SPECIAL EDITION TO MARK THE OPENING OF GARAGE'S NEW BUILDING

REM KOOLHAAS’ FIRST BUILDING IN RUSSIA: The preserved traces of Soviet generosity in the Vremena Goda building will always generate a relevant context in any period to come /PAGE 4

George Kiesewalter ­photographs the inside story­ of Russian nonconformist art /PAGE 6

Map of Garage’s new building /PAGES 8-9

A museum like you’ve never seen: pelmeni and ping- pong at Garage /PAGE 10

Museum mile: an ideal day off /PAGE 14

Сoming soon: Louise Bourgeois /PAGE 15

Spotting Kusama: summer’s most fashionable print /PAGE 16

ERIK BULATOV’S MONUMENTAL NEW WORK FOR GAR AGE: I used to see this font everywhere around me. All political slogans

, COLORED, PENCIL ON PAPER, COURTESY OF THE ARTIST would be written in this style. It’s the most primitive font possible, but it is also our heritage from the avant-garde

ERIK BULATOV, COME TO GARAGE! 1 (SKETCH) /PAGE 5 www.garagemca.org 2

EDITORIAL

Welcome! Dear Garage Visitor,

f you are seeing this letter, then you temporary art and culture in post-Sovi- Suisse; PUMA; Adidas; Interview mag- are holding the special issue of Ga- et . I am proud to have partici- azine; and Business FM. I am delight- rage Gazette that we have produced pated in the new interpretation of this ed to work with like-minded people in to celebrate the opening of our new monument to Soviet and making history and creating a future Ibuilding in : thank you for collaborated with Rem Koolhaas— for our children. Dasha Zhukova, Anton Belov, Founder, Garage Museum Director, Garage Museum your interest! I’ll take this opportunity one of the most important contempo- Another great ally, without whom our of Contemporary Art of Contemporary Art to give you some background as to how rary architects of our time—on his first life would not be the same, is the Gorky it came to be that you are reading what Russian project. Park team, and I also want to thank I am writing… As you might have come to expect, GARAGE cardholders, who are our Since 2008, Garage has been continu- there are many events and activities ­longest-running, most devoted, and ously evolving; starting out as a plat- to suit all interests planned for this critical friends. We have grown and hen I first imagined form for international contemporary summer season at Garage, but as the changed together, and will remain loy- creating a venue for art in Moscow and developing into a daylight hours get shorter in the fall, al to each other for a long time to come. art and culture in Mos- contemporary museum, producing ex- there is even more to come. To give Finally, I am especially proud to an- cow, I could never have hibitions, education, publishing, and you a taster, September brings the nounce the inauguration of Garage Wdreamed that Garage would become research projects that resonate locally long-awaited blockbuster exhibition Advisory Council, which consists of the place that it is today. It is the fru- and internationally. In the last seven of Louise Bourgeois—world famous a group of eminent museum profes- ition of so many people’s hard work, years we have grown from a center for for making an incredible giant sculp- sionals from around the world who we energy, and interests, including those contemporary culture—a “receiving ture of a spider—then October hails have invited to contribute their exper- who have supported us every step of house”—into a production house, in our first conference exploring the leg- tise as we take our next steps toward the way by participating in our pro- which our audiences are central to the acy of Soviet Modernism, and over the becoming a world-class museum. The grams. narratives we want to generate. Now winter we will embark on our annual Council includes Zdenka Badovinac, From the beginning, the main mission we have also found a permanent home, Art ­Experiment extravaganza, which Director, Moderna galerija, Ljublja- of Garage has been education: we are where future stories can play out over has now become a family favorite for na; Michael Govan, CEO and Wal- interested in bringing the perspectives time and you are always welcome. our regular visitors. lis Annenberg Director, LACMA, Los of different cultures from all around the A work in progress, Garage’s new On behalf of the whole Garage team, I Angeles; Boris Groys, Global Distin- world to the city and sharing these ideas building is a unique example of how would like to thank our founders, part- guished Professor of Russian and Slav- through contemporary art. Now, at the architecture can influence what hap- ners, donors, and everyone who has ic Studies, New York University; Glenn heart of the Museum is also our Archive pens in a space. The “Soviet generosi- supported us over the last few years. D. Lowry, Director, The Museum of Collection, which provides the foun- ty”—which is a term that architect Rem In a short time, the Museum has estab- Modern Art, New York; Bartomeu dation from which to share with broad Koolhaas uses to describe the original lished a reputation as a reliable insti- Mari, President, CIMAM; Hans Ul- publics in Moscow and further afield the 1968 structure—has been put to a new tution, inspiring both individuals and rich Obrist, Co-Director of Exhibitions little-known histories of Russian con- use, enabling us to create a museum companies to support our programs. and Programs and Director of Interna- temporary art. that is far from the standard “white Without these partnerships and col- tional Projects, Serpentine Galleries, I am very happy to be welcoming you cube” for art. Instead it is a “place,” laborations we would not be able to London; Mikhail Piotrovsky, Director, this summer to our new home in Gorky imbued with character and history, make such a significant contribution The State , St. Pe- Park, which is the brainchild of Rem which is constructed using new tech- to the cultural life of Moscow: Thanks tersburg; and Beatrix Ruf, Director, Koolhaas, an architect and thinker from nologies and a state-of-the art façade, to Audi; Sotheby’s; Gazprombank Pri- Stedelijk Museum, Amsterdam. whom I have learned so much over the so that artists and curators, the Teens vate Banking; Art, Science, and Sport I am certain that we still have a lot of last three years. He, together with the Team, Garage Mediators, and count- Charity Foundation; Falcon Private discoveries and achievements ahead of artists and other specialists who have less creative people can present their Bank; Silver Rain radio; EVRAZ; Yota us, and above all, I hope that you will made this opening season of exhibitions ideas and their views on the world Devices; V confession agency; Dorn- join us in creating a beacon for contem- and events, is the reason why we can say now. What was once a restaurant—a bracht; Samsung; Microsoft; MTS; porary culture in Moscow by participat- that Garage is a place where people, art, place for people’s new found leisure Beeline; Rosatom; Strojmenedzhment ing in our programs for years to come! and ideas connect to make history. time in late-Soviet Russia—is now a Holding; MasterCard; Deutsche Bank; destination for another newfound kind Ministry of Culture of the Russian Fed- Yours sincerely, Dasha Zhukova of leisure and learning, namely con- eration; Rosbank; Sberbank; Credit Anton Belov

