VDNKh - Where USSR Is Still Alive!

For any foreign visitor to Moscow, I believe a trip to VDNKh (ВДНХ) provides one of the best glimpses into the faded glory of the Soviet Union. On my second day in Russia back in 2011, I dragged myself out of bed to make an early morning visit to this Soviet wonderland. It is as close to the Soviet Union as possible without traveling to Pyongyang. Part of the reason I made VDNKh one of my first sites for visits was to witness the contradiction and complexity of modern Russia.

As the dominant Soviet Socialist Republic within the former USSR, Russia today has always felt uneasy about its Soviet legacy. On one hand, they understood the limitations of the Soviet system and enjoyed a higher standard of living under capitalism. But they also remember the prestige and stability of being a global superpower. Many of my Russian friends reminisced about the social orders and the national prowess in the Soviet period. Today, Moscow is no longer quite the global city it was. Few, except perhaps Belorussians or Syrians, look to Moscow for global leadership. Instead, Russia today is often understood as a tantrum-driven bully that aims to elbow her way back to relevance. May it be the 2014 annexation of the Crimean peninsula or the separatist movement in Abkhazia and South Ossetia, Moscow would rather assert its influence through fear rather than diplomacy and its economic might.

The ceremonial gate topped with the sculpture Tractor Driver and Kolkhoz Woman.

To understand Russia today, we must open ourselves to understanding the grandeur of Soviet Russia. Russia has always been an empire... perhaps out of necessity. People often discount how the vastness and diversity of Russia. Some may even contend that the vast expense of the territory makes Russia ungovernable with real democracy. Instead, a strongman is often said to be the only way to govern this large territory. The chaos of the Yeltsin years only reinforced these long-held suspicions among ordinary Russian citizens. Of course, architecture and urbanism are the most physical ways to reinforce the ideology and necessity for an imperial/expansionist power. Under this framework, this large complex/park was established as the All-Union Agricultural Exhibition (VSKhV) in 1935. Constructed at the height of the Stalinist period, it was a full feast of propaganda and architectural fantasy.

Designed as the showpiece for the USSR, the various pavilions on its ground could largely be categorized into two groups. The first group was for the specific planned economy/industries, such as textiles, grains, aerospace, and electricities. VDNKh aims to showcase technological advancement and was one of the main portals for knowledge exchange.

Thanks to Stalin's policy of planned economy (Five-year Plan), these economic-themed pavilions blended well with the second subset of pavilions, which are the ethnic pavilions that showcased the diversity among the Soviet socialist republics. The ethnic compositions of the Soviet Union were crystallized in architectural details and symbolism. Because the architecture is "Soviet in essence"” outsiders might find it difficult to decipher various stylistic symbols and design elements for individual republics. Not unlike the individual coat of arms of each former Soviet socialist republic, it is often discernible only to educated eyes. The wine and grapes reference is from the Georgian or Moldavian SSR. Similarly, the iconography of oil rigs and cotton is connected to the Turkman or Azerbaijani SSR.

Pavilion No. 66 (formerly the pavilion of Uzbekistan SSR).

The most impressive sights at VDNKh are organized along the central axis, with three central pavilions, smaller pavilions, and exhibition halls flanking that ceremonial walkway. Right past the ceremonial gate is the wedding cake-like Central Pavilion. As the most monumental structure in the complex, the pavilion ticked all the stylistic boxes for Joseph Stalin. White concrete colonnades... check! The Soviet red star on the tall spire... check! Soviet coat of arms... check! The bronze banner... check! It makes sense that rumors had it that Stalin built himself a secret nuclear-safe chamber underneath.

Pavilion of Ukraine, the most ornate in the complex, reflects the importance of Ukraine as the industrial and agricultural powerhouse with in the USSR.

The second most embellished and beautiful pavilion must be the Pavilion of Ukraine, now the "Pavilion of Physics.” Its prominent location, on-axis and behind the Central Pavilion, illustrates Ukraine’s importance to the Soviet Union and contemporary Russia. Ukraine is often considered the cradle of Slavic civilization and the closest cousin to Mother Russia. Under the planned economy, the Ukrainian SSR became the breadbasket of the union. The motif of wheat and grain became synonymous with Ukraine in the Soviet sphere. Designed by Alexei Tatsy, the original pavilion was harshly criticized by Nikita Khrushchev, then the First Secretary of the Communist Party of Ukraine and the future leader of the USSR. Not coincidentally, the pavilion he so soundly denounced received a facelift soon after his ascension to power.

