Arts – Page 10 – MIL Translation Engine 1

December 16, 2025

December 16, 2025: Svetlana Druzhinina's Anniversary. Today, People's Artist of the Russian Federation Svetlana Druzhinina celebrates her 90th birthday. Actress, director, screenwriter, and producer, Svetlana Sergeevna has distinguished herself in a wide range of film roles during her long and successful career. Her filmography includes over 20 outstanding projects! Mosfilm.ru recalls the key creative milestones of Svetlana Druzhinina, whose professional career is closely linked to the legendary film studio.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

December 16, 2025

News editorial office

Today, People's Artist of the Russian Federation Svetlana Druzhinina celebrates her 90th birthday. Actress, director, screenwriter, and producer, Svetlana Sergeyevna has distinguished herself in a wide range of film roles during her long and successful career. Her filmography includes over 20 outstanding projects! Mosfilm.ru recalls the key creative milestones of Svetlana Druzhinina, whose career is closely linked to the legendary film studio.

Svetlana Sergeyevna Druzhinina was born on December 16, 1935, in Moscow. Her childhood coincided with the war years: Svetlana's father died at the front, and Svetlana and her mother were forced to evacuate twice. After the war, they returned to Moscow. Druzhinina dreamed of becoming a performer from childhood and, at the age of 12, entered circus school. A year later, she transferred to the choreography school at the Stanislavsky and Nemirovich-Danchenko Moscow Academic Musical Theater, and later to the choreography school of the State Academic Bolshoi Theater. Her classmates included Maris Liepa and Natalia Kasatkina. Her teachers noted Svetlana Sergeyevna's talent for dance, but a serious arm injury forced her to abandon her ballet career.

In search of a new creative outlet, Svetlana Druzhinina tried her hand at presenting. Mosfilm director Samson Samsonov saw one of her concerts. He tracked her down and offered her a role in his film, Behind the Department Store Window (1955). Fascinated by cinema, Svetlana enrolled in the acting department of VGIK (Olga Pyzhova and Boris Bibikov's workshop), where her classmates included Leonid Kuravlyov and Sofiko Chiaureli. For the next ten years, Druzhinina devoted herself to acting, appearing in films such as It Happened in Penkovo (1957) and Girls (1961). Druzhinina retired from acting in 1965, having appeared in films such as There Is a Son Somewhere (1962) and What Is the Sea Like? (1964), "Green Light" (1965) and "Beloved" (1965).

In the 1950s and 1960s, audiences could appreciate the brilliant acting talent of Svetlana Druzhinina.

In the mid-1960s, the already well-known and beloved actress decided to change her role – she re-enrolled at VGIK, this time in the directing department (Igor Talankin's workshop). In 1969, after graduating, Svetlana Sergeyevna began working at Mosfilm Studios as a director. Her feature-length directorial debut was the film "Wish Fulfillment" (1973), based on the novel of the same name by Veniamin Kaverin. The film starred Yevgeny Lebedev, Innokenty Smoktunovsky, Natalya Bondarchuk, and Nikolai Eremenko. In the late 1970s, Svetlana Druzhinina discovered a new direction – musical films. This is how her films “Sun, Sun Again” (1976), “The Hussar’s Courtship” (1979), “Dulcinea del Toboso” (1980) and “The Circus Princess” (1982) appeared.

Svetlana Druzhinina's crowning achievement as a director is considered to be the multi-part film "Midshipmen, Forward!" (1987), based on Nina Sorotokina's novel "Three from the Navigation School." The film achieved nationwide success! The leading roles were played by Sergei Zhigunov, Dmitry Kharatyan, and Vladimir Shevelkov. The film also starred Mikhail Boyarsky, Yevgeny Yevstigneyev, Aleksandr Abdulov, Innokenty Smoktunovsky, and other actors. Filming lasted over a year and a half. Svetlana Druzhinina subsequently directed four sequels to "Midshipmen." From 1995 to 2011, she worked on another large-scale historical project—the film series "Secrets of Palace Revolutions" about the lives of Russian empresses.

Film director and People's Artist of the Russian Federation Svetlana Druzhinina on the set of her films

Svetlana Druzhinina's cinema is not documentary historical reconstructions, but rather vibrant worlds where moral contrasts are clear, good triumphs, and evil is vivid. Her historical costume dramas are, above all, fairy tales, where the essence lies in the truth of feelings: friendship, love, patriotism. Svetlana Druzhinina's films are almost always a cascade of charming characters (the legendary "midshipmen"), sparkling dialogue, memorable songs, and impeccably handsome actors. She created not just characters, but archetypes. During the perestroika era, her cinema gave viewers something scarce: unconditional joy, hope, and confidence in the justice of the world order.

