Thaw exhibition at the Museum of Contemporary Arts. The Tretyakov Gallery opens the exhibition “The Thaw. What will I see at the exhibition "Thaw"
From February 16 to June 11, 2017, the Tretyakov Gallery presents the largest exhibition project dedicated to the period of national history, referred to as the "thaw era". It covers the time from 1953, when the first amnesties for political prisoners took place after the death of Stalin, and until 1968, when the introduction of Soviet tanks into Czechoslovakia dispelled the illusion that it was possible to build socialism with " human face". This period is the most important political, social and cultural project in the history of the USSR, one of the "great utopias" of the 20th century, which was carried out in parallel with democratic transformations and cultural revolutions in countries Western Europe and USA.
Yu.I. Pimenov. I run across the street. 1963. Oil on cardboard. Kursk State Art Gallery them. A.A. Deineka
It is no accident that a relatively short period of time, lasting about 15 years, received the loud name "epoch". The density of time, its saturation major events were incredibly high. The weakening of state control and the democratization of the ways of managing culture significantly revived the creative processes. The thaw style was formed, which is an original version of Soviet modernism of the 1960s. In many ways, it was stimulated by scientific achievements in the field of space and nuclear energy. Cosmos and the atom - as the largest and smallest quantities - determined the range of the "universal" thinking of the sixties, aspiring to the future.
The all-pervading feeling of the great and new being created literally before our eyes could not but be reflected in art. All participants in the creative process worked on finding a new language that could express time. Literature was the first to respond to the change in the situation. Of great importance was the rehabilitation of some cultural figures repressed under Stalin. The Soviet reader and viewer rediscovered many names that were taboo in the 1930s and 1940s. In the visual arts, a "severe style" appeared. At the same time, some artists turned to the heritage of the Russian avant-garde, and active searches began in the field of non-figurative representation. Architecture and design received a new impetus for development.
This exhibition presents a curatorial interpretation of the processes that took place in culture and society. The purpose of the project is not only to show the achievements of the thaw, to demonstrate the explosion of incredible creative activity that the new freedom gave, but also to articulate the problems and conflicts of the era. The exposition includes works by artists, sculptors, directors who witnessed the changes taking place in the most important spheres of the life of a Soviet person. Their opinions are polemical in a number of issues, which makes the exhibition voluminous and polyphonic.
The exposition is a single installation in which various artifacts are integrated: paintings and drawings, sculpture, household items, design samples, video projections with fragments of feature films and documentary footage. The exhibition space is divided into seven thematic sections, demonstrating the most important phenomena of the era. The section "A Conversation with a Father" examines the dialogue of generations in post-war Soviet society. It was supported by two themes about which it was customary to remain silent: the truth about the war and the truth about the camps. The section "The Best City on Earth" reveals the theme of the city as a place where private and public spheres meet, when residents have not yet closed themselves in small apartments in front of the TV, have not gone to the kitchen, as it will happen in the 1970s.
The section "International Relations" examines the confrontation between the USSR and the USA, which determined the political picture of the world in the second half of the 20th century. The Cold War and the threat of nuclear annihilation had a decisive influence on the cultural thinking of this time. The two superpowers competed not only in the arms race, but also in promoting their way of life in international exhibitions and in the media. " New way of life" illustrates the program to create a comfortable private life, when the slogan of the 1920s "Artist for production" again became relevant. subject-household environment.
"Mastering" offers a conversation about the "romance of distant wanderings", about the desire of young people for self-affirmation and independence, about the glorification of difficult "working days", that is, on those topics that were used in propaganda campaigns that accompanied the development of virgin lands, calls for distant construction projects . Artists and poets went on creative business trips to capture young romantics. "Atom - Space" demonstrates how the mass nature of higher education and the development of scientific institutions have given rise to new heroes of the time - students and scientists. Since the launch of Sputnik 1 in 1957, space has captured the minds and become one of the main themes in Soviet culture, affecting not only paintings or poetry, but also design. household items and appliances.
In the section "To Communism!" it becomes clear how advances in space exploration and scientific discoveries have stimulated the imagination of artists. In the culture of the 1960s, one can find many futuristic predictions similar to those made during the first revolutionary decade. The era of the thaw was full of contradictions. Exhibition in Tretyakov Gallery is an attempt at a systematic study of its cultural heritage. It is planned that the project will be the first part of an exhibition trilogy, which will be continued by showing art from the 1970s - the first half of the 1980s, the so-called era of stagnation, and after that - the time of perestroika.
