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On April 16, the A3 Gallery of the Moscow Exhibition Halls Association opens the Correspondence from Two Angles exhibition, where the collection of the Association and A3 Gallery will be presented for the first time.

Since 2019, the Moscow Exhibition Halls Association has been included in the register of museums in the State Catalog of the Museum Fund of the Russian Federation, where works from the collection of Gallery A3 are presented.

The history of the gallery's collection began in 1989 and after 30 years it has about 600 works by contemporary Russian and foreign artists. Only a small part of it is presented at the exhibition. The works presented to the gallery and personally to its first director Vitaly Kopachev are not only a sign of respect, but also a manifestation of special gratitude and friendship.

The name of the exhibition is associated with the correspondence that took place a hundred years ago between two prominent representatives of Russian culture - the symbolist poet Vyacheslav Ivanov and the literary critic Mikhail Gershenzon. In the summer of 1920, they found themselves roommates in a "health resort for workers of science and literature" in Moscow and began to communicate, sending each other letters-messages from one corner of the room to another. This dialogue has become one of the important cultural events in the history of Russian artistic thought. Today it would be called an artistic gesture. The closed room of the room for the participants themselves was a stage or exhibition space in which creative dialogue could be realized.

The exhibition project can be viewed as a visual image of “correspondence from two angles”. On the one hand, the sensual works of artists Marina Leizgold, Vladimir Bashlykov, Tatiana Markova, Inna Ivanova, Khsara Gassiev. On the other hand, there are rational works by Clara Golitsyna, Alexander Pankin, Alexander Trifonov, Viktor Umnov, Nikolai Kasatkin, Marina Kastalskaya, Tatiana and Sergei Kostrikov. The viewer, getting into the “rooms”, finds himself in a space of contrasts and contradictions and, moving within the exposition, conducts a visual-semantic dialogue between the emotional and the rational.

CURATOR - Vitaly Patsyukov