My Top Picks for the Dark Hour Before Dawn – GES-2 Exhibit Favorites

Hello, lovely readers 🌟

I'm a huge fan of art in all its forms, so I try not to miss interesting exhibitions happening in Moscow. And in this review, I want to share my impressions after visiting the 'Untimely Centuries: Novels of the Middle Ages and Academism' exhibition, which is running from 13.11.2025 to 03.05.2026 at the cultural space of GES-2.

Entrance to the exhibition 🤍🤍🤍About GES-2

I want to say a few words about the space itself, GES-2, which I've been to many times before, and I'll share my thoughts in a separate review soon. It's a really cool spot, and I'm excited to share my experience with you.

I've been to GES-2 beforeGES-2 is a public cultural space in the heart of Moscow, opened on December 4, 2021 in the building of the former power station on Bolotnaya Embankment.

It's coming up on its fifth anniversary soon, and I'm excited to share my thoughts on this amazing space. To give you an idea of where it is, I'll share a quick story. Remember that infamous modern art sculpture, 'Big Clay #4', which was a total eyesore on social media with its weird design and massive size?

GES-2That was right next to GES-2. Now, instead of 'Big Clay', they have 'Garden Council' with a bright red pen. It's been four years since they took down something that was way past its prime. So, the address of GES-2 is:

Bolotnaya Embankment, 15You can check the map to figure out the best way to get there. For me, it's easier to take the metro to Tretyakovskaya and then walk to GES-2. I wouldn't recommend driving there for several reasons: it's in the city center, parking is expensive, and there's construction going on all the time. I even had trouble hailing a taxi to get there.

To get into the space, you'll need to go through electronic registration on the GES-2 website. This will give you access to the time slot you choose. I registered for 15-18 hours, for example.

When you arrive, you'll go through a quick security check, similar to what you'd experience at the airport. Then, you'll head down to the cloakroom on the -1 floor. Yep, I've been to GES-2 in the summer and didn't even know there was a cloakroom. Who knew, right?

}One of the standout features of the GES-2 is the automated wardrobe with electronic tags that make it easy for the staff to keep track of your belongings and make the storage system transparent. Overall, the GES-2 has been designed with a modern aesthetic in mind, and I won't go into too much detail about that.

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Value for money

Now, let's talk about the ticket prices. I know some people might be used to attending exhibitions at the GES-2 for free, like the infamous 'Black Square' exhibition that I attended twice out of sheer excitement!

But, simply registering for entry to the GES-2 isn't enough, you'll need to buy a ticket. The cost of one ticket for the flagship exhibition 'Untamed Centuries: Novellas about the Middle Ages and Academies' will be 600 rubles per ticket.

Current pricingHere are the prices for electronic tickets that will get you into the C3-C4 gallery exhibition halls:

But, there's a loophole - you can attend the exhibition for free on the first Wednesday of every month, so mark that down in your calendar!Now, let's head down to the exhibition space itself:

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Logistics of exhibit placement

The space itself consists of two halls that, despite their contrasting color schemes, complement each other nicely:

'The light side' - dedicated to Antiquity (Academies) and the cult of mythological superheroes in the works of authors from that time and contemporary authors:The first part of the 'Untamed Centuries' project is dedicated to how, at different times, artists have been drawn to academism and its legacy, finding inspiration in the works of ancient masters. This often led to mechanical copying of classical examples and stagnation in their creativity - a repetition of aesthetic techniques and thematic uniformity. Given the current resurgence of uncritical admiration for ancient ideals in modern art, this part of the exhibition analyzes academism not only as a sign of decline, but also as a cultural phenomenon: in Russian art, it is linked to traditionalism, and a deep study of it may reveal the reasons for this conservative shift.

"the dark side" - a nod to medieval aesthetics, not just for the sake of nostalgia, but to bring past ideas into the context of today's world. Sounds complicated? It is, until you dive into the exhibits:The second part of the project explores the aesthetic system of the Middle Ages. This era gave us many ideas and phenomena that shape our world today. Italian thinker Umberto Eco, in his essay "Dreaming of the Middle Ages" (1986), compared our relationship with the Middle Ages to an adult's view of their childhood. Just as a doctor asks about a patient's childhood illnesses to diagnose, reflecting on the Middle Ages can help humanity understand modernity. The works presented here transport the viewer not only to the past, but also to a conceptual "New Middle Ages," where society returns to earlier stages of development.