Over the course of her long career, Svetlana Druzhinina has received numerous awards and prizes. In 2001, she was awarded the title of People's Artist of the Russian Federation for her significant contributions to the arts. She is also a recipient of the Order of Honor, the Order of Friendship, and the Order "For Merit in Culture and Art." Over the years, Druzhinina has won the Golden Eagle Film Award, the Moscow International Film Festival Prize, the Vivat Cinema of Russia! Film Festival Prize, and others.

The Mosfilm team heartily congratulates Svetlana Druzhinina on her anniversary and wishes her good health and new creative achievements!

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

December 16, 2025

12/11/2025 War fantasy "Saving the Immortal": music recording, sound mixing at Mosfilm. The music for the film "Saving the Immortal" was recorded at Mosfilm's 1st music studio.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

December 11, 2025

News editorial office

The music for the film "Saving the Immortal" (previously titled "The Return of Mendysh") has been recorded at Mosfilm's Music Studio 1, and the final soundtrack is already being mixed at Dolby Studio 6. Mosfilm.ru spoke with composer Aizhamal Samatova and sound engineer Lola Bukaeva about the process of creating the film's soundscape.

The Opensound Orchestra symphony orchestra, conducted by Stanislav Malyshev, performed a score created by young composer Aizhamal Samatova. The music was developed in close collaboration with the film's director, Pavel Ignatov, and sound engineer, Lola Bukaeva. For Aizhamal Samatova, a graduate of the Gnessin Russian Academy of Music, this project marked her film debut.

"It was crucial for me that the music convey not the characters' national differences, but rather the feelings they share—love, the pain of loss, joy," shared Aizhamal Samatova. "Even if the film features a song in Kyrgyz, it doesn't require translation: the characters' emotions are clear without words. That's the main idea."

The composer noted the unique creative atmosphere at Mosfilm and thanked her mentor, renowned film composer Yuri Potenko, for his assistance with the orchestration. The recording, supervised by experienced sound engineer Gennady Papin, was smooth and precise, achieving the desired depth and emotionality of the sound.

The film is currently being re-recorded (final mixing – ed.) at Dolby Studio 6. Previously, the film's editors completed editing (editing director: Olga Proshkina) and voice-over work. The team has 20 work shifts ahead. According to the film's creators, everything is aimed at finding the final creative and technical solution for the film's sound design, a balance between sound and image that aligns with the director's vision and the perceptions of the young audience for whom this film is being made.

The film's sound director, Lola Bukaeva, along with her colleague Daler Khasanov, who has worked with this team on other projects, are perfectionists in their field, meticulously working on the film's sound design.

"Of course, the final say always rests with director Pavel Ignatov. Our task is to realize the director's vision, which, I believe, we understood from the very beginning of work on this very unusual and beloved film," shared sound engineer Lola Bukaeva.

Sound engineers particularly note the high-tech nature of Mosfilm's dubbing studio as one of the most advanced production facilities in Russia for this stage of film production. They estimate that the Mosfilm dubbing studio's equipment meets the most modern standards.

Let us remember that the editing and post-production stage of the film "Saving the Immortal" (previous working title "The Return of Mendysh") is carried out entirely at the Mosfilm production and technical base – this includes voice-over, sound recording, background recording, music recording, re-recording (final mixing of the film's soundtrack – ed.), etc.

Filming took place in wintry Belarus and the scorching Tien Shan Mountains of Kyrgyzstan. The plot is based on the life and tragic fate of Kyrgyzstani Mendysh Omuraliev, who died in the Battle of Rzhev in 1942. His remains were found by a search party and returned to his birthplace, the Talas region of Kyrgyzstan, where he was buried with full military honors.

"Extreme blogger Sasha Ustinov (played by popular blogger Gufee Medalina), living in a reality of streaming and hype, finds himself drawn into the events of the Great Patriotic War through a mystical connection to the past. The discovery of the remains of an unknown soldier in the present day by his grandfather, a searcher, becomes a turning point, launching a fantastic journey through time," the film's synopsis states.

The film was written by Alexander Shevtsov and directed by Pavel Ignatov. Lola Bukaeva served as the film's sound engineer, and Aizhamal Samatova composed the music. The role of Mendysh Omuraliev was given to Kyrgyz actor Kymbatbek Alimzhanov. The modern-day hero, Sasha Ustinov, was played by Mikhail Medalin, a popular Russian rapper and blogger with a multi-million audience, also known by his stage name Gufee Medalin. This young adult fantasy film (12) is presented by Reversiya Film Company and the Memory of Victories Foundation.

