presidium of ADIT) was identified. Virtual museums as a space for cooperation between cultural, educational and scientific institutions.

Break 13:30 – 13:45

Section 1 (13:45-15:00)

1. Dmitrieva Karina Aleksandrovna (Head of the KNIO VGBIL named after M.I. Rudomino, Moscow). About VGBIL projects for the preservation and use of relocated book collections.

2. Sivitskaya Anastasia Pavlovna (lawyer, Inyurkollegia, Moscow). Problems of circulation of cultural property in conditions of political conflicts.

3. Alexandrova Maria Alexandrovna (candidate of legal sciences, associate professor of the department civil law Faculty of Law, St. Petersburg State University). Civil legal mechanisms for the protection of cultural heritage.

4. Guzanov Alexey Nikolaevich (chief curator of the State Museum-Reserve "Pavlovsk", St. Petersburg). Problems of searching and returning cultural property to museum and library collections.

5. Matveeva Irina Germanovna (Ph.D., Senior Researcher, Department of the History of Librarianship of the Russian National Library). The search continues: lost book values ​​of Russian libraries.

Section 2 (13:45-15:00)

1. Bondarenko Alexey Anatolyevich (Ph.D., Director of the St. Petersburg State Budgetary Institution of Culture "Museum-Institute of the Roerich Family", St. Petersburg). About the draft Roadmap for the integration of the Roerich heritage in museums.

2. Mkrtychev Tigran Konstantinovich (Doctor of Arts, Deputy Director for Scientific Work of the State Museum of Oriental Art, Moscow). Working with Roerich's heritage. Museum of the East.

3. Borovskaya Elena Anatolyevna (Doctor of Arts, Deputy Director of St. Petersburg Art University named after N.K. Roerich, Professor of the Academy of Arts). Preservation and updating of the heritage of the School of IOPH in the activities of the St. Petersburg Art School named after N.K. Roerich.

4. Losyukov Alexander Prokhorovich (Ambassador Extraordinary and Plenipotentiary, Honored Worker of the Diplomatic Service). About plans to create the National Roerich Committee in Moscow.

5. Olga Anatolyevna Cherkasova (director of the Museum-Estate of N.K. Roerich in Izvara). Museum-estate of N.K. Roerich in Izvara. Development prospects.

Break 15:00-15:15

General session (15:15-16:30)

Organizers:
Ministry of Culture Russian Federation;
St. Petersburg State Museum-Institute of the Roerich Family;
Russian National Library;
All-Russian state library foreign literature named after. M. I. Rudomino.
MODERATOR

Vadim Valerievich Duda
Alexey Anatolyevich Bondarenko
Kirill Evgenievich Rybak
General Director of VGBIL
Director of St. Petersburg State Museum-Institute Roerich family
Doctor of Cultural Studies, Advisor to the Minister of Culture
PARTICIPANTS

Discussion participants:
Lyudmila Aleksandrovna Gubchevskaya, director of the Staraya Ladoga Museum-Reserve;
Natalia Evgenievna Arefieva, director of the Literary Museum “XX Century”;
Yulia Dmitrievna Taraban, head. sector of organizing and conducting advanced training courses, consultations and educational practices timing;
Tatyana Alekseevna Bolshakova, (leading specialist in the sector of organizing and conducting advanced training courses, consultations and educational practices of the State Russian Museum),
Tomasz Szwaczynski, (Head of the Bibliology Department, Biblioteka Narodowa - National Library of Poland),
Mikhail Dmitrievich Afanasyev (Director of the State Public Historical Library of Russia),
Svetlana Yuryevna Izmailova, (Deputy Director for Research National Museum Republic of Tatarstan),
Margarita Fedorovna Albedil, (Doctor of Historical Sciences, Leading Researcher at the Peter the Great Museum of Anthropology and Ethnography (Kunstkamera)),
Vladimir Evgenievich Chernyavsky ( Chief Editor portal "News of the Roerich Movement")
Oleg Nikolaevich Cheglakov (Chairman of the Board of the Call to Culture Society),
Natalya Aleksandrovna Toots (editor-in-chief of Delphis magazine),
Vladimir Vasilievich Nadezhin (Chairman of the Board of the Delphis Charitable Foundation),
Mikhail Nikolavevich Chiryatiev (Vice President of MLZK),
Konstantin Viktorovich Likholat (General Director of Pallada LLC),
Nelly Abashina-Meltz (editor-in-chief of Tallinn magazine),
Lyubov Nikkar (director Museum of Local Lore Narva-Joesuu, Estonia),
Lyudmila Ruslanovna Miley (representative of the Bizkon Center under the Committee for External Relations of St. Petersburg).

