DOCSLIB.ORG

Membership Collective Group Inc. Form FWP Filed 2021-07-06

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Membership Collective Group Inc. Form FWP Filed 2021-07-06 SECURITIES AND EXCHANGE COMMISSION FORM FWP Filing under Securities Act Rules 163/433 of free writing prospectuses Filing Date: 2021-07-06 SEC Accession No. 0001193125-21-208874 (HTML Version on secdatabase.com) SUBJECT COMPANY Membership Collective Group Inc. Mailing Address Business Address 515 W. 20TH STREET 515 W. 20TH STREET CIK:1846510| IRS No.: 000000000 | State of Incorp.:DE | Fiscal Year End: 1231 5TH FLOOR 5TH FLOOR Type: FWP | Act: 34 | File No.: 333-257206 | Film No.: 211075144 NEW YORK NY 10011 NEW YORK NY 10011 SIC: 7011 Hotels & motels (212) 627-9800 FILED BY Membership Collective Group Inc. Mailing Address Business Address 515 W. 20TH STREET 515 W. 20TH STREET CIK:1846510| IRS No.: 000000000 | State of Incorp.:DE | Fiscal Year End: 1231 5TH FLOOR 5TH FLOOR Type: FWP NEW YORK NY 10011 NEW YORK NY 10011 SIC: 7011 Hotels & motels (212) 627-9800 Copyright © 2021 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document Table of Contents Issuer Free Writing Prospectus Filed Pursuant to Rule 433 Registration No. 333-257206 July 6, 2021 The issuer has filed a registration statement (including a prospectus) with the SEC for the offering to which this communication relates. Before you invest, you should read the prospectus in that registration statement and other documents the issuer has filed with the SEC for more complete information about the issuer and this offering. You may get these documents for free by visiting EDGAR on the SEC Web site at www.sec.gov. Alternatively, the issuer, any underwriter or any dealer participating in the offering will arrange to send you the prospectus if you request it. The foregoing statement does not form part of the prospectus approved by the FCA (as defined below) for the purposes of the U.K. Prospectus Regulation. This document comprises a prospectus for the purposes of Article 3 of the UK version of Regulation (EU) No 2017/1129 as amended by The Prospectus (Amendment etc.) (EU Exit) Regulations 2019, which is part of UK law by virtue of the European Union (Withdrawal) Act 2018 (the UK Prospectus Regulation) as amended relating to Membership Collective Group Inc (MCG Inc.), prepared in accordance with the prospectus regulation rules (the UK Prospectus Regulation Rules) of the Financial Conduct Authority (the FCA) made under section 73A of the Financial Services and Markets Act 2000 (the FSMA). This prospectus has been approved by the FCA in accordance with section 87A of the FSMA and has been made available to the public in accordance with Prospectus Rule 3.2.1. The FCA, as the competent authority under the UK Prospectus Regulation, only approves this prospectus as meeting the standards of completeness, comprehensibility and consistency imposed by the UK Prospectus Regulation and such approval should not be considered as an endorsement of MCG Inc. or the quality of its shares of Class A common stock (as defined below) that are the subject of this prospectus. Prospective investors should make their own assessment as to the suitability of investing in the Class A common stock of MCG Inc. of US$0.01 par value per share (the Class A common stock) offered to eligible employees of Soho House Holdings Limited and its affiliates (Eligible Employees) and eligible members of certain membership brands of the Membership Collective Group (Eligible Members) in each case who are resident and located in the United Kingdom (such persons, UK Eligible Employees and UK Eligible Members, respectively, and together, Eligible UK Participants) pursuant to, and subject to the terms of, the offer described in this prospectus (the UK Community Offer). An application has been made for the shares of Class A common stock to be listed on the New York Stock Exchange (the NYSE) with the ticker symbol MCG. No application has been or will be made for the shares of Class A common stock to be admitted to listing on or by any other stock exchange, including any stock exchange in the United Kingdom. It is expected that conditional dealings of the shares of Class A common stock on the NYSE will commence at 9:30 a.m. (New York time) on or about July 15, 2021, being the New York business day following the Pricing Date (as defined herein). The shares of Class A common stock will only be traded on the NYSE as dematerialised shares and, accordingly, no documents of title will be issued to successful applicants who wish to apply for shares of Class A common stock. Eligible UK Participants who acquire shares of Class A common stock and are successful will have the option of holding their