According to the film's creators, the main goal of "Saving the Immortal" is to awaken in the younger generation a genetic memory of the exploits of the heroes of the Great Patriotic War. The film is primarily aimed at the younger generation. The film's wide release is scheduled for Defender of the Fatherland Day, February 26, 2026.

December 15, 2025

On December 15, 2025, the Mosfilm Cinema Center was recognized as the capital's best movie theater. The winners of the annual "Guiding Star" tourism and hospitality awards were announced. The ceremony took place at the Zaryadye Concert Hall. The best tourism industry professionals were announced and awarded in 23 categories. Mosfilm is among the winners!

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

December 15, 2025

News editorial office

The winners of the annual "Guiding Star" tourism and hospitality awards have been announced. The ceremony took place at the Zaryadye Concert Hall. The best tourism industry professionals were announced and awarded in 23 categories. Mosfilm is among the winners!

For 26 years, the Moscow Government has been recognizing industry representatives who make the capital more attractive and comfortable. This year, the competition has 44 winners implementing significant projects for Moscow in the following categories: "People and Personnel," "Gastronomy and Shopping," "Culture and Entertainment," "Public Spaces and Urban Environment," "Hotels," "Media," and others. The jury also awarded the best tour guides, bloggers, restaurateurs, and others.

"We are honored to receive this high recognition from the Moscow Government. Today, the Cinema Center is truly one of the most sought-after cultural venues in the capital. It's important to emphasize that it's more than just a movie theater. Our venue's technical and organizational capabilities allow us to implement dozens of diverse projects—hosting events of any scale, complexity, and original format. We value this award and are thrilled to be able to provide Muscovites and visitors with joy and quality entertainment," noted Karen Shakhnazarov, General Director of the Mosfilm Film Concern.

The Mosfilm Cinema Center (Cinema Park Mosfilm), which opened in 2023, is one of the most iconic and sought-after venues and one of the most popular cultural destinations in Moscow. It offers special screenings, meetings with directors and actors, discussions with critics and experts, and screenings not available in many cinemas—from retrospectives to new festival films—as well as live broadcasts of cultural and sporting events, lectures, shows, and performances. The Mosfilm Cinema Center's facilities allow it to host events of varying scale and complexity, all with unique formats.

On Yandex Maps, the Cinema Center has a perfect score of 5.0 based on hundreds of ratings! This multifunctional complex boasts the best technical equipment in the country, including a Barco 4K laser projector, a massive 227-square-meter screen, a Dolby System 136 acoustic system for uniform sound distribution, and specialized stage equipment suitable for concerts and shows on the large stage. The other cinemas—one with 108 seats and two mini-cinemas with a capacity of 50 each—are also equipped with Barco 4K digital projectors and a Dolby Atmos audio system. Another advantage of the Mosfilm Cinema Center is its ample parking.

As a reminder, in 2024, the Mosfilm Cinema Center won the Active Citizen project's popular vote by a landslide in the category of "Country's Main Premiere Venue." Construction of this large-scale cinema complex was completed without state budget funding, as part of an investment project.

December 15, 2025

Evening of Vernissages at the Winzavod Contemporary Art Center on December 9, 2025.

Translation. Region: Russian Federation –

Source: Winzavod Center for Contemporary Art – An important disclaimer is at the bottom of this article.

On December 9, the Winzavod Center for Contemporary Art hosted an Evening of Vernissages. Twelve resident galleries presented new exhibitions.

The pop/off/art gallery has opened the exhibition "Shadow Theory"—a new chapter in the career of artist George Cohen, formerly known as Georgy Pusenkoff. The exhibition features previously unseen works from 2019–2024, balancing non-objective and figurative imagery with interspersed text. Shadow symbolizes the presence of light, and the immaterial takes shape and becomes visible. The exhibition runs until January 23.

XL Gallery presented the exhibition "Failures" by the Blue Soup group. The works are created using digital animation. The group's works explore detached and artificial landscapes, interiors, and locations where mysterious forces operate. They resemble reality yet are not, creating an "uncanny valley" effect and placing the viewer on edge. The exhibition runs until January 16.

The 11.12 Gallery hosted the opening of Vladimir Marin's exhibition "Fermentation," dedicated to his ongoing search for new creative methods and constant relocation. This fermentation yields new works that reflect both the artist's artistic vision and the surrounding geographic and social context. The exhibition runs until January 18.

