The director of the Moscow Museum spoke about changes in the museum for the year of their work on the post and new permanent exposition

Interview with Alina Saprykin, Director of the Moscow Museum

It took more than a year since Alina Saprykin took the position of director. During this year, a lot has changed, but the main thing is the vector of the museum. From a marginal place with a permanent exhibition and huge stares, the Moscow Museum has become a living platform for temporary exhibitions (including contemporary arts, and projects related to the history of the city), lectures and various kinds of markets that are regularly carried out in the renovated courtyard of the museum. In an interview Aroundart. Saprykin spoke about how to comply with the line between entertainment, research and exhibitions for a wide range of spectators, on the results and future projects, as well as about the new permanent exposition of the Moscow Museum.

Ab: Was your first year in the Moscow Museum - what are the main achievements and failures?

AC: The most important thing in the museum for this year is the understanding of its new scale. He grew up from the city history museum, and it was important to re-formulate the concept of the museum without losing his history. We have added a line dedicated to modern Moscow, and now the museum claims to become one of the best with museums of other world capitals. We studied the experience of different sites: city museums of London, Amsterdam, Berlin, Shanghai, Singapore ... All of them are very different, and our task is to find your image. Local history museums of cities arose mainly in the 1960s and 1970s. New urban museums in 2000s - no longer local history, these are complex museums, city life centers, which reflect modern art, architecture, urbanism, fashion; These are discussion platforms and exhibition, communication and presentation, it is a forum, and publishing, and educational program. That is, everything that happens in the city is now, everything should be shown in the museum of the city.

Ab: What will be the new permanent exposition of the museum?

AC: We see a new permanent exposition as the main part of the city museum and we think about how to show the story is not static, but alive. Of course, it must be modern, multimedia, impressive. Museum of Moscow arose at the end of the XIX century and has a diverse collection in a million storage units. These are archaeological finds, painting, sculpture, graphics, photography, documentary sources, rare books, car collection, urban collection (gate, lights, advertising signs), objects of everyday life citizens (clothing, interior items, dishes) and much more. All the general planners, layouts, projects on the expansion of roads, on the construction of buildings, decrees, awards, were performed here. And now we must very carefully analyze the accumulated wealth, on the basis of which it will be possible to design a permanent exhibition. This is our main goal - to implement this project.

Ab: When do you plan to open the historical part for the audience?

AC: Provider warehouses in which the Moscow Museum is located, need restoration. Works can be implemented in stages, the corps behind the building, without suspending the development of the museum. This year, funds were allocated to the restoration of one small house, Cordhegardia in the center of our complex, he is now in disrepair. There we want to place a children's center. Restoration How it began with the demolition of washing in the center of the courtyard, with a gradual return of the historical appearance of the territory. We plan a phased restoration to not close the museum. According to the results of a comprehensive survey of the provincial warehouses conducted for the year - and they were built in 1835 and have never been restored - a project was prepared, which was already agreed with the Moskomnaster. This is the basis, but if it is implemented as it is, then we will fall in 1835. And we need a modern museum. Therefore, the second stage is necessary - this is a project to fit.

Washing in the courtyard of the Moscow Museum, solemnly demolished within the night of the arts // colta.ru

Ab: Have you not yet proceeded to him?

AC: Not. The complexity is that restoration work and adaptation must be carried out simultaneously. There are no devices for the device yet - we only plan to declare a competition. This is a long way. And when spaces are prepared, then it will be possible to talk about the opening of a permanent exposure, over which we are already starting to work.

Ab: Do the same and new employees do these?

AC: Yes, some keepers and researchers work at the Museum of 20-25 years old, they are engaged in scientific inventory of funds, go through all the material and pull out the most valuable things. Having moved to the provincial warehouses in 2011, the museum transported its collections here, as well as a part of the old permanent exposition - this is "ancient and medieval Moscow". In the future exposition, we have an idea to deploy the history of Moscow from antiquity to the present day. And here it will be important to use the newest technologies and interaction with international specialists - we do not plan to develop a concept exclusively by our own. So, Pushkin Museum, for example, worked with the French company, Polytechnic - with the British, the Jewish Museum - with the Americans.

Ab: In which halls it is planned to place a permanent exhibition?

AC: Perhaps on two floors of the central body, a wide facade of the outgoing garden ring. Two other buildings we plan to use for temporary exhibitions: on the history of the city and its relevant events, art, urbanistics, architecture, photographs, on issues, such as transport or ecology in Moscow, according to new interactive projects with urban residents. If we talk about incarnation - it should be similar to the exposition of the Jewish Museum in the Bakhmetievsky garage.

Ab: That is, this is such an anthropological principle, show Moscow through the fate of people?

AC: In general, yes, through people first. Show the history of Moscow as the capital of a large country with key cultural events through a simple person, fate and life, simple things concerning everyday life. It is a lot of such material in our funds.

The main project of the IV Moscow International Biennale of Young Art in the Moscow Museum, 2014 // Photo: Museum of Moscow

Ab: And how is the exhibition plan formed now and is formed? After all, many of your projects are not directly related to Moscow, with urban history. Are you not afraid to become another museum of contemporary art?

AC: We try to miss all the projects through the idea of \u200b\u200bthe city and Moscow - all our projects, even if it is a market for food in the yard or a children's holiday, are associated with the sensation of the city, and in a variety of contexts. For example, at the Graffiti exhibition, we also show photos - Moscow with inscriptions on the walls of urban homes at that time when as such a graffiti genre has not yet existed. And here the whole dynamics are traced: how this phenomenon arose, as developed and as settled in the museum.

Another thing is that the range of those exhibitions, indeed, is wide. But we always explore Moscow: in historical perspective and in modern times. What is the most interesting thing happening? Biennale of young art: Who is this? These are the same citizens, the best, beautiful, who are engaged in understanding their time and show it in their work. Ideally, if we get to us, say, tourist, he first meets the history of the city, who has many years, and then falls into the most relevant center, in the most thick of city events - Biennale, forum, Fashion show.