shares of Class A common stock directly or through a participant in CREST (as defined below). Any Eligible UK Participant who holds their shares of Class A common stock in CREST will be subject to additional requirements in order to settle trades in their shares of Class A common stock following completion and settlement of the sale and purchase of the shares of Class A common stock pursuant to the Combined Offers (Completion), which may delay their ability to do so. See Part 6 (Details of the UK Community Offer) for a description of these requirements. No Eligible UK Participant will be able to deal in their shares of Class A common stock prior to commencement of conditional dealings of the shares on the NYSE. The directors of MCG Inc., whose names appear on page 46 of this prospectus (the Directors), and MCG Inc. accept responsibility for the information contained in this prospectus. To the best of the knowledge of the Directors and MCG Inc., the information contained in this prospectus is in accordance with the facts and makes no omission likely to affect the import of such information. On Completion, MCG Inc. will have two classes of authorised common stock. The holders of MCG Inc.s shares of Class A common stock will be entitled to one vote per share of Class A common stock, and the holders of the shares of Class B common stock will be entitled to ten votes per share of Class B common stock. Certain of MCG Inc.s existing equity owners (and their affiliates) comprise the Voting Group (as described herein) that will hold all of its issued and outstanding Class B common stock and will have the right to convert Class B common stock held by them into shares of Class A common stock on a one-for-one basis. On Completion, the Voting Group will own Class B common stock representing 94.7% of the combined voting power of MCG Inc.s common stock (assuming the Offer Price is set at the mid-point of the Expected Price Range and no exercise of the over-allotment option described herein). As a result, members of the Voting Group, when voting together as a group, will be able to control any action requiring approval of MCG Inc.s stockholders so long as the Voting Group owns a requisite percentage of MCG Inc.s total outstanding common stock. Accordingly, MCG Inc. will be a controlled company within the meaning of the corporate governance rules of the NYSE. See ManagementDirector independence of Part 10 (Relevant Information extracted from the Registration Statement relating to the International Offer). Prospective investors in the shares of Class A common stock should read this prospectus in its entirety before making any decision as to whether to purchase shares of Class A common stock. See Part 2 (Risk Factors) for a discussion of certain risks and other factors that should be considered prior to any investment in the shares of Class A common stock. Copyright © 2021 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document Table of Contents Class A Common Stock MEMBERSHIP COLLECTIVE GROUP INC. (Incorporated in the State of Delaware, United States of America (file number 4945249)) Offer of shares of Class A common stock par value US$ 0.01 each to Eligible UK Participants at an Offer Price expected to be between US$14.00 and US$16.00 per share of Class A common stock(1) (payable in equivalent pounds Sterling) EXPECTED SHARE CAPITAL IMMEDIATELY FOLLOWING COMPLETION OF THE COMBINED OFFERS AND COMMENCEMENT OF CONDITIONAL DEALINGS OF THE SHARES ON THE NYSE AND ASSUMING NO EXERCISE OF THE OVER-ALLOTMENT OPTION Issued and fully paid Number Nominal Value Shares of Class A common stock 71,811,922 US$ 0.01 Shares of Class B common stock 129,110,352 US$ 0.01 The contents of this prospectus are not to be construed as legal, business or tax advice. None of MCG Inc. or any of its representatives, is making any representation to any offeree or purchaser of the shares of Class A common stock regarding the legality of an investment in the shares of Class A common stock by such offeree or purchaser under the laws applicable to such offeree or purchaser. Each prospective investor should consult his or her own lawyer, independent adviser or tax adviser for legal, financial or tax advice in relation to any subscription for Class A common stock. Prospective investors should be aware that an investment in MCG Inc. involves a degree of risk and that, if certain of the risks described in this prospectus occur, they may find their investment materially and adversely affected. Accordingly, an investment in the shares of Class A common stock is only suitable for prospective investors who are particularly knowledgeable in investment matters and who are able to bear the loss of the whole or part of their investment.