At the door of the Roerich Museum, he greeted Nikolai Burov, who was in a hurry to attend other events of the IV St. Petersburg International Cultural Forum.
I received an accreditation badge and was registered among the Round Table participants.
On the second floor of the Museum there is an exhibition of drawings by Donbass children.

The main discussion that I witnessed was around the fate of the International Center of the Roerichs and the building it occupies in Moscow.
The ICR representative spoke very convincingly in the dispute with the Moscow official.
I noticed that Russia has not yet signed the Roerich Pact. The situation with the rights to the Roerichs' heritage is complex. Museum named after N.K. Roerich International Center of the Roerichs is located in the very heart of Moscow, on the territory of the ancient city estate of the Lopukhins. It bears little resemblance to other art museums and galleries. Its history and fate are as unique as the life of the person after whom it is named. The initiative to create the country's first cultural institution of a new type, the public Museum named after N.K. Roerich, belongs to Svyatoslav Nikolaevich Roerich - a great artist, thinker, versatile scientist, talented teacher and famous public figure. Ministers of Culture (N.N. Gubenko, E.Yu. Sidorov, N.L. Dementieva, V.K. Egorov, M E. Shvydkoy) and the State Museum of Oriental Art (V.A. Nabatchikov, O.V. Rumyantseva) did not want to put up with the loss of the ability to dispose cultural values, transmitted by S.N. Roerich to the public museum. Officials not only refused to fulfill the will of Svyatoslav Nikolaevich Roerich and return 288 paintings by N.K. to the International Center of the Roerichs. and S.N. Roerichs, but also sought to take possession of the rest of the Roerichs’ legacy bequeathed to the ICR. Perhaps there are no more examples in the world of a ministry designed to protect culture, and together with it a state museum, seeking to destroy another museum - a public one. And this also has its own “unique” uniqueness.
The legacy of the Roerichs is the key to the most important creative achievements of mankind. Its significance for the destinies of Russia and the whole world cannot be overestimated. Protecting the Heritage and enhancing it for the future of Russia is our direct responsibility and duty.

I would like to note that, as the leader of Sober Petrograd, I fully support the ICR and the Roerich Pact.
One of the main results of the IV St. Petersburg International Cultural Forum for Sober Petrograd: a public statement of support for the Roerich Pact.

In the meantime, the ICR continues to be active.
The 12th Festival took place in the city of Essen, North Rhine-Westphalia, from November 29 to December 3 Russian culture. As part of this festival, the opening of which traditionally takes place in the largest and most famous cinema in Germany “Lichtburg” (Lichtburg), the exhibition “Roerich Pact. History and modernity." For the first time, such a large-scale exhibition was held within the framework of the Festival, which was prepared jointly International Center Roerichs (ICR) and the German Roerich Society.

The festival of Russian culture in Essen “Russia visiting Essen” has become a landmark event in Germany in the field of presenting Russian culture and art over all the years of its existence. And the large-scale project “Roerich Pact. History and Modernity”, which started in 2012 in many countries of Europe, America and Russia, found a wide response from spectators and festival participants.

In the hall of the Lichtburg cinema, the 12th Festival was welcomed by the mayor of Essen, Rudolf Jelinek, and the Consul General of the Russian Federation in Bonn, Vladimir Sedykh. In his welcoming speech, V. Sedykh noted the importance of such events for Russia and Germany, especially in the current difficult times, when relations between countries are not going through the best better times. "Culture is an area human relations, which helps to bring people of different countries closer together and thereby eliminate misunderstanding and friction in all other areas of relations between the peoples of different countries.”

More details
About the ICR.
International public organization| Special consultative status with UN ECOSOC
Associate Member of the UN DPI | Associate member of the International Organization of National Trusts
Collective member of the International Council of Museums (ICOM) | Member of the All-European Federation for cultural heritage"EUROPA NOSTRA"

Marina Alekseeva. Gallery, 2009

An object. Lightbox, video, mixed media, 42.5 × 40 × 23 cm

Image courtesy of Marina Gisic Gallery

Between the sacred and the profane. Viewer problem

Dmitry Ozerkov: A museum is always a reflection of society. Whatever the society's needs for information or services, education or entertainment, the museum provides the society with everything it needs at the level at which it can perceive. And teaches even more. Society has a need for a place that, on the one hand, is sacred, and on the other hand, is constantly evolving. Back in the 19th century, it became clear that some things in churches had artistic value: they were moved to the museum. At the end of the twentieth century, it became clear that “museum” is a word from the past. It is now fashionable to be called a “multimedia complex” - a word from the 21st century. It's kind of like a museum, but some things can be presented from the point of view of entertainment; the visitor's attention is attracted by more varied activities. There will be something else next. This is a normal historical evolution of the balance of sacredness and entertainment: to each its own time. Therefore, it cannot be said that before the museum did not give something, but now it has started to provide it. He always gave people what they needed at a certain stage. And he always went one step ahead.

