Cai Guoqiang. October in Pushkinsky

The Pushkin Museum is opening a project by the Chinese artist Cai Guoqiang, famous for his experiments with gunpowder, for whom the museum has been collecting strollers all summer. Director Marina Loshak told Forbes Life about the exhibitions of Cai Guoqiang and Chaim Soutine, how the museum's budget is structured, where the museum gets funds for million-dollar exhibitions and why it is so interested in the law on patronage.

A huge installation in front of the museum entrance, created by one of the most famous contemporary artists, Cai Guoqiang, is the main event of the October exhibition. The gigantic structure is a mountain of baby strollers and cradles from which birch trees grow. This project is an understanding of the 1917 revolution and is being prepared jointly with a very important partner for us - Sberbank, with which the exhibition “Seeing the Invisible” has already been realized.

In mid-October we will show graphics by the largest representatives of Austrian art of the early 20th century - Gustav Klimt and Egon Schiele.

Then a large-scale retrospective exhibition of Chaim Soutine will open. More than 50 works by the artist will be shown in the historical context of paintings by old masters who influenced his formation, and modern authors who were inspired by the work of Soutine himself. Works for the exhibition will be provided by the largest museums in France (the Pompidou Center, the Orangerie Museum, the Paris Museum of Modern Art) and private collectors from Europe and Russia.

Another of the landmark projects of the fall is an exhibition, which is being prepared by Irina Aleksandrovna Antonova, related to the art of the Impressionists.

We dream of making an exhibition together with the National Museum of Damascus, which has a unique collection of ancient art, and my employees flew to Syria to study the exhibits at the height of hostilities.

- What is the annual budget of the Pushkin Museum and how is it formed?

Last year, our museum’s budget amounted to about 1 billion rubles. Moreover, I can proudly say that we have entered an amazing phase of existence, when only half of the budget is state subsidies, and the rest is funds that we ourselves earn or attract.

Sponsorship funds and donations amount to no more than 15%; the museum mainly earns money on its own: from entrance tickets, a store, lectures, educational programs, etc.

But we have something to strive for. For example, in the USA almost all museums are funded by individuals or companies. The main income of the New York Metropolitan Museum of Art, approximately 60-70% of the budget, comes from the endowment fund (one of the largest in the United States, $2.7 billion) and in the form of donations. The remaining funds come from ticket sales and the museum store. By the way, their guardianship system is very well thought out. So, if you donate $60 a year, you get a 10% discount in the museum store, it is one of the best in the world, for $550 - the right to attend dance parties in the gallery for free, for $4000 a year - free breakfast before visiting the museum, for $8 thousand . per year - attend concerts, for $20,000 - access to receptions of the museum president. And such concerts and receptions bring the museum about $20-30 million. Naturally, the museum is given not only money, but also paintings. The largest gift is from the billionaire and one of the heirs of the Estée Lauder empire, Leonard Lauder. He gave the Metropolitan Museum 78 paintings, including works by Pablo Picasso, Georges Braque and Fernand Léger, worth more than $1 billion.

Last year, MoMA, another major New York museum, had $70 million in revenue from its funds, including its endowment, $30 million from visits, and $50 million from stores and restaurants.

Exhibitions of such a level as the recent “Venice of the Renaissance” with paintings by Titian, Tintoretto and Veronese, or the upcoming Soutine exhibition are approaching €1 million in cost, where does the museum get such funds?

As a rule, we organize exchange exhibitions, which significantly reduces the cost of the whole process. But, despite this, large exhibitions really cost no less than €1 million. And they are made at the expense of patrons.

The Pre-Raphaelites and Turner were sponsored by the Art, Science and Sports Foundation of Alisher Usmanov, and viewers saw the unique paintings of the Cranachs thanks to the financial support of VTB, the bank that is the general sponsor of the museum. Piranesi and some other traditional Italian exhibitions are supported by UniCreditBank. Such thematic cooperation is a fairly common story. The collection of impressionists and post-impressionists, for example, is supported by Rosbank, as an official partner of the Art Gallery.

It doesn’t surprise me that they willingly give money to exhibitions; it’s prestigious. Another thing is striking: our patrons are gradually turning into philanthropists. They provide funds for educational programs and social projects, and while doing this, they insist on anonymity. These people are not motivated by laws, tax cuts, or fame. In general, nothing except internal, personal responsibility to society, and this is the absolute trend of today.