Load more

Recommended publications
  • Modernist Frontiers
    PRESS RELEASE Modernist Frontiers – Then and now Avantgarde Kommunikation mbH is pleased to announce that its EXPO 2017 cooperation partner Garage will host the international architectural conference at EXPO 2017 | 22 – 23 July (Munich/Astana, 19 July 2017) On the occasion of the EXPO 2017 in Kazakhstan, this weekend the two- day international conference will take place at the Astana Contemporary Art Center. Initiated by Garage, the conference has been called to provide a context for discussion on Almaty’s modernist architecture (1960s–1980s), presenting it to the international expert community and launching a conservation campaign for this extremely important part of the former Kazakh capital’s architectural history. The Garage Museum of Contemporary Art, Moscow and the Parisian museum Réunion des musées nationaux – Grand Palais are cooperation partners of the international creative agency Avantgarde, which was commissioned with execution and overall coordination for the Astana Contemporary Art Center (ACAC). In an effort to bring together different points of view and create an interdisciplinary environment for the study of modernist architecture in Almaty, researchers from a range of countries and different academic communities will speak at the conference. It will present various views on both the history of postwar modernist architecture and on contemporary problems in the restoration of such architecture and its adaptation to new functions. The program The first day of the conference, “The Regional Specifics of Soviet Modernism,” will set the historical and theoretical context for the discussion of Soviet architectural heritage in the former republics of the USSR. The first session will contrast shared aspects of Soviet heritage with regionally unique traits in the architecture of the former Soviet republics.
    [Show full text]
  • Going Everywhere and Nowhere from Moscow to the Urals – How Curatorial Delusions of Global Grandeur Betray Russian Art
    GOING EVERYWHERE AND NOWHERE FROM MOSCOW TO THE URALS – HOW CURATORIAL DELUSIONS OF GLOBAL GRANDEUR BETRAY RUSSIAN ART BY SIMON HEWITT I : A MOSCOW MIRED IN MEMORIES A BANNER was dangling from the giant triumphal portico of VDNKh, beneath the two collective farmworkers brandishing their bale of straw. It advertised the 6th Moscow Biennale – the number 6 allotted spiralling arms to resemble a Catherine Wheel. But the banner was challenged by a bigger hoarding wheeled on to the piazza below, blowing the trumpet of a separate festival called Circle of Light . The Biennale’s main show was taking place just behind Lenin in VDNKh’s Central Pavilion (also known as Pavilion N°1), erected in 1954 and topped by a 350-foot spire modelled on the St Petersburg Admiralty. The Biennale was meant to open at noon. I tried to find the entrance but couldn’t. There were no signs. No information about where and when the Biennale could be visited. Yuri Albert’s immortal line breezed through my mind: The Biennale cannot and will not take place . The 6 th Moscow Biennale had been having well-publicized financial problems. Was it so bankrupt that it had ceased to exist, morphing instead into a Conceptualist joke? VDNKh, six miles north of Red Square, was the sixth venue for the Moscow Biennale’s main exhibition. It had previously been held in the former Lenin Museum near Red Square; the under-construction Federation Tower at Moscow City; the newly restored Garage (now Jewish) Museum during its brief Abramovich/Zhukova tenancy; the renovated ArtPlay cultural and commercial complex; and, in 2013, the Manezh.
    [Show full text]
  • Russian Meddling in Western Elections, 2016-2017: a Preliminary
    RUSSIAN MEDDLING IN WESTERN ELECTIONS, 2016-2017: A PRELIMINARY PROBE By Guillermo Lopez Sanchez A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in International Studies May 2018 Committee Members: Dennis J. Dunn, Chair Ronald Angelo Johnson Sandhya Rao COPYRIGHT by Guillermo Lopez Sanchez 2018 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Guillermo Lopez Sanchez, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I express my gratitude to Dr. Dennis J. Dunn, Professor of History and Director of the Center for International Studies at Texas State University. His dedication, knowledge, and support since I began the Master of Arts with a major in International Studies were invaluable. In addition, my appreciation is extended to Dr. Ronald Angelo Johnson, Associate Professor in the Department of History; and Dr. Sandhya Rao, Professor in the Department of Mass Communication, for their outstanding advice and assistance. Collectively, they strengthened my resources, asked probing questions that helped me sharpen my focus, and provided valuable insights that benefitted my research. I also wish to express my appreciation to Jeremy Pena, Coordinator of Academic Programs at the Center for International Studies, for his administrative support.