VLADEY Space opened a solo exhibition by Yegor Koshelev, "Reds and Blacks." The artist deliberately rejects a color palette in his works and explores new methods while residing in regional cities. This experiment resulted in two major projects, which have become a distinct chapter for the artist. He presents art with a new tone and explores new themes previously uncharacteristic of his work. The exhibition runs until January 18.

The a-s-t-r-a Gallery presented the project "Paradoxical Paradise" by Sergei Sonin and Elena Samorodova-Sonina. The artists work in the fictional genre of "Russian provincial orientalism," asking visitors questions such as: is it possible to build a large-scale earthly paradise, harness the power of nature, and at what cost is victory over the chthonic? The exhibition will run until January 16.

PENNLAB Gallery has opened Elena Anosova's solo exhibition, "Inside Soft Gold," the final chapter of the "Atlas of First Snow" project. The artist presents the results of a decade of research into her family history and the lives of a multi-ethnic community of hunters and fishermen in the Lower Tunguska basin. The exhibition runs until January 31.

The HSE ART Gallery presented a major exhibition, "The Great Disorder," across two venues, bringing together artists, designers, researchers, and educators reflecting on chaos as a fundamental form of existence in the world. The major exhibition is an annual format held by the HSE School of Art and Design since 2021. The exhibition runs until January 13.

FUTURO Gallery opened Nikolai Onishchenko's solo exhibition "In the Icy Ether." The exhibition includes monochrome graphic works and an audio installation. The artist conceives of the concept as a graphic representation of the mechanism of sound, which he compares to the formation of glaciers. He then created a series of graphic works depicting sharp, fragile, and nature-like objects. The exhibition runs until January 16.

The Triangle Gallery presented Andrey Efimov's solo project "Space of Variations or Shining Chaos." The artist creates his own visual image of life in all its manifestations, referencing themes of nature and the cosmos. The project seeks to convey the essence of existence without specific forms, so that viewers can formulate their own definition of life. The exhibition runs until January 16.

Totibadze Gallery opened the exhibition "Cinema/Theater of Sveta T." The exhibition features sketches for famous films and plays by fashion designer Svetlana Tegin, who works in the film and theater industries. Her works balance the boundaries of fashion and art, a distinction that is clearly expressed in her collections and creative collaborations. The exhibition runs until January 14.

FINEART Gallery presented Katya Belyaeva's solo project "Rococo Universe." The artist combines the world of 18th-century fashion with the cosmic future. These two parallel realities recreate the Rococo universe and give birth to a new neoclassical style. The exhibition runs until January 18.

BIS ART Gallery hosted the opening of Elena Kolesnikova's solo exhibition, "Who Whispers Loudly on the Sunny Path." The exhibition is structured like a map leading to new achievements and introspection, while the works point to the current era of contemporary art. The exhibition runs until December 23.

Admission to the galleries is free; please check the gallery's website for opening hours. Full details and contact information are available on the website.

December 15, 2025

The Winzavod Center for Contemporary Art presented the exhibition project "No More Walls" on November 5, 2025.

Translation. Region: Russian Federation –

Source: Winzavod Center for Contemporary Art – An important disclaimer is at the bottom of this article.

As part of the XXXIII International Festival "Zodchestvo 2025," the Moscow City Architecture Committee and the Winzavod Center for Contemporary Art, with the support of the Moscow government, presented the exhibition project "No More NETWALLS." This visual exploration of Moscow street art and its transformation into a new cultural element of the metropolis was presented by Sergei Kuznetsov, Chief Architect of Moscow and First Deputy Chairman of the Committee for Architecture and Urban Development (Moskomarkhitektura), part of the Complex of Urban Development Policy and Construction of the City of Moscow.

The "No More Walls" stand invites you to see how street art is becoming part of conscious urban policy and helping us reimagine familiar routes. The project demonstrates how street art is evolving from an element of underground culture into a tool of urban planning, bringing people together, enlivening spaces, and filling the streets with creative energy.

"Street art is timeless. Its strength lies not in eternity, but in its precise timing. The city is a living organism, and its visual language should be renewed just as naturally," says project curator Sergey Kuznetsov. "Our goal is to create an ecosystem where professional artists have the opportunity to express themselves creatively in the city. Regulation here isn't censorship, but rules of the game that make the process transparent and fair. We want art to become a natural part of urban culture, so that businesses see it not as a burden, but as an investment in meaning. The constant emergence of public art in the city is a sign of a healthy artistic environment. Street art should live in the rhythm of the city: appearing, resonating, and disappearing, making room for new voices."