Kirill Svetlyakov: This role of a forum at the beginning of the 20th century was most likely played by opera, which was a kind of model of the world, a model of class-class society. The company sat in rows and exchanged remarks. The actors provoked this society; it looked not only at the stage, but also who was dressed, who was saying what. It was a space for public dialogue. A museum is a more democratic form, and now its importance is only increasing. The artist shows something together with the curator, discussion, resonance, movement begins. The viewer, in turn, feels more free, if only because he is not paralyzed in a chair for three hours. He can leave if he doesn't like it. If before people We went to see the exhibitions, but the events in our museum show that now people want to talk.

Alexander Borovsky: And even more, the museum workers themselves want to talk about the museum. It seems to me that now there is a kind of traveling curatorial extras that travel on grants and do a little something in museums. I myself once belonged to it. Western museums have money for this, but we, thank God, don’t, and so everyone is moving, talking about what kind of museums should be built, and then returning to their jobs and seeing that there is still no money, and the material all the same. Lyrical theme The imaginary museum was developed throughout the twentieth century. We still confuse this imaginary museum, which is a purely intellectual, philosophical and open construction, and a practical museum. I agree that historically, moving from church to museum, its functions have changed. Let it be the opera, but we forget that a much larger role than the museum was played by pavilions at the beginning of the century, such as the Vienna Secession, which were precisely forums of communication - something that the museum did not complete. The same thing happened in the minds of the great artists of the 20th century. Malevich raved about the new personal museum, but when he started working with the Russian Museum, everything settled down in his head, and he said that he never thought that representatives of the old could understand the new so much. He just had an imaginary museum. And we all build the same imaginary museums, imaginary communication. If we talk about real museum practice, then the most important achievement was - and no one shook it - White Space, that is, white walls and an object in the middle. Since the 1950s, this minimalist display has spread everywhere. And the second line is entertainment which was developed mainly by Krenz at the Guggenheim. She was criticized by many serious people. Roberta Smith from the New York Times literally suffocated Krenz and prevented him from playing with his favorite toys, riding a motorcycle, and showing off his dresses. Finally, Krens came very close to the brink, went into entertainment and did not return. This was a severe blow to the museum business. However, small blows are endlessly dealt when some of our artists begins to say that nonspectacular museums are needed, that our great group “What should we do?” or “Mumu” ​​should not be shown in this “white space”, because the thing in focus is something bourgeois, potentially commercialized. There are two or three German museums that love this kind of quasi-socially active, ephemeral art and, in all seriousness, this “What is to be done?” exhibit. I consider Tate Modern to be a model in the last fifteen years in terms of professionally displaying professional art. The second possible idea is the V&A, a museum that makes excellent exhibitions out of one tenth of its material and picks up the rest from elsewhere. They theatricalize the museum process - in in a good way- not in the Krentsov style, but in an absolutely professional way, the directors work with them. Their latest exhibitions are “ Cold War", "Ballet", "Postmodernism" - I consider them exemplary both in intelligence and in production. We have some of these possibilities. Why dream about some new functions? The functions remain the same: store and display. There are problems with storing contemporary art in the form of installations. They have been standing for twenty years. Some people come up with the idea of ​​photographing everything and putting it in boxes, “Guggenheim” - taking everything somewhere to the province and storing it in life-size. Only this problem is technical. All these new names, media centers - it’s better to get rid of them in advance. This is provincialism: as if if you call it “media”, it will be modern. It's better not to play these games: show media near the object. Sviblova clings to the media, but this is a purely terminological enticement, correctly functional for both sponsors and viewers. And so there remains collecting, storage and verification functions, here the museum should not leave the players’ field. And another position is purely tactical: in order to provide for itself, the museum, unfortunately, is forced to attend average exhibitions. To make one good one, he goes through eight almost good ones and two downright bad ones. Our, my, task is to filter out so that there are no really bad ones. In large state museums there is nothing at all for contemporary art: there is nothing for restoration, for old art, but for contemporary art - this is a matter of personal relationships. This is the most dramatic. Therefore, what can we talk about some new museum policy when we do not have money for ordinary policies. The surprising thing is that in ten years, when it was possible to hold exhibitions for free, almost all Western artists were shown. But this one romantic period It’s over, now everything is on budgets. However, we constantly need to fight. Malevich undermined the foundations of museums, but when he and his students were exhibited ten times, he calmed down. And now we are forced not to defend ourselves from unimportant characters, but to shake ourselves off. They say: there should be non-spectacular art, there is no need to develop fascisoid representations, and solid museum representation is fascisoid. Such a boy wants to sit at a banquet, and fight with fascist representation, and be considered an artist, although he has not done anything yet. But it's eternal Russian situation, I’m grumbling like an old man here.

