What lies behind the dismissal of Tretyakov Gallery director Irina Lebedeva. Zelfira Tregulova, director of the Tretyakov Gallery: “I don’t consider Chagall a Belarusian artist “Hungry” before work
The biography of the director of the Tretyakov Gallery, Zelfira Tregulova, is of interest to many today. After all, this woman’s life path makes you admire her and be surprised at her numerous achievements. The lady with an unusual appearance is a candidate of art history, an authoritative international specialist, and the leader of unique projects that represent Russian art abroad. And since 2015, Tregulova Zelfira Ismailovna took the position of General Director of the Tretyakov Gallery. In her new role, the woman managed to prove to everyone around her her professionalism and her dedication to art.
Biography of Zelfira Tregulova
Zelfira was born on July 13, 1955 in the Latvian city of Riga. True, despite the place of birth indicated in the girl’s birth certificate, she is not Latvian by nationality. Perhaps its brightness now is the most convincing confirmation of this. In fact, Zelfira Tregulova is Tatar by nationality. After all, her father is from Tatarstan, and her mother is from Kyrgyzstan. The girl’s parents met in the Russian capital, where they arrived to enter the Institute of Cinematographers. After some time, the Tregulovs got a job at the Riga Film Studio and stayed there for a long time. Here their daughter was born, whom the happy parents named Zelfira.
Childhood and youth
In those years, the girl’s father was a military cameraman at the front filming the Potsdam Conference, and her mother held the position of sound engineer. So the girl was brought up in a rather creative atmosphere. Perhaps this is what prompted her to give preference to an intelligent creative profession. After successfully graduating from school, Zelfira Tregulova entered the art history department at Lomonosov Moscow State University. The girl’s parents fully supported her desire to become an art historian and helped her in every possible way during her studies. From an early age, the biography of the director of the Tretyakov Gallery, Zelfira Tregulova, is closely intertwined with artists and their works. In 1981, the girl graduated from graduate school at Moscow State University.
Carier start
Zelfira Ismailovna Tregulova’s professional activity began in 1984. At this time, the girl begins work at the All-Union Art and Production Association. Here Tregulova showed her coordinating and curatorial qualities, organizing exhibitions of Russian art abroad. A little later, Zelfira was entrusted with the post of assistant to the general director of the company. Zelfira devoted 13 years of her life to this activity.
In 1993, Zelfira Ismailovna went on an internship abroad at the Solomon R. Guggenheim Museum, located in the capital of the United States. Returning to her homeland, in 1998 Zelfira became the head of the international relations department at Pushkin. A little later, Tregulova received an offer to become a curator of the museum where she had interned several years ago.
Tregulova's activities
Just a few years later, Zelfira received a new appointment and took the post of General Director of the Moscow Kremlin. In this position, the woman was involved in international relations and exhibition work. Tregulova worked in the Kremlin for 11 years, after which she became the curator of the State Museum and Exhibition Association "ROSIZO".
But Zelfira Tregulova herself considers the opportunity to head one of the leading capital museums - the State Tretyakov Gallery - a qualitatively new stage in her life. An art critic received a new promising position on February 10, 2015.
In addition to her main work at the gallery, Zelfira teaches at the Moscow Business School, teaching gallery activities and art management. In addition, Tregulova is a member of the Ministry of Culture of the Russian Federation. In addition, in addition to the skills of art criticism and commercial activities, the woman is fluent in German, Italian and French.
Creative achievements
At one time, Zelfira Ismailovna showed her skills by being the curator of the largest exhibitions in the largest museums in the world. Tregulova led such well-known projects as “Red Army Studio”, “Kazimir Malevich and the Russian Avant-Garde”, “Surprise Me”, “Russia”, “Amazons of the Avant-Garde”, “Socialist Realisms” and others. In each of her exhibitions, Zelfira demonstrates to the audience her own worldview, devoid of Soviet shackles and stereotypes. In recent years, the audience has been able to enjoy brilliant works in the exhibitions “Palladio in Russia” and “Viktor Popkov”, which were also led by the talented art critic Zelfira Tregulova.
The woman has behind her not only many famous works, but also numerous creative achievements and awards. For example, Zelfira Ismailovna received certificates of honor from the Ministry of Culture of the Russian Federation, the Order of the Star of Italy for holding the Year of Italian Culture, the Order of Merit in the form of a cross with a crown, and became the laureate of the "Honor and Dignity of the Profession" award, awarded at the All-Russian festival "Intermuseum".
In the fall of 2016, Tregulova was awarded the Nikolaev gold medal. In the same year, Zelfira became a laureate of the "Statesman" award.
Unfortunately, the woman prefers to hide her private life from the press and is rather reluctant to tell stories from her personal life. But something about her family is still known.
Despite the fact that from an early age the woman wanted to have a large family and many children in the best traditions of Asian countries, her dream was not destined to come true. After all, Tregulova devoted most of her life to her own career and her favorite business. So in Zelfira’s marriage only one child was born - a girl.
Not long ago, Zelfira’s parents moved from Riga and now live with their daughter, helping raise their grandchildren.
The daughter of a famous art critic in Moscow followed in her mother’s footsteps and chose the same profession. Now the girl is married and has two children - the youngest daughter and the eldest son. By the way, each family member is endowed with creative talent and good potential is visible even in granddaughter Tregulova, who is only 2 years old.
Zelfira Tregulova interviewDirector of the State Tretyakov Gallery Zelfira Tregulova, who realized in time “that snobbery in oneself must be overcome” , in a matter of months managed not onlychange in the eyes of visitors the image of the museum, but also the methods and style of its work. About this and much more - in an interview with Milena Orlova...
Of course, not in order to satisfy one’s own vanity. In previous years, I received everything a person needs to feel like a professional. Even when I was deputy director of the Moscow Kremlin Museums, I often appeared at various exhibitions. I'm interested.
Any director of a museum today - and this is especially true for museums such as the Tretyakov Gallery, Russian, Hermitage, Pushkin, which represent a gigantic time period - must navigate what is happening in artistic life here in Russia, and what is happening in the world .
It's never too late to learn, especially when it comes to exhibitions of such outstanding artists as Anish Kapoor or Michal Rovner, or a visit from Bill Viola. I was glad that they came to us. A conversation with such people, and especially in the Tretyakov Gallery exhibition, reveals something completely different.
This is some kind of new genre: you recently gave a tour of the museum for the famous British artist Anish Kapoor.
Indeed, the closed Tretyakov Gallery was opened for Anish Kapoor. This is not a figure of speech. It appeared at six o'clock in the evening on Monday, when the museum had a day off. He only had half an hour, and he decided to look at the icons.
He walked past Aivazovsky and looked carefully at his work. On the way back, I once again clarified who it was. When I asked: “What is interesting to you about this?”, he told me something that for me has probably now become one of the new, interesting points of view; we will rely on it when making a retrospective of Aivazovsky, which will open on July 28 2016.
