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Именно период с 2000 по 2010 год с некоторых пор стало принято считать «золотым веком» российского современного искусства, временем окончательного становления и некоторого расцвета художественного рынка в России, выхода нескольких российских галерей и художников на международную арену, появления частных фондов и музеев.

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This previous decade has lately come to be considered the "golden age" of contemporary Russian art, a period that saw the rise of and a certain boom on the Russian art market as a number of local galleries and artists broke onto the global art scene while private-owned foundations and museums appeared at home. A period when buying and showing off contemporary art became trendy. It was during this period that Ekaterina and Vladimir Semenikhin purchased a substantial body of works by leading Russian artists. Ekaterina and Vladimir began collecting art in 1995 after buying works by a number of 19th-century masters. This initial interest in the Russian classics was followed by a period of fascination with the Knave of Diamonds art group and, later, with the so called second avant-garde, that is, Soviet unofficial or nonconformist art of the 1960 – 1980s. It was also during this period that the two art collectors began working with leading Russian galleries and taking an active part in art auctions. In 2002, Ekaterina and Vladimir established the Ekaterina Cultural Foundation before opening one of Moscow’s and Russia’s first private-owned art galleries in a historic building in Kuznetsky Most Street, in 2007.

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С 16 января по 1 марта в залах Фонда проходила персональная выставка художника Таира Салахова. Таир Салахов - знаковая фигура для отечественного искусства, основоположник «сурового стиля», живой классик, много сделавший не только для искусства как такового, но и для людей искусства.

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From January, 16 to March, 1 the Foundation hosted Tair Salakhov`s first retrospective exhibition. Tair Teimurovich Salakhov is an important proponent of Russian art, a pioneer of the «Grim style», an academician, a maitre. The art itself was not the only concern for Salakhov. Being one of the leaders of the USSR's art community organization, the Artists' Union, he has helped a lot of his colleagues, supporting young artists and students of the Surikov Institute for the arts, sometimes providing legal cover-ups for dissident non-conformist artists. Salakhov has contributed to organizing, in late 1980s and early 1990s, solo shows of works by Robert Rauschenberg, James Rosenquist, Gunther Uecker, Francis Bacon, Jean Tingely, Giorgio Morandi, Iannis Kounellis, Gilbert & George. Still, Salakhov the government official cannot esclipse Salakhov the artist. In this latter incarnation Salakhov has produced hundreds of paintings and works on paper over the last 60 years. Dozens of them are truly considered the masterpieces of Russian art.

При более детальном знакомстве с работами Ло Джудиче становится очевидно, что он наследует не только традициям абстракции, но также художникам течения арте повера, возникшего в Италии в середине 1960-х годов.

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If you take a closer look at Lo Giudice's paintings it becomes obvious that the artist has inherited his style and manner not only from the abstractionism tradition but also from the Arte Povera movement, which originated in Italy in the mid-1960s. The Arte Povera artists' "anti-museum" approach to their work resembled that of the avant-garde masters as they also strove to liberate art objects from the need to be exclusively shown at galleries and museums, to broaden the laws of exhibitions, that is, to diminish the power of art institutions. The term "Arte Povera", first introduced by Italian art historian and critic Germano Celant, referred to the media used by the artists - glass, fabric, paper and even garbage.

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Картина демонстрировалась на важнейших персональных выставках художника в Третьяковской галерее (2006 г), Новом национальном музее Монако (2013 г), Манеже (2014), была одним из центральных произведений на выставках «Поле действия» (Фонд культуры «ЕКАТЕРИНА», 2010), «Московский концептуализм. Начало» (Арсенал, Нижний Новгород, 2012), «Пост-поп. Восток встречает Запад» (Галерея Саатчи, Лондон, 2014) и других.

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Erik Bulatov's "Glory to the CPSU II" is actually a replica of his 1975 painting of the same name but it has arguably grown more popular with experts and public alike than the original work. This painting was exhibited at the artist's biggest solo shows, including the ones held at Moscow's Tretyakov State Gallery in 2006, the New National Museum of Monaco in 2013, and, most recently, Moscow's Manege in 2014. It was also among the centerpieces at numerous group shows, such as "Field of Action" (The Ekaterina Cultural Foundation, 2010), "Moscow Conceptualism. The Beginning" (Arsenal, Nizhny Novgorod, Russia, 2012), "Post Pop. East Meets West" (The Saatchi Gallery, London, 2014) and others. The painting is mentioned in catalogues and monographs.