A unique edition dedicated to the era of the Soviet 1950-1960s has been prepared for the exhibition. The book contains scientific articles on painting, sculpture, architecture, design, fashion, cinema, theater, poetry, literature, as well as issues of sociology, political science and philosophy of this time. The project is accompanied by an extensive educational program, including lectures, film screenings, poetry readings, and an Olympiad for schoolchildren. Part of the program was organized within the inter-museum festival "Thaw. Facing the Future".
As you know, every presentation begins with a free buffet where you can have something to drink and eat.
The exhibition was visited by high authorities. Olga Golodets is here with the director of the State Tretyakov Gallery, Zelfira Tregulova, and a representative of Russian Railways.
A few words before the solemn cutting of the red ribbon.
On the improvised stage, the organizers, patrons and sponsors of the exhibition.
The guests listen carefully. Professor of Moscow State University and Stroganov Vladimir Borisovich Koshaev was noticed among them.
The first section of the exhibition "Conversation with the father". The intense dialogue of generations in post-war Soviet society was fueled by two topics that many preferred to keep silent about: the truth about the war and the truth about the camps. The history of the thaw is the history of the rehabilitation processes that began immediately after the death of I.V. Stalin.
The next section is "The Best City on Earth". The city in the era of the thaw is the main "place of action", the place where the private and public spheres meet: the inhabitants of this city have not yet closed themselves in small apartments in front of the TV, have not gone to the kitchen (as it will happen in the 1970s), and the city fulfills for them a public forum function or " big house”is a space for feasts in the yard, dancing and reading poetry in squares and parks.
Next - "International Relations". The confrontation between the USSR and the USA determined the political picture of the world in the second half of the 20th century. The Cold War and the threat of nuclear annihilation had a decisive influence on the cultural thinking of this time. The two superpowers competed not only in the arms race, but also in promoting their way of life at international exhibitions and in the media.
The festival:
Next - "New Life". The promise to provide each family with separate housing that meets the requirements of hygiene and cultural life was enshrined in new program parties in 1961. The society, which in 20 years was supposed to live under communism, had as one of its main goals the creation of a comfortable private life. The slogan of the 1920s "Artist - for production" has again become relevant: the world of the Soviet person must be improved with the help of an object-domestic environment, and artists-designers need to educate citizens in the "right" taste as opposed to "philistinism".
The organizers called the open space in the center of the exposition Mayakovsky Square.
Section "Atom - space". The atom and the cosmos - as the smallest and largest quantities - determine the range of thinking of the sixties, aspiring to the future, which will come tomorrow. The massization of higher education and the development of scientific institutions give rise to new heroes of the time - students and scientists. Since the launch of Sputnik 1 in 1957, space has captured the minds and become one of the main themes in Soviet culture, affecting not only paintings or poetry, but also the design of household items and appliances.
Employees of the Institute of Physical Problems - members of the Kapitza family:
Section "Mastering". In the propaganda campaign that accompanied the development of virgin lands, the "romance of distant wanderings", the desire for self-affirmation and independence were exploited. Development was also associated with the idea of "massovization" of the heroism of hard "working days" at all latitudes of the Soviet Union, at large-scale construction projects, on the virgin lands of Kazakhstan, in the forests of the Urals and Siberia. Artists and poets went on creative business trips to construction sites and virgin lands to capture "young romantics".
The final section "To communism!". In 1961, at the XXII Congress of the CPSU, in his speech, N.S. Khrushchev promised that "the current generation of Soviet people will live under communism." Advances in space exploration and new scientific discoveries stimulated the imagination, and in the culture of the 1960s one can find many futuristic predictions similar to those made during the first revolutionary decade. The ideas of robotization of production processes were partially implemented in practice, and this made it possible to think that people of the near communist future would be able to afford to engage only in self-improvement and creativity in various fields.
With communism, I did not quite understand what the organizers wanted to say. Apparently the exhibition requires a more careful and thoughtful reading.