    [Show full text]
  • Garage Museum of Contemporary Art Presents: Kholin and Sapgir
    GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: KHOLIN AND SAPGIR. MANUSCRIPTS May 20–August 13, 2017 Free Admission This summer, Garage Museum of Contemporary Art presents an exhibition of documents relating to the poetry of Igor Kholin (1920–1999) and Genrikh Sapgir (1928–1999), offering fresh insight into the work of two pioneers of Soviet nonconformist literature. Their names are often encountered together: in literary analysis, in publications on Russian contemporary art, and on children’s book shelves. Kholin and Sapgir met in 1952 and became close allies. Both were members of the first postwar unofficial community of artists and poets, known as the Lianozovo group, and pupils of its leader, artist Evgeny Kropivnitsky. They worked alongside some of the key names in Russian postwar art, including Oskar Rabin, Lydia Masterkova, and Vladimir Nemukhin. Bohemians of the 1960s and 1970s, their avant-garde poetry was unpublishable until the advent of perestroika. They were heroes of the literary underground, pioneers of samizdat, and featured in the first issue of the samizdat poetry journal Sintaksis, published by Alexander Ginsburg in 1959. Both combined an innovative style of writing with a strong commitment to truth, and a genuine interest in the life of ordinary people. They fused expressionism and realism, with an acute sense of the tragedy of the everyday and the poetics of the absurd. Their funny and moving “barracks poetry” quickly became part of Soviet folklore, often quoted by people who had never read the original texts. Kholin and Sapgir led a double life typical of nonconformist writers and artists of the post-Stalin era: showing their work only to a small audience of friends and admirers, they took odd jobs to make a living.
    [Show full text]
  • Garage Museum of Contemporary Art Presents: If Our Soup Can Could Speak: Mikhail Lifshitz and the Soviet Sixties
    GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: IF OUR SOUP CAN COULD SPEAK: MIKHAIL LIFSHITZ AND THE SOVIET SIXTIES March 7–May 13, 2018 This exhibition celebrates the fiftieth anniversary of the scandalous publication of The Crisis of Ugliness by Soviet philosopher and art critic Mikhail Lifshitz. The book, which first appeared in 1968, was an anthology of polemical texts against Cubism and Pop Art—and one of the only intelligent discussions of modernism’s social context and overall logic available in the Soviet Union—making it popular even among those who disagreed with Lifshitz’s conclusions. The result of a three-year Garage Field Research project, If our soup can could speak takes as its starting point Lifshitz’s book and related writings to re-explore the vexed relations between so- called progressive art and politics in the twentieth and twenty-first centuries, as well as the motivations and implications of Lifshitz’s singular crusade against the modern classics. His appraisal of the crisis in twentieth-century art differs fundamentally from the standard attacks on modernism in government-issue Soviet art criticism, and in fact can be read as their direct critique. All the while, Lifshitz is in constant dialogue and debate with the century’s leading intellectuals in the West (Heidegger, Benjamin, Adorno, Horckheimer, Levi-Strauss, and others), searching for answers to the questions they posed from the perspective of someone with a unique inner experience of the Stalinist epoch’s revolutionary tragedy. The exhibition unfolds as a narrative of archival documents, art works, and text fragments, which are situated in a sequence of ten interiors that could be seen as spatial forms for landmark moments in the evolution of modernism, or in Lifshitz’s thinking.
