- 29 November 2016 Открытие Института русского реалистического искусства после реконструкции - Агентство Москва
12 August 2016
Google makes Russian realist art more accessible. Russkiy Mir Foundation
An American multinational technology company Google has provided art lovers with the opportunity to learn more about Russian realism, reports TASS.
28 March 2016
Hélium Korjev : l’ultime sentinelle. Le Courrier de Russie
« L’art est un ordre qu’une sentinelle qui part donne à celle qui vient la remplacer. Nous avons vu le départ d’un grand nombre de sentinelles de notre culture. Aujourd’hui, c’est nous qui montons la garde. Bientôt, nous devrons la remettre à notre tour et il faudra le faire avec dignité » (Hélium Korjev)
16 March 2016
Art-Loving Russian Business Leaders Present New Museums to Moscow. The Moscow Times
The Art Newspaper Russia Prize will be presented for the fourth consecutive year in Moscow on March 17. As opposed to state museums, this award is given to private parties that invest in art. In fact, only a private investor with deep pockets could afford to stage the Art Newspaper awards ceremony — held as a swanky theatrical show at the Manege Exhibition Hall.
- 15 March 2016 Utopie wird Realitat. Moskauer Deutsche Zeitung
8 March 2016
Moscow exhibition on 20th-century Russian transport. Lonely Planet
An exhibition about travel and transport in 20th-century Russia, called ‘Russia on the Road. Planes, Trains and Automobiles. 1920–1990’, is on at Moscow’s Institute of Russian Realist Art (IRRA) until 22 May.
26 February 2016
Exhibitions in Moscow. The February Overview. Weheart
The Institute of Russian Realist Art presents the Russia on the Road exhibition, exploring a time when science fiction became fact and new technologies led to the growth of a new mythology, new obsessions and fears, a new way of life and new artistic images.
30 August 2014
Propaganda and More. The Wall Street Journal
The term "Soviet Realism" conjures up images of workers and farmers nobly engaged in their labors—inflated to mythical status—and depicted in a kind of debased academic style. Produced at a time when Soviet authorities scrutinized art for its content and its execution, demanding ideologically worthy subjects as well as expressive methods that would be easily understood by the masses, works of this kind were offered in direct contrast to the "decadent, bourgeois" styles that flourished in the West, those that embraced abstract forms and individual expression—both anathema to Soviet aesthetics. Much of it is more properly understood as propaganda than as fine art.