Ab: Is there a program for the development of museum branches? Maybe some cross-cultural exhibitions on different sites?

AC: Our museum center combined seven museums. And everyone has their own team, their own director, their own program and concept. We have in provincial warehouses we are planning to make info-point for tourists, where they are provided with all information about cultural events in the city, where it would be possible to accredit for events, buy tickets to all museums, not only in seven of our branches. We as a museum of the city should operate with all urban information. Our branches are very different: the Museum of the Russian Manor Culture of Velvernskoy Kuzminki, a museum in the embankment, created by the tenants of this house, Museum Museum Museum of Harmonica Mirek, Museum of History Lefortovo, Old English courtyard, Museum of Archeology, the only underground museum in Moscow. And as a museum of the city, I would like to be the correct operator of all that is happening, somehow highlighting the possibilities and branches among all.

Ab: And you have plans to bring exhibitions from London's urban museums, Paris, conference can be somehow spent?

AC: We plan, of course, and - bring. In the International Museum Union of ICOM, there is a combination of Comc, where the cities museums are included - that is, this is a separate such association: urban museums are actively exchanged by information, cooperate with each other, hold conferences and forums. And our Moscow Museum plays an important role in it.

Exhibition "Urbanism: a city in my mind" in the Moscow Museum, 2013 // Codered.Ru

Ab: How is your exhibition plan formed? Is there urban funding?

AC: Before us, as in front of all museums, is now set up the task of increasing extrabudgetary income. We have different commercial offers for our visitors: a souvenir shop, workshops, you can note the children's birthday, there is a tour desk that drives tours of the museum and throughout the city, you can order copies or prints of interesting things from the funds. We also have a huge and very beautiful courtyard - in it you can spend a wide variety of events, including mass. We try to attract the Museum's strategic partners for the year or more, as well as invite sponsors or partners to one-time exhibition projects. We have more than 20 exhibitions per year, there are joints - for example, "", the curator of which was Irina Meglin. Means are also accumulated differently: budget, partnerships, sponsorship. The significant event of this year is "Moscow during the First World War". In modern times, the Kurator project "", IV Moscow Biennale of Young Art. In the autumn there will be an exhibition dedicated to St. Petersburg - "Another Capital". From partner projects - work with artists Vinogradov and Dubosar, who go to our funds and revise things, trying to combine history and modernity in the "Extralling Reality" project, which will open in September. In winter, we want to open an exhibition dedicated to childhood in Soviet times, a little nostalgic. One of the largest events will be, of course, the festival on the day of the city.

Ab: About the publishing program will tell?

AC: The publishing program continues the traditions of the museum - this is the publication of books, guidebooks, reprint of old cards, new books about the city. During this year, we made a guide to the Petrovsky travel palace, prepare the book on the history of the most interesting houses of Moscow. We made a corporate identity for the publishing program, Designer Nastya Yarullina, who came to us from the "Moscow news", came up with recognizable covers. For the year we had some number of professional young people who were integrated into the academic team of the museum. And our task, combining different people and specialists - grow in an even more successful institution.

Ab: What are your personal feelings? Do not regret what came to civil service?

AC: Not! After all, it is amazingly interesting - and this is a chance to do something really very important and significant for people, for the city. Interesting, firstly, the playground itself, we are dealing with ampir, with a magnificent architecture, in which it is a separate feeling. And in these spaces we create a special museum - the Museum of the city of Moscow, which on the one hand is very young in its new format, on the other hand - he was 118 years old, his collection was collected by people of different eras, the thing to things, described, were investigated, stored and Transmitted to us, and our task is to convey further, along with information about our time, about our city.

Ab: Are you buying something modern to the collection? What recent appeared in the funds?

AC: The process of replenishing our funds is constantly. From purchases it was Leschesev's things, princes of Golitsyny ... We also actively accept objects as a gift. The museum is traditionally replenished thanks to the patrons: at first it was noble or merchant families, later - the Soviet elite. In addition, the entire archeology that rolls in Moscow enters the Moscow Museum by law. Recently, in the area of \u200b\u200bthe Covarian, for example, warehouses were excavated - curious samples of dishes arrived. As for modern work, we are just developing the concept of the recruitment: it will be an urban environment, fashion, design. We now only start this line.

Ab: Have a dream?

AC: Now we focus on temporary projects and city-wide events, because we are in the restoration and description of the funds. Our dream is one of the best museums of cities in the world. We all have everything for this: playground, funds, active life around. We must become a place where everyone would be fine. Moscow is a city of contrasts, and the museum could be a meeting place for very different people, different layers, different ages, different interests. Now there is a very lack of space and dialog sites, for a conversation, and we hope to become the platform for communication, which would trust a variety of people. Museum's task - so that everyone loves everyone. This is the function of the coordinator, moderator, the operator, for us the visitor is the most important thing. If the visitor wants to see the great history of the Great City, he should find it here. The request is important, but also an educational function. We want to be a museum for everyone. This is not a question of contradiction, this is a matter of model. The creation of such a model is my dream, an idea and supercount. A model that would be harmonious, solid and at the same time would be a product, modern product.