For Soviet citizens and Muscovites, VDNKh might be the closest thing to domestic travel, particularly before the 1970s. Since the freedom of movement was limited in the early part of the Soviet Union, VDNKh provided a quick, if not biased, view of their Soviet brothers and sisters. The glorious fountain behind the Central Pavilion is the best embodiment of political unity. Named the Fountain of the Friendship of Nations, the fountain comprises sixteen golden maidens, representing 16 union republics at the time of the fountain's design. The statues were arranged based on the population/importance of each republic. Not surprisingly, the lady of the Russian SSR took the center position and was flanked by her closet alley from the Ukrainian and Belorussian SSR.

The Friendship of Nations fountain; each maiden represents one constituent Soviet socialist republic.

Each gold-clad woman is modeled after prominent cultural figures of each republic. Unfortunately, only models for three statues are known, including Estonian dancer and actress Virve Kiple-Parsadanyan, Turkman pianist Gozel Annamamedova, and Rodam Amirejib, the wife of a prominent Georgian poet. For generations, local Muscovites enjoyed guessing which maiden represents which republic. Aside from holding the agricultural products from their homeland, the only way to recognize them is to familiarize yourself with national costume across the Soviet Union. It's not an easy task even for the most loyal Soviet citizens.

Another of my favorites is the Pavilion for the Karelia SSR, a Finnish-speaking autonomous' republic that bordered Finland. Though still sporting the ubiquitous Soviet coat of arms, the wooden facade is unique and evokes certain Scandinavian sensibilities. The Karelia Pavilion was built in 1954, two years before Karelia’s nominal autonomy was terminated. The imagery of logging adorns the facade. The decoration made from Karelian pinewood strives to present a classical appearance in the style of the Italian Renaissance. However, a closer look at the actual statuary reveals it as authentic Socialist Realism.

Conceived as much as a political project as a cultural one, many of the ethnic pavilions have been converted for other functions based on the current geopolitical reality. Former Soviet states with less than warm relationships with Russia today had their original pavilions "repurposed" into other functions. For instance, the impressive Uzbek Pavilion is now the Pavilion of Culture with an attached food court. The Karelian Pavilion became the Pavilion for the Pulp, Paper, and Resin Industry. The all too impressive Ukrainian Pavilion is now branded as the Pavilion for Agriculture, reflecting its strained relationship with the contemporary Ukrainian government. Unsurprisingly, the pavilions for Georgia, Latvia, Lithuania, and Estonia are now nowhere to be found on the ground of VDNKh.

The rise and fall of this place go hand in hand with the recent history of Russia. With the decline of the Soviet Union in the 1980s, the complex fell into disrepair and was eventually privatized in 1994. Once glorious pavilions began to be cannibalized by corrupt officials and greedy speculators. Many of their interiors were stripped of their original decoration and contents and were converted to warehouses and weekend shopping plazas selling everyday items like bath products or appeal. The juxtaposition of the ice cream advertisement with the ornate statue of socialist heroes was as uneasy as it was profound. It is perhaps the most surreal landscape in the Russian Federation today.

Since my last visit in 2012, much seems to have changed for the VDNKh. Reflecting the nationalist agenda of Putin's presidency, a large sum of money has been injected into the deteriorating complex to transform it into a professionally managed convention and expo center. Many of the previously abandoned pavilions are now reopened as cultural institutions. Thirty-seven historical pavilions and 17 fountains are being restored. The most noteworthy refurbishment would be the new Space Pavilion, which houses many of the most significant spacecraft in Russian and Soviet history. Although the paradox of VDNKh has diminished much in recent years, it is still the best representation of Russia today. It projects an air of confidence, bombast, and renewal. It is still one of the most worthwhile destinations in Moscow if not all of Russia.