What exactly, I won’t say now. But I realized that I need to get rid of snobbery in myself. It seems to me that in a situation of absolute intolerance, partisanship and adherence to some inert, blinkered point of view, it is very important to expand the focus and look at everything absolutely objectively, and, in particular, the exhibition in the Manege is just a little bit about this.
"Romantic realism. Soviet painting 1925-1945” in Manezh is an impressive sight. They say that you, as a curator, completed this exhibition in two weeks. Is this a record for you?
No, in two months. In general, a record. In my lectures at the university, I always say that good exhibitions take years to create. Before this, I have an example of the minimum preparation time for a wonderful exhibition - this is Palladio in Russia, which we did at ROSIZO in exactly a year of crazy, hard labor.
And here for two months. You see, the opportunity presented itself to make the first large serious museum exhibition in the Manege. This revealed a rather important story: the Ministry of Culture and federal museums do not have a large exhibition space where large-scale projects could be shown.
During the nine months that you have been running the gallery, you have been promoting the “new Tretyakov Gallery” on Krymsky Val in every possible way. They opened an entrance from the embankment, created a fashionable museum store, a new design, and a music festival in the courtyard. But the feeling is that the contemporary art exhibitions themselves are in the background, unlike other museums, which are now grasping at them as if they were some special straw that will lead them to a new audience.
No, it seems so to you. Let's start with the fact that our department of the latest trends is very active. During this time, two large exhibitions took place.
Hyperrealism was being prepared long before my arrival. This was very interesting to me, because I myself am a witness to how this movement arose. I worked at the All-Union Art and Production Association named after. Vuchetich, which organized all-Union exhibitions such as We are building communism or Young artists in the fight for peace in 1987 in the Manege, when Grebenshchikov performed for the first time, when Arthur Miller was on stage. It was an amazing time, 1987.
The exhibition was wonderful, and it seemed to me that Kirill Svetlyakov, the head of the department, and all the employees worked very interestingly both with the audience and with the designer Alexei Podkidyshev, who did this project.
The next exhibition Metageography is one of the most interesting projects within the Moscow Biennale of Contemporary Art. Despite the fact that there are no big names there, and a certain number of works by artists of the 1930s, which I myself have never seen, have been brought to the surface from the storerooms.
We attract young audiences precisely to such projects, not to mention a variety of programs, for example, the Night of Museums, where we emphasized that this year is the year of the 100th anniversary of Malevich’s Black Square, a fundamental work of art of the 20th century.
A wonderful installation dedicated to Malevich was prepared for this audience - a 3D projection by the Sila Sveta studio in the courtyard. And despite the pouring rain, there was a sea of people. Sea!
How have innovations at Krymsky affected attendance?
Due to roof repairs at the Tretyakov Gallery, there was not a single large exhibition in the main exhibition hall until October 5. We opened Serov on October 6th.
If we compare the attendance at Krymsky Val during these months with the attendance in 2014, when the exhibitions of Natalia Goncharova and the Costakis collection were taking place in the large hall, then we have a difference of only 4 thousand people. That is, with a closed large exhibition space, we were able to attract a very large number of people.
I can tell you another secret about attendance: we have extended opening hours and introduced a free environment. And she was very effective. It is important for us that people come to Krymsky Val when there are not many exhibitions there and go to the permanent exhibition. Because she really deserves all the attention.
I had in mind, rather, the image of the gallery in the same media. For example, I was struck by the interview you gave to Ekho Moskvy. You, like a snake charmer, repeated: “Serov is the main Russian artist, the best Russian artist.” What will you do with other Russian artists? How do you explain the success of Serov’s exhibition among the public? It seemed to me that this interview was a secret weapon... As the hypnotist Kashpirovsky said: “You are charged with Serov.”
I guess I'm a little bit of a witch after all. Valentin Serov is one of my favorite artists. Intelligent people in Soviet times loved Serov, and then there was a very strong feeling that his death was terribly premature and cut short some incredibly interesting development. And I am still confident in this, and it seems to me that we have demonstrated it.
So, I came to the gallery when they had been working on the exhibition for at least two and a half years, and I did not interfere with the composition of the exhibition one iota. But the general principle of solving the exposure seemed wrong to me. I radically intervened in this and convinced him to redo it.
So that it would be an exhibition, upon entering which the viewer would be petrified by what he saw there. Right there, right from the first hall. And at the same time it should be light, transparent, without narrow, cramped partitions. So that a variety of perspectives unfold, and works from different periods enter into dialogue.
I listen to you with pleasure and would listen and listen, but still: who came up with a video with the animated painting “Girl with Peaches”? This, of course, was funny.
The research staff resisted, but the teaser got half a million views! There are also queues for the exhibition thanks to him. Yes, some may find it funny, but in my opinion there is nothing vulgar in it. And it was done simply and inexpensively. We didn’t pour any money into it, and in general the amount spent on advertising was simply ridiculous.
The effectiveness of social networks cannot be underestimated now.
Of course, word of mouth, social networks and so on. You know, even the minister, going to social networks, saw complaints from visitors in line and called me on Saturday: “Why do you only have one cash register?” Yes, we didn’t expect there to be such an influx. We thought, well, two thousand a day.
And then all of a sudden, five thousand came on Saturday. On average 4350 visitors per day. The previous record for the Tretyakov Gallery was the Levitan exhibition - 2,100 people per day. It's cold and people are standing. And we would accept more, but simply the capacity of the hall and the safety standards for works limit entry into the building.
Many museums abroad sell tickets in advance online.
During a recent conference at VDNKh dedicated to the latest technologies and innovations, I was one of the speakers. It turned out to be very useful. (This is about the question of why I go everywhere.) There we had a wonderful conversation with Laurent Gaveau from Google, and now I am meeting with him in Paris, and we have already outlined three very interesting programs. And we will also cooperate with the educational resource “Arzamas”.
For a long time in the museum business, we have been fascinated by multimedia and other new technologies. And, as always, we found ourselves among the laggards: the whole world has already realized that when you have genuine works of art or cultural monuments, multimedia is an exclusively auxiliary tool, by no means the main one.
Everywhere in the world, in museums, they are returning to speaking with the help of the original. When you live in this difficult, very stressful world, you need something with which you can stay afloat, this is a kind of “detox”.
So I came to Serov’s exhibition on Sunday because Mr. Kostin, the first person of VTB Bank, our main sponsor, came with his family. I saw people leaving the gallery after standing outside for two hours, and everyone’s faces were beaming. When I talked to journalists at the exhibition, it all ended with tears appearing in many eyes.
A Western company won the competition to develop a concept for the development of the gallery, and you said at the press conference that there are no specialists of this class and level in Russia. What other museum specialists do we lack?