The exhibition "Where does the homeland begins?", Curator Irina Meglinskaya, Museum of Moscow, 2014 // Daria Tumminas / Ivan and Moon (Brothers Nechaev, Ivan and Andrei) Arkhangelsk region, Mezensky district

Alexander Petrosyan / Oleg Zinatullin - Restorer, Watchmaker; St. Petersburg
Oleg Klimov / Alexey Pavlov (32 years old) - Schooner Star, senior mechanic; Waterlife of the Kuril Islands, Pacific Ocean
Elena Chernysheva / Anna Vasilyevna Bigus - the former prisoner of the Gulag; Norilsk

Before talking about the scale of the personality of the heroine, some details about the museum, which she successfully and selflessly lead. Moscow Museum is one of the oldest in the city, he is 121 years old. Opened on December 1, 1896 on the initiative of the Moscow Duma and was located in one of the cross watering towers in the Riga posture. When creating the museum there was a single employee - a caretaker towers. He is the keeper of the exposure and guide. Now the state of the museum exceeds 400 people, he is under the jurisdiction of the Department of Culture of the capital, and on his care - one of the largest collections in Russia - more than 1 million artifacts - items related to the history of Moscow: painting, graphics, photos, cards, plans, posters , layouts, documents, household items, clothing and even cars.

But Moscow is not only a story. This is the modern life of the city, which is now reflecting the museum. Recently, the Moscow Museum has become a fashionable place where the whole family comes. In fact, the museum is a long and difficult story, he changed the name several times, place, concept. But since 2010, the "wandering" ended, he received a decent platform in the center of the capital - the provincial warehouses - and successfully synthesized his past. Now the Moscow Museum is among the five most visited museums of Moscow subordination. Here is a modern urban museum, and in this regard, he competes with such business cards of world capitals - Museum of London, Museum of Paris, Museum of New York, Museum of Berlin, Museum of Amsterdam, Museum of Singapore, Museum of Shanghai, Museum of Tokyo, Misico and others.

"We combine Muscovites in the fifth generation with migrants or with people who only arrived, young ..."

Marie Claire: You got a museum 4.5 years ago. What condition he was then and what did it manage to do?

Alina Saprykin: Museum of Moscow has spent a lot of time and strength to move to the provincial warehouses and for the city as if lost. Before us was the task of full restart. My idea was that today, in the XXI century, it is necessary to talk about Moscow and interestingly, with the involvement of young artists, architects, designers. We began to create a progressive urban museum, which would associate contemporary art with tradition, history with avant-garde and power with citizens. Our landmarks: on the one hand, constantly moving and developing Moscow, on the other hand, new models of similar museums. We are all director and curators, we communicate, we enter the International Union - the youngest museums in the world. Every year we are going and discuss where we are moving and how. In 2015, everyone met in Moscow. Experts came from around the world. At this conference, we defended our new concept before the colleagues.

And what is the idea of \u200b\u200bthe concept?

The most important thing is urban museums are called upon to unite people. These are multifunctional platforms, and they are created with the participation of the residents themselves. It was then that they are modern the rest. And this means that we must be dynamic. That is, this is something arises, some kind of idea in the city hangs in the air, and we have already embodied it. And it is done not only with the help of exhibitions and excursions. This is a lecture, and educational programs, forums, multimedia projects. Experiments, new genres begin to live here, for example when the exhibition is held together with theatrical presentation. In general, in four and a half years, we opened a cinema, a lecturer, a children's center, updated the city tour desk, adding the program of new pedestrian and bus excursions in Moscow, revived the publishing program, opened a cafe and souvenir shop. The courtyard of the museum turned into a living space, where festivals, film images, flea markets, children's holidays are held. Over the past years, we have improved the work of the branches: the museum of the Archeology of Moscow, the old English courtyard, the estate of Vellaner-Kuzminki, the Museum of History Lefortovo. Opened a new branch - the center of Gilyarovsky. We also took part in the creation of an underground museum in the "Charity" park - in a word, our activity can be listed for a long time.

"All this new wave, hippie, punks, rockers, shaved whiskey, metallers. It will come back soon. But, of course, not one in one, transformed "

A woman always tries to express himself: with the help of hairstyles, makeup, clothes. And how can this be done, having a whole museum?

To lead a major institution in an equally man, and a woman. But the female approach to business has its advantages. For example, a feeling of harmony, when you want to make the world around yourself better. For me, it is to harmoniously combine the history of Moscow with Moscow today and with Moscow future. We create a comfortable, friendly space, in which cozy, nice and interesting. All from Mala to Great. We combine Muscovites in the fifth generation with migrants or with people who only arrived, young; Not only a multi-time audience, but also a diverse.

So you are the Museum of Tolerance of Moscow?

In some sense, yes. This is what is missing to our city: calm, consensus, common values \u200b\u200band the ability to people of different views on one territory without aggression and conflicts. If we talk about simple examples, the exhibition "Old Apartment" opened in December turned out to be successful. Adults come. They give teenagers, children, tell about how life has been arranged: how with time she changed, as the streets of Moscow changed, what shops were, as the apartments changed and everyday life. It's like a trip in the time car. By the 870th anniversary of Moscow, we made an exhibition "The History of Moscow for children and adults" - she is now open. Here you can see fragments of the first Moscow Kremlin, which we know about the annals. The first jewelry, the most rare finds, vintage coins, games, clothing. Watercolors Apollinaria Vasnetsova, who created images of Moscow XV, XVI, XVII centuries. Also, the famous reconstruction of the Anthropologist Gerasimov - we have not only the busts of Ivan the Terrible, Andrey Bogolyubsky, but also, for example, the cast of the head of the usual Muscovite, who lived a thousand years ago.

And on the topic of fashion history and beauty do you have anything?

Last year, the exhibition "Fashion and Revolution" was successfully held, organized together with Alexander Vasilyev. We showed how historical events before, during and after the revolution, they affected the fashion and lifestyle: women's dresses were presented in 1907-1927, as well as all the most interesting revolutionary artifacts of Moscow from our stockbirds - banners, posters, orders, photos, Documents, newsreel. In addition to exhibitions, we have fashionable depressions of urban clothing, events with young Moscow designers.

"We have long wanted to make an exhibition about the history of female underwear. In places it looked, of course, incredible. "

According to your feelings, how often the fashion is repeated? What year magazines are worth up with modern Fashionista?

