Context. Diana Vishneva in cooperation with the Pushkin State Museum of Fine Arts and the Aksenov Family Foundation



Imprint in Motion project is a cross-media art work combining the elements of fine arts, contemporary dance, music and cinema.

Scenarios consonant with the history of Western European civilization are reinterpreted by means of choreography in the halls of the museum of the Classic Art. Diana Vishneva became the main character and the guide between epochs and dancing styles.
The Pushkin Museum, with its collection of casts representing the most significant art works of the world culture, became a unique scenery of the project. The team of the Imprint in Motion was looking for visual images associated with those periods of fine art which are represented in the halls of the museum chosen for the film. Choreographers were not only seeking to feel the energy of the epoch and to convey sensations arising when you see the art of Ancient Greece, Ancient Rome, the Middle Ages and the Renaissance, but to find a plastic embodiment of their ideas as well. Dance was born in the process of interaction with the new music, museum halls, exhibits and historical context. Cameraman was not just recording what was happening. Videographer's point of view was embedded in the dance pattern and completely depended on the choreography. Pieces of music that inspired the choreographers were created by modern Russian composers of the classical genre: Mark Buloshnikov, Daria Zvezdina, Vasily Peshkov, Alexey Retinsky, Alexander Hubeev. Mr. Buloshnikov, Mrs. Zvezdina and Mr. Hubeev are the winners of the "Russian Music 2.0" program by the Aksenov Family Foundation. The program promotes traditions of the Russian composer school showing its best achievements in Russia and abroad. The choreographers involved in the film creation are the finalists of the Context International Festival of Contemporary Choreography competition. Diana Vishneva in different years. The main task of the Imprint in Motion project is to trace the movement of history, its key theme is the human body in a variety of plastic forms, and the venue for creative experiment is the museum of the Classic Art. Imprint in Motion project brought to life the following important goals of the Diana Vishneva Foundation: giving opportunities of creative self-expression to young choreographers and an open dialogue between cultural institutions as well as creating projects at the nexus of arts.
The project brought together three leading cultural institutions of Russia, four types of art and more than ten young creators (choreographers and composers), under the guidance of prima ballerina Diana Vishneva. Imprint in Motion gave young artists a possibility to continue their work and creative endeavours in the period of the lockdown, and to unite in order to let this project imprint the time period unusual and difficult for all mankind and particularly for the cultural sphere. Imprint in Motion project lended its support to the younger generation of Russian choreographers and composers and set a precedent of a cross-media project where meanings and ideas are not limited by language or time but are available to a spectator in any part of Russia, as well as abroad. Moreover, participation in the Imprint in Motion marked the new evolution stage for the choreographers who had not previously been engaged in the films nor in collaboration with composers on such a big scale. Experience the Imprint in Motion gave is even more valuable due to the time period when the film was created. Time of the pandemic turned out to be especially difficult for creative professions. Dancers and choreographers were deprived of proper rehearsals, and the project implemented at the Pushkin State Museum of Fine Arts became as unique and inspiring as possible for each of its participants. When you watch the film you can feel the excitement and the power of time at any moment and in any place in the world. Imprint in Motion project consists of a full-length film and behind the scenes giving instructions for the viewers and some additional materials. The latter allows the viewers to see the film from an academic point of view, and not only from aesthetic or emotional ones. Imprint in Motion can be regarded as mediation, because the viewer has never seen the casts exhibited in the museum so closely nor found himself in the circle of dancing gods. Libretto to the Imprint in Motion complements the films - comments in Russian and in English that guide the viewer along the feed and reveal new meanings in what is seen.