Kirill Svetlyakov: It’s interesting: sometimes it seems to us that there are some wonderful Western museums where people go with terrible force to see contemporary art. They really exist, but they are very powerfully integrated into the tourism industry. And there are wonderful museums that people don’t go to. Recently
we had an employee from the Metz Pompidou Center, she said: “Every year, unfortunately, we are falling.”

Alexander Borovsky: You know that none Russian Museum- neither the Russian Museum nor the Hermitage are included in these tourist portals? And they won’t go in, because there’s a brutal fight for tourists.

Dmitry Ozerkov: I would not compare the Hermitage and the Pompidou Metz. In general, it seems to me that the idea of ​​a certain broad audience that “loves art” is quite far-fetched. There is simply an audience that doesn’t really want to like or dislike. Sometimes she can go to the museum and see what's good. But if something objectively happens, everyone starts saying: there is a good exhibition, you should definitely go. I don’t know, maybe it’s different in Moscow, but it seems to me that our audience is rather passive. She is subject to education, influence, persuasion, persuasion. Alas, today it cannot be said that museums work with spectators who are actively thirsting for new things. But I am sure that museums can create such a viewer.

Alexander Borovsky, 2012

Round table “New museum strategies" Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Kirill Svetlyakov, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Dmitry Ozerkov, Vasily Tsereteli, Alexander Borovsky, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Kirill Svetlyakov, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Vasily Tsereteli, Alexander Borovsky, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Kirill Svetlyakov: I would say that the situation with attendance is not so problematic; attendance at museums is still high, if only because young people do not have a lot of money for expensive pleasures. And the young man takes his girlfriend to the exhibition to show how cultured he is. Therefore, at all levels—children’s, pension, and student—museums are still in demand. Another thing is that demands from the public have increased. People need events. The more events a museum can produce - these can be lecture courses, exhibitions - the higher the attendance. The nerve of the museum business is exhibition activity. Sometimes it greatly shakes up the entire collection, but it is necessary. Plus - why museums are now multiplying - people, in addition to events that are associated with time, need certain places. A new museum has appeared - this is a place that is overgrown with its own magic, events, and legend. People need such places in Moscow, St. Petersburg, Rostov-on-Don - by the way, in my opinion, three museums have now been announced there with different specifics, with different economic goals. At least, several people appeared, one of whom is making a weapons museum, another - a museum of the Cossacks, and three
Thiy is a museum of contemporary art in defiance of these two. So they start such a museum duel.

Temporary and permanent

Dmitry Ozerkov: As a large museum, we cannot afford to acquire secondary items - we have no right. We have two options. We may receive works as gifts from great artists. For example, Ilya and Emilia Kabakov gave us “The Red Carriage” - today this is the only installation of theirs of this size in Russia, exhibited
in the museum space. The second way is a temporary exhibition, an event that the audience will go to. When they say: we have opened a permanent exhibition, a person thinks: “Well, someday I’ll go.” And when last days temporary exhibition -
“That’s it, we have to go.”

Alexander Borovsky: How to make it permanent? We all work with certain content and in the absence of money. These are the two matters that stand before us. Content is very important, because the content of contemporary Russian art is very, how shall I put it, unprofitable. No matter how you deviate, the new Tretyakov collection will not attract millions of spectators. Well, great artist Yuri Albert, winner of the Kandinsky Prize, attracts by the type: “I take off my hat and pass by.” I myself give these awards, so I say this with pain in my soul. This is not what attracts the viewer, it no longer attracts us either. I think that if I ever have to make an exhibition, it’s better to leave the museum, it makes me sad to even think about it. We have to face the truth: our content is incomparable to European content. Thanks to the Ludwig Museum, we can show the international context from the late Picasso to Koons. But they don’t really go to him either. And from our content we are constantly forced to make some kind of candy using non-museum means: to come up with the idea that this is resistance, a replacement for another conceptualism of the present, i.e. instead of Hans Haacke there will be the same Albert. We will always be forced to come up with something related to entertainment. People just won’t go - and they don’t go, so the exhibitions are much more visited than attempts at permanent exhibitions, and this is an objective process.

Kirill Svetlyakov: It seems to me that it needs to be constantly changed.