For history, the term of serious rethinking is 50 years. Fashion repeats itself, as it seems to me, about once every 30 years. We this year, for example, make an exhibition about Moscow subcultures of the late twentieth century. First of all, the music. All this new wave, hippie, punks, rockers, shaved whiskey, metallers. It will come back soon. But, of course, not one in one, transformed. The most fashionable Russian designer in the world is now - Gosha Rubachinsky - this is also about the fashion of the urban outskirts of the late 80s: the appearance of sports clubs, guys in sports costumes, with sports bags. This image is now a great success.

And in our female national costume ever had a line of erotic linen?

We have long wanted to make an exhibition about the history of female underwear. In places it looked, of course, incredible. It is almost kunstkamera. Until certain time, all these female tricks looked not particularly erotic. But the clothes are always somehow reflected something more. When the innovations began under Peter I, the Russian women began to take more active participation in public life, generally the role of a woman has changed a lot, and the outfits changed significantly - before that, our ladies hit foreigners rather their wild makeup: strongly painted eyebrows, bright blush, black teeth, Clothes in several layers. Matryoshka, the Dymkov toy partly retain this heritage. In general, to compare today's life with the life of our predecessors is very interesting. This, among other things, is engaged in our Moscow Museum.

Do not miss!

"Spring plane" (March). Exhibition of artist and designer Olga Soldova. Lyrical statement about Moscow, based on socialist utopia and the modernist canon of beauty.

"Tragedy in the corner" (March-May). Large-scale exhibition of young Russian artists. The project is aimed at identifying relevant trends in art.

"Three stories of the provincial" (April). Museum of Moscow gives us tribute to his unique complex and invites you to remember his story.

"Football House" (June-July). A large-scale project to the World Cup.

Also in 2018, at least two festivals - "Commission" will be held at least two festivals - "Commission" (the largest forum of graphic designers working with the urban environment).

Detailed program of events of the Moscow Museum - on the site Mosmuseum.ru

And it's all about her

Alina Saprykin

Family status: Married, Three Children
Education: Philosophy Faculty and graduate school MSU. M. V. Lomonosov
Career: Participated in the creation and development of the first ArtPlay art cluster in Moscow, in the opening and projects of the center of modern culture "Garage", organized more than 100 exhibitions and large-scale cultural events. Winner of the Caryatid Prize in the field of cultural management (2012). The winner of the premium "Made in Russia" in the nomination "Museum business" (2014). Awarded the Medal "Shuvalov" of the Russian Academy of Arts (2014). Nominee in the nomination "Museum of the Year" ART NEWSPAPER RUSSIA (2016).
Awarded the certificate of diploma of the Moscow City Duma "For merits to the city community" (2017)
Perfume: Fragram Penhaligon's
Favorite brand of clothing: Jil Sander.
Car: Mercedes.
Favorite author: Chekhov

The Moscow Museum opened an exhibition "Alphabet of the Museum", telling about the lives of Moscow to different epochs. At the exhibition, the Moscow world was divided not by historical periods, but by letters, although the most unexpected items. The director of the Moscow Museum Alina Saprykin in an interview with Anne Kocharova told about how the urban museum "communicates" with visitors, as he reaches the changing Moscow and the stormy life of the metropolis.

- Why did the museum decide to submit his collection in such an unusual form - ABC?

- Our collection is one of the largest - in it more than a million items - and very diverse. Usually the museum, depending on his profile, collects certain materials. We are unique in this sense, as we collect everything related to the life of the city and citizens.

- Why did you decide to submit your collection now?

- It seemed to me that it was very important to do now. The Moscow Museum this year marks 120 years. The museum has an interesting, but not easy fate. He changed the name four times, five times - the playground. He all the time reflected the city, changed together with Moscow.

From the museum of urban communal services, he turned into that Museum of Moscow, which we see today. Always been located in some special buildings - in the Cross Water Tower, in the Sukhareva Tower, now here, in the provincial warehouses, in one of the best architectural complexes of the capital.

The museum moved to these buildings for several years, finally transported the collection in 2011. Since 2013, for three years of my work, we have made and agreed on the project of the restoration of the architectural monument, developed a sketch of adaptation under the modern multifunctional museum complex, and in parallel expanded the formats of museum work, opened new directions: cafes, children's center, lecturing, cinema, souvenir shop , courtyard with a scene for concerts and much more. Of course, in the anniversary year we want to talk about the history of the museum, and about the future.

In three buildings in the future, we would like to see a permanent exhibition (which, by the way, the museum has no since 1949), dedicated to the development of Moscow and the halls of temporary exhibitions, and open storage. Such an amazing collection, like ours, should not be available only for chosen. It can "work", be represented by a wide range of visitors. And the exhibition "Azbuka Museum" to some extent - "rehearsal" of this open storage. Together with the curators, architects, designers over the project worked primarily all our friendly team of the Guardians.

- How was your collection formed?

- In many ways, at the expense of gifts or the city, or the citizens themselves. These are things from the patrons of the merchant and noble pre-revolutionary surnames, the things of the Soviet elite and Bohemia. Famous people and ordinary Muscovites transferred their collections entirely - we have about 400 such personal assemblies.

- Citizens continue to transfer their belongings in the museum?

- Of course. Personal replenishments were associated with an exhibition dedicated to the anniversary of Victory in the Great Patriotic War. We then did a separate showcase and offered people to bring their family relics associated with the war. It was interesting to observe how the shop window was constantly changing. People brought school essays, military certificates even with blood traces, children's toys, photos, letters. When in this way come across historical material, there are completely different sensations.

Our most importantly, our replenishment of recent months is archaeological finds in the framework of the implementation of the program "My Street". Probably so quickly we have never reacted to what is happening. At the exhibition "Tverskaya, and not only" we show 100 findings from 2 thousand who were discovered.

