There are plenty of places in Moscow to see contemporary art: museums (both state and private), galleries, foundations, clusters, and other institutions. What distinguishes Zaryadye as a platform, and what is its place on the city’s art map?

I’d say that the location of Zaryadye exhibition halls largely determines its position on Moscow’s art map. Situated in the heart of the city, where tourist traffic is heavy, and in a park rather than a museum district, these factors play a significant role. Additionally, unlike major museums, we don’t have our own collections. Our exhibitions are comprehensive narratives about various art world phenomena, usually centred around contemporary art: radically new creations taking shape right now or established names that have secured their place in the golden canon of art and culture.

For instance, we’ve been developing the VYPUSK (Graduation) project for three years now. Every year, we gather on our premises diploma works by graduates of Moscow’s art universities. In the first year, 16 universities participated; last year, their number grew to 22. Essentially, we demonstrate all artistic specializations and educational tracks. While other venues also host graduate exhibitions, no one has the daring to combine, say, the Surikov Art Institute, Glazunov Academy, HSE School of Design, BHSAD (British Higher School of Art and Design), Moscow Art Theatre School, and VGIK (Russian State University of Cinematography), which represent vastly different artistic poles. But that’s exactly what interests us. We strive to showcase the broadest possible spectrum of young art, destined to step into the wider world and subsequently appear in galleries, art fairs, exhibition halls, theatrical performances, product design, fashion design, and more.

As curator of last year’s exhibition, I deliberately structured the layout with architect Ilya Kurenkov and exhibition designer Maya Frolova to ensure that, right from the entrance, visitors could see both traditional academics and conceptual innovators, with these contrasting lines extending in parallel throughout the hall. I believe this is important because, today, there exist both grand historical themes, where young artists travel to Siberia to gather realistic materials, and virtual realities created with AI, spanning a vast range of artistic practices in between.

Last year, as part of the same project, we initiated a separate series called VYPUSK. HISTORY, to highlight institutional archives from prestigious universities: lecturers and alumni who shaped the schools’ identities over their histories. Two exhibitions have already taken place, one dedicated to the Surikov Art Institute and the other to the Glazunov Academy, both generating significant attention.

Another initiative: in 2021, we introduced the #napotoke (#flowingnow) series at the Underground Museum, exhibiting freshly completed works straight from the studios of contemporary artists. In conjunction with these, we became the first Moscow venue to display NFT artworks physically alongside traditional paintings and objects. Just two weeks later, a hyped-up exhibition opened in a car showroom window on Nikolskaya Street. NFT was a hot trend and we promptly seized the opportunity.

Looking at youth art in the VYPUSK cycle, can you identify any noticeable trends? Alternatively, do you perceive any obvious problems in contemporary art education?

Each time, this exhibition serves as a sort of hands-on manual for prospective students, immediately revealing where, how and what is taught on the basis of grad projects. In the inaugural VYPUSK event in 2022, it was evident that there was significant reflection on parent-child dynamics. Most emblematic was the porcelain sculpture series Inner Child by Stroganov University graduate Anastasia Dozortseva. The children’s figures were covered with inscriptions bearing typical parental remarks that cause pain and injury. One might say this reflected the zeitgeist: such introspection wasn’t prevalent among 20-year-old artists 30 years ago. The 2024 exhibition also highlighted numerous references to the family, albeit contextualized within history and generational connections. An additional observable trend is that many artists complete studies at multiple universities with diverse focuses. At the last exhibition, we showed paintings by Evgenia Baigalieva in sections representing both the Surikov Art Institute and the Free Studios, she graduated from both institutions the same year. In one case, her work embodied classical realism; in the other, philosophical abstraction. I believe many young artists now recognize that technical proficiency, schooled expertise and the ability to think outside the box are equally crucial but these attributes are typically cultivated at different locations.

Concerning problems, one major concern is the disconnect between professional training and real-world applications. We regard this project as a supportive endeavour for young artists. Following last year’s exhibition, we organized an art market, enabling graduates to connect directly with collectors and gallery owners. It became evident that some graduates struggle to evaluate their works appropriately, setting seven-digit price tags comparable to established artists already included in museum collections. Many don’t understand how to sign their works, denote editions, determine provenance certificates and so forth. Realizing this gap, we understood that, in the future, lectures by industry experts will be indispensable.

Specifically, Zaryadye hosts nominees for the Moscow Art Prize. To compete, an artist must create a work in Moscow, about Moscow, and for Moscow, in any genre or direction of contemporary art. How do you assess the impact of this prize on the broader Russian art scene? Are there similar initiatives in other parts of Russia?

