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Saturday, 28 April 2012
Rossotrudnichestvo to Open Offices in Over 100 Countries-Kosachev
Topic: CIS - FSU Liaison News
Apr 25, 2012

Russia's Federal Agency for the Commonwealth of Independent States, Compatriots Living Abroad and International Humanitarian Cooperation (Rossotrudnichestvo) plans to open its offices in more than 100 countries by 2020, Itar-Tass reports. The agency's head Konstantin Kosachev who arrived in Paris on a working visit told Itar-Tass in an interview that the increase in the number of Russian cultural missions all over the world will go together with the quality improvement of their activities.

Kosachev recalled that in the 1990s Russia already had a successfully working network of foreign centres, however, this system was largely wound down due to economic troubles. "We simply lacked the money, strength and time for that. As a result, today we are by an order of magnitude behind other states in terms of the organisation and financing of activities of our centres abroad," he complained. "However, we are still trying to restore this system."

Rossotrudnichestvo is an autonomous federal government agency under the jurisdiction of the RF Ministry of Foreign Affairs. The agency was set up by a presidential decree, signed by Russian President Dmitry Medvedev on 6 September 2008, with the aim of maintaining Russia’s influence in the Commonwealth of Independent States, and to foster friendly ties for the advancement of Russia’s political and economic interests in foreign states.

The Rossotrudnichestvo head said that the agency is working for just three and a half years, but already has offices in 73 countries. “We implement abroad a considerable number of different educational, cultural and humanitarian projects. But any large system is inert by definition - the results will not appear immediately,” added the agency head. “This work meant for a long period should be carried out on a permanent basis. Today, the state is already capable of providing financial support to this work.”

Kosachev, who is Russian President’s Special Envoy on Relations with the CIS member states, also noted that the work with the neighbouring countries, where 20 million Russian compatriots live, is a top priority for Rossotrudnichestvo. “The most important for these countries are the programs for the support of the Russian language we are implementing, cultural and educational programs that allow our compatriots not to lose spiritual ties with their homeland,” he explained. “However, the Russian-speaking Diaspora still has many humanitarian, social, legal problems in dealing with which they are counting on support from Russia.”

The agency’s near-term plans, Kosachev said, include the expansion of the network of its permanent missions abroad.

Russkiy Mir Foundation Information Service

Posted by pmoh-iras-russian-cis bureau at 6:04 PM EDT
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Thursday, 10 December 2009
IRAS Georgia proudly presents Irma Nioradze

Posted by pmoh-iras-russian-cis bureau at 9:38 PM EST
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Saturday, 20 October 2007
CYBERFEST 2007-25 October - 11 November 2007- St.Petersburg, Russia
Topic: St. Petersburg Art Scene

Russian National Center for Contemporary Art in St.Petersburg
presents the First Cyber Art festival in Russia

25 October - 11 November 2007
in St.Petersburg, Russia


Cyberfest 2007 is a new cyber art festival in Peter And Paul Fortress in Saint Petersburg, Russia. Cyberfest is organized by National Center for Contemporary Art (Saint Petersburg) and St. Petersburg Arts Project (New York)

Dates: 25 October - 11 November 2007.
Location: Exhibition hall and Lectorium at Johann Ravelin, Peter And Paul Fortress, Saint Petersburg
Opening: Cyberfest 2007 will open on 25 October, 4 pm, at the Exhibition hall at Johann Ravelin, Peter And Paul Fortress, Saint Petersburg

Contacts: phone +7 812 7177967, phone/fax +7 812 4319905, email:
Directors of the festival: Marina Koldobskaya (Director of NCCA St.Petersburg), Anna Frants (Director of St.Petersburg Arts Projects)

All news and reports from the opening will be broadcast in the official webTV of the Cyland Media Lab:



* SPEEDLESS, cyber happening
By Anna Frants (USA) and Cyland Media Lab
Exhibition hall at Johann Ravelin, 25 October 2007

* Cyland Media Lab, presentation of website
Lectorium at Johann Ravelin, 25 Ocotber 2007, 4 pm.

The history of the foundation "Experiments in Art and Technology", and the collaborations between artists, engineers and scientists from 1960 to 2000, (USA). Lecture by Julie Martin (USA).

Lectorium at Johann Ravelin, 26 October 2007, 4 pm.

* STORY OF E.A.T. by Billy Kluver 1960-2000s - exhibition
Designed and with texts by Billy Kluver, this history of E.A.T. includes photos by Rudy Burckhardt, David Gahr, Peter Moore, Harry Shunk (USA).

Exhibition hall at Johann Ravelin, 25 October 2007 ¬ 11 November 2007

* SILVER CLOUDS, installation
Andy Warhol (USA).
Exhibition hall at Johann Ravelin, 25 October 2007 - 11 November 2007

* OPEN SCORE, video screening
Video documenting the performance by Robert Raushenberg (USA). Produced by Billy Klüver and Julie Martin for E.A.T. and directed by Barbro Schultz Lundestam. Titles and sound were created by Robert Rauschenberg.
Exhibition hall at Johann Ravelin, 26 October 2007 - 11 November 2007


About Media Lab

CYLAND Medialaboratory is a new artistic laboratory created by St. Petersburg branch of National Center for Contemporary Art in cooperation with St. Petersburg Arts Project Fund, New-York. Together, it is a hospitable residence for the artists of the whole world, who would like to use new technologies in an artistic way. The project is created by Anna Frants and Marina Koldobskaya.