At the exhibition you can see the instrument of the fake XVII century, which was found in the old pavement on Tverskaya. This is one of the strangest items. And then a variety of things - from small tiles to ax, buckets, tombstones, decorations, dishes. Window lattices at home on the meat street, which were performed on the project of Shechor, we set two: before and after the restoration - showing what is happening with the thing before it falls into the museum collection.

We are interested in reflecting the life of the city in simple details, very touching and understandable. We try to do this modern, we cooperate with young curators and architects, designers, invent additional educational and interactive programs for exhibitions. For example, at our exhibition "Azbuka Museum" in the section "Restoration" on a certain schedule come restorers and work directly in the exhibition hall - this is part of the exhibition.

- Which today, in your opinion, should the city museum be?

- It must be a multifunctional, open, friendly, must keep memory, reconcile everyone with everyone, respond to current changes, be the conductor of all the best that is in the city. There are classic museums, but we are more than the museum. The urban museum is both cultural, and urbanist, and social center. We are very connected, on the one hand, with history and heritage, on the other hand, with a real city and people around, and this means a constant movement, life.

- Now people have become actively interested in the history of Moscow, city excursions, walks are popular. Why did such interest arose?

- In our rapidly changing world, people are looking for rooting, the basis. I want stability, I want to feel the continuation of something: long time and large space.

In our museum we give both. The museum itself is not one location. We carry out exhibitions on the boulevards, in transitions, in the subway, we work in the urban environment. Unlike other museums, where the subject is the art of Lee, history, technique or something else, our subject of study is a city around us. Our exhibit is Moscow.

- And when should you think about the museum of Moscow of the turn of the twentieth and XXI centuries?

- Museum is a continuous process. Of course, we collect items in our collection related and with today's day: urban environment, design, fashion, music, cinema, art. The objects of everyday life are quite difficult to choose - I want to guess the most typical things for time. Previously, such items "catch" was easier. Everyone worn, for example, the boots "on the cake" or used the Riga cosmetics, burged Burda magazines, and urban officials, for example, wore "pie caps".

Now we see yourself from the side difficult. Clothes, phone numbers, bicycles, books, photos - all this, like a hundred twenty years ago, the Moscow Museum continues to collect, however, something is already digitally or printed on a 3D printer. We live in a metropolis in the XXI century.

Director of the Moscow Museum Alina Saprykin - About the future museums, the capital of the XXII century and the differences between the Moscow visitor from the foreigner.

The Moscow Museum is a place that connects history in one space and modernity and talks about what is happening in the city right now. Museum formats, educational programs are freely living in the museum space, theatrical productions are carried out, film markets and concerts are held, flea markets are arranged, food markets, festivals, competitions and feshene shows ..

- In Moscow, the largest Intermouse-2017 festival was completed, participation in which more than 150 museums from all over the country took. This year his topic is the "Museum of the Future". How does the Moscow Museum reflect?

- At the festival, we presented the presentation "The Museum of the City - a View of the Future", which reflected the feature of urban museums, their role today. The city museum is a special format. On the one hand, this is a museum, and on the other - a platform dedicated to the city, which all the time changes, moves. The main memes of the urban museum are the events taking place with the city and its inhabitants. In our case, the museum is entirely dedicated to Moscow, its uniqueness and manifold.

We are located in the city center, in one of the best architectural complexes of the capital. Provider warehouses - a monument of the architecture of the federal significance. Also, under the control of the Moscow Museum there are small museums - the old English courtyard, the Museum of Archeology of Moscow, the Museum of History "Lefortovo". And the estate of Vellaner-Kuzminki. Today, the Moscow Museum is space with repository, exhibition shows and excursion programs, as well as a multidisciplinary educational center, which lectures, master classes, round tables, educational programs. A place in which not only museum formats live freely, but also theater, movies and more. We undergo theatrical productions, filmmakers, flea markets are arranged, food markets, festivals, contests and feshen shows.

City fashion, art, music, literature - everything starts to live here in the museum space

We do not just think about what the museum will be tomorrow, but we become a large reflection of Moscow, its mirror. Moreover, our task is to tie yesterday, today and tomorrow the capital.

Tell stories and look into the future

- The modern museum is trying to cover as much directions as possible: and exhibition projects, lectures, and scientific work. Can one complement the other and how to combine research work without losing visitors?

— Research does not happen by itself. It is always a study of a particular topic to be implemented in a specific museum product. For example, we will soon have an exhibition "Moscow by the eyes of foreigners", and our curatoria group is engaged in research work in this area, collects and analyzes the sources related to the XVIII-XIX centuries (this period will be shown at the exhibition), systematizes information Looking for a new on the topic.

The concept and content of the project is always primary. Then there is a job with a collection and detailed research work. And not the opposite when the museum would show collectible items and archives simply because he has it.

As for the museum as an educational institution, it works with the most difficult modern task - helps a person to navigate in information and independently acquire comprehensive ideas about the world. Here in the urban environment, for example, design and navigation helps us. But the XXI century man lives in two worlds - real and virtual. The virtual world in size is comparable to real and gives a huge amount of information that is becoming more and more and within which everything is harder to figure out.

Museums as the storage location of the real world artifacts and as a place for structuring the information of the world of virtual, as it seems to me, will become with the time of the areas that will associate these worlds. For example, we are trying to look into the future and see what Moscow will be tomorrow. What for? To make all of us depending on us so that life in the future has become better. To convey to the future history of Moscow, which our museum keeps for 120 years.

We are trying to look into the future and see what Moscow will be tomorrow. What for? To make all of us depending on us so that life in the future has become better. To pass into the future of the history of Moscow, which our museum has been kept for 120 years

- Museum must be a storytellor?

— Museum exhibitions must tell stories. It looks like creating movie scripts. Then, it all depends on the technical capabilities of the implementation and many more factors.

- If you submit, for example, 2047, then what do you see Moscow?