Vasily Tsereteli: Therefore, we have changed the concept of the permanent exhibition and are making it in the form of temporary exhibitions. The exhibition of the collection is built around the curatorial concept. We create exhibitions ourselves and with invited curators. So we will continue. The Pompidou is replaced every two years. We decided: once every six months.

Alexander Borovsky: We also started to change. Well, they changed Vanka to Mitka -
So what? The level has remained the same, so you have to constantly conceptualize it somehow, come up with it. With such average content, we should have long ago gotten rid of the illusion that we are world art; we have to resort to tricks. We made the content, we have western art, the likes of which will not be seen in our country for another twenty years simply for financial reasons. We made this Tate Modern diagram - by the way, this is the only diagram we can stick to: educational activity. Based on what we have and what we actually replace, we are pursuing a certain educational policy. It is most important.

Kirill Svetlyakov: In principle, people think in masterpieces. Within the framework of consumer culture, the traditional museum works as a repository for masterpieces, and its role in the context of mass culture even increases. Because every tourist wants: “Show me a masterpiece.” He comes, looks, takes pictures with it, buys a replica of this masterpiece in the store. The system is working. And an event is already a way of existence of a museum; this is necessary, first of all, for a museum in order to move, develop, and not die. Because, having consumed a masterpiece, the viewer must then look at it differently. And the museum must open up some new way of consumption - through educational programs, through exhibition comparisons, through the play of contexts. This is how these masterpieces change. Many spectators do not understand one thing: having come to the museum once, you have not closed the topic - you have only opened it. The next time you come, the museum will change, because you are already different, with a different state and mood. This is the atmosphere a museum should create. And if he doesn’t create it, that means he doesn’t produce viewers. The viewer enters the museum, and when he leaves he should be different. And this is the task of both the museum and the viewer.

Alexander Borovsky: We still forget this moment. We say: "Museums". Museums are divided into several types: here is our museum and, for example, the Tsereteli Museum, which also works as a German Kunsthalle, i.e. it also hosts. But these are different types of museums. In our country, for example, the balance is shifted towards permanent exhibitions rather than visiting ones, but in Germany there are a lot of museums that, like the Kunsthalle, do not have their own collections - and that’s great. Like in China: they have nothing at all, no meetings, or in Japan, but they constantly function through exhibitions.

Why don’t we have a proper museum of contemporary art?!

Alexander Borovsky: Look, what an interesting thing: no one in this country will ever make a real museum of the twentieth century, because we do not have such strength to buy good art XX century. It takes a hundred Abramovichs and three years of not stealing oil within the state to make a museum of modern art. The real one is not on palliatives, but on the biggest names. But we can’t buy Kabakov.

Vasily Tsereteli: For example, we don’t have a new Kabakov.

Alexander Borovsky: Absolutely. Remember how impoverished Prague bought the Impressionists in 1926? We only sold. And now we will not complete the history of world art.

Vasily Tsereteli: Now you can buy today's art, the art of our time.

Alexander Borovsky: Yes, we, for example, would really like to buy last works Kabakov, large installations. The museum clearly cannot buy them and cannot store them. And a large composition by the artist Imyarek, relatively speaking, we can either buy or beg for. But there is no certainty that it will enter the global context. Everyone is balancing on this path. You choose, but within the limits of possibilities.

Kirill Svetlyakov: Our replenishment is dictated by the logic of the meeting, plus new trends appear that seem important. We are now starting to assemble the 2000s, which we practically do not have, although we have not fully assembled the 1990s. Nowadays preference is given to purchasing contemporary art - these are exhibition items, famous names in contrast to traditional art with often already marginal material.

Alexander Borovsky: It is very nice to hear. But, unfortunately, we don’t have money for modern things. We have gaps in both the 1990s and 1980s.

Kirill Svetlyakov: 1970-1980s - more or less. The latest acquisitions are related to Collective Action. Now we can make the “KD” hall.

Alexander Borovsky: Wow, the public will go to watch “KD” just in formation. This is heavily intended.

Kirill Svetlyakov: The public will go to the event.

Alexander Borovsky: The party will go to the opening.

Alexander Borovsky: I’ll tell you this: none of you, since your career is still ahead of you, will dare to voice many simple things: in my opinion, the pavilion in Venice that year was a failure. Nobody calls him a failure - I mean Monastyrsky and Groys. And there is no way to make this a failure, because you cannot make a center of world art out of this material. Once you have a hall, you need to assemble it, I absolutely agree. We collect what we have. As in the old joke: you thought that I had General Hindenburg in my pocket, but I had General Kozlov. This is what we work with. Local schools are very necessary, but you need to understand that this is local, and you can lure any kind of mass audience into the “KD” hall - only if there is a striptease.

