An attempt to sum up the free period of Russian architecture, the era of private architectural firms, which began at the end of the USSR in 1989 and continues to this day, is a great event. The website has been launched, a book is planned by mid-June. 1989 was taken as a reference point - the moment of creation of the first PTAM, the first private architectural workshops at the Moscow Union of Architects.
The initiators and curators of the exhibition are brothers Andrey and Nikita Asadov. “I thought: this year our workshop will be 30 years old, a significant date, we should somehow note it, summarize everything and generalize. But it is impossible to do this without looking at the process as a whole. Therefore, I especially like that in the chronological part we managed to compare architectural events with political events in Russia and in the world. In addition, this is not only an exhibition, but above all a research,”emphasizes Andrei Asadov. And it should be noted that for the first time the head of an architectural studio, one of the leading ones, had the idea to celebrate not his anniversary, but everyone in general. This is remarkable.
Research: the selection of projects and plots, and then a survey of three hundred experts, people all over the country, one way or another connected with the process of the formation of modern Russian architecture, was conducted by Yulia Shishalova and Elena Petukhova. They also recorded dozens of video interviews that can be seen on the first and third floors of the Ruin Fligel in the form of "talking heads".
The opening ceremony in the courtyard of the Museum of Architecture was attended by the entire architectural elite, except for those who could not come from other cities. The director of the museum, Elizaveta Likhacheva, spoke about the duty of an art critic to sum up the results. The chief architect of Moscow, Sergei Kuznetsov, objected to her in the sense that everything is just beginning, and Russian architecture is now better represented at international festivals (I remember WAF) and began to win international competitions (how can you not remember the Zaryadye park). Alexander Kuzmin, the former chief architect of Moscow in 1996-2010, read a humorous poem about the difficult relationship with the construction complex and its bosses. Andrei Bokov, ex-president of the Union of Architects of Russia, now the head of MAAM, recalled 1989, when Boris Yeltsin, then not yet president, gathered young architects and gave the green light to the so-called cooperatives, which later turned into private archbureau.
So, the “river of time” is presented on the first floor - it has not yet been completely assembled, but they promise to finish it the other day. The chronology begins with the late Mayakovsky Museum, which really became a bomb in 1987 - the first piece of deconstruction style in Russia, then the USSR. And then all the bright moments of the Russian architectural chronicle: the Bank "Guarantee" by Alexander Kharitonov and Evgeny Pestov in Nizhny, the Moscow International Bank of Alexander Skokan, the building on Dmitry Barkhin's Novinsky Boulevard and Nikolai Lyzlov's Strastnoy Boulevard, Mikhail Belov's Pompeii House, and so on. In addition to buildings and architects, critics, magazines, websites, TV shows, awards were noted. All with comments - text quotes from video interviews appear in the timeline.
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zooming 1/5 Exhibition Russian Architecture. The newest era Photo: Archi.ru
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Comparisons with socio-political events, including the launch of the iPhone and the shooting of students in Tiananmen Square, fluctuations in the ruble against the dollar, etc., are given by a smallish purple line, but if you look at it, it becomes really very interesting. Something amazes: for example, we see that Google was founded in one year and the body of Nicholas II was transferred to the Peter and Paul Cathedral (1998, at the same time the year of default). The fire of the Ostankino tower and the death of the Kursk submarine coincide with the beginning of experiments on human cloning (2000, at the same time the year of the beginning of the reign of the current president of the Russian Federation). In our time, a parallel chronology, of course, is not a surprise, it can be found in that very Google, but it is fascinating to compare events, so you walk around and gasp, did Pelevin's "Generation P" really come out in 1999? It seemed that before … But no, before it was Fowles … And so on. The same is with buildings - over time, our subjective ideas about chronology shift, something seems to have been a very long time ago, but something recently. The exhibition restores justice and makes you look at the very familiar differently, as a chain of facts.
The twenty-seven buildings shown on the second floor are crème de la crème of all thirty years, selected, as already mentioned, as a result of a vote of three hundred respondents. Those who received 80-100 votes were among the most important. By the way, statuses are also reflected on the chronological feed - the size and number of pictures, which is honestly and meticulously stated at the beginning. What provokes a search for inconsistencies: the bank "Guarantee" in Nizhny Novgorod, Alexander Kharionov and Evgeny Pestov is shown as a large picture, but it is not at the top. There are not so many inconsistencies, but a lot of work has been done, you can not even notice them. But the fact that the Nizhny Novgorod school is above, among the inhabitants of heaven, is not represented, it is a pity.