What sources does the Pushkin Museum have for replenishing its collection? For example, there is virtually no Western contemporary art in the museum.

We hope that contemporary art will become an important part of our museum, and that the building of the new museum will appear not in the museum quarter, but somewhere in the city. We plan to assemble an expert council, which will include representatives of international museums, which will develop a concept for the collection of contemporary art at the Pushkin Museum, and only then we will look for funds. Considering the prices for contemporary art, we rely only on outside money. I would like to show many: Anselm Kiefer, Gerhard Richter, Sidney Sherman, Marina Abramovich, Christian Boltanski.

The world practice of creating museum collections is diverse, each has its own path. Plus, I believe in luck, and I hope that working on our reputation in the field of contemporary art will lead to people starting to give us gifts. It is difficult to rely only on the generosity of fellow citizens, but we will do everything possible to ensure that they want to give to the Pushkin Museum.

In addition, when large-scale construction and reconstruction are completed by 2024, a museum quarter will appear and there will also be space for modern sculpture. Our museum landscape will include works by Alexander Calder, Henry Moore, Emile Antoine Bourdelle and other important sculptors. We will rent these works for a period of five to seven years, and then replace them.

In addition, the museum plans to provide space for temporary storage of private collections. In addition, I believe that soon there will be a law on patronage of the arts, which will significantly ease the situation of museums.

For example, the entire American museum system is built on gifts from collectors. But they have a completely different tax system, and donors are motivated.

Already two weeks before the opening of the exhibition, in the park near the main entrance to the century-old museum, one could observe the creation of the “Autumn” installation: a 16-meter-high mountain, made up of hundreds of prams, cribs and cradles, rose up, covering the staircase, portico and colonnade. Over the course of three days, a crane lifted specially grown birch trees, each 3 to 4 meters high, placing them in cribs or strollers, and young shoots in children's car cradles. Large trees covered small ones, turning the entire composition into a green birch grove. During the installation, the trees had already begun to turn yellow in anticipation of the coming autumn; and during the exhibition, yellow leaves will completely replace green foliage, revealing the white trunks of birch trees, as well as the structure of the installation itself - a structure reminiscent of the work of constructivist artists.

Faced with the closed main entrance, viewers are forced to walk around Autumn to get inside, where they immediately begin their journey through the exhibition with an unfamiliar visual experience. Inside, they discover that the artist has transformed the entire space: above the main Pink Staircase, the work “Sound” is mounted - a 20-meter-long silk canvas with gunpowder calligraphy divides the spacious space in half. Using the art of calligraphy and painting, the two-dimensional canvas was transformed into a three-dimensional poetic installation filled with energy. Spectators climb the Pink Staircase under the banner of “Sound”, and, throwing back their heads, read on white silk the warning lines from “The International” - “No one will give us deliverance, not God, not the Tsar and not the hero!” When it seems to them that they are as close as possible to these words under the ceiling, they find themselves near the entrance to the White Hall.

Here the usual ceiling is replaced by a mirrored one, which doubles the already spacious space. The artist makes the viewer's sensations transform in each new museum space. Two gunpowder paintings, each 20 meters long, “River” and “Garden”, hang on the walls opposite each other, bordering the installation “Earth”, located in the center of the White Hall. By creating his “Earth,” symbolizing the Russian cornfield, Tsai hoped to recreate the sense of mystery he had as a child watching Soviet films and Soviet paintings—sunlight breaking through the clouds and illuminating the field, demonstrating the romantic ideas Tsai had for freedom and the beauty of life in your youth. Only in the reflection in the ceiling mirror can viewers see the symbols “hidden” on the field. Visitors also see in the reflection numerous images of people whose portraits are part of the stormy “River”, poppies, carnations and Soviet posters, as well as themselves. The artist creates an illusion that makes viewers think about their own relationship with his works.

The culmination of the exhibition is the video project “October. Daytime fireworks on Red Square." According to the artist’s plan, daytime fireworks are launched one after another from Red Square and the banks of the Moscow River, exploding in the sky to the music of P.I. Tchaikovsky in orchestral arrangement. The performance ends with a 100-second cannonade of deafening explosions, leaving behind a blinding white flash...