In principle, outsourcing is a normal system today. Those who count money are outsourcing some areas of activity. This is more efficient and more profitable than keeping people on your payroll.
What specialists are missing? Well, let's start with the most painful issue: art experts.
Surprised!
I don’t want to say that my generation was the most talented and wonderful, but when I entered the art history department at Moscow University, by the time I passed all the exams there were only 20 people left for the place. When my daughter entered in 1998, the competition was 1.8 people per place.
When I graduated from university, the crown of all my dreams was to be in a museum. The Pushkin Museum is for those who are Westerners, the Tretyakov Gallery is for those who specialized in Russian art. This is not the case now, unfortunately.
Nowadays, all the brightest, most interesting students go into other fields: they go into PR, private institutions, and educational projects.
When an exhibition is made by people who have worked in the gallery for many decades, it is quite difficult to orient them to a different type of thinking. The problem is that there is no change. Where can we find other specialists on Repin and the Peredvizhniki, who, whatever one may say, are the basis of the Tretyakov Gallery’s collection?
But even those who come to us sometimes have to be professionally reoriented. They specialized in a different art, in a different period.
Which Russian artists do you recommend specializing in now?
Please, young people, take up the Itinerants, it’s very interesting! Today is the time to look at them in a completely different way. And to reveal many interesting, relevant things, starting with the fact that this is the moment of the beginning of the art market in Russia and that it was a commercial enterprise. Which, naturally, no one even mentioned in Soviet historiography.
You can study “Jack of Diamonds”, the turn of the 19th-20th centuries, Alexander Ivanov, in the end. Apart from Mikhail Mikhailovich Allenov, none of the prominent figures are doing this anymore. For me, his special course at the university on Alexander Ivanov was a revolution in consciousness, as, indeed, was the special course on Vrubel.
I dare to believe that I was a favorite student. And when I was writing my diploma, at a very difficult moment for me, he was just like a father. And he didn’t write a word for me.
Maybe the solution is to have guest curators?
Of course, we already have guest curators. For example, Arkady Ippolitov from the Hermitage. He is making an exhibition from the collections of the Vatican Museums, which we are hosting next fall in exchange for the exhibition Biblical Subjects in Russian Art, which we are doing in the Vatican.
Arkady Ippolitov is exactly the person who can expand on any most traditional topic in a completely new way, and at the same time he is a specialist in Italian art, a man of incredible erudition.
So, do you have such an inter-museum exchange?
We cooperate with the Hermitage. We have several projects, we are discussing the possibility that we may become partners with the Hermitage in Kazan and will hold exhibitions there from the collection of the Tretyakov Gallery. And we definitely need to do regional projects, because due to the current economic situation, this year we did not have a single exhibition in Russian cities.
All regions stated that from an economic point of view they cannot pull off this project. We have received a proposal from the mayor of Kazan and the president of Tatarstan, so now we will work on it.
Excuse me for asking such a question. You're talking about Kazan...
Yes, yes, yes, that’s exactly why, when they approached me about this, I said: you know, I’m not ready to open a branch in Kazan, because everyone will say that I’m doing this only because I’m Tregulova Zelfira Ismailovna, that I am Tatar by nationality.
It would be interesting to know a little about your family.
When my mother was issued a passport in 1938, she was written down as Tregulova instead of Teregulova. And thank God that they didn’t make Zinaida Ivanovna instead of Saida Khasanovna.
I had very intelligent parents, born in 1919 and 1920, they have long been dead. War, in general, does not help people live long. And my father went through the war from 1941 to 1945 as a front-line cameraman and filmed the Potsdam Conference.
I grew up in a very correct family, completely idealistic or something. In the sense of correlating everything you do with some higher truth and rules established not by the Lord God, but by humanity, despite the fact that, quite understandably, your parents were atheists. I’m rather an agnostic, and I believe that my parents were agnostics, they just didn’t understand that it should be called that way.
And at the same time, when I came home from school one day in first grade with a story about Pavlik Morozov, my mother told me the story of our family until four in the morning. About the repressed grandfather, who was taken in 1929, despite the fact that he had eight children. About how my grandmother took her children to Central Asia, how she sat at night and broke out her gold teeth in order to sell them and somehow feed the children.
My mother was the youngest in the family, and it was thanks to this that she could get an education, since in 1936 the same Stalinist Constitution was adopted, which guaranteed education even for the children of enemies of the people... Yes, her three brothers died at the front, her elder brother was still arrested, and then everywhere else.
And my children’s great-grandfather, on the other hand, was shot in 24 hours at Lubyanka as a German spy. Here. Therefore, I am terribly grateful to my parents that they tried to raise me, giving me everything that could be given, taking me regularly to Leningrad (I visited the Hermitage for the first time at the age of seven).
You are a rare example of a museum specialist of an international level, and now the notorious roots, bonds, identity are again important...
If you want to ask who I feel like, I feel like an absolutely Russian person, but with the everyday habits of a Tatar girl. When I come into the house, I take off my shoes immediately at the threshold.
For a Tatar family, if you come into the house and walk through in boots or shoes, this is an insult. I know three words in Tatar. But I am fluent in Latvian, I grew up in Latvia, and, accordingly, English, French, German and Italian (English - fluently, and the rest - as needed).
You specialized in Russian art of the late 19th century. How did you get to the Guggenheim Museum?
All-Union Art and Production Association named after. Vuchetich made several legendary exhibitions in the 1980s and 1990s, starting from Moscow and Paris. In 1990, I began working on the exhibition The Great Utopia. At that exhibition there were 1.5 thousand exhibits. This is a great exhibition. For me it was university and the opportunity to work with incredible curators and the great Zaha Hadid, the exhibition's architect.
You have an experience that many of your colleagues do not have - the experience of direct contact with Western museums, the most brilliant. Could you state a few things that this collaboration taught you?
Taught me a lot. I have been on long-term internships in foreign museums several times: seven months at the Guggenheim Museum in New York and three weeks in 2010 at the Metropolitan Museum of Art. And before that, there were two short-term internships at the Guggenheim related to the Great Utopia. And before that, work on the exhibition Moscow - Treasures and Traditions, which we did with the Smithsonian Institution.
I only realized later that this was my first curatorial project, but I want to say that this exhibition attracted 920 thousand people in the United States - in Seattle as part of the Goodwill Games and at the Smithsonian Institution in Washington. Then they threw me like a kitten into water and said that I had to make such an exhibition: write a concept, select exhibits, negotiate, and so on.
Was this different from Soviet practice?
I learned a lot from my foreign colleagues: the ability to negotiate, communicate, come to an agreement, and defend my position. They are incredibly correct and polite - this is a form of respect for a person. They also explained to me that you should never be ungrateful and take advantage of free labor. If it is not possible for a person to pay, you need to say words of deepest and sincere gratitude to him. I have followed this principle all my life.