Garage thanks the following Garage the cat: for their support: the most popular member of staff at the Museum www.garagemca.org 3

GARAGE HISTORY Piecing Together The Autumn Mosaic

Autumn depicts a girl carried 1960х20=2015 away by the wind in a cloud of autumn leaves. It stands out from The of the 1960s is the usual Socialist Realist image- familiar to many of us through ry of the era with its romanti- music and films, but seldom cism: one would expect to see a has there been an opportunity kolkhoz woman with her harvest to see the era in all its sociopo- as a depiction of this season. But litical and cultural specificity. with the return of Modernist ar- Having found its new home in a chitecture to the Soviet Union af- 1960s modernist building, Ga- ter a 1955 decree “On liquidation rage has initiated several pro- of excesses…,” a new kind of im- jects dedicated to this decade in agery started to flourish, to deco- Soviet history. rate the “strict” style of Modern- The first—The Sixties: Points of ism. Furthermore, in the years Intersection—was developed by before ­perestroika, the decora- Garage Teens Team: 26 high tive arts enjoyed more freedom school seniors and first-year uni- than fine art: unlike paintings, versity students who have spent a reliefs and mosaics could deviate year studying the 1960s through from Realism because they also the literature, art, and cinema of served an aesthetic function. the time, as well as interviewing The color palette of Autumn— people who lived through the reds, oranges, and blues—was decade. At first, the Team strug- probably limited by the choice gled to find common ground of pigment available to the art- with their 1960s counterparts, ists. Despite this, they created a but on learning more about the scene in the true spirit of “Magic recent past, they became increas- Realism,” which was fashionable ingly aware of their own proxim- then. The leaves and tree branch- ity to the era, discovering more es, the dove (borrowed from and more points of intersection PHOTO: ILYA IVANOV © GARAGE MUSEUM OF CONTEMPORARY ART Picasso), and the ear of grain between then and now. ne of the important tors—greets Garage visitors in in the space—a wooden sculp- Detail of the mosaic (the only reminder of tradition- To find out more, come meet concepts behind Rem the Entrance Hall. ture entitled Spring made by Autumn (1968-1971) al Realist imagery) are caught the five characters that the ­ in the Entrance Hall Koolhaas’ vision for According to accounts from the A. Shingaryov and a tapestry of Garage in swirls of wind, each gravitat- Teens Team has created: the Garage’s new space time, it appears that the large- by A. Molokaeva—neither of ing toward separate spheres. The student; the worker; the scien- Owas the preservation of orig- scale artwork was made af- which were made specifical- barefooted girl—her hair and tist; the nonconformist artist; inal features from the Soviet ter Vremena Goda (Seasons of ly for the building. The mosa- skirt blowing in the opposite di- and the woman of the 1960s. Modernist building, which was the Year) first opened its doors ic, whose creators remain un- rection to her scarf—seems to be The Sixties: a restaurant. Now Autumn—a to the public. In 1968, an arti- known, eventually provided a telling us that the art scene in the Points of Intersection 1960s-era mosaic recently cle on the new café in Gorky unique focal point in the popu- Soviet Union was not as “simple” Resource Room ­restored by Italian conserva- Park mentions only two works lar hang out. as we may first think. June 12–August 23, 2015