Since September 4, Tsai, with the support of local volunteers, has been working on creating gunpowder paintings “River,” “Sound,” and “Garden” on the site of Pavilion No. 22 at VDNKh. Volunteers laid out a large-scale canvas of hundreds of historical photographs depicting the lives of ordinary people. They helped Tsai, explaining the correct spelling of Cyrillic letters, cut out huge stencils with images of flowers, and after Tsai set fire to each of the works, they hurried to extinguish small sparks that might remain and smolder on the canvas. Together with the artist, volunteers experienced the exciting moments before the explosion and watched the creation of a new work.

A bilingual Russian-English catalog is being prepared for the exhibition, the release of which is planned for early October. In addition to numerous illustrations documenting the exhibition's creation and the works included in the exhibition, the catalog includes scholarly articles and Tsai's seminal essay, "One Boy's October." The publication touches on the main themes and ideas of the exhibition, which are examined in personal, historical, artistic and political aspects.

In November, a documentary film of the same name directed by Shanshan Xia will be released as part of the exhibition. The film tells not only about the creation of the exhibition - analyzing the work of Cai Guoqiang, as well as the Soviet painter and teacher K.M. Maksimov, who had an extraordinary influence on the formation of Chinese artistic culture of the twentieth century, the director of the film will show the history of the relationship between Chinese and Russian artists of recent decades. Thus, this will be a frank story about the creative heritage and changes in the creative approach of masters at the junction of eras.

Tsai Guoqiang's project in Russia continues the history of joint projects of the Pushkin Museum of Fine Arts. A.S. Pushkin and Sberbank. In November 2016, the exhibition “Seeing the Invisible” was opened. A unique project of the Pushkin Museum and Sberbank is the first exhibition in Russia of tactile paintings, reproducing famous paintings from the museum’s collection and made using innovative technology specifically for blind and visually impaired people. Since February 2017, the exhibition began a tour of Russia - the exhibition has already been visited by residents of Kazan, Volgograd, Voronezh, Yekaterinburg and Omsk.

The curator of the exhibition is Alexandra Danilova, Deputy Head of the Department of Art of European and American Countries of the 19th - 20th Centuries. State Museum of Fine Arts named after A.S. Pushkin (Moscow).

Educational program for the exhibition
Group excursions around the exhibition
Excursions by mediators of the “Open Laboratory” of the Pushkin Museum of Fine Arts. A.S. Pushkin
Guided tours in sign language

Alexandra Danilova

Curator of the exhibition “Cai Guoqiang. October", Deputy Head of the Department of Art of European and American Countries of the 19th–20th Centuries, State Museum of Fine Arts named after A.S. Pushkin

There has never been an exhibition of this scale in Moscow before

Cai Guoqiang is one of the most famous artists of our time, whose achievements are too long to list - suffice it to say that he extended the Great Wall of China by 10 kilometers, received the Golden Lion at the Venice Biennale and did a project dedicated to the anniversary of 9/11 at the Metropolitan Museum of Art in New York (it was a powder explosion in the form of a black cloud).

The exhibition “October” cannot be repeated

The exhibition was conceived as a single artistic space, which begins with an installation of cribs in front of the façade and continues inside the museum: the work “Sound” is mounted above the main staircase; gunpowder paintings, 20 meters long, “River” and “Garden” hang in the White Hall. , in the center of the hall is the installation “Earth”. Cai Guoqiang came up with this project specifically for the size of the Pushkin Museum - the height and width of the museum's portico dictated to him how tall the installation that greets visitors and the works that are inside the museum should be.

The paintings and installations were created specifically for the Pushkin Museum and have not been exhibited before

Almost all the works were prepared specifically for the Pushkin Museum - the exhibition will have only 7 old works that are needed to tell who Cai Guoqiang is. All other works were made 2 weeks before the opening of the exhibition. For the Pushkin Museum, Guoqiang specially created 20-meter-long gunpowder canvases, a huge installation of baby strollers, cribs and cradles in the courtyard, and many other works.

Cai Guoqiang learned to write in Russian

And this is not just calligraphy, but calligraphy in Russian letters. In order to create inscriptions in Russian, Guoqiang had to specially learn the Russian alphabet. It turned out that the Russian language is very difficult for calligraphy: unlike China, where there are strict rules for writing hieroglyphs, the letters A and D in the Russian alphabet can be written in different ways, each of which will be correct.