Apparently, you were also taught the secrets of communicating with the press, that your journalists cry?
Of course, a very important story is relations with the press and sponsors. At the Guggenheim Museum, I was seated in the assistant director's office (there was no other place) and I saw how they communicated with the press: any meeting was interrupted if a senior journalist from the New York Times arrived.
I also had experience communicating with sponsors of projects that the Guggenheim Museum did, in particular the Amazon avant-garde exhibition.
We probably still have this difficult legacy of the Soviet era - snobbery towards people who give money.
We all do exhibitions only with sponsorship money. The Kremlin museums made them only with sponsorship money the entire time I worked there. The Pushkin Museum was the last to receive government subsidies for large exhibitions thanks to the incredible efforts of Irina Alexandrovna, of course, and her authority.
Serov's exhibition was fully financed by VTB Bank. They are our most important partners and provide money for the most significant projects. The money is big.
How much did it cost us to bring paintings from Copenhagen and Paris! People stood in front of me here and said: let's refuse, let's refuse. Negotiations with Danish colleagues were difficult; even Alexei Tizenhausen, the head of the Russian department of Christie’s, had to be involved.
He helped determine the insurance estimate, because what the owners initially offered did not correspond to the cost of Serov’s work. And then he convinced them that we could be trusted.
In general, it seems that finding money for large projects is one of the main options for museums now.
I understood from the experience of foreign museums that professionals work in fundraising departments, but that fundraising cannot be left to only these people, that sponsors who are asked for a large sum must understand what they are giving money for, what it will be for project. There must be people - curators, art critics - who will professionally answer any question and can present the project in such a way that patrons will open their wallets. It is very important". -
“My grandchildren have been going to museums since early childhood because they don’t have a nanny.”
125 years ago the Tretyakov Gallery became the property of Moscow. How much Pavel Mikhailovich worried about who and how would manage his brainchild... For more than two years, judging by the indicators, Zelfira Tregulova has been coping with this brilliantly. And the point here, most likely, is not even her impeccable reputation as a specialist, but the fact that this person is extremely caring. Both to old art and to modern art, which is important. You listen to her, as we had the chance to do in an exclusive anniversary interview, and you understand: the person is in the right place.
Zelfira Tregulova. Photo by Evgeny Alekseev/Tretyakov Gallery.
Zelfira Ismailovna, in connection with the date, I remember Tretyakov’s letters to the critic Stasov, where Pavel Mikhailovich expressed concern about the further formation of the gallery’s collection. How has this process transformed since then?
These 125 years overlap with the 160 years since the gallery's founding, which we celebrated last year. Recently, general interest in the figure of Tretyakov himself has noticeably increased. During the Soviet years, they preferred not to talk much about him. No one realized that he was collecting the most relevant and contemporary art at that time. Sometimes I bought things in workshops even before they appeared at exhibitions. He tried to ensure that the most significant works created before his eyes ended up in his collection. He often bought something that he didn’t particularly like if he understood that it was important for the history of Russian art. We are also talking about Vereshchagin’s paintings, whose major retrospective we will show next year; about Ge’s works, which were banned by censorship and which he could not exhibit during his lifetime.
"Two" by Kuzma Petrov-Vodkin. Photo by Msk Agency.
- Why did your attitude towards Tretyakov change?
Serious works have appeared analyzing his case. We begin to understand that Tretyakov is an extremely modern figure, and his activities should be perceived as a guide to action. This is the story of Tatyana Yudenkova’s instructive book, “The Brothers Pavel Mikhailovich and Sergei Mikhailovich Tretyakov: Worldview Aspects of Collecting in the Second Half of the 19th Century,” published last year. There were periods when the gallery was actively replenished with works by very young artists. For example, Tretyakov bought “A Girl Illuminated by the Sun” by Serov, receiving in response a letter from Myasoedov that was absolutely incredible in its wording: “Since when, Pavel Mikhailovich, have you started inoculating your gallery with syphilis?” In 1910, the gallery bought the first publicly presented works by Serebryakova from an exhibition of the Union of Russian Artists. She was then a very young artist.
"Whitening the canvas" by Zinaida Serebryakova. Photo by Msk Agency.
- What happened to the meeting after the October events?
It was nationalized, although before that it was already a publicly accessible city museum. It included works from private collections, and a fair amount of things purchased by Pavel Mikhailovich were sent to regional museums, where serious collections were formed. During the Soviet years, art was systematically purchased, both official and quite far from the canon. For example, the works of Alexander Labas, which are now being shown at his exhibition at the Institute of Russian Realistic Art. Since the 1990s, the systematic formation of a collection with works by official, but nevertheless contemporary, artists ends. What is created during these years ends up primarily in private collections, rather than in the gallery collection. Although, thanks to the collector George Costakis, at one time, for example, it was replenished with an incredible collection of avant-garde. In 2014, the collection of Leonid Talochkin was received as a gift and partially acquired, which made our collection of nonconformist art among museums the most serious in the country.
- What about the works of young contemporary artists?
If you are talking about those that exhibited at the Venice Biennale in the 1990s and 2000s and received prestigious awards, then we don’t have them. We try to work with collectors and patrons so that we are given works that will, at least to a small extent, close these gaps. We also lack works by artists who worked in the 1960s–1980s. Although we were recently given a unique work by Zhilinsky, “Man with a Killed Dog,” which he did not want to sell. It was kept in the family and is considered one of the artist’s most important works.
- How exactly do you continue Tretyakov’s work?
We are trying to follow in his footsteps and expand the collection with works by contemporary artists. We would be happy to acquire works by masters of the Russian avant-garde, which we lack, or by artists who are poorly represented in the gallery’s classical collection. Unfortunately, the prices for them today are such that it is difficult to find a patron of the arts who is ready to purchase for us works by Kustodiev, Repin, Savrasov, Serov. Their works were recently offered to us to add to the collection. After a fair amount of haggling, we will look for money to purchase these works. Tretyakov himself bargained to the last.
"Portrait of A. M. Gorky" by Valentin Khodasevich and "Archbishop Anthony" by Mikhail Nesterov. Photo by Msk Agency.
- Do you bargain personally?
The one who negotiates, including me.
Several art sellers on the Krymskaya Embankment claim that you bought paintings from them. For a gift or for your collection. This is true?
God... I've never bought anything there in my life. As for my acquisition of works by contemporary artists, I once haggled to death with the owner of the XL gallery, Elena Selina, for the amazing work of Konstantin Zvezdochetov. As a result, she agreed to my amount. Once, at a flea market set up by artists at ARTStrelka, I bought a wonderful work by Sergei Shekhovtsov for some ridiculous money. The remaining few things from artists of this generation were given to me when they were still quite young. Before anniversaries and birthdays, the painful question of giving a gift arises; you understand that it is best to present a small but worthy work of art.