    [Show full text]
  • Rem Koolhaas and Dasha Zhukova Build a Moscow Museum
    Rem Koolhaas and Dasha Zhukova Build a Moscow Museum Art collector and philanthropist Dasha Zhukova is launching an ambitious campaign to connect Moscow to the international art world, and she’s tapped architect Rem Koolhaas to execute her vision BY TONY PERROTTET ON THE COVER | Dasha Zhukova and Rem Koolhaas photographed by David Bailey. Zhukova wears Saint Laurent by Hedi Slimane wool gabardine jacket, $3,790, pants, $990, and silk georgette shirt, $1,290, all 212-980- 2970 PHOTOGRAPHY BY DAVID BAILEY FOR WSJ. MAGAZINE IT’S A RADIANT DAY in Moscow, and two of the city’s most creative collaborators, Dutch architect Rem Koolhaas and Russian-born art impresario Dasha Zhukova, have donned white construction helmets as they stride excitedly through Gorky Park, the 300-acre riverside expanse that was, until recently, a symbol of Russia’s urban blight. Created in the 1920s as a Soviet recreational paradise, the once-verdant park fell into decay after the collapse of the U.S.S.R. in 1991, its barren fields scattered with broken carnival rides and roamed by drug dealers. The $2 billion renovation, which began in 2011, has transformed Gorky Park overnight into an Oz-like retreat, amid Moscow’s economic tumult, that would not seem out of place in Seattle or Barcelona. We pass manicured lawns adorned with flower gardens; chic cafes serving gyoza and wood-fired pizza; and yoga and capoeira classes by the Moscow River. There are jogging trails and a state-of-the-art bicycle-sharing program. Wi-Fi is available in every leafy nook.
    [Show full text]
  • IRINA KORINA: “I Am Interested in How to Make Work That Joins Memories, Nostalgia, and Architecture
    SUMMER 2017 EXHIBITION SEASON IRINA KORINA: “I am interested in how to make work that joins memories, nostalgia, and architecture. For me, ultimately, Congo Art Works: it’s about a Popular Painting transformation /PAGE 4 of the hierarchy Raymond Pettibon. The Cloud of of values.” Misreading /PAGE 6 David Adjaye: Form, Heft, Material /PAGE 12 Kholin and Sapgir. Manuscripts /PAGE 14 Bone Music. An Interview with Stephen Coates /PAGE 15 Irina Korina: The Tail Wags the Comet /PAGE 3 www.garagemca.org 2 EDITORIAL Welcome! Dear Garage visitor, Dasha Zhukova, Anton Belov, Founder, Garage Museum Director, Garage Museum of Contemporary Art of Contemporary Art his is the third edition of Garage Gazette, an hether you are at Garage for the first time to the collector and chronicler of Moscow underground annual publication which provides information or a regular visitor, I’d like to welcome art Leonid Talochkin and the artist Viktor Pivovarov. The about the Museum’s summer season and gives you to the Museum, which has become an Archive is accessible to the general public—we even offer a sneak preview of what’s to come in fall. First, established landmark in Gorky Park since free tours—and we continue to curate exhibitions based Tthough, I would like to look back to the start of 2017 Wopening here two years ago. We are really excited about on our holdings. This summer you can see Kholin and and Garage Triennial of Russian Contemporary Art, our summer season and hope that you will be too. Sapgir. Manuscripts, which looks at the work of two lead- which brought together works by over 60 artists and Since March, we have presented a specially-commis- ing poets of the Moscow underground with strong links to artist groups from across the country.