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Экономическая мощь страны стремительно ослабевала: расходы на войну в Ираке и Афганистане не уменьшались, продолжали сказываться последствия урагана Катрина, и в середине 2007 года случился настоящий экономический коллапс. Американские банки, уже более десяти лет выдававшие хищнические кредиты на недвижимость, стали в массовом порядке фиксировать дефолт по платежам, что повлекло за собой эффект домино.

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The country's economic power was eroding quickly. By mid-2007, with the country deeply over extended at war in Iraq and Afghanistan and still reeling from Katrina, the real economic disaster surfaced. After more then a decade US banks, that had practicing predatory lending on homeowners, began to see loaners default on their loans in mass. It had an economic domino effect. Homeowners began to foreclose at such a rate that the banks could not support the system they had devised. The crisis went global and the US Government began to bail out banks "to-big-to-fail" with billions of US taxpayer funding. The entire US economy went into a depression. Shops shuttered throughout the country and unemployment rates reached 10%.

Это несколько иная, по сравнению с предшествующими, концепция показа творчества группы «Бубновый валет», разработанная сотрудниками Третьяковской галереи. Выставка была представлена под простым, на первый взгляд, заголовком – «Бубновый валет».

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The Moscow exhibition took place from February, 1 to May, 15 2005. It was based on a new conception as compared with the previous exhibitions, the one worked out by the State Tretjakov Gallery experts. The name of the exhibition is just the "Knave of Diamonds". Its main aim is to show the creative work of the Group as a specific and singularly impressive school in a variety of themes and modifications. For the first time the exhibition includes the works of western masters who were contemporaries of the "Knave of Diamonds" painters and participated in their exhibitions. This trend was crucial in the development of the esthetic credo of the "Knave of Diamonds" Group. The works of western masters were gratiously made available for the exhibition by the State Pushkin Museum of Fine Arts.

Фонд культуры «ЕКАТЕРИНА» представил персональную выставку Марчелло Ло Джудиче «Эдем. Далекие планеты». Марчелло Ло Джудиче родился в Таормине в 1957 году, окончил Болонский университет, а затем Венецианскую Академию художеств.

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Marcello Lo Giudice was born in Taormina, Italy, in 1957. He graduated from the University of Bologna before attending the Academy of Fine Arts in Venice, where he studied under leading Italian Arte Informale artists, such as Emilio Vedova and Giuseppe Santomaso. However, while at university, Lo Giudice majored in geology, and his work as an artist is deeply rooted in this stage of his life when he studied the composition and structure of minerals, and their physical and chemical properties. It was these studies that inspired Lo Giudice to pursue a career as a serious artist.

Художник живёт в Париже с 1991 года, а его творчество стало неотъемлемой частью французской художественной жизни, несмотря на то, что искусство Булатова укоренено в русской культуре. Кураторы проекта из Музея Современного искусства стремились показать публике творчество Булатова и его значение для Парижа – на выставке были представлены произведения из центра Помпиду и недавняя серия «Вот» из собрания автора.

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The artist has been residing in Paris since 1991, and his art has become an integral part of French artistic life even though Bulatov's works have their roots in Russian culture. The project's curators from the Modern Art Museum wanted to show visitors Bulatov's art and its importance for Paris so the exhibition presented works from the Centre Pompidou and the recent Vot series from the author’s collection. At the same time the museum presented works by Alexander Rodchenko and they resonated with the Vot series where Bulatov interprets the art of Russian constructivists. All this was part of the curator's concept.

Однако работы Ло Джудиче от произведений арте повера отличает особый подход к самому акту творчества. Все абстрактные образы ландшафтов создаются вручную, методично и внимательно, словно художник работает не с холстом, маслом и шпателем, а с микрокосмом, скрупулёзно соединяя мельчайшие частички земли друг с другом.

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However, Lo Giudice's paintings differ from the works by Arte Povera artists in the way he approaches the very act of creation. Lo Giudice creates his landscapes by hand, painstakingly and meticulously, as though he worked not with the canvas, oil and palette knives, but with the microcosm where he accurately puts together tiny earth particles. Another feature that sets apart Lo Giudice's work from those made by his countrymen is their intrinsic lyricism and energy. The appeal of his paintings is largely due to his ability to depict pictures of nature in a balanced and subtle way, as if they were seen from a bird eye's view.

Ло Джудиче работает не только с холстом и краской, но и со скульптурными объектами. Так, для серии объектов «Тотем» основой служит матрас, вернее то, что некогда было им. Избавляясь от ненужных слоёв, обнажая металлическую основу, художник облагораживает их цветом, идеализируя и мир, и человечество в целом.