The exhibition stand concept was developed by the architectural firm KRNV. The exhibition showcases street art as a complex system of interactions between artist, city, business, and society, revealing its energy, which is always "on the edge": between the moment and eternity, between freedom and the system, between the personal and the collective. The exhibition includes photographs and sketches of striking projects: NETSTEN, Angel, Agatha, Hesse's mural, and others, as well as an interactive map of urban interventions.

Project curator: Chief Architect of Moscow Sergey Kuznetsov. Co-curators: Winzavod Center for Contemporary Art, Sergey Kuznetsov's press secretary Maria Ulyanova, and Irina Kuznetsova, curator of exhibition, educational, and publishing programs at the Moscow Committee for Architecture.

The first legal outdoor gallery, NETSTEN, opened in 2019 at the initiative of the Winzavod Center for Contemporary Art with the support of the Moscow Committee for Architecture. Since its inception, the gallery has hosted seven exhibitions featuring leading contemporary artists: Kirill Kto, Misha Most, Vova Nootk, Max Ima, Gosha Ykor, Zhihar, Zhenya Voynar, Andrey Aznet, Sergey Ovseykin (Zukclub), and many others.

December 15, 2025

A new chapter of the cult project "Once Upon a Time: The Kingdom of Russian Fairy Tales" will be released on October 14, 2025.

Translation. Region: Russian Federation –

Source: Winzavod Center for Contemporary Art – An important disclaimer is at the bottom of this article.

On October 15, 2025, a major relaunch of the "Once Upon a Time" exhibition, which became a true cultural phenomenon last season, will open in the historic dungeons of the Winzavod Center for Contemporary Art. This is not just a refreshed exhibition, but a rebirth of its format. The first chapter of the project attracted over 80,000 visitors and became a "place of power" for families, the art community, and tourists.

Now the project's creators are presenting a sequel, "Once Upon a Time: The Kingdom of the Russian Fairytale," expanded with new spaces, stories, and characters. The project is maturing: it not only entertains but also explains the structure of a fairy tale, the archetypes and meanings behind familiar plots. The format and content have been reimagined: from the visual environment to the narrative, from the route architecture to the ideological core. After the re-exposition, the project now features new semantic and visual pairings.

"Working on the new version of the project, we explored the constant elements of the Russian fairy tale—its plot, archetypal characters, and ways of embodying magic. The exhibition shows how these constants—reflections of the collective imagination and worldview of the past—have changed over time: from folk tales to original and Soviet tales, where familiar motifs acquired new interpretations and meanings. We also delve into the mythology of our time to see which phenomena today are 'accumulated' with an aura of wonder and enter into dialogue with tradition," notes project curator Polina Kotova.

The exhibition opens with a hall where visitors are greeted by images of A.S. Pushkin, A.N. Afanasyev, V.I. Dahl, and V.Ya. Propp—collectors and researchers of the Russian fairy tale. This area sets the tone for the updated, "mature" exhibition.

Furthermore, new "wow" objects have been erected in the Winzavod Center for Contemporary Art's underground spaces: a giant bogatyr's head, a life-size Baba Yaga in the Bilibin style and her ominous hut, a winter kingdom, and a renovated "Mushroom War" featuring King Pea. There's also a stable with the Little Humpbacked Horse, a smithy with a Tula anvil, and fairytale animals. A special highlight is the expanded Hall of Soviet Fairy Tales, which recreates the atmosphere of a Soviet interior with iconic film images, artifacts, and illustrations, including, for example, the Soviet version of "The Tale of the Fisherman and the Fish" and "The Frog Princess." For fans of the "golden era" of Russian cinema and animation, this space will be a nostalgic feast.

The exhibition's immersive spaces are designed to immerse viewers in a fairytale-like experience: wandering through a dark forest, encountering wondrous creatures, and returning to a bright expanse. It's not just a spectacle, but also an experience of personal transformation. Based on viewer feedback, the project's organizers have made the exhibition more accessible, enriched with explanations and symbols, while preserving the magic of the first season.

The exhibition features works by contemporary Russian artists: Dania Pirogov, Elena Kovylina, Artur Krivoshein, Alexey Vasiliev, Alexander Vinogradov and Vladimir Dubossarsky, Alexander Krylov, and others.

"This isn't just an exhibition, but a space for meaning and dialogue between generations. Through familiar images and plots, viewers will be able to see how fairy tales were created, how their characters were conceived, and the ideas behind the stories we've known since childhood. Here, you can re-immerse yourself in a fairy tale, see its structure, and understand how true magic is born from simple images," comments project producer Ilya Dybov.

