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Exhibition of Achievements of the National Economy (VDNKh)

Exhibition of Achievements of the National Economy (VDNKh) is located in Ostankinsky District of Moscow, less than a kilometer from Ostankino Tower. It is served by VDNKh subway station, as well as by Moscow Monorail. Cosmonauts Alley and the Worker and Kolkhoz Woman statue are situated just outside the main entrance to VDNKh. It also borders Moscow Botanical Garden and a smaller Ostankino Park, and in recent years the three parks served as a united park complex.

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The exhibition was established February 17, 1935 as the All-Union Agricultural Exhibition (VSKhV) (Russian: Всесоюзная сельско-хозяйственная выставка; Vsesoyuznaya selsko-khozyaystvennaya vystavka). An existing site (then known as Ostankino Park, a country territory recently incorporated into the city limits), was approved in August 1935. The master plan by Vyacheslav Oltarzhevsky was approved in April 1936, and the first show season was announced to begin in July 1937 and was designed as a ‘City of Exhibitions’ with streets and public spaces, which was very common in the 1930s. However, plans did not materialise and three weeks before the deadline Joseph Stalin personally postponed the exhibition by one year (to August 1938). It seemed that this time everything would be ready on time, but again the builders failed to complete their work, and regional authorities failed to select and deliver proper exhibits. Some pavilions and the 1937 entrance gates by Oltarzhevsky were torn down to be replaced with more appropriate structures (most pavilions were criticised for having no windows). According to Oltarzhevsky’s original plan, all of the pavilions were to be constructed from wood. In 1938, a government commission examined the construction and decided that it did not suit the ideological direction of the moment. The exhibition was considered too modest and too temporary. Oltarzhevsky was arrested, together with the Commissar for Agriculture and his staff, and eventually released in 1943. Later, he worked on the 1947-1953 Moscow skyscraper project [The ‘Seven Sisters’ on the USSR page.].

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As a result, in August 1938 Nikita Khrushchev, addressing the assembled Supreme Soviet of the Soviet Union, declared that the site was not ready, and the opening was postponed until August 1939. It finally opened on 1 August 1939, and was open to the public until 25 October. The 1940 and 1941 seasons followed but following German invasion in 1941 the exhibition was closed until the end of World War II.

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In October 1948 the State ordered the renewal of the Exhibition, starting with the 1950 season. Again, the opening was postponed more than once; the first post-war season opened in 1954 (still as Agricultural exhibition). In the 1956 season the planners set aside an Industrial area within the main territory; more restructuring and rebuilding followed. In 1959 the park was renamed Exhibition of Achievements of the National Economy (Russian: Выставка достижений народного хозяйства, Vystavka dostizheniy narodnovo khozyaystva) or ВДНХ/VDNKh.

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By 1989 the exhibition had 82 pavilions with an exhibition area of 700,000 square metres. Each pavilion (including the 1939 regions) had been dedicated to a particular industry or field: the Engineering Pavilion (1954), the Space Pavilion (1966), the Central Industrial Zones Pavilion (1955), the Atomic Energy Pavilion (1954), the People’s Education Pavilion (1954), the Radio-electronics Pavilion (1958), the Soviet Culture Pavilion (1964).

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During Soviet times, each year VDNKh hosted more than 300 national and international exhibitions and many conferences, seminars and meetings of scientists and industry professionals. The most memorable feature of the exhibition site was the Worker and Kolkhoz Woman (Rabochiy i kolkhoznitsa) statue, featuring the gigantic figures of a man and woman holding together the ‘hammer and sickle’. The sculpture, which reaches 25 meters toward the sky, was designed by Vera Mukhina and originally crowned the 35-meter-tall Soviet pavilion at the Paris Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937).

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In 1992, VDNKh was renamed, receiving the new acronym VVC, which remained in use until 2014. It occupies 2,375,000 square metres of which 266,000 square metres are used for indoor exhibits. The territory of VDNKh is greater than that of the Principality of Monaco and has approximately 400 buildings.