The term "New Middle Ages" describes the breakdown of global systems into local communities, the rise of religious and cultural identities, the return to regional economic models, and the emergence of "digital feudalism," where online platforms take on state-like functions. In this context, modern art is not just a echo of old forms, but a barometer of the era: it uses the past to analyze present crises and sketch the contours of a possible future.

In terms of the exhibit's layout, I'd say that the presentation of the exhibits, the lighting, and the overall atmosphere - it's all part of the "story" itself: engaging, informative, and well-crafted. Despite its compact size, I spent two hours here and even got a bit tired. So, "density" in the eyes of the viewer, I'd say.

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Highlights of the "light side" of Antiquity

First thing I noticed as I was heading down to the hall - the design itself, with its columns. You can see how fragile the ideal world is, even with the "broken" white columns.

But, of course, the first exhibit I rushed to was "The Girl with an Oar" by Shadr 😍

Ivan Shadr. The Girl with an Oar 1934-1935I couldn't resist taking a photo with this iconic Soviet-era sculpture, done in the style of the time but with a socialist realism twist 😉

By the way, I also snapped a photo with another "heartthrob" - Apollo 🤩

Behind me, Apollo Belvedere (a copy of the sculpture made of foam, covered with a plastic layer)I was pleased to see the works of renowned "Third Rome" authors like:

Fyodor Bronnikov: Fyodor Bronnikov (1827-1902) Hymn to the Pagan Philosophers to the Rising Sun, 1869Alexander Ivanov: Left top: Alexander Ivanov (1806-1858) Apollo, Hyacinth, and Cyparissus Engaged in Music and Song, 1831-1834Pavel Svedomsky: Large painting on the wall: Pavel Svedomsky (1849-1904) Orgy, 1883 Canvas, oil Novgorod Museum-ReserveAlexander Benois: Alexander Benois (1870-1960) Venetian Garden, 1910 Cardboard, watercolor, gouache, white lead, graphite pencil State Russian MuseumAll these authors are "academics" who stood at the source of Russian classicism and, of course, sought their inspiration in the period of Antiquity

And then we see how the view of "ancient heroes" has transformed. The first accurate transformations were more like "beauty for the sake of beauty" but in new colors and combinations. A clear example of this is this diptych in the style of "modern":

Bella Matveyeva (b. 1962) Diptych "Leda and the Swan", 2019-2025Notice how I initially (and probably you too) perceived the man on the right as very strange and disproportionate In the diptych "Leda and the Swan", the author depicts the myth of the connection between the earthly woman and Zeus, who took the form of a bird. From their union, the hero Polydeuces and Helen of Troy were born, whose beauty was destined to lead the Achaeans to the Trojan War. Unlike traditional depictions, Zeus is devoid of bird-like features, his connection with Leda symbolizing the binding threads of fate that connect heroes. The bright ornament along the edges of the painting evokes additional associations with the aesthetics of modernity, enhancing the decorative and colorful intensity of the scene.

They've completely "caricatured" the images of antiquity for themselves such authors as:

Vladimir DubosarskyHis new work represents a caricature of both the Soviet physical culture boom and the cult of muscles, and, of course, ancient imagery - sometimes nagging and empty.

Vladimir Dubosarsky (b. 1964) When I woke up in the morning and didn't know what to do, 2025 Canvas, acrylic Provided by the artist

Olga Tobreluts and the series "Models"

This project really stood out to me as one of the artist's calling cards. Ancient statues dressed up in designer outfits - it's an ironic nod to the cult of celebrity and luxury consumption. What would the heroes of the Iliad wear today? Would they be ambassadors for any particular brands? Are modern-day stars comparable to ancient gods? - these are the kinds of questions the artist explores.

I was really struck by Boris Orlov's sculpture made from broken pieces:

Boris Orlov (b. 1941) Hronos, 1971 Terracotta, metal Collection of Shalva Brevus This everyday situation found a truly philosophical expression ⬇️One of the key themes in Orlov's work is the passage of time, merciless to heroes and their triumphs.

