The situation of quarantine, into which we have fallen, hit hard by the jubilee plans of all involved in the celebration of the 75th anniversary of the Victory of institutions, including cultural ones. Care online demanded new forms and new images. How to deal with it, some Russian art museums, was observed by the columnist of “Kommersant” Kira Dolinina.May 9, 2020 the majority of the Russian museums were not prepared for the joke. To ignore this date — almost a crime. Speak softly, the sorrow and the memory of the price paid — the same ideological mistake, now is not the degree of pathos. Jubilee events had to be matched to the parades, the fireworks. In this sense, of course, the easiest way to the Hermitage: its Windows a luxurious look and air parade, and fireworks. Online stream all these beauties on the pages of the Hermitage in social networks and on its website of the Museum — a win-win.However, should the sublime took the note and other museums. The easiest way went to the Russian Museum and the Tretyakov gallery — they just prepared the exhibition for the holiday: in Saint-Petersburg built of works on military subjects exposure “Memory! For the 75th anniversary of the Victory in the great Patriotic war” in Moscow thematically expanded permanent exhibition. A potential viewer in both cases — clearly not the most discerning fashion Museum visitor, a textbook mainly perform here as illustration to a given topic, a reference to Soviet canons image the great Patriotic war. Here reigns the nostalgia and propaedeutics, and the “newfangled” digging in the properties of historical memory, the nature of evil, the national injury etc. is excluded from the agenda. Because, admittedly, both (virtual so far) exposure completely uninteresting.A large project was prepared by the Moscow Multimedia Art Museum — 75 videos 25 exhibitions, which will be open to view until June 24. A slide show with music and poetry does not have any significant formal opening of the Museum, but efforts to find the authors of the wartime photographs, with whom MAMMA, really extremely important and more than relevant.A careful viewing of the jubilee projects of the major museums of both capitals, it quickly becomes clear that the meaning and flavor of where the stories are fundamentally local. For example, the Jewish Museum and tolerance center has done an excellent exhibition from the archives of the two Soviet front-line operators and photographers in Berlin the spring and summer of 1945. Elijah Arons and Valeriy Ginzburg filmed in Berlin fallen, bombed, the first cafe on the background of destroyed houses, marshals of Victory and prisoners of war, children hiding in basements, and imposing Konstantin Simonov. 50 never-before-seen prints tell the story of a great victory are very small words. Not to come off.Mixed media Gunina formally bypassed all: his project “the Other war” written and performed by young participants of the program “Pushkin. Youth” under the supervision of archive staff of the Museum. This is a virtual walk through the halls, through which the viewer learns more about the life of the Museum during the war. Young voices, rare photographs, the names of the heroes of a desperate struggle for the preservation of artifacts — all of this works well, the story becomes a personal experience.And all would be well, if not the story is this: awful, just a short distance from the Kremlin, the Pushkin Museum was not prepared to evacuate, everything was done on-the-go, it was cold and rather hungry, but… you can’t compare suffering, but it is impossible not to compare. If we are talking about “the deeds of the Museum”, no inconvenience Pushkin you can’t even mention when there is a siege story of the Hermitage and the suburban Leningrad museums. In Moscow it was cold? Hungry? Saved Tsvetaeva’s impressions (note not the originals!)? Yes, it was. But in Leningrad the cunning efforts of academician Orbeli Museum evacuated in September 1941, and that started at the Museum then written books, but even utter it’s scary: the bodies in the basement of the Museum, the scientists-shadows of the every day bypassing “their” store, next to cannibalism, do not come down to work no one will ever find. Some lists of the dead staff of the Hermitage cry more than any page of memory of Pushkin. I’m biased, besieged Hermitage — this is my story, but there is no need of personal relationships, there is a sign “stop!” — there are those stories of war, which next to nothing better to put. Let it stick out, appealing to the blockade of Brest, Kharkov, Stalingrad, Rzhev, lake Ladoga, lake Balaton… This is trauma on a national scale, a ball, which we still have a long unwinding, but it must be done.