    [Show full text]
  • Money Meets Art: the Rise of the Private Galleries by Edwin Heathcote Published: March 24 2011 16:09 | Last Updated: March 24 2011 16:09
    Financial SPECIAL REPORTS Close Money meets art: the rise of the private galleries By Edwin Heathcote Published: March 24 2011 16:09 | Last updated: March 24 2011 16:09 On display: visitors are reflected in Jeff Koons’ ‘Cracked Egg’ at the opening in 2008 of the Broad Contemporary Art Museum, part of the Los Angeles County Museum of Art The Wunderkammer, the fabled “cabinet of curiosities”, has, over the past half a millennium, gone from a private amusement for the wealthy to the hub around which every post-industrial, secular city now seems to revolve. Huge, expensive museums, from London’s Tate Modern to Bilbao’s Guggenheim, are trumpeted as vehicles for regeneration, as contemporary cathedrals where modern art has replaced the objects of pilgrimage. But, after two centuries of seemingly unstoppable expansion, the publicly funded mega-museum has begun to fade. The era of huge new structures to display both art and architecture is coming to an end. It might be down to oversupply, a squeeze on public funds or ennui, but there is another reason, too. The roots of the museum have been rediscovered in the eponymous, privately funded collection, the plaything of the wealthy. A tranche of new galleries is opening across the world, each displaying the insatiable appetite of the wealthy for art. The vast prices commanded by the best pieces from the most desirable modern artists have left public museums behind. Both the big-ticket names – Mark Rothko, Andy Warhol, Wassily Kandinsky, even the prolific Pablo Picasso – and the highly prized (and priced) darlings of the contemporary scene, from Jean-Michel Basquiat to Damien Hirst, Richard Prince to Jeff Koons, are now accessible only to oligarchs.
    [Show full text]
  • Donors 2014-2015 Trustees of the Museum of Modern Art
    MoMA MoMA PS1 Donors 2014-2015 Trustees of The Museum of Modern Art Jerry I. Speyer Kathleen Fuld Honorary Trustees Chairman Howard Gardner Anne Dias Griffin Lin Arison Leon D. Black Mimi Haas Mrs. Jan Cowles Co-Chairman Alexandra A. Herzan Lewis B. Cullman Marlene Hess H.R.H. Duke Franz of Bavaria Marie-Josée Kravis Ronnie Heyman Maurice R. Greenberg President AC Hudgins Wynton Marsalis Jill Kraus Richard E. Oldenburg* Sid R. Bass Marie-Josée Kravis Lord Rogers of Riverside Mimi Haas Ronald S. Lauder Ted Sann Richard E. Salomon Thomas H. Lee Gilbert Silverman Vice Chairmen Michael Lynne Yoshio Taniguchi Philip S. Niarchos Eugene V. Thaw Glenn D. Lowry James G. Niven Director Peter Norton *Director Emeritus Daniel S. Och Richard E. Salomon Maja Oeri Treasurer Michael S. Ovitz Ex-Officio Ronald O. Perelman James Gara David Rockefeller, Jr. Glenn D. Lowry Assistant Treasurer Sharon Percy Rockefeller Director Richard E. Salomon Patty Lipshutz Marcus Samuelsson Agnes Gund Secretary Anna Deavere Smith Chairman of the Board of MoMA PS1 Jerry I. Speyer David Rockefeller Ricardo Steinbruch Sharon Percy Rockefeller Honorary Chairman Daniel Sundheim President of the International Council Alice M. Tisch Ronald S. Lauder Gary Winnick Christopher Lee Apgar Honorary Chairman Ann Schaffer Co-Chairmen of The Contemporary Robert B. Menschel Life Trustees Arts Council Chairman Emeritus Eli Broad Bill de Blasio Agnes Gund Douglas S. Cramer Mayor of the City of New York President Emerita Joel S. Ehrenkranz Gianluigi Gabetti Gabrielle Fialkoff Donald B. Marron Agnes Gund Mayor’s Designee President Emeritus Barbara Jakobson Werner H. Kramarsky Scott M.
    [Show full text]
  • The Next Gen Art Collectors 2021
    COLLECTORS 1 THE NEXT COLLECTORS REPORT 2021 3 LARRY’S LIST is pleased to present The Next Gen that have not yet been acknowledged or made visible For us, size wasn’t a main consideration. Indeed, not a blue-chip artist will most likely generate more “likes” FOREWORDArt Collectors Report. Here, we continue our mission on a global scale. We want to share their stories and everyone listed has a large collection; charmingly, the than an unknown artist in an equally brilliant interior of monitoring global happenings, developments and thoughts. Next Gen often have collections in the making. The setting. But we still try to balance it and set aside any trends in the art world—particularly in the contemporary We also consider LARRY’S LIST as a guide and tool process is a development that happens over years care about the algorithm. art collector field—by looking extensively at the next for practitioners. We share and name collectors, those and so a mid-20-year-old collector may not yet be at generation of young art collectors on the scene. Over people who are buying art and contributing to the the same stage in their collection as someone in their Final words the past few months, we have investigated and profiled art scene. The Next Gen Art Collectors Report is a late 30s. I would like to express my gratitude to all the collectors these collectors, answering the questions central to this resource for artists, galleries, dealers, a general art- The end result of our efforts is this report listing over we exchanged with in the preparation of this report topic: Who are these collectors founding the next art interested audience and, of course, peer collectors.