On 14 May 2014 the previous name VDNKh was restored, following an interactive poll. In addition, the mayor of Moscow announced that the Russian space shuttle, the structural test article – TVA, which was an attraction and restaurant at Gorky Park in Moscow was to be moved to the VNDKh, to be displayed near the Vostok rocket in front of the Cosmos hall. It was moved 5–6 July 2014 and re-assembled by 21 July.

The above text from Wikipedia.

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This park is vast and it’s impossible to see all there is on a single visit – even a handful of visits would probably mean missing out on something. There’s so much to take in that it exhausts you with information, image, and impression overload.

The slide show below, which I have to admit is huge (perhaps too big?) can only give an impression of what exists in the park – and I didn’t have time to enter any of the pavilions, just satisfying myself with taking in the architecture from the outside.

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For anyone interested in Soviet era architecture it allows you to see, and appreciate, the marriage between Socialist Realism and the cultural influences of the various Republics of the Soviet Union.

Originally the various pavilions would have contained exhibitions related to the Republic under whose name it was built but more recently many of the pavilions have been taken over by commercial companies to promote themselves and their own capitalist values.

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This commercial ‘development’ has also meant the construction of more contemporary buildings and/or temporary modifications of existing buildings. This has drastically changed the environment of the park, more specifically that part of the park closest to the entrance. Commercial companies know that if they built their edifices down by the Cosmos Pavilion and the Transport Museum no one would see them let alone enter.

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There’s a fine statue of VI Lenin just in front of the Russian Republic pavilion.

The Worker and Kolkhoz Woman is outside the main park space, to the right as you look at the main site entrance arch, about 10 minutes away. That has been the subject of a separate post so images of that magnificent sculpture, truly accepted to be an iconic representation of the Soviet Union, can be seen by following the link above. It’s very much worth a short diversion to appreciate the sheer scale and beauty of the, now, renovated and restored masterpiece.

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As (in June 2024) the conflict in the Ukraine is still ongoing it might be worthwhile to make a reference to the pavilion that was dedicated to the Republic of Ukraine. Although many of the pavilions are impressive that of the Ukraine is even more so.

The Ukrainian Republic pavilion is probably bigger, more ornate, more complex in its imagery, having had more attention paid to it, having had more money given to it and stands out amongst many impressive buildings. And this is the case with many other references to the Ukraine in Moscow. Both the two stations on the metro system (Line 3 and Line 5) are amongst the most ornate amongst a collection of very ornate structures. As is the internal decoration of the Kievskaya mainline railway station.

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It seems that if you pay attention to your ‘favourite child’ it will still turn against you because you haven’t given it enough.

Location;

VDNKh is located in Ostankinsky District of Moscow and is served by VDNKh subway station, north east of the city centre, on Line 6, the brown line.

GPS;

55°49′47″N

37°37′56″E

Opening times;

‘VDNKh is open around the clock’.

Entrance;

Free to the complex but you might have to pay to enter some of the pavilions.

Website;

VDNKh (in English)

Museum of Socialist Art – Sofia, Bulgaria

The Museum is in two parts; the internal gallery and the garden with the collection of statues (almost certainly the most interesting part of the site). The internal gallery has an exhibition that might change. I don’t know how regularly. When I visited in April 2024 there was an exhibition of cartoons, both pro-Socialist and (mostly) anti.

The sculpture garden doesn’t seem to change, There’s probably much more in store than is possible to put on display. And some of the sculptures may not have been designed to deal with outside conditions and will never be put on show if not in the internal gallery.