All "celestials" are represented by installations that form a "sculpture garden" on the second floor, between which you can wander, enjoying the variety of presentation and the obvious talent of the authors. Above, from the third floor, hang ribbons - "banners" with information about selected projects. Lower, closer to the eyes of the observer - names, dates and authors, pictures above them, up they enlarge, somewhere turning into fragments - as if they dissolve in space-time, go to heaven. That is why from the balcony of the third floor we see the cutting of ribbons, scraps of the best according to the version of this sample. So upstairs is a kind of paradise for architectural works. Below is the entire chronology and a maximum of material (it is promised that the book, which will be published by the end of the exhibition, is now more and more doing this, there will be all this or even more). Above - selected projects, presented by the plastic materialization of their main ideas, even higher - their fragmented "souls".
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zooming 1/6 Exhibition Russian Architecture. The newest era Photo: Archi.ru
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There are no others - Alexander Brodsky's "Pavilion of Vodka Ceremonies" on the Klyazma is dismantled, however, it was recently reproduced "far away", at an exhibition in Zurich. And there are also quite fresh ones - the estate of Klaugu Muizha Totan Kuzembaev, a recent laureate of the "Golden Section" - in the form of an octopus-like wooden model with tails of rusty reinforcement, apparently denoting the "roots" of any project. Augmented with VR-reality glasses, wearing which, you immerse yourself in the process of creating a house and the flight of its parts in space. The objects of Brodsky and Kuzembaev find themselves at two poles of chronology, two works by "paper" architects, one villa in Latvia, it seems to show everyone a kind of "goat" made of beautiful polished wood, the other - like a lantern that "shines in the darkness, and the darkness does not embraced him (John 1: 5)”. Nearby is a cross from the windows of Nikolai Lyzlov's garage, to whom the caretakers turn off the light, because it shines in the eyes of those entering. But you can come up and turn it on. Together it turns out pretty metaphysical. Given the habit of perceiving good architecture as a light in a window, that's pretty accurate.
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zooming 1/12 Alexander Brodsky. Vodka Ceremonies Pavilion. 2008. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 2/12 Alexander Brodsky. Vodka Ceremonies Pavilion. 2008. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 3/12 Alexander Brodsky. Vodka Ceremonies Pavilion. 2008. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 4/12 Alexander Brodsky. Vodka Ceremonies Pavilion. 2008. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 5/12 Alexander Brodsky. Vodka Ceremonies Pavilion. 2008. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 6/12 Alexander Brodsky. Vodka Ceremonies Pavilion. 2008. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 7/12 Totan Kuzembaev. Manor Klaugis. 2018. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 8/12 Totan Kuzembaev. Manor Klaugis. 2018. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 9/12 Totan Kuzembaev. Manor Klaugis. 2018. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 10/12 Totan Kuzembaev. Manor Klaugis. 2018. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 11/12 Nikolay Lyzlov. Garage at 9 Parkova Street. 2001-2004. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 12/12 Nikolay Lyzlov. Garage at 9 Parkova Street. 2001-2004. Exhibition Russian Architecture. The newest era Photo: Archi.ru
It is easy to see that the nineties got only three "places" among the 27 selected buildings: the Mayakovsky Museum, technically earlier, 1987-1988, and inevitable as a starting point; Alexey Bavykin's Infobank building 1996-1997 and the house built by Vladimir Plotkin in Zagorskogo Passage 1998-1999. The things are worthy, the house in Zagorskiy Passage is hardly the only example of a typological experiment in the field of housing in the history of our thirty years. But - this is the ninth (!) Part of the total. Is there really nothing to show? Either experts, consciously or not, reject the nineties as "dashing" or already outdated. Is it not in vain?
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zooming 3/3 Alexey Bavykin. Infobank building, 1st stage, 1996-1997. Exhibition Russian Architecture. The newest era Photo: Archi.ru
If we consider the number of favorite buildings for the next two decades: 2009-2019, we will get an average of one per year, with one surge, which occurs approximately in the second half of the 2000s, before the crisis and immediately after it, taking into account the projects that have “fallen asleep” and then finished. In other words, our architecture of the free period produces - very roughly - one notable building a year. Of these, less than a third of them are not in Moscow, if we count the non-Moscow Nikola-Lenivets and Barvikha, which is not entirely true. There are three non-Moscow architects: Nikita Yavein and Evgeny Gerasimov represent St. Petersburg, and David Adjaye acts as a European Varangian, one of the first to build a prominent building. If we count genres and typology, then 8 museums, 4 residential complexes, 3 office buildings, 2 bridges, if we count a humorous half-bridge, 2 educational institutions, one Skolkovo school, another boarding school in Kozhukhovo, 1 theater (in Barvikha), 1 hospital, 1 station metro, 1 garage. Six reconstructions, if you count the Mayakovsky Museum. Museum typology and the topic of reconstruction are in the lead in the expert priorities, which, in general, is understandable. And there is not a single park, that's what.
