The figure of Alexandra Exter is inseparable from the triumphs of the Russian theatrical stage: execution of its performances at the Moscow Chamber Theater - "Famira Kifared", "Salome," "Romeo and Juliet" - went down in history as masterpieces, marked a stunning beauty of the costumes and scenery. In the history of art and entered her famous Martian costumes for the movie Jacob Protazanov "Aelita". In addition, Exter has proved itself as the author of sophisticated projects and a woman's dress uniform for the Red Army.

It so happened that, unlike many of his contemporaries and fellow new art, at Exeter so far not been a serious exhibition. It is a serious, scientifically reasoned, with clearly developed concept, and most importantly - the exhibition, which fully demonstrated the highest would be versatile art artist. The project of the Moscow Museum of Modern Art - the first retrospective of Alexandra Exter, valuing the creative discovery of the leading representative of the Russian avant-garde. The exhibition will consist of easel paintings, drawings, sketches of costumes and scenery, as well as the unique author's manuscript books (livres manuscrits), which has never before been exhibited. For the first time will be well represented theater Alexandra Exter - about 60 works from the collections of the State Central Theatre Museum named AABahrushin.

Works by Alexandra Exter equally owned and France. Since 1910-ies, Exter has participated in many landmark exhibitions in Paris, just before his last days exhibited at the Paris "Salon of the Independents. About the Art of Alexandra Exter wrote the eminent French critics - Guillaume, Apollinaire, Waldemar George, Maurice Raynal, and others. Therefore, the project is now in the Year of Russia - France, is particularly important and timely. Paris during the creation Exter (after 1925) has never been fully represented in Russia, and the current retrospective gives viewers the opportunity to get acquainted with some of the works of this period.

The curator of the exhibition - George F. Kovalenko, Dr Habil, Head of Department of Russian art of XX century of Arts Research and Chief Scientific Officer of the State Institute of Art. Kovalenko - one of the principal biographers of Exeter and a leading expert in the field of her work, the author of two books and numerous articles published in Russia and abroad.

Design of exposure develop Boris Asafovich Messerer, a famous artist and set designer, president of the Association of Artists Theatre, Film and Television in Moscow.

The exhibition is preparing a large-scale catalog, consisting of monographs, publications previously unknown archival and manuscript materials, a bibliography, a list of exhibitions, scientific apparatus and the fine series - reproductions of works by Alexandra Exter.

Works for the exhibition were provided by:

Astrakhan State Picture Gallery. Dogadin, Astrakhan
Vologda Regional Art Gallery, Vologda
The State Tretyakov Gallery, Moscow
State Museum-Preserve "Rostov Kremlin, Rostov
State Museum of Fine Arts. Pushkin, Moscow
The State Museum of Theatre, Music and Film of Ukraine, Kiev
The State Russian Museum, St. Petersburg
The Theater Museum. AABahrushin, Moscow
Krasnodar Regional Art Museum. F. Kovalenko, Krasnodar
Moscow Museum of Modern Art, Moscow
National Art Museum of Ukraine, Kiev
Nizhnetagilsky Municipal Museum of Fine Arts, Nizhny Tagil
Russian State Archive of Literature and Art
Saratov Art Museum. AN, Saratov
Serpukhov Historical and Art Museum, Serpukhov
Yaroslavl Art Museum, Yaroslavl
as well as private collectors in Moscow

« The situation with the work of Exter now is in a state of shock. This is due to the large number of fakes that have appeared in recent years as the Russian and the western art market. " Listing the recent scandals in the first place, initiated by him arrest a year ago, a large exhibition of Exter in Tours (pictures already released), rejected fairs, expositions taken out of museums work, canceled the exhibition presents Nakova doubts about the authenticity of one of the titular painting exhibition - owned MMSI "Landscape with houses." Nakova "seems premature to meditate now an exhibition of Exter, especially since this event is carried out without any respect for the moral right of the artist and without requesting a check in the archives of the artist.

These claims executive director of the museum Vasily Tsereteli said, politely but firmly: what exhibitions do, decide for themselves the right willing to consider, as the presentation of documents on them, "leading experts in creative artist ... relevant publications on the topic, which included, and Mr. George Kovalenko, recognize the authenticity of works that are planned to exhibit and publish in the accompanying book directory. The very same author published by the opening of the first volume of the monograph George Kovalenko asserted that all information about the very existence of the archive of the artist solely on the basis of Nakova, no documentary evidence, including publications based on it, does not exist, as there is no legally proven, owned to any of the experts "moral rights" in its work.

Organization of exhibition of Exter in this difficult situation can be viewed differently. Including take a bold act MMSI - owner of several of her later works. Museum to insure as best he could - in the book reads: "Playing in this edition works of art are works by A. Exter on the basis of expert opinions of the author. Public relations professionals find out, of course, harm the reputation of the artist. Perhaps, however, still lower than the non-public gossip, rumors, shrugging his shoulders. Doubters can understand: the emergence of a large number of hitherto unknown works shocks, changing all the old ideas of their author - just as it was, from the store when Soviet museums have got the avant-garde work. The alternative is simple - do not show do not write books. Or display only long-known, familiar things, rejecting the very possibility of the existence, survival of artists extruded from the current context, and sometimes outside the country, somewhere other than museums, and discovered long ago in the private collections. MMSI went another way. Hopefully, not in vain: exhibited in the halls of the museum, in a monograph published work will be an occasion for purely scientific analysis, debate, discussion. Neither the experts nor the current owners of work, paying them huge sums of money, will not face prosecution for those who expressed a reasonable doubt.
Faina Balakhovskaja