For the gallery’s anniversary, you presented us with another exhibition blockbuster - “Someone 1917”. The project is complex and multi-layered. Where do you recommend viewers start immersing themselves in it?
From a video that brought to life one of the exhibition’s calling cards - “The Old Milkmaid” by Grigoriev. With a stern, if not evil, face, she milks an amazing cow with a blue eye. This is about Russia, living a calm, moderate life, which is invaded by the horseman of the revolution. The video doesn't dot any i's, but makes you think. People who come to the exhibition must force themselves to abandon all previously existing ideas about the art of 1917.
- What difficulties did you encounter while preparing the project?
Until the late 1970s and early 1980s, painting endlessly depicted the leader of the revolution and sometimes illustrated quite mythological aspects of the then existing version of the events of this turning point. While working on the exhibition, we realized how few artists there were who recorded what was happening before their eyes. In the 1990s, after a series of exhibitions with the titles “The Art of Revolution”, “Avant-garde and Revolution”, when reference to the revolution provided the opportunity to show the avant-garde, the idea was created that the art of the revolutionary year represented only the avant-garde. And the artistic revolution occurred two years before the political one - in December 1915, when the “last futurist exhibition “0.10” opened. Avant-garde artists, a relatively small group, embraced the political revolution with incredible enthusiasm. They were encouraged that she could help them realize all the ideas they had been developing since 1914. The avant-garde took to the streets of cities, squares and the walls of houses, and entered everyday life. This didn't last long. When the masters of the old formation realized that there was no other way but cooperation with the new government, the end of omnipotence in the artistic sphere of the avant-garde came. But we took a different path...
"Pictorial Architectonics" by Lyubov Popova. Photo by Msk Agency.
- And why is it remarkable?
We looked at this period, discarding all preconceived points of view. We tried to be as objective as possible. We found it interesting to present an artistic cross-section of 1917 with the commercial art market that had ceased to exist and government orders that had not yet begun. At that time, artists did what they wanted or what they could do, lacking paints and large-format canvases. We searched almost all museums, our own collections and private ones, identifying everything that was created in 1917. Something in this picture surprised even us. A complete absence of canvases and paintings reflecting the reality that took place outside the windows of the workshops. We found, perhaps, only a few works from 1917 that directly describe revolutionary events. One of them is the painting “February 27, 1917,” where Boris Kustodiev depicts a city landscape with a truck with red banners from the windows of his St. Petersburg workshop.
- Is this the symbol of “Someone 1917”?
Each viewer has his own. The title of the exhibition is taken from the 1912 almanac “A Slap in the Face of Public Taste,” which ends with Khlebnikov’s phrase: “Someone 1917,” unknown, unknown, incomprehensible, but inevitably coming.” Even for those who lived through this year, it remained completely unknown. Avant-garde artists created an abstracted cosmic utopia. And someone locked himself in his studio and painted beautiful interiors of noble estates, which soon burst into flames in the wake of peasant uprisings. Every master thought about Russia and the Russian people. And widely known, like Nesterov, for example, and less well-known, like Ivan Vladimirov. The polyphony of this exhibition turns it into a unique project, which contains works that no one will see nearby in the coming decades. They are not only from private international collections, but also from the Tate London and the Pompidou Center in Paris. The exhibition showcases many discoveries and opportunities to think about critical questions, such as how art relates to reality.
This is also happening at another project at the New Tretyakov Gallery - the Moscow International Biennale of Contemporary Art. How did the team react to this unusual story for the gallery?
It’s better to ask my colleagues about this. Many of them stayed up for days to organize everything. It was a monstrous load, but we knew why we were going through it. Firstly, the gallery on Krymsky Val was a “sleeping kingdom” for many years. To restart this platform, it is necessary to change the exhibition policy, the methods of communication with the viewer, and the nature of the presentation of works. They had to be brought to life by commenting on them in modern voices. We have done this, but the main thing ahead is the reconstruction and restoration of the building itself, which has not yet undergone major repairs.
Secondly, we understood that if we did not accept the biennale, then it risked not being realized this year, and possibly ending entirely. We are glad that it turned out to be an exquisite project that makes you think about a lot. And a very different audience. On Sunday, I made an appointment on Krymsky Val, after which I sat down to have coffee in our cafe and saw how many young parents with their children were going to the exhibition. I heard that many of them are visiting us for the first time, and even if after the Biennale they don’t have the energy left for the main exhibition, they will still want to return to it.
Zelfira Tregulova at the exhibition "Someone 1917". Photo by Msk Agency.
-You have grandchildren who are passionate about art. Please advise how to foster an interest in art in children?
Children should be brought to museums from an early age. I remember well the first time I was brought to the Hermitage. I was seven, and this visit defined my life. My grandchildren have been going to museums since early childhood for the simple reason that their parents want to visit exhibitions together to exchange impressions, and there is no one to leave the children with - there is no nanny. At the same time, they understand well, and my daughter is an art critic, that the impressions received from art are reflected in children’s consciousness. Children generally remember themselves very early. From the age of three, for sure. The impressions they have that are different from their daily life will manifest themselves in the future.
It is also important to engage children in drawing, modeling, building with cubes... Remember: painting, sculpture and architecture. My grandson is a very lively boy, always ready to fight to defend his position among his classmates. Despite this, he spends hours building incredibly beautiful huge cities from cubes. This develops the ability to think abstractly. Whatever he watches, he responds interestingly to new impressions. He comes home from school and draws, capturing what he heard and felt. The youngest girl, who is only 2.5 years old, does the same. It is clear that children's first artistic experiences are abstraction.
The most important thing is that this unusual view of the world is not killed by tough lessons: “Draw a dog, a horse, a house.” Children are born with creativity. The task of parents and those who work with them in school or children's studios is to develop this creativity. Such a child will be much more complex, developed and intellectual than his peers who are indifferent to drawing, modeling and building with cubes. And it doesn’t matter that he will not become a professional architect, artist or sculptor.
An exhibition of the amazing sculptor Nikolai Andreev is being shown in the Engineering Building. It shows the gallery's interest in experimenting with exhibition architecture. Is this a principled position for you?
We try to surprise the viewer, bring him into dialogue and interaction with the space. This exhibition shows what is commonly called classical plastic values, which - in particular due to their location on unusual podiums - do not seem like standard works and make the viewer want to touch them. Here you understand that sculpture has different techniques, forms, facets... I recommend you look at it and get incomparable aesthetic pleasure.
- What is happening near the Engineering Building with the new building?
There's construction going on there now. We have given serious thought to transforming this area into a vibrant and active place. This can be done upon completion of construction, because when you have construction going on, it’s difficult to talk about a relaxing, comfortable life. In the summer we opened the courtyard where the Church of St. Nicholas in Tolmachi is located. While it was warm, the space came to life, especially thanks to mothers with strollers. You see, children are introduced to art from an early age, even from a stroller. And later we will get an educated generation that will get used to going to the museum and will bring their children here...