At the exhibition, thirty years are not divided into periods in any way, creating the feeling of a continuous stream, but on the site there is a division - into three even parts, 10 years each. Historians do not like splitting chronology by decades because of its conventionality, preferring chronology according to reigns, due to real historical events, but in this case it turned out, perhaps, rather correctly: the first part is Yeltsin before Luzhkov and with Luzhkov, the second is Luzhkov with Putin (even surprisingly how long), the third is Putin without Luzhkov. It turned out exactly ten years, here historical patterns played into the hands.
Of course, it is obvious that the realities are to some extent "adjusted" to the exhibition based on space constraints and unwillingness to show several works of one architect or bureau among the selected at once, which would be unfair in relation to the rest. It is necessary to take into account the emotional component of the voting of the experts involved in the process, although the statistic limit - 100 respondents - in this case was passed with a good margin.
So, plunging into the emotional part of the exhibition, we see that the reception of author's installations is, perhaps, still the best, our community has been mastering it for 20 years, stubbornly, although not quite successfully, trying to part with the traditional presentation of works in the form of tablets. By the way, something similar was done by the curator Ilya Mukosey at the Arch Moscow that ended yesterday: he replaced the tablets with installations. Both here and there, someone showed a beautiful layout, someone suggested a more generalized sculpture, in a mass of transitional options. Evgeny Ass, presenting his reconstruction of the Nizhny Novgorod Arsenal, limited himself to a red dot on the floor and a tape with a graphite shadow of a brick on the wall. We used to use such a pencil method to remove the marks of the bricks from the bricks.
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zooming Evgeny Ass. Reconstruction of the Arsenal in Nizhny Novgorod. 2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming Evgeny Ass. Reconstruction of the Arsenal in Nizhny Novgorod. 2015; Totan Kuzembaev, Klaugis estate. 2018. Exhibition Russian Architecture. The newest era Photo: Archi.ru
One of the fashionable modern ways to show the main idea of a building is to emphasize its characteristic feature, preferably an ornamental motif, such as circles: Yeltsin Center and Solntsevo metro station thus overlap with each other, being also nearby.
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zooming 1/3 Metro station "Solntsevo". Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 3/3 Boris Bernasconi. Presidential Center. Boris Yeltsin. 2011-2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
The option, on the contrary, is rather traditional - to show the layout. Sergey Skuratov exhibited a fragment of the Garden Quarters in good and large 3D printing. This allows you to see the details, bricks, and the multi-tiered structure of the stylobate.
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zooming 1/7 Sergey Skuratov. LCD Garden Quarters. 2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 2/7 Sergey Skuratov. LCD Garden Quarters. 2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 3/7 Sergey Skuratov. LCD Garden Quarters. 2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 4/7 Sergey Skuratov. LCD Garden Quarters. 2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 5/7 Sergey Skuratov. LCD Garden Quarters. 2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 6/7 Sergey Skuratov. LCD Garden Quarters. 2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 7/7 Sergey Skuratov. LCD Garden Quarters. 2015. Exhibition Russian Architecture. The newest era Photo: Archi.ru
The picturesque bridge on the model is decorated with a lens refracting light, indicating a restaurant that was not originally in the project, which was suspended in an arch at the behest of Mayor Yuri Luzhkov and, it seems, turned out to be rather ineffective.
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zooming 1/3 Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 2/3 Zhivopisny bridge. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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You can turn the model into a sculpture of varying degrees of abstractness. Ostozhenka from Penguin made an excellent installation-mirror, it works for the interior, partly takes on the function of a distorting mirror, which, if you think about it, is quite interesting. From the underside, the concave side of the mirror, there are several ice floes and one penguin, you should definitely notice him. The entire mirror of the "Penguin" can be passed by at first, although it affects the space quite significantly, bending it before the eyes of the visitor.