CYLAND has enough technical resources to be an artistic playground for organizing team-work on videoprojects, media-art projects as well as any other artistic activity concerned with up-to-date technologies.

Posted by pmoh-iras-russian-cis bureau at 1:05 PM EDT
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Sunday, 11 March 2007
The Tretyakov Gallery's collection covers a period of nine centuries.
Topic: Art Galleries

The Tretyakov Gallery's collection covers a period of nine centuries.



Apart FROM buying readily available portraits, Tretyakov also commissioned new works by contemporary artists, thus transforming the collection into a veritable centre of Russia's artistic life.

THE second half of the 19th century saw a powerful movement in Russia initiated by a unique assembly of artists historically called the Wanderers. Rejecting the strict canons of the academic system, the Wanderers chose to bring their art to a wider and larger public by organising itinerant exhibitions. The underlying theme of these exhibitions was art as a tool for social commentary and criticism, especially of the inhuman living conditions and political and social repressions of their time.

Art to the masses


In 1870, several artists formed the Society for Travelling Exhibitions trying to "bring art to the masses" and to portray the everyday life of the common people. Called "Ideological" or "Critical" Realism, the works of these artists ran parallel to the principles and ideals of the great Realist Russian writers like Dosteyevsky, Turgenev and Tolstoy.

The vivid narrative content of the works of Vasily Perov (1834-83) and Vasily Pikuriev (1832-90) brought to the public eye the hard and exploited life of the downtrodden. Perov's "Troika" and "Village Walk of the Cross of The Easter" and Pikuriev's "Misalliaance" are striking examples of Critical Realism. Nothing speaks more poignantly than the forlorn look of the dowry less young woman at her wedding to an ancient groom in "Misalliance". So is the fate of the young bride in whose ears a crone is whispering in "Fortune-teller at the village wedding" by Vasily Maksimov (1844-1911).


Support for the movement


It is indeed remarkable that a rich Moscow merchant and a textile mill owner, Pavel Mikhailovicyh Tretyakov (1832-1898), not only shared the social concerns of the Wanderers, but also encouraged and supported the movement. His unmatched collection of the itinerant exhibitions formed a big section of the Tretyakov Gallery. In Tretyakov's eyes the Wanderers were the first independent artistic society.

Tretyakov, a strong and prominent figure in Russian cultural life, acquired paintings that were strongly criticised or banned by censors. But, because of his unassailable position, Tretyakov's patronage became a sign of public acknowledgement and acceptance. Apart buying readily available portraits, Tretyakov also commissioned new works by contemporary artists, thus transforming the collection into a veritable centre of Russia's artistic life.

Vasily Perov's portrait of writer Dostoyevsky, commissioned by Tretyakov in 1872, seems to convey the psychology of the writer. Ivan Kramskoy's portrait of Tolstoy falls in this category of holding high the idols of their times to the full view of posterity.

Another great portrait by Kramskoy is that of the "Unknown Woman" (oil on canvas, 1883) a mysterious aristocratic lady, which always competes for public attention with Karl Bryullov's "The Rider", which revolutionised the genre of portrait painting by catching the subject in action.

Orest Kiprensky's works are a class apart. His masterpiece is the 1827 portrait of Alexander Pushkin. It is not just a picture; it is a study in character. The darker colouring makes Pushkin more sombre, more thoughtful and fiercer, almost predicting the impending fatal duel as inevitable.

Ivan Shishkin (1832-98), Russia's finest landscape painter, combined in his colouring and brushwork photographic details with an element of lyricism. "Rain in the Oak Forest", "Noon in the Moscow Countryside" and "The Corn" are for the Russians the most beloved and nostalgic descriptions of their motherland.

Tretyakov started his collections in 1856. In four years' time he realised the purpose and mission of his work. "For me, a true and ardent lover of painting, there can be no finer wish than to found a universally accessible repository of fine arts, which will benefit and give pleasure to all," wrote Tretyakov in 1860, adding "I... should like to leave a national gallery, that is, a gallery with pictures by Russian artists." In 1892 Tretyakov presented Russia with a large and already famous gallery containing about 2,000 paintings, drawing and sculptures. And anyone, irrespective of his rank and social status, could visit the gallery on any day of the week.


After the 1917 revolution, Tretyakov Gallery was nationalised and became The State Tretyakov Gallery — The National Museum of Russian Fine Art. Works by European painters and artists were removed and Russian works from other private collections that were confiscated by the State were added to Tretyakov's catalogue. The State Tretyakov Gallery richly and justly deserves being referred to as one of the greatest museums of the world.

Harmonious juxtaposition


What is remarkable is the harmonious juxtaposition of various schools, different styles and different mediums spread alongside of each other to project a continuous picture of Russian art done solely by Russian artists. The icons of the 13th-15th centuries merge without any contradiction with the Soviet realism of the 20th century as seen in Deinika's "Future Pilots" (1938) and "At the construction of the new factory shops" for the latter's works capture the spirit of the times as much as Rublev's icons generate warmth in the hearts of the Russians.

2006 marked the 150th anniversary of the Tretyakov gallery. It was a great occasion for celebrations, not only by Russians but also by artists and museums from all over the world. The year long festivities lent a universal character to what is basically a true Russian collection, made possible, as President Putin said, by the "selfless devotion, enthusiasm and generosity of spirit of this wonderful man, patron of the arts and educator Pavel Mikhailovich Tretyakov."

Posted by pmoh-iras-russian-cis bureau at 12:52 AM EST
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