Not only did this piece add to my thoughts on the subject, but it also deconstructed the sculptural image as something whole and stable - Orlov's 'archaeological' series from the 1960s-1970s. The impetus for this series was a mundane incident: while working in his studio, Orlov accidentally broke a plaster cast of a head.

Trying to glue the pieces back together led to a discovery: the constant disintegration of the whole into parts and their forced reassembly - these are inherent properties of sculpture as a practice. Hronos is an allegorical representation of time in the form of a male head. It's broken, eyeless, and only held together by metal strips. This image describes both the nature of time and sculpture. Capturing, or stopping, a moment is impossible - the result of attempts will be only fragments of reality. And it's equally impossible to create an eternal monument, to become a ruin - this is its inevitable fate.

And of course, the artificial era of superheroes can't exist without eventually crashing and burning 💔

These bright images of 'worlds in conflict' were brought to life:

Lev BakstOne of the key works by the artist

Lev Bakst's Silver Age masterpiece, Terror Antiquus, is a reflection on the fate of ancient heritage in the face of social and political catastrophes at the beginning of the 20th century.

Created after the Russo-Japanese War and the 1905-1907 Revolution, the painting expressed the anxious feelings that were in the air: the old order was coming to an end.

Lev Bakst (1866-1924) Terror Antiquus, 1908 Canvas, tempera paint State Russian MuseumBoris Orlov's installation, Icarus And then the exhibition takes us back to the roots of these ideas, in which our future is contained. As history shows - times of 'Medievalism' and the 'dark side' of the exhibition hall 🖤

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Highlights of the 'dark hall' of Medievalism

Walking into this dark room and being transported back to the Middle Ages, where art, culture, and knowledge were born, you're immediately hit with biblical themes:

Top left:Unknown artist. Relief of the Virgin and Child, surrounded by angels, 15th century (?)

Wood

State Hermitage Museum

Top right:Unknown artist. Women at the Tomb, 16th century

Wood, tempera

Central Museum of Ancient Russian Culture and Art named after Andrei Rublev

Bottom left:Unknown artist. Archangel Michael - warrior of fierce forces, mid- to late 19th century

Wood, tempera

Central Museum of Ancient Russian Culture and Art named after Andrei Rublev

Bottom right:Unknown artist. The Resurrection of Christ (Descent into Hell), early 17th century. Russian North

Wood, tempera

Central Museum of Ancient Russian Culture and Art named after Andrei Rublev

It's symbolic that everything starts with religion here.

What really catches my attention is the cult-like installation inspired by 'masonry' and 'sacrifices': there's a dead bee, a cross, a ring, and clothing that matches the theme:

Maria Safonova (b. 1979) Reliquary, 2024 Mixed media. Courtesy of the artistThe creators of Anton Kuznetsov and Maria Safonova's 'Zone of Bees' have presented a fascinating alternative world and corresponding cult:

Natural resources are being depleted, and with them, animals and plants are dying out. The possible extinction of bees, which are crucial for many ecosystems and, consequently, human life, is particularly alarming.

It's no wonder that bees have always symbolized purity, selflessness, and hard work. The 'Zone of Bees' project by Maria Safonova and Anton Kuznetsov is based on a fantastical assumption: instead of bees, humans have disappeared. The peculiar figures, both similar to idols of yet-to-be-born civilizations and Gothic sculptures, demonstrate who these creations could have worshipped, beings completely different from us. 'Reliquary' continues the theme of contemplation

Maria Safonova's 'Reliquary' - a honeycomb-like box containing artifacts of an imaginary post-apocalyptic cult - offers a new interpretation of the relic vessel. Instead of being a testament to the past, it becomes a container for the future, where human disappearance does not exclude the continuation of life.