    [Show full text]
  • Russian and Rich: Art's New Tastemaker
    Russian and Rich: Art’s New Tastemaker By CAROL VOGEL August 15, 2008 A light installation by Rafael Lozano-Hemmer in the Garage Center for Contemporary Culture in Moscow. ONE day in December, Dasha Zhukova wandered into the Bakhmetevsky Bus Garage, a giant red-brick Constructivist-era landmark near the Olympic Stadium in Moscow. She was immediately entranced by the space, a vast parallelogram spanning nearly 92,000 square feet and an unusual array of vertical and circular windows. Designed in 1926 by Konstantin Melnikov, the garage is much loved by architects. “I thought Moscow should have a space like this for contemporary art,” Ms. Zhukova, 27, said in an interview, sipping a cappuccino in the top-floor cafe of the Tate Modern here. “There is a huge thirst for knowledge among the younger generation for contemporary art, but most of them learn about it by going on the Internet.” It was a serendipitous discovery for Ms. Zhukova. Thanks to her, the cavernous building will reopen next month as the Garage Center for Contemporary Culture, a nonprofit institution that brings art to Moscow and schools the public on what it’s about. Its first show will be a retrospective of the artists Ilya and Emilia Kabakov. Overnight, Ms. Zhukova’s new center and her connections, including a billionaire, art-collecting boyfriend, have made her an art-world It Girl. Her sudden fame attests to the seismic effect that Russian money — and in some cases Ukrainian or Georgian money — is having. When Ms. Zhukova first saw the building, she wasn’t searching for an art space or anything else in particular.
    [Show full text]
  • Garage Museum of Contemporary Art Presents: Toward the Source: Olga Chernysheva, Vyacheslav Kuritsyn, Vladimir Logutov, Andrei Monastyrsky, Kirill Savchenkov
    GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: TOWARD THE SOURCE: OLGA CHERNYSHEVA, VYACHESLAV KURITSYN, VLADIMIR LOGUTOV, ANDREI MONASTYRSKY, KIRILL SAVCHENKOV February 1–April 23, 2017 Toward the Source is the first initiative at Garage Museum of Contemporary Art to invite artists to conduct research in Garage Archive Collection and make a new work—or a new interpretation of the archive materials—in response to their discoveries. Five intergenerational practitioners with varying creative interests have each spent eight months exploring a collection from Garage Archive Collection that they found compelling, which in turn has led to further research that both expands and deepens the specificities of each particular item under scrutiny. Traditionally, artists—particularly those involved in the underground art scene in the Soviet Union— have been some of the key figures to establish and build archives, but to draw on an institutional archive for research is a new departure. Addressing the issue of subjectivity that underpins aural histories and personal accounts, this exhibition bridges the gap between past and present, with artists offering a contemporary perspective on the legacies of their collective histories. Olga Chernysheva (b. 1962, Moscow. Lives and works in Moscow) focused on Leonid Talochkin’s archive collection. Vyacheslav Kuritsyn (b. 1965, Novosibirsk. Lives and works in Ekaterinburg and Moscow) focused on the press collection of art articles and cuttings from the Russian newspapers of 1900s– 1920s. Vladimir Logutov (b. 1980, Samara. Lives and works in Samara and Moscow) focused on the Art Projects Foundation collection. Andrei Monastyrsky (b. 1949, Petsamo, Murmansk region. Lives and works in Moscow) focused on Igor Makarevich’s archive collection.
    [Show full text]