Zelfira Tregulova was born on July 13, 1955 in Riga, Latvia. Her mother worked as a sound engineer, and her father was a cinematographer; during the war he was a front-line cameraman, filming the Potsdam Conference.
Since her student years, Tregulova’s life has been closely connected with artistic creativity. In 1977, Zelfira graduated from the art history department of the Faculty of History of Moscow State University named after M.V. Lomonosov, and in 1981 she graduated from graduate school at Moscow State University.
In 1984, Zelfira Ismailovna’s professional activity began. For about 13 years, Tregulova devoted herself to work in the All-Union Art and Production Association of E. V. Vuchetich. She was a coordinator and curator of international exhibitions of Russian art abroad, and in recent years - assistant to the general director.
In 1993-1994, she completed an internship at the Solomon R. Guggenheim Museum in New York. From 1998 to 2000, she headed the department of foreign relations and exhibitions at the State Museum of Fine Arts named after A. S. Pushkin. Then she was a visiting exhibition curator, including at the Solomon R. Guggenheim Museum.
From 2002 to 2013, Tregulova Zelfira was the general director for exhibition work and international relations of the Moscow Kremlin museums. For the next couple of years, from August 14, 2013, she was the head of the State Museum and Exhibition Association “ROSIZO”.
Zelfira Ismailovna On February 10, 2015, Tregulova headed one of the three leading museums in the Russian capital - the Federal State Budgetary Institution "All-Russian Museum Association - State Tretyakov Gallery". This became a new stage in the career of a museologist.
In addition to her main activity, Zelfira Tregulova teaches at the Faculty of Art Management and Gallery Business at the RMA Business School in Moscow. Fluent in English, fluent in French, German and Italian. He is a member of the Public Council under the Ministry of Culture of the Russian Federation.
Curator of major international exhibitions in leading museums in Russia and the world, including “Amazons of the Avant-Garde”, “Artists of the Jack of Diamonds”, “Russia!”, “Red Army Studio”, “Surprise Me!”, “Socialist Realisms”, exhibitions “Cazimir” Malevich and the Russian avant-garde" and others. Among the latest projects implemented under the leadership of Tregulova is “Viktor Popkov. 1932-1974" and "Palladio in Russia. From Baroque to Modernism."
Zelfira Ismailovna was awarded Certificates of Honor from the Ministry of Culture of the Russian Federation, the Order of the Star of Italy of the Knight's degree for her services in holding the Year of Italian Culture and the Italian Language in Russia, and a cross with a crown of the Order of Merit pro Merito Melitensi. Winner of the “Honor and Dignity of the Profession” award at the VII All-Russian festival “Intermuseum”.
Tregulova Zelfira has extensive experience in organizing exhibition activities. She did this in the Pushkin Museum and the Kremlin Museum and before that, in Soviet times, in other institutions. Candidate of Art History, a reputable international specialist. There are only a few people of this level in the country. A person with such experience can really “offer the Tretyakov Gallery” a lot.
Director of the Tretyakov Gallery about big plans in Kazan, the legacy of Bulat Galeev and impressions of the Smena CSK
At the end of April, a large exhibition of Russian painting from the turn of the 19th - 20th centuries is planned to open at the Hermitage-Kazan center. It will mark the start of the implementation of a cooperation project between the famous Tretyakov Gallery and Tatarstan, which was agreed upon in January by Rustam Minnikhanov and Zelfira Tregulova. In an exclusive interview with BUSINESS Online, the director of one of the country’s main museums spoke about her conversations with the President of the Republic of Tatarstan, the intricacies of curatorship and her national roots.
Zelfira Tregulova: “Now the situation in the regions is such that we need to forget about the “center-region” hierarchy” Photo: president.tatarstan.ru
“WE EXPECT TO BE ABLE TO DEVELOP A WIDE CAMPAIGN IN TATARSTAN TO PROMOTE EXHIBITION PROJECTS”
— Zelfira Ismailovna, what project has been developed between the Tretyakov Gallery and Tatarstan?
— We have concluded a long-term cooperation agreement with Tatarstan. This cooperation will be mutual: not only the Tretyakov Gallery in Kazan, but also Kazan and Tatarstan will be exhibited in Moscow on the territory of the Tretyakov Gallery. All our projects are planned as joint ones. When thinking about possible topics, we first of all proceeded from the fact that the State Museum of Fine Arts of the Republic of Tatarstan houses absolutely unique collections of Russian painting at the turn of the 19th - 20th centuries. It seemed interesting to combine this painting within one exhibition, which we will unfold in the halls of the Hermitage branch in the Kazan Kremlin. Today this is the best space in Kazan for displaying classical art, and the Kazan Kremlin itself is a very lively and visited place.
From its collection, the Tretyakov Gallery will present about 50 works for the exhibition of Russian art of the turn of the century, and the State Museum of Fine Arts of Tatarstan will present about 20. In some cases, things will be combined into a series. For example, from Natalia Goncharova’s Jewish series we will show “The Jewish Shop”, which will hang next to the famous painting “Shabbat” from the collection of the Kazan Museum. And “The Flight of Faust and Mephistopheles” from the same collection will be shown next to the iconic - and not only for the Tretyakov Gallery, but for all Russian art - Mikhail Vrubel’s painting “The Swan Princess”.
— How exactly is the strategy for long-term cooperation between the Tretyakov Gallery and Kazan formulated and what is it aimed at?
— It is important for us to make not just a temporary exhibition in Tatarstan. We would like to be able to transfer the know-how that we have developed over recent years, when exhibition projects turn into real events that attract enormous attention from viewers and have a very serious educational potential, to Kazan. Not just move it, but also see how it will interact with the situation that is developing in Tatarstan today.
“Meetings with the President of the Republic of Tatarstan made me consider our project in Tatarstan as a test of the effectiveness of everything that we offer today to the Moscow audience”
Photo: president.tatarstan.ru
— What kind of situation, in your opinion, is developing in Tatarstan?
— I’ve been to Kazan a couple of times over the past two or three years, and, of course, the way the city is developing, the way the republic is developing, cannot but surprise. On the one hand, we have a lot to learn from Kazan and Tatarstan. On the other hand, with the incredible development of the urban structure and generally some very intense life of the city, the museum history here has not yet attracted people’s attention.
