A story about the "History of Russian Design" exhibition at the Tretyakov Gallery

Contents:

• The Splendor of a Golden Dream
• Everyday Life in the Soviet Kitchen
• The Design of Technological Progress
• The Social Demand of the 21st Century

At the end of last year, the Tretyakov Gallery on Krymsky Val opened the exhibition "History of Russian Design. Selected Works. 1917–2022." The exhibition features over 500 items, but the limited space in the basement of the former Central House of Artists required dividing the Moscow Design Museum's collection into three parts. The second part of the exhibition, which includes 150 new objects, opened last week. This exhibition provides a unique opportunity to learn about the development of Russian design over more than a century of history.

The new exhibition features unique samples of fabrics by Varvara Stepanova, as well as spaceship interiors designed by Galina Balashova. A trendy blanket coat from Husky Wear is attracting special attention, now available to view not only on social media but also in person. This exhibition offers a unique opportunity to explore achievements in design and the textile industry, showcasing creativity and innovation that can inspire both professionals and fashion enthusiasts.

The exhibition aims to study the evolution of the consciousness of the Soviet and Russian citizen through the prism of design. It is impossible to cover a century within the confines of a small museum space, which creates a somewhat fragmented narrative. However, it is precisely this unevenness that gives the exhibition its uniqueness, prompting viewers to think about things that might not have occurred with a more traditional approach to organization.

The Splendor of a Golden Dream

The exhibition vividly illustrates the contrast between the ordinary life of the Soviet people and their aspirations for a brighter future. This is especially evident in the sketches of lamps for the halls of the Ministry of Foreign Affairs building, created by Abram Damsky. In close proximity to these sketches are ordinary kerosene stoves, which were used by Soviet people in the first half of the 20th century. This juxtaposition highlights the gap between utopian dreams and real living conditions.

Marble interiors of public spaces with crystal and gilding in the Soviet Union symbolized a bright future that seemed already near. Every citizen could descend into the metro and experience the atmosphere of a royal palace. Returning to their communal apartments, they carried with them the assurance that temporary inconveniences were merely passing difficulties. After all, they had just witnessed a tangible dream, within reach. The original gilded ceramic wreaths from the Oktyabrskaya metro station, created by Alexey Filippov, are on display at the exhibition, demonstrating how meticulously the architects followed this concept, paying attention to even the smallest details. These elements not only emphasize aesthetic value but also reflect the cultural and historical aspects of the time when these architectural masterpieces were created.

The gap between dream and reality in the exhibition is filled with unique objects that never became mass-produced. Among them are sketches of Damsky's lamps, intended for private interiors, and a table lamp made of natural stone, decorated with a hand-sculpted sculpture. Such objects could only have been part of the interior of the homes of high-ranking officials, emphasizing their status and refined taste.

Everyday Life in the Soviet Kitchen

The opposition of two worlds became an integral part of the life of the Soviet people from the very beginning of the 20th century. This opposition began to be reflected in design in the first years after the revolution, when, on the wave of modernist ideas, the works of artists such as Alexander Rodchenko and Varvara Stepanova, as well as students of the VKHUTEMAS, emerged. Modernism in Soviet design became a symbol of the desire for novelty and experimentation, which contributed to the formation of a unique artistic language that continues to influence contemporary design trends.

The kitchen from the Narkomfin building is a striking example of a utopian dream of a new future. This project exists only as a conceptual design and is presented at the exhibition as a reconstruction. Next to it is a kerosene stove—a small kerosene burner on which Soviet people actually cooked. This juxtaposition between the idealized design and real living conditions emphasizes the contrast between utopian dreams and everyday reality, demonstrating how architectural ideas can influence the perception of functionality and aesthetics in everyday life.

Between the two extremes are traditional household items, which also contain elements of the dream. For example, against the wall in the hall stands a wooden sideboard decorated with revolutionary stars. Behind its glass are tureens and plates, which, like the cabinet itself, have a classic design but are infused with the symbolism of a new era: the earthenware is painted with portraits of young Octobrists against a backdrop of flags and propaganda slogans. Interestingly, neither the kerosene stove, nor the sideboard, nor the dinnerware, all of which are everyday household items, bear the artist's name. This emphasizes the anonymity and community of such objects, reflecting the spirit of the time and its ideals.

The exhibition features a limited number of tableware, which allows us to trace its evolution from the avant-garde of the early 20th century to the 21st century. One of the display cases displays children's sippy cups created under the supervision of Vladimir Tatlin. These sippy cups are often cited in textbooks as examples of ideal, functional design. In the 1920s, plastic was not yet used, so when developing the sippy cups, special attention was paid to ensuring that the porcelain would not break if accidentally dropped. To achieve this, precise calculations of the load distribution on the material were conducted, demonstrating a high level of engineering and attention to detail in the design.