A few general, panoramic views:
Time to go:
Large-scale inter-museum research project The Thaw, which is shown by the Tretyakov Gallery on Krymsky Val, was created according to the rules of that controversial era, which had more hopes than it could justify. The exhibition appeals to the modern audience, seeks a foothold in the past, invites to a dispute about time and about oneself. Its sections are "A Conversation with a Father", "The Best City on Earth", "International Relations", "New Life", "Mastering", "Atom - Space", "To Communism!" taken to the open space of the forum. A conventional forum, like a theatrical stage, and no less real than Mayakovsky Square, which in the 1960s became an open-air poetry club.
Kirill Svetlyakov, curator of the exhibition, talks about the new project of the Tretyakov Gallery.
Three museums at once: the Museum of Moscow, the Tretyakov Gallery, the Pushkin Museum im. A.S. Pushkin - make projects dedicated to the thaw. What is the need of time behind this coincidence?
Kirill Svetlyakov: In part, this is the need to return to those problems that the "thaw" did not solve and which have not yet been resolved. To understand why we step on the same rake about once every quarter of a century. I think this is precisely what gives rise to heated debates both about that era and about its heroes, whether it be Khrushchev, Solzhenitsyn or Okudzhava ... Actually, these disputes began back in the 1990s. On the other hand, it was in that era, with its first flights into space, with the first nuclear power plants, that the origins of today's time are.
Finally, when the 20th century finally becomes history, questions of conservation arise. artistic heritage and its study. And in the case of the legacy of the 1960s, by the way, this is not at all obvious. One can recall at least the story of the demolition of the old international terminal of Sheremetyevo Airport, built in the early 1960s. It was popularly called a "glass", although in fact it looked more like a "flying saucer".
A functioning airport is probably difficult to preserve as an architectural monument…
Kirill Svetlyakov: The archeology of the "thaw" turned out to be complicated in general. Precisely because the art was "light", functional, often from new materials. So, for example, back in the 1990s, I saw puppets of the play "I-Go-Go" in the Museum of the Obraztsov Theater. Then the show was no longer on. It was a wonderful production, such an extravaganza of the NTR era from the 1960s, where the action takes place at the Institute of Homunculuses ... The dolls were made of modern materials: latex, plastic ... It just let me down. When we wanted to take the characters of the play to the exhibition, it turned out that they were not. They shriveled, shrunk like mummies. But at least they tried to preserve the dolls, and, say, the furniture of the 1960s, laconic, expressive, has practically disappeared. It was inexpensive, easy to understand, and in the end it was easy to part with it.
What time frame do you limit the "Thaw" to?
Kirill Svetlyakov: The beginning is 1953, since the rehabilitation processes did not begin with Khrushchev, but much earlier. After Stalin's death, they are launched by Beria. But Nikita Sergeevich headed some processes and made them intensive, some he initiated himself. It is clear that there was a struggle within the party elite. But Khrushchev not only won at a certain stage, he desacralized power. He had a moment of hypocrisy, spectacular political clowning, like Trump has now. I understood many things very well. Another thing is that he chose the role of a "simple guy" for the political scene.
That did not prevent him from authorizing the execution of workers in Novocherkassk in June 1962...
Kirill Svetlyakov: We talk about this, of course, in explications, but it is difficult to show it at the exhibition. There are several photos in the FSB archive. The upper limit of the thaw is August 1968, when the tanks of the Warsaw Pact countries entered Prague.
If we talk about the works of artists presented at the exhibition, what determined the choice?
Kirill Svetlyakov: We tried to correlate the works of artists with the ideas that were in the air. But if in literature and cinema the thaw is associated with the emergence of a new intonation, new plots, new characters (be it Ivan Denisovich from Solzhenitsyn’s story, scientists from Granin’s novel I’m Going into a Thunderstorm, or a history teacher from the film Big Break), then artists sought first of all new language. One that could give an idea of the ultimate existential experience experienced by the generation of fathers. Take, for example, Ernst Neizvestny or Vadim Sidur, who combined modernism and archaism. Nikolai Vechtomov, who also fought, for example, has disturbing, strange abstract forms.
Naturally, they started from the art of socialist realism, which was perceived as a set of dead formulas. Where could they move? In the direction of opening a lyrical, private space - filmmakers have chosen this path. And the artists tried to rethink the experience of the avant-garde...
MEPhI had a legendary choir of physicists. And in the selection committee there sat ... a choirmaster
Another source of inspiration is the discoveries of scientists. The abstract works of Vladimir Slepyan, Yuri Zlotnikov, Boris Turetsky, were associated with an interest in cybernetics. Zlotnikov even attended cybernetic seminars and developed his own "signal system" in art.