With our first joint exhibition in Kazan, we would like to make a breakthrough in relation to museum and exhibition projects. Therefore, we are preparing not just an exhibition from the collection of the Tretyakov Gallery, which will also include works from the collection of the State Museum of the Republic of Tatarstan. This is a project that we think through from start to finish, both in terms of the content of the exhibition and the design of the exhibition space. We will do the same as we do at our exhibition venues: we will invite interesting architects to transform the halls, which have seen more than one exhibition from the Hermitage collection, into something completely different from what Kazan viewers are accustomed to. We will accompany the exhibition with interesting educational programs, as was done in the fall at the exhibition in Nizhny Novgorod dedicated to the 120th anniversary of the museum and the famous Nizhny Novgorod Fair. Lectures there were given by probably our most serious researchers, starting with the deputy director for science. In my opinion, there was not a single “graduate” lecturer, some even had a doctorate in art history. Although the matter, of course, is not only about the scientific degree...
- What else?
— In order to attract people who do not yet have the habit of going to museums, exhibitions, lectures, it is important to use the maximum of modern opportunities, to act according to the Hamburg account. We very much hope that thanks to our cooperation in Tatarstan we will be able to launch a broad campaign to promote exhibition projects. I am not afraid of the word “promotion”, because when people come to the museum, they should realize how some other dimension is added to their everyday life. And this is incredibly important today.
“We have concluded a long-term cooperation agreement with Tatarstan. This cooperation will be mutual: not only the Tretyakov Gallery is in Kazan, but also Kazan and Tatarstan will exhibit in Moscow.”
Photo: president.tatarstan.ru
“THE EXHIBITION OF BULAT GALEEV SHOULD BE MADE NOT ONLY TO Draw ATTENTION TO THIS AMAZING FIGURE AGAIN...”
— How many projects are currently included in the plans for cooperation between the Tretyakov Gallery and Kazan?
— So far, I’ve talked about the first of three projects that we would like to do in Tatarstan. The second project is a joint exhibition dedicated to an absolutely amazing person and artist Bulat Galeev. During the Soviet years, he made breakthroughs in many areas, but then, unfortunately, was forgotten. They remember him right now. I was very pleased when at the exhibition “Art of Europe 1945 - 1968” in Brussels, and then in Karlsruhe ( Now this exhibition is coming to the Pushkin Museum. Pushkin — approx. ed.) I saw two of his projects, which rightfully took their rightful place in the exhibition, presenting the artistic development of post-war Europe as a whole, without distinguishing between the countries of the Western and Eastern blocs. It's amazing how much more we had in common than different! A phenomenon of art arose, on the verge of art and science, which incredibly expanded the horizons of artistic thinking itself.
The problem is that, against the backdrop of the European radical movements of the late 1950s and early 1960s, many people do not perceive Russian art of the Thaw era as it deserves. But in the Soviet Union in those years a situation was created that incredibly provoked the freest and most radical artistic expressions. This situation contributed to the creativity, in particular, of people like Bulat Galeev. For me, it is rather an indicator of what was happening in our country. To what extent his art is the result of growing on Tatarstan soil is more difficult for me to say. But the fact that he was an important part of Russian artistic expression in the early 1960s is completely undeniable.
“The second project is a joint exhibition dedicated to an absolutely amazing person and artist Bulat Galeev. During the Soviet years, he made breakthroughs in many areas, but then, unfortunately, was forgotten. They remember him right now.”Photo: Elena Sungatova, art16.ru
— Just the materialization of a “prophet in his Fatherland”...
“The Bulat Galeev exhibition needs to be done not only to once again draw attention to this amazing figure. We must help ensure that the artist’s legacy, which is now stored in storage rooms in one of the industrial buildings, is museumified and takes its rightful place in the museum and cultural life of Tatarstan.
— What will the third project be?
— The third project planned with Kazan will be based on what is probably the core of the Tretyakov Gallery’s collection - this is an exhibition of paintings that Pavel Mikhailovich Tretyakov bought. First of all, paintings by his contemporaries. Not everyone is aware of this, but Pavel Mikhailovich Tretyakov collected contemporary art. He collected all the most interesting, bright things that were created by his contemporaries. Sometimes he even bought works, for example, paintings by Nikolai Ge, which he understood that he would not be able to show them during his lifetime due to the sociocultural restrictions of that time. We would like it to be interesting for modern viewers to look at and think about.
“IN KAZAN I WAS MANAGED TO VISIT THE “SMENA” CENTER FOR CONTEMPORARY ART. I was STUCK BY THE ABSOLUTE NON-PRINCIALITY OF WHAT I SAW”
— In the case of Pavel Tretyakov, the idea of patronage investments in contemporary art justified itself. Have you seen any horizons in the contemporary art of Tatarstan?
— In Kazan, I was able to visit the center of modern culture “Smena”. I was struck by the absolute non-provinciality of what I saw. Firstly, it was a successful exhibition of contemporary artists. Secondly, this is an incredibly vibrant place with an enviable bookstore, a modernly designed space, while the center itself is effectively integrated into the historical buildings. I enjoyed communicating with the result-oriented and highly motivated people who work there. This suggests that the regions have excellent potential. And it’s wonderful when regional leaders support such initiatives, regardless of their own preferences and artistic tastes.
In Tatarstan, it seems to me, such a policy is obvious. I can add that those two meetings with the President of Tatarstan that I had over the past year - one when he received me in his office in Kazan, and the second when he was with us at the exhibition “Masterpieces of the Vatican Pinacoteca” - were not just very interesting. They made me pull myself up a lot and consider our project in Tatarstan as a test of the effectiveness of everything that we offer today to the Moscow audience.
— Did I understand correctly that we are talking about a system inspired by Rustam Minnikhanov to bring the museum and exhibition life of Tatarstan closer to the capital level?
— Now the situation in the regions is such that we need to forget about the “center-region” hierarchy. The region cannot in any way be perceived as a “little brother” to which you come with your “big brother” laws. That is why we want to interact, and not just transfer our ideas, our projects, our concepts to Kazan soil.
“Roma Aeterna is an exhibition of 42 works; never before has such a number of works left the walls of the Pinakothek Photo: kremlin.ru
“I IN GENERAL THINK THAT SETTING BOUNDARIES IS ABSOLUTELY NOT USEFUL THING”
— Probably, part of the concept you transfer will be the institution of curation. This is an author’s category, and it is still unusual for the museum life of Tatarstan. Could you, as an educational program, tell us about Arkady Ippolitov, the curator of the exhibition “Masterpieces of the Vatican Pinacoteca”, which recently closed in the Engineering Hall of the Tretyakov Gallery. Bellini, Raphael, Caravaggio" ( RomaAeterna - “Eternal Rome”)?
— If we talk about Roma Aeterna and the curator of this exhibition, Arkady Ippolitov, actually a senior researcher at the State Hermitage, then I have been working with him for a long time. From the time when I was a curator and coordinator of Russian projects at the Guggenheim Museum in New York. There, Arkady put on an absolutely brilliant exhibition, “Robert Mapplethorpe and Classical Art: Photographs and Engravings of Mannerism.” Before the exhibition from the Vatican, he and I did a couple more projects. When I realized that the Vatican exhibition was becoming a reality, I did not doubt for a minute that I should invite him to work.