Frankly, I’m unaware of any direct analogues to the Moscow Art Prize in other regions but it would be wonderful to have them. The prize features a serious jury of professionals from various sectors, an annual exhibition of nominees and a generous prize pool. Altogether, it provides robust support for artists and encourages development. The principle “in Moscow, about Moscow, for Moscow” allows considerable leeway for interpretation, with it sufficing to satisfy any single requirement. The prize often nominates not isolated works but entire exhibitions held at Moscow venues, musical projects and theatre festivals. This setup enables viewers to see, hear, read, and appreciate what good and important works had arisen over the preceding year. Last year marked the fifth iteration of the prize and I know people who attended all five shows, specifically to monitor progress. I believe the prize helps anchor significant art achievements in the present moment.

Is Moscow’s art discourse of general interest to the regions? What is Moscow’s place on the Russian art map?

Definitely, it is of great interest. Yes, Moscow is the largest centre with more opportunities but I observe keenly how the map of regional art festivals, residencies, and other events is growing. Artists, galleries, curators, and spectators from Moscow come to visit while more and more Moscow gallerists bring their projects to the regions, where they succeed. For example, the fifth Moscow Art Prize nominated the Various Stories project by artist and curator Anastasia Kuznetsova-Ruf. Different authors participate in the project, which has been touring the country for two years: exhibitions have been held in St. Petersburg, Kazan, Novosibirsk, Krasnoyarsk, Nizhny Novgorod, Syktyvkar, and the tour isn’t finished yet. In late March, Vladimir Kupriyanov’s large-scale photography retrospective opened at the Yekaterinburg Yeltsin Centre, following its premiere at Moscow’s MMOMA, courtesy of the pop/off/art gallery, which works regularly with Kupriyanov’s archive. Polina Askeri holds exhibitions in Zaraysk. These are just a few examples of Moscow gallery and artist interventions in the regions. Meanwhile, Zaryadye has been the operator of the Here and Now street art festival for three years, deliberately drawing in regional artists. Right now, installations from past years and partly from 2023 have been installed in Skolkovo, forming an art route where works by Moscow artist Egor Plotnikov, Urals-based Krasil Makar, St. Petersburg’s Anton Chumak and Tomsk’s Taras Zheltyshev coexist. So, there is an exchange of ideas running in both directions.

What work about Moscow caught your personal interest the most at the last, fifth Moscow Art Prize?

I believe the prize is valuable because, despite being Moscow-centred, it goes beyond the Garden or Boulevard Rings. For instance, the fifth prize nominated Konstantin Zvezdochetov’s Two Princes and the King of Iron Stone exhibition project, held at the XL Gallery. While not directly about Moscow, it is a clever and refined commentary on the foundational pillars of our culture, as the artist himself puts it, touching on the journey towards Paradise. The project won first place in the Fine Arts and Architecture category, and the artist turned the award ceremony into a genuine performance. Another nominee was Valery Chtak with his I’ve Already Told This Story exhibition at Syntax Gallery. Sadly, the artist passed away last year. But recently, I visited the IGUMO Institute, where Valery taught and lived nearby. Paintings by him or his students under his guidance still grace the hallways, stairs, and classrooms of the institute. The institute preserves them, adding to the sense of this being a distinctly Moscow-centric tale.

You said that Zaryadye doesn’t have its own collections. How broadly do you collaborate with other organizations and museums?

Certainly, for each exhibition, we involve partners: museums, private collectors, galleries, and foundations. Sometimes, this allows us to uncover unique items. For example, at the exhibition honouring Kir Bulychev’s 90th birthday, we presented the actual myelophone pursued by space pirates in the Guest from the Future iconic Soviet movie. The prop was improvised by director Pavel Arsenov from everyday materials during filming and stayed within his family, never being lent out for any exhibitions. Yet, for us, his daughter Elizaveta Arsenova made an exception. For inter-museum partnership efforts, we even received the FormArt Award established this year by ROSIZO for museum-exhibition professionals. Experts praised the Pavel Filonov. Artist of Global Prosperity exhibition, which resulted from cooperation between the Russian Museum, ROSIZO, Zaryadye Park and the Culture Territory nonprofit organization.

Where do you go in Moscow or travel within Russia to see Russian contemporary art?

I’m professionally biased, so I’m interested in virtually everything: big institutions, underground galleries, and artists’ studios. I find projects created by teams like GES-2 and the Jewish Museum intriguing, not only for their ideas but also for their presentation methods, architectural solutions, and engagement with space. My upcoming plans include visits to artists’ studios and residencies in southern Russia, a graphics and photography fair in Nizhny Novgorod.

Given your location, you communicate with the broadest audience, including those who accidentally find themselves at your exhibition while walking through the park near the Kremlin walls or visiting Moscow as tourists. What draws them most, based on your exhibition programme?

We regularly create exhibitions accessible to a broad audience. For instance, recently at the Underground Museum, we hosted shows celebrating the anniversaries of Vladimir Menshov and Kir Bulychev. These artists have influenced multiple generations and are understandable to everyone, including both seasoned Muscovites and tourists who primarily come to Zaryadye for the stunning cityscape view from the Flying Bridge.