Even when the connections with scientific research are not obvious, we dared to draw parallels. So, in the section "Atom - Space" we included an early abstraction by Eric Bulatov, and compared it with the images of "traces" of elementary particles in the synchrophasotron. Bulatov said that it was not necessary to tie his abstraction to the synchrophasotron, but nevertheless. Two small paintings by Lev Krapivnitsky, from the collection of Talochkin, are included in the same section. Of course, there are works by Francisco Infante, in general - by the Movement group ...
We also show illustrations by Hulo Sooster and Ilya Kabakov, which they did for the magazine "Knowledge is Power". But, let's say, there were no artists in the magazine "Technology of Youth", there were drawings by ... scientists.
Are you talking about amateur art?
Kirill Svetlyakov: I would talk about the movement of enthusiasts, which was supported by the magazine "Technology - Youth". He organized exhibitions of works created by scientists. This is a special subculture. For example, at the exhibition we show materials from the archives of the Institute for Nuclear Research in Dubna, the museum of the Kurchatov Institute... The scientists' hobbies were largely associated with the idea of raising a perfect person: a scientist, an intellectual, an artist, an athlete. MEPhI, for example, had a legendary choir of physicists. And in the selection committee there sat ... a choirmaster, strange as it sounds.
Therefore, meetings of "physicists and lyricists" are so organic in your project, various arts- from cinema to painting, from magazine graphics to design.
Kirill Svetlyakov: Certainly. Add splint to this set, and the picture will become more complete. Yes, at that time everyone was fascinated by modernism. But modernism in mass production easily got along with products stylized as folklore, which had to be accessible and understandable to the masses. Ensemble "Beryozka" dances against the backdrop of a rocket. This style "on a sleigh into outer space", of course, refers to a fairy tale that has become a reality.
This motif of a fairy tale come true can also be found in the films of the 1930s…
Kirill Svetlyakov: Maybe. By the way, the first thing the viewer sees at the exhibition is a film depicting a peasant paradise on earth. Paradise the exact address- VDNH. And then the viewer enters the space where on the screens there are episodes from the films of the 1960s. The hero of Anatoly Papanov breaks his sculptures in the painting "Come Tomorrow". The young character of Oleg Tabakov cuts furniture in the film "Noisy Day". And in the film "Give me a plaintive book" young architects, students, journalists dismantle the Dandelion cafe.
Having gone through this rebellion, we come to "A Conversation with the Father." In the films of the thaw, this is an almost obligatory genre element. The film by Marlen Khutsiev "I'm 20 years old" is indicative, where a young man asks his father, emerging from the darkness of the past war, how he should live. And the one who died a long time ago replies that he is younger than his son ... He must think for himself. And after this farewell to the past, the viewer finds himself in the space of the city, in the center, from where he can move to any section of the exhibition, even to "Atom - space", even "To communism!".
To get to "In communism!", you need to go upstairs, along the ramp. There you can find, in particular, a futurological table from science fiction writer Arthur C. Clarke, who predicted what discoveries await humanity by 2050. It was published by the magazine "Technology - Youth". You can see what has happened and what hasn't.
During the thaw, if the "iron curtain" does not rise, then it becomes more transparent in places. Were the parallels with the era of the youth revolution in the West important to you?
Kirill Svetlyakov: We did not have a youth revolution in the 1960s. In the West, this revolution begins with children asking their fathers about fascism. You were collaborators, you were silent during the time of Hitler, you lied to us children, and now you are teaching us how to live. What right do you have to this? Our situation was different. The authority of the veterans was indisputable. And the hero of Viktor Popkov's canvas is trying on his father's overcoat. In fact, Vladimir Vysotsky tries on the same front-line overcoat on his heroes.
You can, of course, recall the conflicts of youth with bureaucrats in the films "Carnival Night" and "Welcome, or No Trespassing." But this has nothing to do with the youth revolution, but with the rotation of personnel. youth culture created by young people for young people. With us, it appears only during perestroika.;
Yuri Pimenov. "Running across the street", 1963
The curators, who have been preparing the exhibition for several years,
they tried to create the most complete picture of polyphonic time, with its artistic searches, uncomfortable questions about the war, euphoria from scientific discoveries and the first man in space, virgin romance and the arms race.