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Apart from paintings, Lo Giudice also creates sculptures. For instance, in his Totem series, the artist used a mattress, or to be more precise, what is left of a mattress, as he pulled off its outer layers to reveal the metal framework and refine them by means of colour, idealizing both the world and humanity. This refined structure is ready to embrace a new world and new meanings as it emerges as a romanticized world where no natural disasters or historical tragedies are possible.

Вода - один из фундаментальных элементов мироздания, несущий великую животворную силу, элемент с которым связано зарождение жизни на Земле и появление самого человечества, являлась неизменным мотивом в творчестве с древнейших времён.

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Water is one of the basic elements of the universe and possesses great life-giving power. It was from this element that the human race first emerged, along with all other life on Earth. From the earliest times it has been an eternal motif in art. Due to its double essence and the dual role of water in human life, artists began employing themes connected with water to reflect a state of mind, a mood. The water motif has one other meaning in art: the underwater world symbolizes a fond dream and illusiveness, a phantom world which has gone beneath the waves.

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«Фантастическая картография» – так точно определил живописные работы Ло Джудиче критик Франческо Галло в каталоге к персональной выставке художника, состоявшейся в Галерее дель Навильо в Милане в 1995 году.

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"Fantastic cartography", such was the spot-on definition that art critic Francesco Gallo gave to Lo Giudicie's paintings in the catalogue accompanying the artist's solo show held by Milan's Galleria del Naviglio in 1995. But even though he creates abstract, "cartographic" images, his works are not devoid of resemblance to nature. In the wrinkles of the dried paint, in the way the oil is applied to the surface, in the chiaroscuro of the canvas, one can discern mountains, river banks and lake shores, deserts and volcanos.

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Тем не менее, неофициальное творчество вызывало большой интерес у публики, так же как и самиздатовские книги или стихи запрещённых поэтов - «маргиналы от искусства» привлекали многочисленных сторонников, занимавших очереди на закрытые и полуофициальные выставки, а также ценителей среди коллекционеров и дипломатов, активно приобретавших их работы и вывозивших произведения за рубеж.

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Nevertheless, unofficial art inspired great interest of the public, similar to "samizdat" books or poetry of forbidden writers – those "outcasts" of the art had been attracting many supporters, who had queued to see private and semi-official exhibitions, as well as connoisseurs among collectors and diplomats who actively purchased their artworks and exported them abroad.

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На картины, не признанные художественной ценностью, Министерство Культуры ставило знакомую и столь ценимую сегодня печать «Разрешено к вывозу из СССР». Так многие, в том числе ключевые произведения нонконформистов, были вывезены за пределы Союза и положили начало всемирно известным частным и музейным собраниям неофициального советского искусства.

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On the paintings, which were denied cultural value, the Ministry of Culture used to put a familiar and much-appreciated today "Authorized for export from the USSR" stamp. So, many works including the key paintings of nonconformists were taken out of the Union and served as the beginning for the renowned private and museum collections of unofficial Soviet art world-wide.

С 26 мая по 2 сентября 2007 года в Музее Современного искусства в Париже (Musee d`Art moderne de la Ville de Paris) в рамках постоянной экспозиции была представлена выставка произведений Эрика Булатова «Вот». Открытие экспозиции с картинами Булатова стало знаменательным событием – первая музейная выставка работ художника проходила в центре Жоржа Помпиду в 1988 году, почти двадцать лет назад.

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From May 26 to September 2, 2007 the City of Paris Modern Art Museum (Musee d`Art moderne de la Ville de Paris) held an exhibition of Erik Bulatov’s works titled Vot (That's It) together with their permanent collection. The opening of the exhibition featuring Bulatov’s paintings became an outstanding event because the first museum exhibition of his works was held in the Centre Pompidou in 1988, almost 20 years ago.

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Организаторы выставки в фонде ставили перед собой задачу вновь рассмотреть феномен московского нонконформизма, продемонстрировать своеобразие художественных практик и неоднородность этого течения, положившего начало современному русскому искусству.

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The exhibition organizers set out the task to revisit the phenomena of the Moscow nonconformism, by showing the originality of artistic practices and heterogeneity of the trend that initiated contemporary Russian art.

Show text Show cached source Open source URL	Марчелло Ло Джудиче «Эдем. Далекие планеты»
Compare text pages Compare HTM pages Open source URL Open target URL Define ekaterina-foundation.ru as primary domain	"Eden. Far Planets". Marcello Lo Giudice

Выставка охватывала период с конца XIX по начало XXI века, была развёрнутой и весьма разнообразной по составу экспонатов. Организаторы выставки и составители каталога не ставили перед собой цели осветить в равной мере все направления изобразительного искусства, обращавшиеся в этот период к теме человека.