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In the garden you will find;

some fine (and sometimes very large) statues/busts of Comrade VI Lenin. There seems (to my non-expert eye) to be a ‘chunkiness’ – no doubt not an artistic term – to Balkan statues, especially when compared with what would have been produced at the same time in the Soviet Union. As an illustration of that see the two version of JV Stalin in the (now closed, as far as I know) ‘sculpture park’ at the rear of the National Art Gallery in Tirana, Albania;

a number of busts and full length statues of GM Dimitrov. I’ve nothing to compare them to but they also demonstrate that solidity of Balkan sculpture;

a couple of very fine busts of Felix Dzerzhinsky (‘Iron Felix’), the first leader of what started out as the Cheka (and which eventually became the KGB), the organisation Comrade Stalin described as ‘the bared sword of the working class’. For reasons which I admire, but don’t totally understand, Iron Felix was admired throughout the Socialist world, probably due to his steadfast defence of the interests of the working class and peasantry – even though his personal background was that of a minor Polish aristocrat. However, the image of Iron Felix closest to the entrance of the garden is erroneously signed as being VI Lenin. How so called ‘curators’ can allow that error to go unchallenged just goes to show the depths to which education has gone in capitalist Bulgaria;

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some quite delicate and beautiful images of female co-operative/collective farm workers;

a number of statues which celebrate/commemorate the struggle of the Partisans against the Nazis in the Great Patriotic War. There’s one that reminds me of a number of groups of Albanian lapidars and another which, with its religious reference to a trinity and the deposition from the cross, with Paskali’s statue in the Martyrs Cemetery in Permet;

a bust of Che Guevara;

a very gentle and moving statue of two Korean children being subjected to the carpet bombing of the ‘United Nations’ (read the US and its lackeys) armed forces during the Victorious Fatherland National Liberation War of the early 1950s. The older boy has his left arm in a sling and he his sheltering his younger sister with his right arm – something that will be happening all the time in Gaza now and which Socialist Bulgaria would have been condemning as opposed to slavishly supporting as a member of NATO;

a couple of group sculptures whose original orientation can present a different idea once that orientation is altered;

a strangely androgynous representation of ‘The Republic’ which has the body of a female but the facial features of a male;

but no ‘Uncle Joe’. Joe and Georgi were like two peas in a pod but after the revisionists took control in the Soviet Union, all the other countries of Eastern Europe (apart from Albania) quickly followed and any statues of JV Stalin would have been taken down in the 1960s. I’m sure they must still exist somewhere. Perhaps one day they will emerge from the darkness;

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also (which I almost missed) those statures not considered worth anything, left in a back yard, just left to decay, one even showing how the statues were given their bulk and weight – through its sacrifice of destruction – including a rare ‘classic’ nude female;

and a number of statues that can only have been considered unacceptable due to the sculptor and not the content – unless I missed something.

There’s obviously a lot more Socialist realist artworks still in storage somewhere in Sofia. In recent years the internal art gallery hosted a selection of paintings of the Socialist leaders and also another exhibition of those Socialist Realist paintings that celebrated the working class and peasantry. There were a couple of catalogues of these exhibitions available in the book stall of the National Art Gallery.

The principal aspect of the Monument to the Soviet Army, which used to stand on the top of the pedestal and which was removed in December 2023, is supposed to be coming to this gallery at some time in the future. Whether the delay is political or if the statue is undergoing restoration and cleaning I don’t know. This consists of a trio, a Red army solder, a Bulgarian woman holding her baby, and a Bulgarian man. However, I see at least three problems with this installation in the museum garden.

The first is that something that was designed to be seen from more than 30 metres below will look very strange at ground level. Secondly, I can see very serious problems on getting such a structure physically through the entrance to the museum garden. Even if it is in three parts it will be a major logistical task to lower the statue into position. Thirdly, where would it go? There’s not a lot of space available.

How to get there:

Get to GM Dimitrov Metro station on the lines 1 and 4. After leaving the station and getting to street level follow the ‘tunnel’ of the Metro heading to the city centre. On the opposite side of the road is the office of Fibank. At the first road junction (still within sight of the Metro station) turn right. Within a few metres there’s a modern shopping/cafe complex on the right and immediately after this you’ll see an entrance controlled by a barrier. Go through this into a car park and you’ll notice a large red star amongst the shrubbery to your right. The entrance to the museum statue park is to the left of the star. The ticket office is in the small souvenir shop on the left.