Only a very serious connoisseur of Italian art could choose from the relatively small collection of the Pinakothek - only 500 works - works that would not just be masterpieces hung on the walls, but would carry a very serious message. Moreover, a person who was able to propose an idea that was so received by the Vatican Museums that they agreed to give it away - and give it away for almost four months! - your best works. The idea of Roma Aeterna, i.e. “Eternal Rome”, really appealed to them. At the same time, I know for sure: not everyone believed that it would be possible to make an exhibition of works such level.
So, if we talk about Kazan projects, we entrusted the first of them to the young curator Olga Furman, an employee of the Tretyakov Gallery. My colleagues and I are ready to admit that, based on the material of Russian painting at the turn of the 19th - 20th centuries, it has turned out to be a very beautiful, aesthetically subtle story that does not end, as one might assume, in 1917. This exhibition will show what happened to some of the artists represented after the revolution, how they continued to work and how, in a difficult situation - until 1932 - everything continued to develop in a rather extraordinary way.
— An interesting curatorial move to overcome the standard chronology “before the revolution - after the revolution.”
- You know, I generally think that setting boundaries is absolutely not a useful thing. In all senses. It seems to me that we should take advantage of the advantages that our current position gives us, when we can look at the twentieth century not as a period divided by “partitions”: avant-garde, socialist realism, austere style, etc. These definitions do not give a complete picture and they identify a certain preferential line, which, being highlighted (artificially, by the way!), is divorced from the incredibly interesting context within which it existed. If we talk about the 1950s, 60s, 70s, there was a very strict position on the existence of official and unofficial art: along with the realistic tradition, there was unofficial, non-figurative, experimental art.
In fact, we now see that they did not exist in a vacuum and were not completely isolated from each other: talented artists who worked in both fields created incredibly significant, powerful things that very accurately reflected their time, despite the fact that this expression of time was sometimes carried out in extremely opposite forms. But let's agree that we are talking about talented artists! Because there were a huge number of people who received professional skills, but did not rise above the level of artisans both in the sphere of official art and in the unofficial sphere. When time puts everything in its place, you begin to understand which of the artists, hidden for the time being from our eyes, really made a breakthrough, and which was quite secondary.
“When people come to a museum, they should realize how some other dimension is added to their everyday life. And this is incredibly important today"
Photo: president.tatarstan.ru
ABOUT THE FEATURES OF TATAR FAMILIES
— Is it too early to ask about counter projects - Kazan in Moscow or is it already possible?
— In 2018, we are preparing an exhibition “The Legend of the City of Sviyazhsk”, dedicated to the unique iconostases of two churches in Sviyazhsk, which are stored in the same State Museum of Fine Arts of Tatarstan. We are very interested in showing them in Moscow along with artistic monuments from other museums, such as the Kremlin museums, the Historical Museum, the Trinity Lavra of St. Sergius Museum, which would tell about the history of Sviyazhsk as a unique artistic and cultural center, which this city has been to this day remains in the multicultural landscape of Tatarstan. I would really like for the artistic life of Tatarstan to bubble up, just as the republic itself bubbles up. It is very important to correspond to the development that is currently observed in Tatarstan - just look at the development of cities, new neighborhoods, embankments, and parks. In principle, it is clear that these concepts received initial development in Moscow, but turned out to be very creatively and fruitfully used in Tatarstan.
— Creative concepts are just good for their creative applicability in a variety of conditions. Today the Tretyakov Gallery is seen as a leader in cultural exchanges at different levels. Continuation of the exhibition Roma Aeterna, for example, will be a counter-exhibition of masterpieces from the Tretyakov Gallery in Rome. How do you think it will be possible to maintain the chosen tonality?
— I think it will succeed. Work of the first order will go to Rome. Therefore, yes, we will remove masterpieces from the walls of the Tretyakov Gallery. On the one hand, debt is repaid. On the other hand, when you present exhibitions in places like the Vatican Museums - ours will be in the Charlemagne wing, if you look at St. Peter's Basilica, that building on the left behind Bernini's colonnade - you understand how important it is to show those works that will tell a lot to a person who is not at all familiar with the national history of Russian art. By the way, this is also a curatorial project, which is being worked on by gallery employee Tatyana Yudenkova, and co-curated by Arkady Ippolitov.
— Traveling exhibition events are always production complex. In order for Tatarstan to appreciate, say, the upcoming touring exhibition, for which fifty paintings will come from the Tretyakov Gallery, tell us about what it cost to bring the exhibition from the Vatican Pinacoteca to Moscow.
— Here, perhaps, we need to be specific. First of all, an exhibition of 42 works, each of which came from the permanent exhibition of the Vatican Pinacothecae, means - and my colleagues at the Vatican spoke directly about this - that such a number of works have never left the walls of the Pinacoteca. Even when the Vatican organized a large exhibition not only from the Pinakothek, but from the entire Vatican collection at the Metropolitan Museum of Art in New York.
Therefore, of course, it was huge insurance, compliance with all possible precautions, the most careful packaging of each work in a separate climatic box, climatic vans, special control over loading onto the plane and the same special control over unloading at the arrival airport. And this is also a thorough inspection during unpacking to ensure the safety of the work, this is the vigilant monitoring of restorers to see how the work is proceeding, these are increased security measures, this is an armed policeman in the hall, these are difficulties with selling tickets, this is limited access to the hall, because there There should not be more than a certain number of people.
But if we talk about what preceded it - in fact, about logistics - of course, it was the most difficult work to implement agreements on the provision of certain works. I must say that it was very pleasant to work with colleagues from the Vatican: they responded to everything very quickly, and they were really passionate about the idea that we proposed to them. Feeling this, we, of course, tried to ask for as many paintings as possible. And, in general, we got the maximum of them.
— So that our readers have the same — to the maximum — idea about you, finally, tell us about your “Tatarness.”
— (Laughs.) Well, who else can I be, other than a Tatar by nationality, if my name is Zelfira Ismailovna, and my last name is Tregulova? Although I was born in Latvia, I don’t speak Tatar. “Grandma”, “grandfather”, “dad”, “mom”, “sit down” and “thank you” do not count. A lot of my relatives on my mother’s side live in Kyrgyzstan. At one time I tried to go there more often, but now O Most of their children moved here to Moscow and live here.
I’m very happy when one of my nephews or nieces calls and says: “It would be nice if everyone could get together!” “Come on, come!” - I answer. It's incredibly nice. I think this is one of the features of Tatar families: people feel their kinship very keenly, especially if relatives and friends are also brothers in mind. This need for regular family meetings, when 20 - 25 people of different generations gather and everyone has something to talk about with each other, always makes me very happy and very warms me.