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The exhibition covered the period from the end of the 19th century through the early 21st century. It was distinguished by a broad coverage and diversity of the exhibits. The exhibition organizers and catalogue compilers did not intend to show all the areas of fine art referred to human image at that period of time. The exposition and the catalogue are meant to showcase the brightest and most interesting phenomena in Russian and foreign contemporary art, as well as the changes of the artistic approach in interpreting human image and human face.

«Другому искусству», именуемому также «вторым авангардом», не суждено было быть признанным властями, жестоко осуждённое, оно должно было быть предано забвению, но продолжало существовать и развиваться уже в статусе неофициального, запрещённого.

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"Authorized for Export from the USSR..." exhibition catalogue (the Ekaterina Cultural Foundation, June 21 - October 2, 2011) is dedicated to significant stage in the history of Russian art. The political changes of the mid-1950s and so-called Khruches' Thaw gave rise to the unusual flourishing of the art, which contradicted not only to all official directions and dogmas of social realism, but also to classics. The "Other art" characterized by a diversity of styles, techniques and trends and greatly influenced the further development of Russian culture.

События фильма «Русалка Одервиля» разворачиваются в наши дни в северном морском порту среди доков и дебаркадеров, и русалочка влюблена не в сказочного принца, а в водолаза. Известный сюжет, тем не менее, изменён мало: это грустная сказка о несчастной любви, ради которой русалка меняет свой голос на ноги и вскоре узнаёт, что тот, ради кого она пошла на эту огромную жертву, любит другую…

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Events of the film "The Oderwill Mermaid" take place nowadays in a North marine port among docks and landing-stages, the mermaid is in love not with a fabulous prince but with a diver. Nevertheless, the famous plot has undergone little changes: this is a sad fairy-tale about unhappy love for the sake of which the mermaid changes her voice for feet and shortly after she gets to know that the very man for whom she has made such a tremendous sacrifice is in love with another woman...

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Show text Show cached source Open source URL	Великий «Век Америки» обратился в ночной кошмар. Вся система устарела настолько, что у американцев, переживших банкротство, уже не было никаких шансов восстановить благосостояние. Всё работало против людей.
Compare text pages Compare HTM pages Open source URL Open target URL Define ekaterina-foundation.ru as primary domain	By the time President George W. Bush left office the United States was on a decline no one could have imagined 8 years earlier. The great America Century had turned into a nightmare. The system had become so immoral that if one fell behind economically there was no way back. The odds were against you in every direction.

Кажется, что всё творчество Уилсона подчинено каким-то особым законам философского поиска истины в противоречивом и парадоксальном. Его интересует движение и неподвижность, звук и тишина. Свою роль здесь сыграло многолетнее увлечение Роберта Уилсона японской культурой, вернее японским традиционным театром, но с его философской недосказанностью и неожиданными, на взгляд европейца, приёмами.

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It seems that Wilson's entire body of work is subservient to special laws of the philosophical search for truth in the contradictory and paradoxical. He is interested in movement and fixedness, in sound and silence. This probably has something to do with Wilson's long enthusiasm for Japanese culture — specifically, traditional Japanese Noh theater with its philosophical unfinishedness and not-so-European technics.

Важным событием для фонда стало издание каталога выставки «Новая Академия. Санкт-Петербург». Новая Академия, основанная Тимуром Новиковым в 1989 году, представляет собой одно из ведущих направлений отечественного искусства конца XX –начала XXI века.

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An important event for the Foundation was the publication of the "New Academy. Saint-Petersburg" exhibition catalogue. The New Academy founded in 1989 by Timur Novikov is one of the leading movements of Russian art of the late 20-th – early 21-th century.

В 2010 году Фестиваль «Императорские сады России» был включён в официальную программу «Года Франции в России и России во Франции». Главной темой Фестиваля и выставки-конкурса 2010 года, получивших название «Французский сад на берегах Невы», стало французское садово-парковое искусство.

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In 2011 the Festival was included in the “Year of Russia and Italy, 2011” program. The Forth International Festival as well as the exhibition-context named “Italian Midday” were dedicated to the history and traditions of Italian parks and the gardening art.

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Show text Show cached source Open source URL	Каталог отражает все разделы экспозиции, такие как «Начало пути», «Великая Отечественная война 1941 – 1945 годов», «Восстановление народного хозяйства в годы войны», «В годы оттепели» и другие.
Compare text pages Compare HTM pages Open source URL Open target URL Define ekaterina-foundation.ru as primary domain	The catalog reflects all sections of the exposition, such as "The Formative Years", "The Great Patriotic War of 1941 - 1945", "Reconstruction of the National Economy after the War", "During the Thaw" and others.