Cai Guoqiang created the largest painting using the color gunpowder painting technique

Colored gunpowder painting is a new technique for Tsai, which he has only been working with for two years. Before the Moscow exhibition, his largest works were five meters high. The 20-meter painting “River,” which can be seen in the Pushkin Museum, is his absolute record. He created it in two days, since working in such a technique requires efficiency - leaving scattered gunpowder in the pavilion even for one night is unsafe. You can lay out the stencils as much as you like, but the process of applying gunpowder itself must fit into daylight hours.

A huge team worked on the exhibition

In Moscow, 100 people worked with the artist as one team: volunteers laid out a canvas from historical photographs, taught Tsai the Cyrillic alphabet, cut out stencils and extinguished the sparks that smoldered on the canvas. These people also became part of the work - just like the ten invited sculptors in the 1999 Venice Biennale project, for which the artist received the Golden Lion. In Venice, people reproduced 108 works from the socialist realist sculptural composition “The Court of the Tax Collector.” From Tsai’s other projects, one can recall how children in Egypt and Rio, together with the artist, made kites, and in Iwaki (a city in the Fukushima region), at his request, residents simultaneously turned off the lights in their homes.

Viewers can see “drafts” of Guoqiang’s works for the first time

For the first time, Cai Guoqiang allows viewers into the kitchen of his artistic process. He shows both trial powder tests and sketches that he made specifically for this project. Cai Guoqiang had never exhibited stencils in his life, and at the exhibition in the Pushkin Museum you can see stencils of the painting “River” with traces of gunpowder that remained from the explosion.

Part of this project was supposed to be on Red Square

Cai Guoqiang is the only one who knows how to make colorful fireworks during the day. He calls these fireworks a kind of performance - Tsai's dream was a fireworks display on Red Square. He wanted to collect all the images of the exhibition on the square: white birch trees, Tchaikovsky’s music, Malevich’s triptych.

This project is very personal for the artist

Tsai's project is dedicated not so much to the October Revolution, but to the revolution in general and the feelings of the person who experiences it. It is no coincidence that Tsai includes a huge number of works in the exhibition - memories of her childhood. This gesture is a trust in our public, in which Tsai hopes to find an interlocutor. Russians who have gone through similar events understand what is happening in nuanced terms - why teachers who were teased by Tsai mysteriously disappeared, why they had to go to church in secret from everyone, and in the evenings destroy books with their father.

An exhibition in Moscow is Tsai's long-time dream

Cai Guoqiang considers the exhibition in Russia a gift for his anniversary - this year the artist turns 60 years old. Unlike many contemporary artists, Cai Guoqiang lives by pure art and does not relate himself to the market (he does not even have his own gallery). Despite the fact that his works cost a lot, for the sake of a big idea he is ready to make concessions - Cai Guoqiang worked for two years for free on an exhibition in Moscow.

A formidable weapon as a means to express love, show the beauty of the world and create works of art. Who would have thought that gunpowder could be used for such purposes? Chinese artist Cai Guoqiang will show the Moscow public how to paint with ashes, how to make an explosion peaceful and prove that a child’s tear outweighs all historical cataclysms.

The White Hall of the Pushkin Museum as you have never seen it before. Underfoot is a symbol of the era. Overhead is a reflection of the era. In some places the spikelet was trampled down, in others they were straightened. Those who are mounting the exhibition already have dazzle in their eyes. And the one who invented it is full of enthusiasm.

This is how Chinese artist Cai Guoqiang looked at the Soviet hammer and sickle from what seems like an infinite number of angles. Inspired by the revolution of 1917, he brought an exhibition to Moscow. I sowed the hall of the Pushkin Museum with millet. And he staged several explosions in one of the VDNH pavilions.

Several dozen spectators and assistants. Well, Cai Guoqiang can’t create in a small workshop. Calls himself a master of gunpowder painting. Explosion. The canvas is covered with ash. There is a stencil under the ashes, which means the design will appear only where it is needed.

I will give a sign when to start extinguishing; there is no need to approach areas that are not affected by the explosion.

Born in China. Lived in Japan. Currently working in New York. Once he preferred air to canvas, and gunpowder to paints. His pyrotechnic shows are like Impressionist paintings bursting out of museum frames.

The canvas “River” is also a gunpowder technique. Stencils - 100 photographs with the main events of the century. Mixed into one large portrait of the era: the faces of the soldiers at the front and the eyes of the builders of a bright future. But we still need to find them here. Think about the meaning and look for images.