Children, adults, and even four-legged guests are welcome here – if last season the exhibition was dog-friendly, now it is also cat-friendly.

The exhibition is open until January 31, 2026.

Age limit: 6

Exhibition organizer: MTS Live

Exhibition implementation: Triumph Gallery

Curatorial team: Polina Kotova, Ivan Repkin

December 15, 2025

bar hub EXPO 2025 (September 15, 2025).

Translation. Region: Russian Federation –

Source: Winzavod Center for Contemporary Art – An important disclaimer is at the bottom of this article.

September 16-18, Moscow, Winzavod Center for Contemporary Art

This year, organizers expect over 3,500 unique guests from 200 cities across Russia and neighboring countries. More than 120 companies will present their best brands at the exhibition. This year's theme is "LATINO CARNAVAL," with the primary goal of creating an unforgettable event for attendees and deepening their understanding of bar culture.

As for the educational program, the event will feature four lectures, where experts from around the world will share their experiences on professional bartender growth, bar ecosystem management, business, and the art of mixology.

In addition, during the exhibition, more than 30 Moscow bars will offer guests unique guest bartending sessions, where they can enjoy cocktails prepared by the country's best bartenders.

Don't miss your chance to be part of this outstanding event in the bar industry! We look forward to seeing you at bar hub EXPO 2025—a true celebration of taste and knowledge!

http://barkhov.ru

http://t.te/bar_nub

September 16-18, 2025, Moscow bar hub EXPO 2025 I LATINO CARNAVAL

December 12, 2025

The Ministry of Economic Development met with representatives of the art industry on December 12.

Translation. Region: Russian Federation –

Source: Winzavod Center for Contemporary Art – An important disclaimer is at the bottom of this article.

Ministry of Economic Development:

Since 2021, the growth of gross added value of art industries in the creative economy has amounted to 11%.

One of the national goals is to increase the share of creative industries in the country's economy to 6% of GDP by 2030. In 2024, the art industry was designated as a separate sector within the Unified Plan for Achieving National Development Goals in Russia through 2030. Although the art industry's share of gross value added (GVA) in the overall GVA of the creative economy is relatively small (approximately 2%), the sector has high growth potential. This was stated by Russian Minister of Economic Development Maxim Reshetnikov during a meeting with representatives of the art industries. Participants discussed key areas for the development of the art industry as an independent and promising sector of the creative economy.

According to the minister, Russia has accumulated unique cultural assets whose value will be preserved in the long term. The state's task is to create the conditions for unlocking this potential.

"Since 2021, the art industries' GVA has grown by approximately 11%. Their contribution to the overall creative economy is approximately 2%. The goal by 2030 is to maintain this figure at 2.3%," emphasized Maxim Reshetnikov.

The discussion focused on three main areas of focus for expert discussion. The first focused on establishing clear "rules of the game" for interaction between the art industry and the economy as a whole, including defining the industry's boundaries and assessing the performance of all its participants. The second focused on assessing the current state and identifying growth opportunities, where engaging both the professional collector community and a new mass audience plays a key role. The third area of focus focused on identifying barriers and accelerating development factors, such as the creation of creative clusters, the implementation of interdisciplinary projects with museums and the digital sector, and the replication of successful regional practices that promote territorial branding.

"We need to work with experts to define the sector's boundaries and develop practical objectives. These include identifying the sector's key features, ways to generate high added value, and potential opportunities for attracting investment in contemporary art," emphasized Maxim Reshetnikov.

The minister proposed focusing on the most substantive discussion possible, drawing on the practical experience of market participants. Case studies and expert understanding of industry development patterns are critical for developing an effective and efficient system of government support, he added.

"This is the first approach to 'digitizing' the art industries as part of the creative economy. Such industry meetings with representatives have already become traditional and help identify development focal points and fine-tune sector regulations. The results of these discussions will form the basis for practical actions and will be reflected in the Strategy for the Development of the Creative Economy through 2036," noted Tatyana Ilyushnikova, Deputy Minister of Economic Development of Russia.

During the meeting Association of Galleries presented the results of an art industry study conducted jointly with Pacioli Consulting in 2024-2025. The experts, among other things, defined the art industry and the art market, described the constituent entities, and identified key components that support the industry's functioning and development. According to their data, the industry employs approximately 113,000 people.

"This is an important, systematic meeting with those representing the professional cultural community to discuss the art industry not only from a cultural perspective, but also from an economic one. We outlined a number of barriers and growth opportunities for the art industry, based on research data and a realistic assessment of the industry's situation," commented Sofya Trotsenko, founder of the Winzavod Center for Contemporary Art and member of the Board of the Galleries Association.