The exhibition includes about five hundred exhibits from more than two dozen public and private collections, including the Tretyakov Gallery, Russian and Historical museums and the Institute of Russian Realist Art.
In the Khrushchev thaw, it is impossible to single out unambiguous dominants of artistic, intellectual or political life. The thaw is a whole epoch and a state of mind, and therefore cannot be reduced to a few names or phenomena — this is how the curators, who have done a huge research work. That is why there is no single center in the architecture of the exhibition. More precisely, it exists, but it is an open space - "Mayakovsky Square", around which there are six thematic sections: "Conversation with the father", "The best city in the world", "International relations", "New life", "Development", " Atom is space”, “To communism!”.
The opening of the exhibition "A Conversation with a Father" touches on two sore topics of that time, which were not customary to talk about: the truth about the war and the camps. This section presents not only artwork of that time, such as, for example, "Auschwitz" by Alexander Kryukov or a portrait of Varlam Shalamov by Boris Birger, but also shots from iconic films: "Silence", "Nine Days of One Year", "The Cranes Are Flying", as well as photographs of performances of the Sovremennik Theater ”, which became one of the voices of the era. The second half of the 1950s was the time of the processes of rehabilitation of political prisoners, which began immediately after the death of Stalin, but began to gradually fade away in the early 1960s. Thus, Grigory Chukhrai's 1961 film Clear Sky, which tells about a pilot who was captured by the Germans and receives a government award after several years of obstruction and public censure, would have been impossible in the late 1960s.
The section "The Best City on Earth" is devoted not so much to Moscow (although, undoubtedly, it is its main character), but to the city as a public space in which the private and the public intersect. The city of the thaw era wants to meet world standards, it refuses the strict hierarchy and pomposity of the Stalinist Empire style in favor of free planning and huge spaces (the Palace of Congresses in the Moscow Kremlin, the Moskva pool, Kalinina Avenue). And artists, such as, for example, Vladimir Gavrilov and Yuri Pimenov, watch with interest the life of ordinary people unfolding on the street.
“New Life” supplements the urban theme with artifacts and illustrations of the private life of a Soviet person, among which there are many designer interior items (and they, by the way, would rightfully decorate a modern house even today).
The international relations of the thaw time are not only the build-up of the arms race and the escalation of cold war between the Soviet Union and America, but also a cultural exchange unthinkable during Stalin's lifetime. In 1955, for the first time after a thirty-year break, Soviet musicians began to tour the United States, and George Gershwin's opera Porgy and Bess, performed by the African-American troupe Evrymen Opera, was brought to Leningrad. A little later, the Soviet capital would enthusiastically welcome the artist Rockwell Kent and the pianist Van Cliburn. In 1959 Moscow will host the American Exhibition, where for the first time in the USSR the works of Georgia O'Keeffe, Willem de Kooning, Jackson Pollock, Mark Rothko, Edward Hopper and many others will be shown. Among the works of this section of the exhibition are views of New York by Oleg Vereisky and watercolors by Vitaly Goryaev from the Americans at Home series. And a little further - abstract painting studio "New Reality" by Eliy Belyutin, as a roll call with the invisibly present here Western avant-garde artists.
In the “Mastering” section, we find ourselves among the main characters of the Soviet heroic epic - polar explorers, participants in large-scale construction projects and virgin lands strikers, and in the neighboring section “Atom - space” - surrounded by students and scientists, in the atmosphere of the famous dispute between “physicists” and “lyricists” . Here are photographs of huge demonstrations in honor of the first man in space.
Eric Bulatov. "Slit", 1965-1966
Section "To communism!" ironically opens with a large-scale canvas by Eliy Belyutin "The Funeral of Lenin" ("Requiem"). Interpreting the classic plot of Soviet mythology in modernist aesthetics, it turns out to be a kind of visual oxymoron and symbol social project doomed to remain a utopia.
Walking through the "districts" of the city built in the exhibition halls, you invariably return to the central square - a space of free expression, artistic experimentation and new meanings that the thaw acquires from a historical distance.
Details from Posta-Magazine
The exhibition is open February 16-June 11
Tretyakov Gallery on Krymsky Val
st. Krymsky Val, 10
https://www.tretyakovgallery.ru/
Days of free visits at the museum
Every Wednesday entrance to permanent exhibition"The Art of the 20th Century" and temporary exhibitions in (Krymsky Val, 10) are free for visitors without a guided tour (except for the exhibition "Ilya Repin" and the project "Avant-garde in three dimensions: Goncharova and Malevich").