Vasily Tsereteli, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Kirill Svetlyakov, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Dmitry Ozerkov, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Dmitry Ozerkov, Vasily Tsereteli, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Dmitry Ozerkov, Vasily Tsereteli, Alexander Borovsky, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Vasily Tsereteli, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Alexander Borovsky, 2012

Round table “New museum strategies”. Strelka Center for Media, Architecture and Design

Photo: (c) Lyubov Fomicheva

Kirill Svetlyakov: If you really explain to him what “KD” will give him, then... Some viewers go to “KD”, then they say: Oh, trips out of town. Damn it, we also travel and don’t know anything!

Dmitry Ozerkov: It seems to me that the main problem is the one that Alexander Davydovich said: that the content is weak, and it’s quite difficult to make, even from a good collection, an exhibition that will change people’s ideas about art, change artists so that new masters will appear, it’s quite difficult, having only Russian content. Therefore, I understand that both the Russian Museum and the Tretyakov Gallery are forced to create Western exhibitions and come up with special events. After all, there is nowhere else to go: Russian content is objectively weak, and it needs to be changed as soon as possible.

Kirill Svetlyakov: I wouldn’t complain about the museum material; the material seems wonderful to me.

Alexander Borovsky: If you work with him for ten years, you will remember me. And one more thing: if we are honest with our viewers, we must write that “Fluxus” introduced such “walks out of town” in the 1960s, and fifteen years later our “Collective Actions” appeared, which implemented ideas on our soil fluxus art. Then it's fair.

Kirill Svetlyakov: Well, we have a conference room nearby where we talk about Fluxus.

Alexander Borovsky: But it’s not so easy to reflect this in an exhibition. This is a problem - the secondary nature of our art in many positions.

Vasily Tsereteli: The problem is that there used to be a different time, closed.

Alexander Borovsky: All this needs to be explained. The viewer has nothing to do with it.

Vasily Tsereteli: Museums of contemporary art and contemporary art have existed in America for how long!

Alexander Borovsky: And they explain everything perfectly. For example, at Tate Modern. Here is Europe, here is America, we need some kind of signs for spectators.

Vasily Tsereteli: This is an industry-wide problem. A 21st century museum is a viewer-oriented museum. This is not the format of a museum that is the custodian of valuables and all possible ways protects them from visitors: “Do not touch!”, “Do not take pictures!”, “Do not approach!”. The entire museum industry in Russia - contemporary art or whatever - has not developed very much for a long time. There was no replenishment of new specialists, technologies, there was no optimization of infrastructure. Therefore, if we come to any region, to any museum, we observe a lack of infrastructure. When young people see the wonderful experience of the Garage or the Multimedia Art Museum, where everything is thought out, it’s like a sip fresh air. And when you enter a museum, where they chase you from everywhere and answer you rudely, it pushes people away. No one in our country, including the Ministry of Culture, looked at the industry as a whole in order to understand how to develop each individual museum and how to make it comfortable for the audience. Cafe, educational centers— now it depends on each individual director. IN Tretyakov Gallery It’s great now: there are children’s studios, it’s made for a comfortable visit, and the Hermitage also has it. The museum is an international institution. You must come, undress comfortably, buy a ticket, explanations in all languages ​​must be available. You must understand what is there, know what will be there, leave the child, go have a look, drink tea and coffee, buy souvenirs. There should be master classes and communication with specialists. If you are interested in some particular niche in this museum, you could not become a collector, but get closer, get involved in the work of this museum, become its fan. This has not been worked out anywhere. The international experience of museum success is not taken into account in Russia.

Alexander Borovsky: Unlike the States, where some now dysfunctional Pittsburgh still has an excellent museum of contemporary art, because they are smarter than us, because there was a normal tax policy in the 1960s - yellow buses with children everywhere. They are included in educational school programs, and in the most backward areas. This is a question of education, state thinking.

Vasily Tsereteli: State policy, most likely. We are currently working with the Department of Education, developing methods for teachers of the World artistic culture, based on our collection, -
The teachers are also at a loss, they don’t know how to come to the museum or how to work with this material. Therefore, methods available to them are being developed so that they can download, think through an educational program for their class, and then conduct a lesson in the museum. Then the teacher himself will be able to tell the story, having this material to help. MoMA does this in New York, and many other museums.

Alexander Borovsky: MoMA has had amazing programs for twenty years. Let's say, a picture by Rousseau: a naked woman and a lion - the child writes everything he thinks and immediately sends it to his grandmother. This is all clear, they are working on it. On the other hand, this also does not add millions of visitors. But this right direction, we try too. The trouble is that those who deal with methodological matters, as a rule, write very poorly. Art critics who know how to work with children and with all ages, alas, do not know how to write. And whoever writes well works not with the audience, but for himself.

