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# The Zotov Centre on Khodynskaya Street presents the exhibition "Bread" from 3 September 2026 to 17 January 2027
- URL: https://theparnassian.com/en/tsentr-zotov-na-khodynskoi-ulitse-pokazyvaet-vystavku-khleb-s-3-sentiabria-2026-goda-po-17-ianvaria-2027-goda/
- Published: 2026-09-08T11:23:25.000Z
- Updated: 2026-10-01T05:25:15.000Z
- Author: Alexandr Radayev
- Tags: Art, Moscow, Museums, Observations

The Zotov Centre on Khodynskaya Street presents the exhibition "Bread" from 3 September 2026 to 17 January 2027\. The project is timed to the 95th anniversary of Bakery No. 5, in whose former building the centre is housed.

The curators describe the layout of the exhibition as a bread odyssey. I saw no odyssey, unless they mean Odysseus's stay with the nymph Calypso, when for seven years he looked at the same thing day after day, for the show closely resembles several earlier projects in the same space all at once. But if we set the press-release formulations aside, it is in essence a convincing attempt to talk about bread's journey from village to city between 1917 and 1939: the pre-revolutionary bakeries, the revolution, the hungry years, the brief prosperity of the NEP era, the ration-card system, the relative plenty of the mid-1930s, and the 350 varieties of Soviet baked goods.

The exhibition brings together more than 140 original works, among whose authors are Boris Kustodiev, Kuzma Petrov-Vodkin, Ilya Mashkov, David Shterenberg, Alexander Rodchenko, Mikhail Roginsky and Sergey Konenkov. I was pleased by the little-known artists of the period, at least ones I had never heard of: Vladimir Malagis, Yakov Pain, Viktor Arnautov, Anton Chirkov, and by the rarely shown works of more widely reproduced masters, dug out of small regional collections. What did not please me were the attempts to integrate the contemporary art of our own day, which on the whole is hardly connected with the statement being made, and which in my view looked like something dragged in by the ears.

The format is roughly this: a major historical turning point is annotated through a single everyday object or phenomenon, and the representative anthology of painting is supplemented with smells, attractions and lures for the very little ones, as at "Krasnaya Moskva". And although the works of present-day artists, attached to the historical material with no particular link to the realities of the 1920s, did not impress me, the exhibition would have succeeded perfectly well without them. The historical core of the project is strong and in places surprising, and I once again praise the Zotov team for a fine selection of unhackneyed works from numerous collections across the country, with some of the choices far from obvious, notably a wonderful sculpture, all complemented by a rich array of decorative and applied art, from propaganda crockery to highly artistic porcelain, and by a detailed survey of industrial graphic art.

The most masterly object is a crust of black bread made in the early twentieth century by an unknown craftsman from a piece of mammoth ivory. My favourite painting is "The Reaper" (1926-27) by Vyacheslav Pakulin, from the collection of the Russian Museum.

I hope everyone understands that I am not scolding! I viewed the exhibition with great interest; I am simply not quite in raptures over the blurring of the concept by the admixture of occasional contemporary interpolations.

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