Moscow Museum of Modern Art presents “Plastic Scores” – the solo exhibition of Klara Golitsyna that includes pieces from the “Post-Architecture” series, the latest work by the artist. The show will demonstrate all the stages in the development of the “Post-Architecture” series: watercolor sketches of linear silhouettes of buildings and more detailed works on canvas. The display will contain a dense frieze composed of such architectural constructions.

The “Plastic Scores” project reflects Golitsyna’s creative search that begun in the 90s and lasts till today. Then, in the 1990s, the artist was engaged in a serious analytical study of form and space. Construction, volume, mass were the notions that interested her most of all. However, later the masses of depicted objects diminish, and they become weightless although keep their volumes.

For example, in early architectural objects and constructions by Golitsyna, be they partly ‘lightened’, walls, roofs, and windows don’t cease to exist. In later works the architecture becomes totally transparent and linear, and the architectural space is airy, light and seemingly endless, as if it could be extended far beyond the limits of the canvas or even of the exhibition hall.

Ascetic mimimalism of form, its lightness and almost ghostly transparency, its concord with the strict logic of architectural patterns that delineate the space, and at the same time the breakage of rigorous geometric rules – these are the characteristic traits of today’s oeuvre by Klara Golitsyna. This is reality, although not an Euclidean one but a reality of free creation where fantasy is more important than objectivity.

What spectators behold is not static works but some kind of ‘plastic scores’, and the artist ‘plays architecture’ using them, as one can perform music. Notwithstanding her age, Klara Golitsyna (born in 1925) doesn’t lose the grip of modernity and continues her bold experiments with various artistic media.

Klara Golitsyna’s pictorial cycles of the latest years are contemporary and important for today. The presence of scientific logic and concept doesn’t result in cold and reasonable stiffness. Along with ‘linear logic’ of indeed linear constructions, there is a place for paradox and play, which means non-linear, other logic of free creation… Logical patterns become paralogical. These lines radiating from the object can come together again and cross somewhere beyond the visible, in an undefined center of Mystery…

Sergey Kuskov, art critic

Surrounded by the works of this exhibition by Klara Golitsyna, one feels as if in an enormous space of sound, where an endless flow of melodies forms a unified musical harmony. The macrostructure of the city with its unending play of forms is perceived by the artist as a kind of musical creation. In the pictorial and architectural interpretations of the artist, cities of the world look as gigantic artistic conglomerates.

Nikita Makhov, art critic

The intrigue is that I don’t know how it all finishes, WHAT remains in the picture by the end of the day. This is what interests me and stimulates my work. Now I want to stand back when I create my paintings. Now the fate leads me: I can open any book, then I choose a photo album according to a random page number, and the first photo I see can be the motif for a painting. I make a small sketch and start my creative play. With the lines, I continue the constructive borders of the depicted objects. Sometimes these lines are the only thing left on the canvas.

Klara Golitsyna, 2008