Dmitry Ozerkov: It seems to me that the topic of education today is extremely important. The museum must be able to latently impose its point of view: this can be done in any way - through some sounds, blinking lights, through any media activities, if they are so popular with the average viewer today. After all, if a museum is not formed, what remains?

Alexander Borovsky: Rods!

Your own collection and diversification opportunities. The role of the curator

Alexander Borovsky: Here, too, there are distortions in our system. Because every junior researcher in the museum is like a scientist, and must write dissertations that no one has needed for a thousand years. And if you are forty years old, you should be a doctor, and write a doctoral dissertation, which is also of no use to anyone. In the States, the situation is different: a curator is not necessarily a scientist. Very few people write in museums, but they spend money like animals.

Magazine "Art": Danilo Ecker from the Turin Gallery said that he attracts people who have nothing to do with contemporary art as curators in order to get a different perspective. They put together an exhibition with physicists and philosophers, but they work with their own material.

Alexander Borovsky: A good move: there is a budget, there is an opportunity - why not.

Vasily Tsereteli: In Germany, a new curator or director comes to the museum, he receives a ready-made infrastructure, which he leads for two years, then a new one comes.

Dmitry Ozerkov: When you sit on your collection, you cannot abstract yourself from it. You already know everything about your favorite masters, but you can’t look at them with fresh eyes. Therefore, the MMSI approach is close to me: Vasily invites a new curator every year for the permanent exhibition. This is important for both museum researchers and curators. You come to the keeper, he says: “This is what I have.” good artist. We love him very much". And you look and see that there is some kind of nonsense in front of you. And as an outsider, you have the right to say this out loud, because you are out of context. This is very important side affairs. As Worringer wrote: “There is feeling, and there is abstraction.” Once you have felt it, it is very difficult to abstract yourself. And for a museum, balance is important: you have collected your seventies with love, and then you look - it turned out to be some kind of nonsense. But you can’t say this to yourself right away.

Alexander Borovsky: On the other hand, it’s also impossible: a physicist will come and teach us. The best exhibitions are done a tordo. The most visited exhibitions are in Venice Arte Tempori: they are made by one Belgian antique dealer and two or three curators. They sang perfectly, they turned out wonderful exhibitions. I have now written a book, “The History of Art for Dogs,” in order to somehow attract the viewer by calling him a dog. It is read based on sales. We recently held an exhibition at the Museum of Urban Sculpture based on my book, and suddenly we decided, why not make an exhibition “No Dogs Allowed”? For three days, the artists brought their dogs so that they could watch: an attendance that I had never even dreamed of, in small museum, in a small exhibition space. Just like that, without any special concepts, such a gesture. However, this is a one-time event. In the late eighties, I had the opportunity to travel with a group of curators to all the provincial French museums of modern art. There is such a museum in every city, and they were absolutely typological, as similar as two peas in a pod. The same ten names: from Boltanski to Borowski. Now everyone has begun to move away from this typology. True, God grant us this too. We don't have that either. But in principle, the West also has its own problems. They definitely need two regional artists. And then all the same European and American names. Even in a museum like the Chicago Museum, contemporary art is rather poorly represented, typologically. So everywhere... However, friends, we are all saying great things here, this is all an interesting experience, and the process is worthwhile. Because there is no budget.

The magazine “Art” thanks the Strelka Center for Media, Architecture and Design for its assistance in holding the round table.

Round table on the topic: “Problems medical education in the Russian Federation" was held at the Museum of the History of Medicine of Sechenov University

There are a lot of museums in Moscow, but this one is the most important for a person - the Museum of the History of Medicine of Sechenov University. That is why it was here, as part of the planned events, that a round table was held on the topic: “Problems of medical education in the Russian Federation.” The meeting was attended by the Minister of Health of the Russian Federation Veronika Skvortsova, Chairman of the State Duma Committee on Health Protection Dmitry Morozov, representatives of the Association “Council of Rectors of Medical Pharmaceutical Higher Education educational institutions", deputies of the State Duma of the Russian Federation.

The museum featured presentations by Tatyana Semyonova, director of the Department of Medical Education and Personnel Policy in Healthcare of the Ministry of Health of the Russian Federation, on the topic “New Challenges in the System of Continuing Medical Education”, Chairman of the Association “Council of Rectors of Medical Pharmaceutical Higher Education Institutions”, Rector of the First Moscow State Medical University named after I.M. Sechenov Petr Glybochkon topic “Improving the legislation of the Russian Federation regarding the implementation of additional programs vocational education"and Director of the Department of Public Health and Communications of the Ministry of Health of the Russian Federation Oleg Salagay on the topic "Development of volunteering and volunteering in healthcare."