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zooming 1/5 Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 2/5 House "Penguin", an office building on 1st Brestskaya street. JSB "Ostozhenka". 2004. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 3/5 House "Penguin", an office building on the 1st Brestskaya street. JSB "Ostozhenka". 2004. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 4/5 House "Penguin", an administrative building on the 1st Brestskaya street. JSB "Ostozhenka". 2004. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 5/5 House "Penguin", an administrative building on the 1st Brestskaya street. JSB "Ostozhenka". 2004. Exhibition Russian Architecture. The newest era Photo: Archi.ru
Sculptures are presented to the aesthetic museum of cognac in Chernyakhovsk TOTEMENT / PAPER, Kluugu Muizha Totana Kuzembayeva, Novatek from SPEECH, one of the earliest realized office buildings of this bureau. A separate topic is sculptures made of rusty metal, one is at the Yuri Grigoryan Theater, the other, unfortunately less expressive, is represented by the Kulikovo Pole Museum. At times the degree of generalization intensifies, as in the pipes of the "Height 239" workshop, which echo the red dot of Evgeny Ass to such an extent that at first it is not even clear who is who.
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The technically advanced way is to stuff the sculpture-model with electronics. The maximum digitalization was achieved by ABD architects: they placed a glass prism with a three-dimensional projection in their object, and in a pocket next to them wooden mini-constructors that you can take with you, and also a screen with a project presentation. In the same way, the House by the Sea is shown with a built-in screen in two "snake heads". A fragment of the reconstruction project of the General Staff of "Studio 44" is equipped with a string of buttons that set in motion the mechanism and illumination: they are the same color as the pedestal and look technically, so do not forget to press, without automatic equipment the high-quality wooden model of "Studio 44" looks like a thing in itself.
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zooming 1/11 Studio 44, Nikita Yavein. The Hermitage Museum Complex in the Eastern Wing of the General Staff Building. 2014. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 2/11 Studio 44, Nikita Yavein. The Hermitage Museum Complex in the Eastern Wing of the General Staff Building. 2014. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 3/11 Studio 44, Nikita Yavein. The Hermitage Museum Complex in the Eastern Wing of the General Staff Building. 2014. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 4/11 Exhibition Russian Architecture. The newest era Business center "White Square", ABD architects, 2009. Exhibition Russian architecture. The newest era Photo: Archi.ru
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zooming 5/11 White Square Business Center, ABD architects, 2009. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 6/11 White Square Business Center, ABD architects, 2009. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 7/11 White Square Business Center, ABD architects, 2009. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 8/11 White Square Business Center, ABD architects, 2009. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 9/11 White Square Business Center, ABD architects, 2009. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 10/11 Evgeny Gerasimov, Sergei Tchoban. House by the sea. 2008. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 11/11 Evgeny Gerasimov, Sergei Tchoban. House by the sea. 2008. Exhibition Russian Architecture. The newest era Photo: Archi.ru
Mikhail Filippov's “Roman House” is the only classic that has broken through to the second floor (instead of a model, the architect presented his programmatic graphic work depicting two staircases - to heaven and to hell).
Not all models arrived on time, some were delayed, like the famous boarding school in the ATRIUM Kozhukhovo bureau, they can be seen when visiting the discussion program.
The ASADOV Bureau, the initiators of the exhibition, acted in a socio-ethical manner, thus emphasizing the importance of their work - at the stand interpreting the multi-colored forms of the Children's Hematology Center on Leninsky Prospekt, they showed photographs of children, doctors and patients' crafts.
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zooming 1/5 Alexander and Andrey Asadov. Federal Scientific and Clinical Center for Pediatric Hematology, Oncology and Immunology. 2011. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 2/5 Alexander and Andrey Asadov. Federal Scientific and Clinical Center for Pediatric Hematology, Oncology and Immunology. 2011. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 3/5 Alexander and Andrey Asadov. Federal Scientific and Clinical Center for Pediatric Hematology, Oncology and Immunology. 2011. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 4/5 Alexander and Andrey Asadov. Federal Scientific and Clinical Center for Pediatric Hematology, Oncology and Immunology. 2011. Exhibition Russian Architecture. The newest era Photo: Archi.ru
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zooming 5/5 Alexander and Andrey Asadov. Federal Scientific and Clinical Center for Pediatric Hematology, Oncology and Immunology. 2011. Exhibition Russian Architecture. The newest era Photo: Archi.ru
Narine Tyutcheva, whose project for the reconstruction of the Outbuilding-ruins was also included in the number of "main" ones, exhibited one photograph - why the difficulties, its space itself is an exhibit, and another one, with beautiful light and atmospheric space, but without the drawbacks its form, in which the exhibition hall was opened under David Sargsyan, in any case, now you will not break your leg.