Participants also discussed key issues in the development of the art industry: the need for a comprehensive approach to industry policy, the use of the creative potential of art in national and regional development, the expansion of museum collections with contemporary art, legal aspects of intellectual property and the status of contemporary artists, the conditions for the production and exhibition of works, as well as the international promotion and export of Russian artists.

The meeting was also attended by Irina Sedykh, Chair of the Board of Trustees of the OMK-Uchastie Charitable Foundation, founder of the Vyksa Festival, and philanthropist; Vasily Tsereteli, Academician, President of the Russian Academy of Arts, Director of the Moscow Museum of Modern Art, and Honored Artist of the Russian Federation; Alisa Prudnikova, Program Director of the GES-2 Community Center and the V-A-C Foundation; and others.

December 12, 2025

December 12, 2025. "The Black Man": Yesenin's Famous Poem to Take Cinematic Form. Filming for director Anna Matison's film project "The Black Man," based on Sergei Yesenin's poem of the same name, took place in Mosfilm's Pavilion 9. The lead and only role is played by Sergei Bezrukov, People's Artist of the Russian Federation.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

December 12, 2025

News editorial office

Filming for director Anna Matison's film project "The Black Man," based on Sergei Yesenin's poem of the same name, took place in Mosfilm's Pavilion 9. The lead and only role is played by Sergei Bezrukov, People's Artist of the Russian Federation.

For one day, Mosfilm's Pavilion No. 9 was transformed into a metaphysical space to bring to life the visual dramaturgy of this highly complex work. Specially for the shoot, Mosfilm-Decorstroy specialists constructed a set that subtly emphasized the poem's atmosphere and metaphors, as well as the inner world of its lyrical protagonist.

The film's production is timed to coincide with significant dates. 2025 has been declared the Year of Yesenin in Russian culture, and October 2 marked the poet's 130th birthday. Sergei Yesenin's work is familiar to everyone, and according to bookstore surveys, he consistently remains one of the most popular authors among readers. But, as Sergei Bezrukov noted, there is one work that stands apart in Yesenin's career, resonating with everyone who encounters it. "The Black Man" is the famous poet's last major poetic work. According to Yesenin scholars, it expresses the poet's despair and horror at reality, a dramatic sense of the futility of any attempt to penetrate the mystery of existence.

"I've been reading 'The Black Man' for years, and this unique work draws people back again and again, to once again find themselves on the other side of consciousness, to experience something more than just rhymed words. It's the most requested poem; it's what brings a new, younger generation to our performances. That's why they are the main audience for our project!" Sergei Bezrukov noted in an exclusive comment for Mosfilm.ru.

The short film's director and production designer is Anna Matison, and the cinematographer is Pavel Beklemishev. The leading and only role is played by People's Artist of the Russian Federation Sergey Bezrukov. According to the project's creators, the idea of filming "The Black Man" has been in the works for a long time. The main goal is to create a powerful, visually rich work that will convey its depth and tragedy to a modern audience using the language of cinema.

"Shooting in a studio will allow us to achieve a high artistic standard, as it will allow us to control the light and atmosphere—critical to the realization of a creative idea," emphasized Sergei Bezrukov.

The premiere of the "Black Man" project will take place on December 28, the centenary of Sergei Yesenin's tragic death.

Production: Sergei Bezrukov Film Company.

Photo – Sergey Bezrukov's official website

December 11, 2025

Rules of life: Denis Boyarinov on the return of Melodiya vinyl.

Translation. Region: Russian Federation –

Source: Melody – An important disclaimer is at the bottom of this article.

Melodiya's return to the world of vinyl is an event the industry has been talking about for years. Denis Boyarinov recalls how the label survived the 1990s, why the art of pressing records was lost in Russia, and the rationale behind the choice of its first releases.

The news that Melodiya had launched its own vinyl pressing plant in Novosibirsk and was once again pressing records in-house was a true joy for me. I've been following the company's fortunes for a long time—especially as a journalist, since the mid-2000s—and I know its post-Soviet history well. There were moments when Melodiya itself and its unique archive of audio recordings threatened to simply disappear. It's no secret that many—government officials and entrepreneurs alike—saw Melodiya's value only in its former premises on Tverskoy Boulevard. These were the darkest times: the fate of a company that embodied the entire history of Russian recordings, along with its vast archive of phonograms, an entire layer of the country's audio history, hung in the balance. All of this might simply not survive to this day.