“This is about human life, individual life is very important. Like Dostoevsky, a child’s tear outweighs all historical shocks,” says the director of the State Museum of Fine Arts. A. S. Pushkina Marina Loshak.

A painting within a painting. Here Tsai hid Kramskoy’s “Portrait of a Stranger.” He loves Russian artists. He admits that in the Tretyakov Gallery he cries with delight. And he takes photographs all the time.

“On the eve of the exhibition, I decided to look at the painting again in the Tretyakov Gallery. I was surprised when I saw that someone was copying it and decided to take a selfie in front of the background. And yesterday, when I painted my painting “The River,” I decided to put it at the end of the river in order to combine the history of my personal life with the history of Russia,” said Cai Guoqiang.

Tsai is putting on an exhibition about the revolution, and at the same time creating her own. In space. The cold classicism of the building of the Pushkin Museum also exploded with its objects. Not only inside, but also outside.

Classical art hid behind modern art. This is what the entrance to the museum looks like now: dozens and dozens of cribs and strollers. Birch trees seem to grow from them. There are so many symbols of new life at once. With this huge installation, Pushkinsky shows that he is ready to let the wind of change into his windows.

“We live in a temple, but the temple definitely needs to be ventilated. And, of course, there must be the living air of today’s life, and of course based on the best examples,” says the director of the State Museum of Fine Arts. A. S. Pushkina Marina Loshak.

The hidden facade and the now closed courtyard, where people used to line up to get into the museum, are discussed in Moscow no less than the future exhibition. Some people understand, some don't. A common thing for a modern artist.

“There was Rembrandt and Goya. When they appeared, they also raised many questions among their contemporaries. And here the question is that the artist is ahead of his time, feeling it very subtly,” says exhibition curator Alexandra Danilova.

Some condemn, others help the master create. Muscovites brought old strollers and cribs here. The artist considers those who once rocked these cradles and those who once slept in them to be his main co-authors.

Chinese artist Cai Guoqiang with an exhibition reflecting on the Russian Revolution

In the year of the centenary of the October Revolution, the State Museum of Fine Arts named after A.S. Pushkin went on an experiment. He invited a contemporary artist to create a large-scale exhibition-reflection on the most important date in Russian history. We are talking about Cai Guoqiang, a Chinese artist famous for his experiments with gunpowder. The exhibition was called "October".

Philosophy of gunpowder

Cai Guoqiang is an artist who studied stage design at the Shanghai Theater Academy and has worked in a variety of art forms, from graphics to performance art. He began using gunpowder in his work after moving to Japan in 1986. Since then, it has been his main artistic instrument, and at the same time, a material that is significant for Chinese culture.

“In my home province there are many enterprises that produce pyrotechnics. I experimented with this material even before moving to Japan. In addition to it, I also used just fire. But gunpowder is unpredictable, I felt a certain freedom, challenge and struggle in it. In this unpredictability something new is born,” says Cai Guoqiang.

Cai Guoqiang in front of his “gunpowder” work

His first widely known “powder” works were “Projects for Aliens.” This is a series of installations, each of which, as Cai Guoqiang dreamed, could be seen from space. So, in 1993, he “expanded” the Great Wall of China by 10 thousand meters towards the Gobi Desert. A wall of fire illuminated the dunes for 15 minutes.

Fragment of the "Great Wall of China" made by the artist

Cai Guoqiang became the first person with a Chinese passport to visit the US government's nuclear test site in Nevada. This was in 1996, when he was working on A Century with Mushroom Clouds: A Project for the 20th Century. In a photograph from that time, the artist stands on a deserted ridge at the test site, and a cloud of smoke in the shape of a “nuclear mushroom” spreads above him.

Cai Guoqiang has repeatedly talked about nuclear disasters through his works. In Hiroshima, he created the installation “There is a black hole in the Earth too.” Hundreds of balloons filled with helium sent gunpowder into the sky, forming a spiral. Flashing, it began to descend, disappearing into the “black hole”.
“Gunpowder is a very suitable tool for revealing the invisible part of the world in our minds. I create on the edge,” says Cai Guoqiang.
Another popular work by the artist, the half-kilometer-long Stairway to Heaven, illuminated Quanzhou in 2015. Cai Guoqiang dedicated the installation to his grandmother. When he was little, a woman sold seafood to help him become an artist.
"Everything I do, I do through the lens of a boy who will never grow up. An eternal child. He loves to dream and is in constant play. I have so many fans around the world because I depict the childhood of each of us," - says the artist.
Cai Guoqiang's works have received various awards: he received the Golden Lion at the Venice Biennale, awards from the largest museums in the world, and also became a laureate of the Imperial Prize for achievements in the field of art. In 2008, he was appointed director of visual and special effects for the opening and closing ceremonies of the Beijing Summer Olympics.

