"Winter Garden" Automatic translate

In the Museum and Exhibition Complex of the Russian Academy of Arts, the Zurab Tsereteli Gallery of Art, the Krokin art project of the Winter Garden gallery opens. The exhibition presents more than 70 works - this is painting, graphics, art objects, photography, video. The grand opening of the exhibition will take place on January 21 at 18:00.

Exhibitors: Yuri Avvakumov, Vladimir Anzelm, Konstantin Batynkov, Annushka Broche, Alexey Gintovt, Nina Kotel, Sergey & Tatyana Kostrikov, Vladimir Kupriyanov, Bogdan Mamonov, Alexander Mareev (Lim), Arkady Nasonov, Valery Orlov, Alexey Politov & Marina Belova, Fenso project (Anton Smirnsky, Vasily Smirnov, Alik Polushkin), Vladimir Sitnikov, Elena Samorodova & Sergey Sonin, Mikhail Rozanov, Sergey Shutov, Andrey Filippov, Olga Chernysheva, Anton Chumak.

The winter garden on a metaphorical level is a refuge, a stay in a special state of eternal summer, in the process of building an artificial or desired reality, a difficultly formulated alternative to what happens outside, in the space of winter.

The image of the garden in its variable symbolism is initially rooted in our consciousness, our identity; it is addressed to the ideal, lost, but a priori inherent in us. The entire arsenal of symbols and semantic load accompanying this image goes to the sources of human civilization, to the ontological principles of Being, into the realm of sacred world order. For all its poetics, the image of the garden in its fundamentals goes to different plans and receives a very different meaningful content, being, in fact, the cultural code of civilization, which explains the diversity of this phenomenal phenomenon in history. Gardens of Babylon, "closed gardens" of Christian monasteries, royal gardens and parks of France and England, Islamic gardens, gardens of Japan, parks of imperial Russia - the list goes on and on.

In this series, “The Winter Garden” is a special case, one of the shades of this phenomenon, a modern form, devoid of utilitarianism and partly turned to the tradition of medieval helicopter town, revealing its prototypes in ancient times.

The winter garden as a worldview reflection in its current form arose in the minds of Europeans and took root at a conceptual level relatively recently. Saving from the winter cold and building greenhouses of strange vegetation brought from colonies spread across the planet in their dwellings, the aging metropolis discovered another metaphor stretched out over time.

From the point of view of architecture, the winter garden in its functional purpose does not contain anything fundamentally new, bearing. Deprived of independent constructive value, it becomes an elegant addition, an expensive highlight in the general architectural concept.

And if on a conceptual level the winter garden corresponds to architecture, then in this case it is nothing more than a platform for realizing and formulating a complex world outlook in its particulars, opening the veils of a very personal, private space, secret refuge or ideas about it.

The very concept of a winter garden is both phenomenal and paradoxical at the same time. It contains the expressive antinomy of dying and flowering, life and death, speculative and visible. If at the level of architectural perception the winter garden is a form of arranging the interior, then in terms of content it as a phenomenon is more fully revealed in the genre of “landscape of state” - regardless of the image and details.

This is a special territory, an ecumenical existential borderland; appeal to memory, to its fundamental principles, to the once lost summer - eternal flowering in the cold of an external winter.

Alexander Petrovichev, Krokin Gallery