Zone of BeesThere's a bride, a mother, a guardian, a mistress, and even a guardian here ☝️It's impressive:

I was blown away by these two sculptures from the installation – they really caught my eye 🔥

I'm excited to share the work of Daria Surovtseva with you:

Daria Surovtseva (b. 1980) ALLUZ Numero NoO Zero, or a circle around. How to measure space?, 2025 From the series Thesaurus Terrestos Sculpture: mirror, black wood, biscuit porcelain, stainless steel, threads Provided by the artistIf you don't read the title, my 'childlike' imagination sees a Snow Queen castle 👸

But this isn't just a combination of porcelain, mirror, steel, and other materials in some abstraction – the work has a deep philosophical meaning that I want to share with you:

The sculpture is dedicated to the idea of progress in the Middle Ages – the author considers the era as a time of incredible discoveries. The basis of the plastic solution is the circle – a wheel or a dial – as a symbol of human ability to unravel the laws of the universe and describe them in the language of mathematics. The abstract-looking piece demonstrates how far we can be led by the desire for knowledge: from medieval cosmological reflections to modern quantum physics. The artist is particularly interested in string theory, which suggests the presence of additional dimensions that we have yet to discover – on a figurative level, they are embodied in whimsical fractals. Daria Surovtseva has been perfecting her technique of sculpting porcelain for years, mainly addressing mythological and fairy-tale themes.

That's why this sculpture is especially interesting, as it celebrates real victories of the mind – whether they've been achieved or are yet to come.

And another highlight from the author Danil Pyrogov, titled 'Dig': Danil Pyrogov (b. 1996) Dig, 2025 Installation: plywood, adhesive plaster mixes, acrylic paint Produced on the order of the V-A-C Foundation Provided by the artistThis is – to me, at least – a terrifying Dragon of the Horynich 🐉

And, yes, in the logic of my 'fear' I stumbled upon a crucial theme of fears that the author wanted to convey:

The heroes of Danil Pyrogov's works are living fears that hide in the dark corners of collective consciousness. The artist often puts on the role of an archaeologist – however, the civilizations he explores, although they have familiar features, never actually existed. In 'Dig', the creatures born from black foam seem to burst into the exhibition space from the pages of medieval bestiaries. The visual language of the era mutates under the artist's gaze, and real medieval times are transformed into their fantasy version.

One of the recurring themes in this work is the siege of a castle, where monsters bursting through a weakly guarded gate are reminiscent of everything new and therefore unacceptable to a medieval dogmatic worldview. The established picture of the world is crumbling, like a fortress wall under enemy pressure, and the amorphous mass of monsters symbolizes chaos from which a new order may emerge in the future.

I face my fear This 'complex' climax is tempered by Tanya Penicher's seemingly lighthearted yet intriguing series on seasons. But if you take a closer look, you'll notice she uses materials like 'the artist's blood' throughout her work. And that immediately brings to mind the exhibition's title and the Middle Ages... Tanya Penicher (b. 1994) Melancholy, what you want – in summer, there'll be flies, 2022: 269K0808HUSCAUSDC Paper, watercolor, watercolor pencils, ink, the artist's blood, insects, velvet, flowers Tanya Penicher (b. 1994) Autumn – it's beautiful and a little painful, 2022 From the series 'New Middle Ages'. Paper, watercolor, watercolor pencils, ink, the artist's blood, insects, autumn leaves. Tanya Penicher (b. 1994) I want to be fire, fire, fire, and I'm water, water, water, 2020 From the series 'New Middle Ages'. Paper, watercolor, watercolor pencils, ink, the artist's blood, insects, velvet, flowers Private collection Tanya Penicher (b. 1994) Winter – it's just a convention, 2022 From the series 'New Middle Ages'. Paper, watercolor, watercolor pencils, ink, the artist's blood Private collection If you compare the galleries to each other, although they're part of the same whole, the 'dark side' of the Middle Ages really struck me even harder. I won't go into all the details, I've already shared a lot of interesting stuff.

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TL;DR

I'd just say that the darkest time is just before dawn, and every 'dark period' is a continuation of the white, and vice versa. So, visiting the exhibition 'Unmedieval Centuries: Novellas on the Middle Ages and Academies' with its deep philosophical meaning and interesting, multi-faceted exhibits – I highly recommend to all thinking people.

Alexey Gromov. Bone Tower: No Re-entry, 2025P.S. I've got to give a shoutout to some other art reviews I've written:

Art Russia FairNew Tretyakov GalleryThe ForgeVinzavod