— To the 120th anniversary of the Moscow Museum was shot by a cartoon, where such a version: "Mayor of Moscow becomes an artificial intelligence, the twenty-fifth transport ring has been launched, and the Moscow Museum remains the main city museum." Or you see in the corner - this is the work of Konstantin Batkinova "Moscow, 2117". The artist at our request drew the capital in a hundred years. This is a futurology, personal artistic statement, but that it is valuable for us: we see the perfect space megalopolis - and we learn Moscow.

Museum of Moscow, collecting everything connected with Moscow, and possessing a unique collection of one million units of storage, consisting of cards, plans, painting, graphics, photos, layouts, engravings, documents, items of daily, books and much more, - so The museum keeps also how our ancestors tried to answer such questions. For example, there is a well-known series of postcards "Moscow of the Future", made in 1913 on the order of the EINEM factory and showing Moscow in 2013. This is one of my favorite exhibits of our collection.

What do I personally think about the future? The city will continue to develop, the pace, of course, will even increase. It will save heritage and architecture. He will embody new technologies. People will be tolerant to each other, otherwise it will not come out. By the way, foreigners are most striking - that Moscow gives so many opportunities and very much combines. As if this is not a city, but a puff pastry in which such different people live. Where history coexist and modernity coexist, and new ideas are born at the intersection. It seems to me that this uniqueness is - she leads us to the future.

Museum of Moscow - Museum of the city, Mikromodel Moscow

- Can the museum platform turn into an urban environment, go out into open spaces and get into the "non-sterile" atmosphere for exhibition exhibits and projects?

— There are artistic museums, natural-scientific, musical, military-historical, literary, memorial ... A museum of the city - he is always so alone in every city. In each megalopolis and the capital of its own - in New York, Paris, London, Amsterdam, Tokyo, Shanghai. By the way, urban museums are very different, and each of them, as a mirror, reflects its city. Imagine the micromodel of the city reflecting his device in miniature. This should be the urban museum. And he must actively go out the open Wednesday and with exhibitions, and with ideas.

For residents of the city, this museum is like a house, and for tourists - the ability to come in touch with something real, alive

- How to compare the main art gallery of the city and the main city museum, for example?

- Let's try on the example of traveling. As we know, two types of travel are common: the first is to buy a tourist ticket and go to another country with excursions and a guide or the second - to swim from the locals. With the ability to visit your birthday or wedding, try home kitchen, feel the feature and energy of this place. So, the art gallery will provide you with the opportunity to see the best masterpieces stored in the city. A city museum is a playground that immerses in history plus a modern atmosphere of space. For residents, this museum is like a house, and for tourists - the ability to come into contact with something important for his understanding, as well as the present, alive, what is happening in the city right now.

Muscovites and foreigners

- What exhibitions or exhibits cause the greatest interest among visitors - historical or modern?

— Complex issue. Our exhibition "Moscow Thaw" is historical or modern? This is a project that told why we became such as it is now, what categories thoughts, how these concepts were formed, what ideals we live and why. The exhibition answered questions, as the events had influenced people: the first flight of a person in space, the first Moscow film festival, the first rock festival, the opening of the Genetics Institute and so on. It was a project about Moscow now, but he told about thaw then.

Now we are working on the exhibition "Three Festival" on the one hand, the future World Festival of Youth and Students in Sochi. On the other hand, the exhibition will tell about generations of the 1950s and 1980s and how the oldest festivals of young people and students who were held in Moscow were.

In the exposition "Moscow. Fashion and revolution ", which recently closed, we showed a revolution, ten years before the events and ten years after, from 1907 to 1927. This was done by modern language, but about the historical era. There is always a connection. Interesting connection.

- Is there a feature of the Moscow viewer, who distinguishes Muscovites from other visitors to the museum?

— We always say that the task of the Moscow Museum is to combine a different audience, given that everyone has their own preferences. For example, Muscovites 60 plus most often nostalgic on the departed city and love exhibitions dedicated to their time, Moscow, which is no longer. Children are interested in everything that happens in the city right now, especially what they can attach, what can participate in.

Muscovites perceive the city through their lives. Adults - through memories, children - through their active experience. At exhibitions, we make separate routes for the child and for adults. Example - Our exhibition "History of Moscow for children and adults". These two categories are looking for different, and the museum seeks to help the visitor to find the right one.

Muscovites perceive the city through their lives. Adults - through memories, children - through the ability to participate in something

- How do foreigners perceive the museum?

- For foreigners, a trip to our museum is contact with the city, which they, as a rule, have repeatedly seen in the movies, in the photos and about which they have already formed some kind of performance. Finding towards us, guests are behind the scenes of a diverse metropolis with a rich and interesting story and re-discover Moscow. Feeling opening is tourists. Muscovites are a feeling of involvement.

The ability to touch, create or take part

- By the way about the relationship. Can I take pictures and touch the exhibits?

— We can take pictures, and we have exhibitions in which the exhibits can be touched. These are copies often indistinguishable from the original. Now in museums there are exhibits that can be touched, costumes that can be worn, moreover, there are exhibitions in which you can participate in the production.

Go with the most unusual excursions in the museum or district where it is located, draw a book, create a cartoon, make theatrical production, to participate in it - today everything is possible in the museum

You can get acquainted with the exhibition with the guide. Here, too, a large selection is to ask us a regular guide, or a candidate of science, or even the very curator of the author of the exhibition, and maybe even the keeper, and then, together with him, go to see how the museum fund is arranged. The museum can go to the cinema, to lecture, buy rare books in souvenir, delicious dinner. In the museum you can celebrate your birthday, setting the invited guests an intricate quest for exposure. This summer has the opportunity to be in the museum in a children's camp. You can lie in the yard on the lawn and just sunbathe. Recently, the grooms and the brides were taken to us and photographed in the courtyard against the background of buildings - the provincial warehouses as a rare sample of an ampury, the architect Vasily Stasov, 1835, this is probably very good.