Nearby is a Malevich tea set. Its angular shapes, unlike the sippy cups, are not ergonomic. However, this also reflects a desire to dream: in the future, anything is possible, and the concept of convenience seems too mundane. Malevich's tea set attracts attention with its originality and bold design solutions, making it an intriguing object for collectors and art connoisseurs.

Learn the history of Malevich's tea set in our article. We'll explore its meaning, design features, and influence on contemporary art. Discover how Malevich's tea set became a symbol of an artistic approach to everyday objects and continues to inspire art lovers. Immerse yourself in a unique world where functionality meets aesthetics.

The "Characteristic" service, created by designers Alexander Ermolaev and Gennady Vzorov in the seventies, has much in common with Malevich's project. Both items represent experiments in design. The service is distinguished by its white color and straight, sharp angles, emphasizing the shape, which contrasts with traditional notions of classic tableware. Particular attention is paid to the cup handles: they are made in the form of recesses in the body, which not only adds uniqueness to the design but also ensures comfortable use, preventing burns. However, this service never entered mass production, remaining an interesting example of a design experiment.

The Design of Technological Progress

In the 1980s, designers aimed for the stars, and the class divide, as observed in the first half of the century, became less noticeable. In this part of the exhibition, objects are divided into two types: "ordinary" and "fantastic." There is no gap between them, as everyday objects and dream objects exist in two parallel universes that coexist harmoniously, reflecting the desire for innovation and originality.

During this period, the works of the All-Russian Research Institute of Technical Esthetics (VNIITE). The institute addressed pressing issues and became the site of development of prototypes of wireless telephones and home radio systems resembling complex electronic computers. These innovative developments played a significant role in the development of modern communications technologies and consumer electronics.

In our article, you will find information about VNIITE, its designers, and completed projects. Learn about the key initiatives that shaped the institute's image, as well as the creative approach of its specialists to design. We will cover in detail the significant developments and innovations that contribute to the development of the industry.

The design ideas of the time were ambitious, but in everyday life, Soviet people used the Spektr rotary telephone from the Perm Telephone Plant and the Iskra calculator from the Oryol UVM Plant. Dreams of a modern life rarely intersected with the reality, which was common to all Soviet citizens: standard telephones, furniture, and toys. Such unity in everyday life emphasized the homogeneity of life, where individuality often remained beyond the everyday objects.

The Social Demand of the 21st Century

In the 21st-century design hall, the conflict between dream and reality is virtually absent. This is because the future can only be assessed based on the past. In 2022, it is difficult to determine what is our everyday norm and what will be forgotten in a few decades. However, we can highlight the main trends that shape modern design and influence our perception.

The display cases feature exquisite Gravity watches by designer Maya Prokhorova, wooden toys for children by Ksenia Shishkova, and fabric, Developed based on the art prints of artist Alisa Ioffe, these items are not mass-produced, but it is precisely these unique pieces that contemporary designers strive to bring into everyday life. They reflect a desire for individuality and high quality, making them desirable for those who value originality and style.

Read an interview with Maya Prokhorova, dedicated to the work of the Russian industrial designer and her achievements in international competitions. Learn about key moments in her career, inspiration, and approaches to creating unique design solutions. Immerse yourself in the world of contemporary industrial design and discover the successes of Russian specialists on the global stage.

This section of the exhibition presents aspirations that often reflect current social trends. For example, shoes by Andrey Zhakevich, despite their familiar appearance, are made from grape pomace. This environmentally friendly material demonstrates a response to modern sustainability challenges. Designers Misha and Tanya Repina of Aotta Studio create soundproofing panels from wood waste, specifically spruce needles. This is also part of the trend toward sustainability and resource efficiency. Furthermore, medical masks developed by young designers strive to offer uniqueness in the face of a pandemic that has diminished individuality. These examples highlight the importance of environmental initiatives and a creative approach in contemporary design.

Over the course of a century, public tastes have undergone profound changes, and new forms of design quickly become outdated, giving way to modern trends. What was considered a symbol of progress yesterday may find itself in the shadows today. However, the designers' drive to find new ideas and solutions remains constant. Life makes its own demands, and the exhibition clearly demonstrates how design creates bridges connecting reality with the world of dreams.

The exhibition, with some changes to its display, will run until January 31, 2023. This unique opportunity to see new works and concepts presented throughout the exhibition will captivate every visitor. Don't miss the chance to see the diversity of exhibits and their transformation depending on the changing parts of the exhibition.

The New Tretyakov Gallery is located at the following address: Moscow, Krymsky Val, Building 10. The exhibition is held in the Western Wing of the museum.

Read also:

• Digest of interesting exhibitions in Moscow and St. Petersburg in March and April
• Report from the exhibition "Art of the Future", which runs until April at MAMM
• Interview with Alexandra Sankova, Director of the Moscow Design Museum