It is rather difficult to judge, analyze and draw conclusions in the short term, when journalism is barely replaced by an archive. The material is alive and consists in many respects of the memories of the living today. The exhibition is one more step towards its comprehension, an attempt to sum up an intermediate result, similar to the drumsk.ru project by Nikolai Malinin. Or, in relation to "Luzhkov" architecture, the book by Daria Paramonova about "mushrooms". The task is both important and responsible, because such sections-memories-resumes of contemporaries then add up to a certain piggy bank and form the basis of ideas about time, stages, periods and eras. Until the moment when a corrosive, hardworking and objective historian appears, finds some documents, recognizes the irreparable loss of others, proposes a reappraisal … Or, on the contrary, a critic, an adherent of some neo- or post-, will find in this time something consonant himself and fundamentally - for a while - will change the idea of him. And so on ad infinitum.
Perhaps the fact that the authors of the project avoid value judgments is the right move. The correct position is to present everything as a memory. But not quite so, the selection was made, now many will remember that for 30 years they represented these things, and not others. Why, for example, is Aleksey Bavykin represented by Infobank and not by a house in Bryusov Lane? The answer is simple, democratic: based on the voting results. But also - in this case, in the nineties, strictly speaking, one object would remain, and this is not the case. And yet it is obvious that the exhibition "highlights" those things that are usually associated with the "bright side" of post-Soviet architecture, with the best of the best - in this sense, Alexander Brodsky's lantern could become its symbol: it shines, but what is inside is not very clear whoever is sitting there reads the newspaper … In addition, the exhibition shows the preferences of experts, those very comrades who “read the newspaper”.
It is also easy to notice that the "new era" in the title sounds somehow loud. In modern historical chronology, it is customary to start the newest time from 1901, 1917, 1918, 1945, estimate the spread. And what kind of era is it, only thirty years? But whether it came or not, no one argues with the fact that the post-Soviet era is a borderline. And thirty years, on the other hand, is a long time, it's time to start sorting and generalizing.
List of 27 objects selected by the experts of the project "Newest Era":
- Mayakovsky Museum on Lubyanka, Andrey Bokov, MNIIPOKOSiZ, 1989
- Alexey Bavykin, Infobank building on Vernadsky Avenue, 1997
- Residential complex in Zagorskiy proezd, Vladimir Plotkin, TPO "Reserve", 1999
- Vodka ceremonies pavilion, Alexander Brodsky, 2004
- Garage on 9th Parkova Street, Nikolay Lyzlov, AM Lyzlova, 2004
- House "Penguin", an office building in the 1st Brestsky lane, JSB "Ostozhenka", 2004
- Roman House, Mikhail Filippov, 2005
- Half-bridge of hope, Timur Bashkaev, ABTB, Archstoyanie festival, 2006
- Boarding school in Kozhukhovo, Vera Butko and Anton Nadtochiy, Atruim, 2007
- Bridge "Picturesque", Nikolay Shumakov, Metrogiprotrans, 2007
- House by the Sea, Sergei Tchoban and Evgeny Gerasimov, 2008
- Mercury Theater in Luxury village, Yuri Grigoryan, Meganom, 2008
- Reconstruction of the Bakhmetyevsky garage, Alexey and Natalia Vorontsov, ABV bureau, 2008
- Business center White Square, Boris Levyant, ABD architects, in collaboration with APA Wojciechowski Architekci, 2009-2010
- Campus of the Moscow School of Management "Skolkovo", David Adjaye together with "AB Studio", 2010
- Shop "Vysota 239" of the Chelyabinsk Pipe-Rolling Plant, Vladimir Yudanov, Yo-programme bureau, 2009-2011
- Federal Scientific and Clinical Center of Pediatric Hematology, Oncology of Immunology, Alexander and Andrey Asadov, ASADOV, 2007-2011
- Novatek office building, Sergey Choban, Sergey Kuznetsov, SPEECH, 2011
- Reconstruction of the eastern wing of the General Staff building for the State Hermitage, Nikita Yavein, Studio 44.2008-2014
- Boris Yeltsin Presidential Center in Yekaterinburg, Boris Bernasconi, BERNASKONI, 2011-2015
- Residential complex "Sadovye kvartaly", Sergey Skuratov, 2015
- NCCA branch in Nizhny Novgorod, Arsenal, Evgeniy Ass, architects Ass, 2015
- Museum and storage of cognac of the "Alliance" factory, Levon Airapetov, Valeria Preobrazhenskaya, TOTEMENT / PAPER, 2016
- Museum Kulikovo Pole, Sergei Gnedovsky, Architecture and Cultural Policy of PNKB, 2016
- Reconstruction of the Outbuilding-Ruins. Narine Tyutcheva, 2017
- Solntsevo metro station, Dmitry Ovcharov, NEFA architects, 2018
- Estate of Klaugu Muizha, Totan Kuzembaev, Totan, 2018
The exhibition will run until June 16.