Go with the most unusual excursions in the museum or the area where it is located, draw a book, create a cartoon, make theatrical production, to participate in it - everything is possible in the museum today.

Interview:Alice Taiga
Photos:Alexander Karnuhin
Makeup: Fariz Rodriguez

In the heading "Book Regiment" We ask journalists, writers, scientists, curators and other heroines about their literary preferences and publications that occupy an important place in their bookcase. Today, the director of the Moscow Museum Alina Saprykin is divided by its own stories about your favorite books.

Alina Saprykin

Director of the Moscow Museum

For me, the book must be tangible, having weight, story, smell paper

Do read books affect the choice of profession? Yes, they are simply tremended. Like air like people near. Because of them are you for yourself. I love to read how much I remember, years from six. Of course, now my children have been reading for four years, but before, before the school, the Soviet school with vigorous world and pioneers - especially in no hurry: everything else. We had a big library in the house: from philosophical and cultural books before textbooks on economics and cybernetics are the specialties of my parents. We also had many art albums. I myself read everything in a row - what came across that a new one appeared. Books in my childhood are generally more appreciated, and the library was judged by a person, so they were picked up with special care. Among them were those that they got with difficulty or received in exchange for the deposited waste paper. Partly, so I still can not throw out books: the hand does not rise. I do not read at all in electronic form: For me, the book must necessarily be tangible, have weight, history, smelling paper.

The first thing I read, barely learned to put the words in the proposals, - "Fairy Tales" of Hans Christian Andersen. Already in childhood I was a serious and responsible person, so I did not like fantasy and adventure. He read historical novels, a series of "ZhZl" about Eurypide, Chaadaev, Omar Highama, Mayakovsky. Loved classic literature. Then Rosanova, Berdyaev and Solovyov, hereinafter HARMS with comrades. In my life there were old country lifestyons of magazines "Foreign Literature" and "New World". Then the "questions of philosophy" and "Logos" - happy student time. There were funny magazines like "Ptych" and "Ohm", when it became suddenly clear that the visual formats begin to push the texts - and now we are with you in a single media space.

An important book in the transition was the Roman "Master and Margarita", which I read with great sadness. A difficult feeling that is very suitable for the formation of a young soul, that good and evil essence the two sides of the same, but you should always feel the truth, make a choice at every step. Two main writers of my life - Chekhov and Gogol. Gogol - genius, but Czechs closer. If I were offered a trip in time to meet with some kind of writer, then the choice would be unequivocal. For me, words that talk about life in the Chekhov Universe - Tenderness, Love, Pain, Furiousness, Vera, Defenselessness, - Basic concepts defining a person.

I wonder how to seek and view the publications that are now strange. Documents of strange houses of the late XIX century, the literature of agronomists of the beginning of the 20th century, Soviet industrial realism, all urgent statistics - a kind of antipode of fiction. Now such texts and numbers are perceived as infographics, so old materials are best viewed, as we consider old maps, for example.

I read either rather slowly when the book is absorbed by the heart or completely quickly when it should be caught by mind. I do not buy books, but I get out of the shelves that seem endless. The publication all the time comes from somewhere, as if they are breeding, and they are still given. Children love to read, and they are going to have their own library: fortunately, the tradition of reading in our family continues. I read in the mornings after a cup of coffee when the children went to kindergarten and school, and there is still a little time before working afternoon. On a trip, I always take at least one book, but I do not always read - sometimes it turns out that only I drive with myself. The journey is the best replacement of the book, the book is replacing your own experience of other people's experience. In the journey you need to listen to yourself and your feelings, and in the book it is important to hear the voice of the author and his heroes.

Travel - the best replacement of the book, the book is the replacement of your own experience of other people's experience.

Alexander Litvina

"History of the old apartment"

The book we bought children at the fair, but read and considered it with the pleasure of the whole family. She is about how in the history of ordinary inhabitants of the old Moscow apartment reflected the history of Russia of the twentieth century. Formally childish, she raises non-native questions about denunciations and repression. Each page is drawn on the same apartment of the old house in the Moscow Lane, in which the inhabitants, the situation and themes on the sofa are changed from year to year.

The reader enters the apartment of October 1902 and remains here for a hundred years. Stories are told not only the heroes themselves, but also their things: furniture and clothing, dishes and books, games and household items - objects carry the compensation of time and keep tracks of the era in which they were created and served. Then I bought another "story of an old apartment" and carried it to work. In the Museum of Moscow, we colleagues with colleagues and a year ago, the exhibition "Old Apartment" was conceived, which will open in November, and she had to be like this book.

Dmitry Oparin, Anton Akimov

"Stories of Moscow houses, told by their residents"

Dmitry Oparin, the former browser "Big City", lectured in the educational center of the Moscow Museum and was an invited guide to the tour desk at our museum. The Bureau has always had a dream to make excursions to workshops to artists or just to Moscow Old-timers. For the first time we tried such a format in 2013, when the Moscow Tucechez exhibition was held - about Nyrnsee's house, which celebrated the century. The exhibition was then collected together with residents, those who were born there and lived all their lives (there were quite a bit). When Dmitry, Dmitry had an idea of \u200b\u200ba book about the life of old houses and their inhabitants, we decided to publish it as part of the Museum publishing program - and it became one of the bestsellers of the Non / Fiction fair.

"Museum of the 90s. Territory of Freedom "

The project "Museum of the 90s" was launched in 2014 and first existed in the form of an interactive museum on one Internet portal, and then in the form of a series of monologues. The book became part of this dialogue about the era of Russian history. About the nineties argue so far - they are remembered with nostalgia or hatred. The "Museum of the 90s" is the voices, documents and artifacts of my formation. There are memories of everything - from the "Party of Beer Lovers" to Chelnts and Claws from foreign trips. Here is told about Novoyaz of the epoch, the program "About it" and films from the video rental, the first earnings of the millionaire Chichvarkina and the birth of the Luzhkov style in architecture.