Fireworks project for the Beijing Olympics opening ceremony

Cai Guoqiang calls himself a nomad: he creates installations all over the world, working with the culture of each country. His personal exhibitions were held in major museums in the world, for example, at the Metropolitan Museum of Art in New York.

Installation by the artist shown as part of the 17th Biennale of Sydney

On the influence of Russian culture

Cai Guoqiang has a special attitude towards Russian culture. According to him, she had a great influence on him in childhood.
“I was born in 1957 in Quanzhou, a time of close friendship between China and the USSR. Many Chinese in those years could not write a word in English, but spoke Russian. When I studied painting, we imitated Russian artists. My teacher was a graduate of the Repin Academy of Arts in St. Petersburg,” says Cai Guoqiang.
He tells how he made copies of “The Unknown” by Ivan Kramskoy, studying low-quality reproductions in magazines, and how he walked through dozens of village ponds in search of a place similar to the painting “At the Pool” by Isaac Levitan. But Cai Guoqiang especially singles out Konstantin Maximov. The Soviet artist, a representative of socialist realism, taught the art of oil painting in China for two years - from 1955 to 1957. He made a great contribution to the development of fine arts in the country.

"Portrait of a Chinese Sailor" and "Qi Baishi at work" by Konstantin Maximov

“Konstantin Maksimov is not so well known in his homeland, but in my country he became the founder of his own school. Although it does not formally exist, this tradition is still preserved. You can trace his influence on my early paintings. In later times, I collected more than two hundred his works and organized three exhibitions in the largest cities of China,” continues the artist.

Sunset on the Shore, painted by Cai Guoqiang in the 1970s

According to Cai Guoqiang, he dreamed of an exhibition in Russia since childhood. "October" is his first project presented in our country. All works of art were created specifically for the exhibition, and he “collected” them on site, in the museum and at additional sites.

"October"

The installation "Autumn" is the first thing a visitor to the exhibition sees. It is located at the entrance to the museum. This is a metaphorical mountain, the basis of which is cribs and strollers. Dozens of young birches sprout from them. The museum grew trees in a nursery specifically for the exhibition.
Moscow residents donated cribs and strollers to the museum. Cai Guoqiang often involves ordinary people in creating his works. “These baby carriages symbolize dreams, childhood, socialist utopia in the hearts of people,” says the artist.

Installation "Autumn"

Above the main staircase of the museum, Cai Guoqiang stretched out a silk canvas on which a quote from the Internationale was written in gunpowder: “No one will give us deliverance: neither god, nor king, nor hero.” The work was called "Sound". Next is the installation "Earth", which was created from dry plants. Soviet symbols are hidden among the ears of corn, but they are reflected in the mirror surface above them.

"Sound"

“Earth” symbolizes the Russian field; the artist wanted to recreate the feeling of mystery that arose in his childhood when watching Soviet films. He talks about romantic ideas - freedom and beauty of life, which he himself experienced in his youth.
At the same time, "Earth" is located between two canvases - "River" and "Garden". They were created with the help of volunteers in the artist's traditional "gunpowder" style. The black and white "River" symbolizes the flow of bygone memories.

How the work "River" was created in pavilion 22 at VDNKh

The powder composition "Garden" is made in color. Red poppies and carnations are placed next to Soviet propaganda posters. They embody the ideals of the past. All this, including the visitors to the hall, is reflected in the mirror surface above the “Earth”.

"Garden"

The culmination of the exhibition is the video project "October. Daytime fireworks on Red Square": in the sky above the main square of the country, lights explode one after another to the music of Pyotr Tchaikovsky. The performance ends with 100 seconds of volleys. They leave behind a huge white cloud that is slowly carried away by the wind.

Video project "October. Daytime fireworks on Red Square"

The exhibition will run from September 13 to November 12 in the Main Building of the Pushkin Museum. A.S. Pushkin. The general sponsor of the exhibition is PJSC Sberbank.

Worked on the project:

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