This time I was able to “kill two birds with one stone” - not only become a participant in the round table, but also visit the halls of a unique museum. The Museum of the History of Medicine of the First Moscow State Medical University named after I.M. Sechenov was created in 1990 and stores about 80,000 exhibits in its collections. These are memorial funds of outstanding figures of national medicine, a rich collection of medical instruments of the 18th-20th centuries, a collection of medals, tokens, breastplates related to medicine, a collection of paintings and sculptures of portraits of leading figures of medical science, a unique collection of books and teaching aids. Being a structural subdivision of the First Moscow State Medical University named after I.M. Sechenov, the museum regularly conducts thematic excursions for medical students and high school students, as well as sightseeing tours For everyone. The uniqueness of the museum is due to its location, the contents of the collection, and the nature of the services provided. The museum is located in the building of the general clinical outpatient clinic named after Alekseeva, built in 1896 according to the design of the architect K. M. Bykovsky on the territory of the Clinical Town on Devichye Pole. The building is an architectural monument.

The exhibition “History of Russian Medicine from 1755 to the 1940s” contains a portrait gallery of prominent figures in Russian medicine, whose names were associated with the history of the university. These are M. Ya. Mudrov, N. I. Pirogov, S. P. Botkin, I. M. Sechenov and others. Here you can also see rarities of the museum collection: a set of tools designed by N. I. Pirogov, the head of an ancient Egyptian mummy, a gas analyzer created by I. M. Sechenov.

This instrument was used to test hearing in the past.

The history of the formation of medical education in Russia is presented by the first teaching aids, unique medical instruments, devices, macro- and micropreparations of the 18th-20th centuries. Museum exhibits introduce the activities of outstanding representatives of Russian medicine, such as F.I. Inozemtsev, G.A. Zakharyin, N.F. Filatov, N.A. Semashko and others. The museum has recreated the memorial office of Professor V.D. Shervinsky - therapist, pathologist, founder of Russian endocrinology.

Exhibition “Warriors in White Coats. History of medicine during the Great Years Patriotic War"was opened on the 70th anniversary Great Victory. Interactive elements contribute to immersion in the wartime atmosphere. A map of the USSR and Europe in 1941 is presented on the multi-touch table. By clicking on the points on the map, visitors will be able to learn the history of universities during the war, whose graduates became military doctors. Thanks to doctors, more than 72 percent of the wounded soldiers were returned to duty. In contrast to these points are the black marks - Nazi concentration camps, where fascist criminals conducted medical experiments on people. The installation in the tent shows a typical picture of an operation close to the front line. Under similar conditions, in 1942, military doctor A. Razdyakonov performed a unique operation to remove an unexploded mine from the body of a soldier. And the defused mine is on display.

One of the interactive showcases is dedicated to the feat of N. Troyan. Gold Star Hero Soviet Union she was awarded for her participation in the operation to eliminate Hitler's governor in Belarus, Wilhelm Kube. After the war N.V. Troyan was the vice-rector of the university. In the museum you can see the exhibition “Memorial Cabinet of the Hero of the Soviet Union Nadezhda Viktorovna Troyan.”

The basis of the museum’s collection is made up of documents and monuments, carefully preserved by employees of the department of history of medicine of the university. Relics that were in clinics, educational departments of the university, and family archives teachers and doctors. These are personal archives, libraries, furniture, photographs of famous clinicians and scientists, rare medical textbooks and manuals, anatomical atlases of the 16th-20th centuries, printed publications, a collection of dissertations, medical periodicals, alumni albums, instruments, medical signs and commemorative medals .

Of particular value are the memorial funds of outstanding scientists and doctors of the 19th-20th centuries - Sechenov and Korsakov, Serbsky and Karuzin, Shervinsky and Shaternikov, Minor and Konchalovsky, Spasokukotsky and Barykin, Priorov and Tareev, Abrikosov and Kovanov, Myasnikov, says museum director Galina Sinyaeva . - The collection of the Museum of the History of Medicine houses a unique collection, and this is over 2000 units of authentic medical instruments of the late 18th-20th centuries, relating to various fields of medicine. Here you can see the preserved equipment of the famous late XIX century acoustic room of the Ear, Nose and Throat Clinic named after Yu. I. Bazanova, chair and laboratory instruments of I. M. Sechenov, chair of G. A. Zakharyin, collection of furniture from the TSEKUBU clinic - the Central Commission for the Improvement of the Life of Scientists. Artifacts are exhibited in the Museum , preserved in a single copy: monuments of culture and medical science, books, autographs, letters and manuscripts of luminaries of Russian medicine.