The right to free access to expositions in the main building in Lavrushinsky Lane, the Engineering Building, the New Tretyakov Gallery, the house-museum of V.M. Vasnetsov, museum-apartment of A.M. Vasnetsov is provided on the following days for certain categories of citizens:
First and second Sunday of every month:
for students of higher educational institutions of the Russian Federation, regardless of the form of education (including foreign citizens-students of Russian universities, graduate students, adjuncts, residents, assistant trainees) upon presentation of a student ID card (does not apply to persons presenting student trainee ID cards) );
for students of secondary and secondary specialized educational institutions (from 18 years old) (citizens of Russia and CIS countries). On the first and second Sundays of each month, students holding ISIC cards have the right to visit the exhibition “Art of the 20th Century” at the New Tretyakov Gallery free of charge.
every Saturday - for members of large families (citizens of Russia and CIS countries).
Please note that conditions for free access to temporary exhibitions may vary. Check the exhibition pages for details.
Attention! At the ticket office of the Gallery, entrance tickets are provided with a face value of "free of charge" (upon presentation of the relevant documents - for the above-mentioned visitors). At the same time, all services of the Gallery, including excursion service are paid in the prescribed manner.
Museum visit in holidays
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Right of preferential visit The Gallery, except as provided for by a separate order of the Gallery's management, is provided upon presentation of documents confirming the right to preferential visits:
- pensioners (citizens of Russia and CIS countries),
- full cavaliers of the Order of Glory,
- students of secondary and secondary special educational institutions (from 18 years old),
- students of higher educational institutions of Russia, as well as foreign students studying in Russian universities (except for student trainees),
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Right of free admission The main and temporary expositions of the Gallery, except for cases provided for by a separate order of the Gallery's management, are provided for the following categories of citizens upon presentation of documents confirming the right to free admission:
- persons under the age of 18;
- students of faculties specializing in the field visual arts secondary specialized and higher educational institutions of Russia, regardless of the form of education (as well as foreign students studying in Russian universities). The clause does not apply to persons presenting student cards of "students-trainees" (in the absence of information about the faculty in the student card, a certificate from the educational institution with the obligatory indication of the faculty is presented);
- veterans and invalids of the Great Patriotic War, participants in hostilities, former underage prisoners of concentration camps, ghettos and other places of detention created by the Nazis and their allies during World War II, illegally repressed and rehabilitated citizens (citizens of Russia and the CIS countries);
- conscripts Russian Federation;
- Heroes of the Soviet Union, Heroes of the Russian Federation, Full Cavaliers of the "Order of Glory" (citizens of Russia and CIS countries);
- disabled people of groups I and II, participants in the liquidation of the consequences of the disaster at the Chernobyl nuclear power plant (citizens of Russia and the CIS countries);
- one accompanying disabled person of group I (citizens of Russia and CIS countries);
- one accompanying disabled child (citizens of Russia and CIS countries);
- artists, architects, designers - members of the relevant creative Unions of Russia and its subjects, art historians - members of the Association of Art Critics of Russia and its subjects, members and employees Russian Academy arts;
- members of the International Council of Museums (ICOM);
- employees of museums of the system of the Ministry of Culture of the Russian Federation and the relevant Departments of Culture, employees of the Ministry of Culture of the Russian Federation and ministries of culture of the constituent entities of the Russian Federation;
- museum volunteers - entrance to the exposition "Art of the XX century" (Krymsky Val, 10) and to the Museum-apartment of A.M. Vasnetsov (citizens of Russia);
- guide-interpreters who have an accreditation card of the Association of Guide-Translators and Tour Managers of Russia, including those accompanying a group of foreign tourists;
- one teacher of an educational institution and one accompanying a group of students of secondary and secondary specialized educational institutions (if there is tour voucher, subscription); one teacher of an educational institution with state accreditation educational activities when conducting an agreed training session and having a special badge (citizens of Russia and the CIS countries);
- one accompanying a group of students or a group of military servicemen (if there is a tour ticket, subscription and during a training session) (citizens of Russia).
Visitors of the above categories of citizens receive an entrance ticket with a face value of "Free".
Please note that conditions for preferential admission to temporary exhibitions may vary. Check the exhibition pages for details.
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