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Region: Russia
Type: Interviews
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Culture has always been a unifying force and a bridge between states. Despite economic and political difficulties in relations with a number of countries, cultural cooperation is developing. Vladimir Gusev, Director of the State Russian Museum, is expressing his views on contemporary art, excitement about exhibitions, sources of museum funding, and his passion for reading.

Culture has always been a unifying force and a bridge between states. Despite economic and political difficulties in relations with a number of countries, cultural cooperation is developing. Vladimir Gusev, Director of the State Russian Museum, is expressing his views on contemporary art, excitement about exhibitions, sources of museum funding, and his passion for reading.

In the context of the unfolding of the international crisis many people are saying that it is cultural cooperation that might become an important key to facilitating partnerships between states. Do you share this view?

One should not exaggerate the effect of cultural cooperation in this regard. Nevertheless, culture might often correct the mistakes made in the course of unsuccessful diplomacy, policy, or military operations. Culture is a dialogue that once turned an aggressive herd of animals into human society. So even today, regardless of the complicated situations and sanctions, a lot of work is being done in cultural cooperation sphere. It was the beginning phases of sanctions that the State Russian Museum opened its branch in Malaga, Spain, where it is still successfully operating. The branch of the State Russian Museum has made it to the top-ten rating of Spanish museums due to tremendous interest. Therefore, in the cultural sphere, interest in understanding different cultures remains. For example, we are united with the French by long-standing cultural ties, and, despite a certain contradictions at the governmental level, each society seeks to overcome their differences through culture.

The State Russian Museum has a huge art collection. Are you buying anything new?

The state does not give money for purchases, but sponsors do sometimes help us. We buy works by young contemporary artists while the prices are affordable. However, we do not make any serious purchases, because the world auction prices are so high.

You’ve addressed the theme of contemporary art. Do you think that contemporary art has the potential to become classics over time?

Honestly, I do not have time to follow everything that happens in contemporary art. It is multi-faceted, diverse, and, therefore, seriously changed the social function of art as such. Modern art does not always fit into the framework of traditional museums. Probably, this is the correct way of development, but in that case a different storage format should be developed: for example, for installations it is obvious, there must be photo and video recordings. Perhaps, with this approach, these objects of art will be able to become classical.

Recently, the circle of people interested in art has expanded. In addition, it seems that many people go to exhibitions just to be trendy. What is to be done to understand art better?

Since 2003 we have been implementing a project of virtual branches: 210 electronic branches of the State Russian Museum have already been opened. And it does not necessarily refer to capitals — we work in small towns and even in villages, schools, cultural centers, museums, and universities. All this became possible due to information technology. We were frightened that with the spread of modern technologies, young people would stop going to real museums, getting all information via the Internet. In fact, the opposite has been the case. Through the virtual exhibits, Internet users attain knowledge and information that cannot be obtained in one to two hours in the museum. Furthermore, the same people want to come to the museum, look at the originals, and listen to live speech. However, I think that it is important not to turn museums into amusement and attraction parks, as the latter are in abundance now. But museums should and can be fascinating, and new technologies help us in this instance.

Infographics. State Russian Museum

Currently, Russia is experiencing a certain museum boom. Three hundred thousand people visited the exhibition of Aivazovsky, people stood in lines outside the museum, and please note, without a single incident. I was afraid to pass by the queue, I was afraid that people would be unhappy: "You're driving a car here, and we're standing in line." On the contrary, the visitors stood in lines, because they wanted to see the exhibition. We believe that we need to fight for visitors. Nevertheless, we do not strive for an excessive demand, because the museum is a territory of tranquility and contemplation, where one can relax from the daily hustle.

Could you tell us more about the relations between the State Russian Museum and international partners?

We have been working in a well-established framework for a long time. Recently we held a very successful exhibition of Malevich in Buenos Aires, Argentina. We have been cooperating with Italy for a long time, as Italy has always been a kind of Mecca for Russian artists. In 2018, Italy will become the major partner in the program of Russian seasons abroad — we will open a large exhibition in Verona. Cooperation with Germany is also very stable. I additionally spoke of our relations with China at a RIAC conference.

And who usually initiates cooperation?

Unfortunately, our initiative is limited, because the state finances only one exhibition per year, and we organize an average of forty exhibitions. All of the remaining exhibitions are held at the expense of sponsors. As a rule, the initiative belongs to the hosting side, because it covers all expenses. With long-standing partners, we discuss the themes of exhibitions offered at our initiative.

The number of private galleries is growing. Is it a good sign?

This is okay. The artistic process has always been this way. In the Soviet era, when there were only museums and publications in “Ogonek” magazine, the situation was a bit abnormal. In general, in creative circles, life should not be normalized or regulated. Of course, the broad masses won’t like everything — its contemporaries in general, as a rule, do not like modern art. They think that they are the best, that they are good, and that modern art doesn’t put it this way, but it has always been so for every generation.

Do you have a favorite artist or a painting?

My favorite period is the Silver Age and the beginning of the avant-garde. I cannot name my favorite work of art, it is impossible to choose just one.

People Queuing for Hours to Catch a Glimpse of Aivazovsky's Art Exhibition

What books should a person who is interested in art read? What book made a great impression on you?

It is absolutely impossible to name a favorite book, just like a favorite painting, not to offend the rest. Favorite book and the most vivid impression — it's like fireworks in the sky. Each book is read at a certain age, at its time, and it appeals to the reader’s liking. All my life is connected with books, and the only thing I can advise is to read as much as possible. Once I was asked what my table book was. I said that there should be three books on the table. One — read long ago, but the one you come back to quite often, shabby, with bookmarks. The second is the book you are reading right now. The third is the one you are going to read, but there is not enough time. It is necessary to find time for reading so that books do not disappear, like in the novel, Fahrenheit 451.

What is the next book you are going to read?

There are so many of them, that I cannot find time to read them at all.

Interview by Maria Smekalova, RIAC Website Editor


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