Petrovka Street, 25
The main building of the Moscow Museum of Modern Art is of historical and cultural value. In the historical record of Moscow, this architectural monument belonging to the XVIII century is known as Gubin? s residence. Indeed, some centuries ago this building was the main house of the city estate of rich Ural landowner and merchant Mikhail Pavlovich Gubin. The building was constructed in 1793 by the famous Russian architect Matvey Kazakov.
The city district where the Museum is located was already inhabited by Moscovites in the 14th century. At that time, Petrovka street looked like a desert road, going from Vysokopetrovsky Monastery — vis-à-vis of the museum building — to the Kremlin. Till the end of the 17th century, the place where the mansion is located was the settlement of monastery? s workers. In the times of Peter the Great here, at Petrovka, was the huge estate of the boyar Naryshkin family, whose house had a bridge-like passage to the monastery.
Many landowners have changed until the territory was bought by the one whose name rests in centuries because of the beautiful monument that he built and that remained nearly untouched through more than 200 years. «I have a house in the White City... which was bought from Orenburg merchant Dmitry Kuzmin, son of Krasheninnikov...» — that? s how Gubin reports to Moscow office of city constructions on May 25, 1799. Researchers working on the architectural heritage of Matvey Kazakov suppose that the main building of the residence was rebuilt by the architect on the grounds of previous construction. The building with side-wings (one of them is preserved till nowadays) looked like a typical Moscow residence complex facing the street front. A park with small pond was situated behind the buildings. The residence remained in this condition until the end of the 19th century. Then it suffered the fate of many old Moscow residences: the partition of property. The major part of it with the garden and the pond was sold and overbuilt. In 1880, the main house was rent for gymnasium, where the famous Symbolist poet Valery Briusov and Bakhrushin brothers studied.
After the Revolution, the building? s destiny took another round. In 1920, the former gymnasium became the Institute of Physiotherapy and Orthopedics. During all the Soviet period, until the moment when the building became a museum, it served as a hospital foundation. Undoubtedly the external decor and the interiors suffered badly and needed capital restoration works. As a result, nowadays the visitor of the Museum can see the unique ceiling paintings in the classical style. Elements of the interior — front staircase, orchestral niche in the ball hall, ceramic stoves — still have an atmosphere of good old times of Moscow.
The idea to use the mansion as a museum of modern art is not a random one. The combination of old and new forms, the closest neighborhood of totally different styles raise a new possibility for the artist and for the viewer to find their own place in the synthetic space of culture. This element of free play with historic material is typical of the whole post-modern aesthetics. Many European countries had the same experience of exhibiting pieces of modern art in architectural spaces of other times.
Ermolaevsky Lane, 17
The second venue of the Moscow Museum of Modern Art is located at Ermolaevsky lane, 17. In Soviet times, the street was renamed in honour of Ivan Zholtovsky, classic of Soviet architecture, and now it bears its historic name.
The name Ermolaevsky was given to the lane after the church of Saint Ermolay «at the goat? s swamp» built in the 17th century, which hasn? t been preserved. Nowadays Maly Kozikhinsky lane runs through the place. The house where the Museum venue is located was constructed by Dmitry Markov in 1915 for the Moscow Architectural Society, financed by investments of architects. The society stayed in the building till 1932 and then was dissolved. Its last chairman in 1922-1932 was the renowned Moscow architect Alexey Schusev. In the Soviet era, the house belonged to the Moscow Union of Artists and served as a place for exhibitions of young artists and for the creative workshops. The building is executed in neoclassical style, which came after the Art Nouveau and was very popular at its own time.
On December, 3, 2003 the building was unveiled as the exhibition venue of the Moscow Museum of Modern Art. Today the halls at Ermolaevsky lane are among the most prestigious exhibition spaces in Moscow.
Tverskoy Boulevard, 9
On February 7, 2007 the Moscow Museum of Modern Art opened its third exhibition venue — «Zurab» Gallery at Tverskoy boulevard. Since late 1960s, this space served as creative studio of Zurab Tsereteli, today? s President of the Russian Academy of Arts. At different times the guests of the artist were famous writers and poets, musicians and singers, artists, scientists, journalists and politicians. Here are just a few of key-names: poets Andrei Voznesensky and Evgeny Evtushenko; writers Chingiz Aitmatov and Vassily Aksenov; artists Robert Rauschenberg, Tair Salakhov, Boris Ugarov, Nikolai Ponomarev, Koka Ignatov, Yuri Kuper; producers, actors, musicians and singers Sergey Gerasimov, Tamara Makarova, Eldar Ryazanov, Georgy Danelia, Vladimir Vysotsky, Galina Volchek, Rolan Bykov, Iosif Kobzon, Zurab Sotkilava, Maya Plisetskaya, Rodion Schedrin, Robert Sturua; journalists Genrikh and Artem Borovik; scientists Evgeny Velihov and Petr Kapitsa; doctors Vladimir Burakovsky, Svyatoslav Fedorov, Leo Bokeria, Leonid Roshal; Italian cinema stars Marcello Mastroianni and Adriano Celentano, as well as many, many others.
With the opening of the «Zurab» Gallery, the Moscow Museum of Modern Art obtained a possibility to expand its exhibition activity and to present in full scale the newest trends of contemporary art to the public. The cozy space of the gallery is widely popular with the public and takes significant part in the cultural life of Moscow.
Gogolevsky Boulevard, 10
This venue demonstrates large-scale curatorial projects highlighting all the best in 20th- and 21st-century art.