Donna Tartt.

"Goldfinch"

The book, which all my friends, who are not requested. This is a book about the strength of art and how it is not at all as much as we want to turn the whole life. The story begins with the fact that the thirteen-year-old Teo Decker may remain alive after the explosion in which his mother died. Without a single native soul, he wandered over the world's houses and families - from New York to Las Vegas, - and his only consolation, which, however, almost leads to his death, becomes stolen from the Museum of the Dutch Master. A surprisingly exciting book, from which it is impossible to break away, - I am not surprised by its popularity. And this fat volume is ideal for taking it with you on a business trip or a long journey.

Aleksey Ivanov

"Tobol. Many souls »

Large historic novel about Siberia Petrovsky time, recreationing the image of the era. Ivanov is the modern writer whose new book I immediately rush to read as soon as she comes out. I like how Ivanov himself tells about his approach: "There is a historical truth that historians are tired, that is, how it really happened, in a real sequence, supported by documents. There is a prerogative politics - this is an ideology that is most often formed in modern times, and then artificially implemented in the past in order to make the current ideology of more legitimate. But there is a writer's case - an artistic understanding of the era ... I don't imagine an ideology as a writer in historical works, focusing on the image. And for the sake of the image, sometimes you need to deviate from the historical basis. "

Mikhail Saltykov-Shchedrin

"Gentlemen Podlechy"

"After removing a bathrobe, in one shirt, he again again and forward on a hot-cold room, at times he stayed, approached the table, nailed in the darkness of Slof and was again accepted for walking. He drank the first glasses with additives, sweetly sucking the burning moisture; But little, the heartbeat was rapidly, the head lights up - and the language began to mumble something incoherent. The dull imagination was raised to create some images, the smaller memory tried to break into the area of \u200b\u200bthe past, but the images were broken, meaningless, and the past did not respond to a single memory, nor bitter, nor lightly, as if between him and the present minute, the dense wall failed.

In front of him there was only the present in the form of a tightly locked prison, in which the idea of \u200b\u200bspace was not a trace and the idea of \u200b\u200btime. Room, furnace, three windows in the outer wall, a wooden creaking bed and a thin tritted mattress on it, the table with a land-standing on it - for no other horizons the thought did not think. " Last themed issue of the "Snob" magazine? Not! 1875 year. Saltykov-Shchedrin. The best in the domestic literature is a description of the hangover.

Dmitry Bykov

Dmitry Bykov's book "Soviet literature. A short course "is more than three tens of essays about Soviet writers, from Maxim Gorky and Isaac Babel to Bella Ahmadulina and Boris Strugatsky. It is based on the materials of lessons for high school students and lectures for students. I like even the names of chapters: "Himself a man" - about Gorky, "Bronnioles" frivolous "" - about Lunacharsky, "I can" - about Akhmatova, "Translation from the Unknown" about Green, "Wild Don" - about Sholokhov. Somewhere bulls tells about the biography, and about the works as a whole, somewhere simply gives a critical assessment, somewhere retells the text, and sometimes it stops on one product of the author - and everything develops into an amazing flow of information, thoughts and feelings, Life itself.

The main impulse while reading - to run and sort out (and put on the shelves in a different order) of the entire house of the Soviet classics. So exactly Dmitry Bykov writes about the USSR: "In order for this country to arise, first needed a lot of destruction and fratricide, and then - rapid totalitarian modernization. This modernization was accompanied by priority attention to the development of science and culture - the same non-free, but over time he had learned to lead a double life. Soviet culture was a product of this enthusiasm, fear, agreement, searches for Ezopova speech - despite the fact that she did not know the market nest at all and depended only from ideological conjuncture, and no one had obliged her to crumble before the mass reader. The resulting product deserves learning, regardless of the quality - no culture in the world has known such conditions for seventy years. "

Alexander Kuprin

Selected Works

Selected works of Kuprick were published many times and in different publishers. I like the beautiful yellow book of "fiction" (1985) with the introductory article of the compiler Oleg Mikhailov (he is the author of the "Kupper" in the "Zhzl" series), in which he recalls, as in Casual Polyana, the Repin ... "Small, fast, reddish, with a graying espanyol").

In the evening, when close in the hall with fruit gathered, the Repin asked Lion Nikolayevich to read something out loud. "He pondered for a short time:" Of course, Kuprik ... Two small stories - "Night shift" and "Allez!" "Read Tolstoy Unfortunately. Just, without a hint of theatricality and even as if without expression. It does not emphasize anything, it does not highlight anything, thereby gave the writer the opportunity to tell himself ... I finish reading the "night shift", Tolstoy pointed to some places that he especially liked, adding: "No one you can not meet anything like that.<...> Then Tolstoy began to read "Allez!" - a touching story about a small circus rider. But when it came to the scene of suicide, his slightly altoy voice shoved. Tolstoy postponed the book in a soft binding, out of his pocket of gray paper blouse fulyar handkerchief and drove to the eyes. The story "Allez!" So was not worker. "

Donald Rifield

"Life of Anton Chekhov"

"Three years, conducted in search, deciphering and understanding the documents, convinced me that nothing in these archives could neither discredit or walked Chekhov," the British literary critic Donald Rifield wrote about Chekhov. Any biography is a partly fiction, which, however, should be linked to documentary data.

In the life of the writer, an attempt was made to expand the list of attracted sources, so that his figure was even more ambiguous. But neither genius nor the charm in Chekhov was not bounted. Reiffilad describes how Chekhov constantly has been intense the inapplicability of the artist's interests with obligations to family and friends. And this book is a study of a talented and sensitive intelligentsia of the late nineteenth century, one of the most saturated and contradictory periods in the cultural and political life of Russia.