Worker and Kolkhoz Woman

I do have to admit that Soviet artists did have a knack for translating revolutionary spirits into static objects. Famously, the enormous statue of The Motherlands Calls in Volgograd (formerly Stalingrad) is so dynamic that it risks toppling over. Perhaps no Soviet sculpture is as visually compelling and significant as the Worker and Kolkhoz Woman by Vera Mukhina. The statue was constructed out of stainless steel and commissioned for the Soviet Pavilion of the International Exposition of 1937 in Paris. Being the first world fair for the USSR, the Soviet leadership was determined to go all out and intimidate its archrival. Mukhina took social realism and heroic art to another level with the 80-foot stainless steel sculpture. It is believed that the sculptor looked to the ancient Greek statues of Harmodius and Aristogeiton for inspiration. The muscular and confident posture is symbolic of the confidence of Socialism and also gender equity in the Soviet realm.

The Soviet Pavilion at the 1937 World Fair was given a prominent location opposite that of Nazi Germany. The view of the fairground offered a chilling preview of the impending carnage for the following decades. Despite being substantially shorter than the German Pavilion by Albert Speer, the dynamism of the Soviet Pavilion was undoubtedly the talk of the town. The contrast between the formalist conservatism of the Reich and the avant-garde social realism of Stalinism is the perfect reminder of how extreme ideology on either end of the political spectrum could be equally detrimental to humanity.

Following the Paris Exposition, the sculpture was disassembled and re-erected at the ground of VDNKh, albeit at a much lower and depressing pedestal. Despite Mukhina's strong objection, the statue was in the middle of the road. It was not until 2009 that Worker and Kolkhoz Woman was given a proper home, following the original architectural design.

Despite the proper pedestal, the immediate surroundings are still less than ideal. Fronting a major boulevard and obstructed by commercial billboards, the Soviet past could still not escape the ravage of modern Capitalism. A nighttime visit could be the most glorious for the best view/experience of these magnificent historical artifacts. It makes you wonder why the Kremlin still has not relocated it to the Red Square.

Monument to the Conquerors of Space

Just steps away from the VDNKh metro stop, you are bound to be mesmerized by the Monument to the Conquerors of Space. This memorial dedicated to the achievement of the Soviet space program was commissioned in 1958, merely five months after the launch of Sputnik, the first spacecraft that ever orbited the Earth. Reflecting the optimism of their space program, the design competition preceded the space flight of Yuri Gagarin by three years. With over 350 submissions, the chosen design depicted an oblique 'obelisk' composed of a rocket and its exhaust plume. At 110 meters tall, the monument captured the spirit and triumph of the USSR over the United States.

Truly one of the most beautiful Soviet monuments in Moscow.

The monument is clad with titanium, paying tribute to the material's contribution to the space program. At certain hours, especially dusk, the light reflection on the titanium creates an illusion of dynamism and movement. At the base is the bronze relief of 'heroes' of the space program, including Laika, the first space dog. Adjacent is a Russian inscription: "That having vanquished lawlessness and dark, We have forged great flaming wings For our Nation And this age of ours!"

For anyone interested in the Soviet space program, check out the Memorial Museum of Cosmonautics at the foot of the monument. The museum was opened in 1981 to mark the 20th anniversary of Yuri Gagarin's first orbit around the Earth. Inside, you could find his spacesuit and space capsule. With more than 85,000 items in its collections, it makes a destination in its own right. Of course, the new refurbished main Space Pavilion within the VDNKh is now open and possesses many historical spacecraft and rockets.

Practical Information for Visiting VDNKh

Easily reachable by Metro's VDNKh station, the ground is open 24 hours a day and is perfect for a morning jog. Many refurbished pavilions are now legitimately run cultural institutions with admission. The ground is vast, and it is worthwhile to research beforehand to figure out the current exhibitions that might interest you. Given the layout of the complex, I would not recommend a visit during pouring rain or snowstorms.

Regarding the public amenity, the days of scattered kiosks with random semi-licensed vendors were long gone. Since my last visit in 2012, many restaurants and an international food court have been added to the complex. Many "republic pavilions,” such as that of Armenia and Kyrgyzstan, now have their own restaurant dedicated to their national cuisine. The ethnic mosaic of the Soviet Union is partly what makes this place such a fascinating place for foreign visitors.

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VDNKh - Where USSR Is Still Alive!

Worker and Kolkhoz Woman

Monument to the Conquerors of Space

Practical Information for Visiting VDNKh

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