When Melodiya ceased to be a state-owned company and became an independent private enterprise, continuing its work—preserving and researching audio archives, reissuing recordings, and even producing new phonograms—one crucial element was still missing: in-house record production. So, I was extremely excited about the launch of the new plant—incidentally, only the second in Russia. Especially since they managed to select the equipment, fine-tune the manufacturing processes, and launch replication in just a year, which is no easy feat technologically.

In Soviet times, Melodiya was the world's largest record label: several factories, several recording studios, a vast distribution network, and records sold in the millions. I have no illusions that we can return to those times—and there's no need. But having its own factory today means that it will be much easier for Melodiya to press records, which means they will ultimately be more affordable. It will also make it easier for other Russian labels and companies to press vinyl in Russia. What could be wrong with that?

When discussing the quality of Melodiya's new records, it's important to understand that vinyl pressing is essentially a handcrafted process, a delicate one with a high probability of defects. Even the weather affects record printing. It's far more complex than, say, publishing a book or reproducing a CD. The art of record production—and it is an art—was completely lost in Russia by the early 21st century: Melodiya's last pressing plants were dismantled and sold for spare parts in the early 1990s. These spare parts later surfaced in Europe, where skilled craftsmen assembled them into working production lines and, ironically, used them to press records for Russia, among others. In Russia, for a long time, no one even attempted to make vinyl. The first and, until recently, only full-cycle plant, Ultra Production, only opened in 2014.

Now Melodiya has joined the revival of lost art and forgotten technologies: they've found specialists who worked in Soviet factories, consult with them, and train young people. We'll find out how well Melodiya's own records will sound—we'll listen to them and compare—but the important thing is that the process has finally begun.

As for the choice of releases for the first wave of reissues, it seems quite logical to me. It might surprise the average listener, but for those interested in Soviet and "melody" vinyl, there are almost no surprises. Moreover, in my Telegram channel "Red Book", which is dedicated specifically to vinyl and Soviet musical heritage, some experts even criticized the selection for not being "rarity enough." I, however, see a clear internal logic to it.

David Tukhmanov's "On the Wave of My Memory" and Zodiac's "Disco Alliance" are both iconic and popular records for people born in the 1970s and 1980s. Their reissue on Melodiya's own, newly established Russian vinyl press has not only commercial but also symbolic significance. Moreover, these albums were first reissued at the Ultra Production plant, allowing them to be directly compared to the Novosibirsk Melodiya releases. Initial reviews suggest that the new Novosibirsk pressings sound better, confirming that the production process has been streamlined.

It's also important to remember that the Soviet editions of "Po volne moego pamiaty" and "Disco Alliance," which can be found in record shops and online stores today, sound different. It's not just that they're full of grit—old records suffer greatly with age. Modern vinyl reissues are tailored to today's listeners: the soundstage is structured differently, and even the bass sounds different—deeper and richer. It's akin to restoring classic films for modern cinemas—an attempt to bridge the gap created by technological advances.

The reissue of the debut album by the first Kazakh rock band, Dos-Mukasan, is another very precise and important step. This record is quite rare, and the originals are expensive, but now it will be much more accessible—in a new edition specially mastered for vinyl.

The release of the album "Autogenic Training Against Alcohol and Smoking" isn't just a joke for the initiated, but also an excellent example of the amazing recordings that can be found in Melodiya's catalog and the additional historical dimension each of them receives in the new edition.

What's worth reissuing next? Melodiya has a wealth of interesting material in its archives: cool, rare, obscure, and simply stunning music, ranging from the masters of Russian classical music to the folklore of vanishing peoples and countries. I know that Melodiya employees closely read my Telegram channel, where these kinds of records are discussed, and I send them my suggestions from time to time. I know several specialists who work with Melodiya: they are incredible fans and enthusiasts of their craft. In addition to vinyl records, Melodiya is actively involved in digital reissues via streaming services, bringing very rare recordings back into circulation. But vinyl records are a much more expensive business, and the logic here is different. Melodiya operates in a market-driven environment, and it's important to understand that a print run of 500-1,000 copies is a serious investment; some guarantee of a record's success is needed. It is necessary to constantly maintain a balance between the rare and the sought-after, between what is interesting to collectors and diggers, and what might attract a less sophisticated listener.

I know Melodiya is preparing several very interesting reissues for 2026 (the preparation of such releases can take anywhere from a year to several years). So, expect some truly amazing surprises. I won't give away everything—the important thing is that the vinyl pressing process has begun and can't be stopped.

"Rules of Life", December 11, 2025