A Brief Architectural History of Garage

June 2008–December 2011 October 2012–September 2015 September 2013– June 2015– Garage Center for Contemporary Culture Garage Pavilion Garage Education Center Garage Museum of Contemporary Art ARCHITECTS Konstantin Garage started out in the ARCHITECT Shigeru Ban Built using six-meter ARCHITECT Unknown A flexible space for ARCHITECTS Igor Vinogradsky, Rem Koolhaas’ innovative Melnikov, Vladimir Shukhov former Bakhmetevsky DATE 2012 paper tubes created DATE 1940s lectures, masterclasses, Igor Pyatkin concept for the building's DATE 1927 Bus Garage, a renowned AREA 2,400 square meters in St. Petersburg from ARCHITECTS FOR film screenings, and DATE 1968 renovation involved ARCHITECT FOR THE example of Constructivist recycled materials, the THE RECONSTRUCTION conferences, Garage ARCHITECT FOR transforming the former RECONSTRUCTION Alexey architecture from which the temporary pavilion in FORM Bureau Education Center recently THE RECONSTRUCTION restaurant Vremena Goda Vorontsov institution gained its name. Gorky Park was home AREA 1,000 square meters also became home to Rem Koolhaas and OMA (Seasons of the Year) in AREA 8,500 square meters to Garage for 3 years. Garage Library. AREA 5,400 square meters Gorky Park into a place for art.

Garage Summer Pavilions: August–September 2012 June 2013–September 2014 Temporary summer pavilions ARCHITECTS Artem Kitaev, Nikolai Martynov, Leonid ARCHITECTS Vasily Bantsekin, Sergei Nebotov, are a rarity in Russia. Garage Slonimsky, Maxim Spivakov, Artem Staborovsky Olga Lebedeva, Ilya Ternovenko, Maxim Khazanov was one of the first museums to DATE 2012 DATE 2013 build this kind of space. AREA 600 square meters AREA 850 square meters www.garagemca.org 4

ARCHITECTURE Renovating Vremena Goda: A Hymn To Soviet Modernism Rem Koolhaas (b. 1944, Rotterdam, Netherlands) founded OMA in 1975, Garage has just opened the doors to its first permanent home, designed by OMA (Office for Metropolitan together with Elia and Zoe Zenghelis and Madelon Architecture). A visitor to Moscow for over 40 years, OMA's Rem Koolhaas has a deep knowledge and ap- Vriesendorp. He graduated preciation of 20th century Russian architecture. This has influenced his design for the new Museum, which from the Architectural Association in London, preserves elements of the original Soviet Modernist building and features a new, state of the art façade to and in 1978 he published visually connect the 5,400 square-meter space to the park. For Garage Gazette, Chief Curator Kate Fowle Delirious New York: A Retroactive Manifesto for talks to Koolhaas about his concept. Manhattan. In 1995, his book S,M,L,XL summa- rized the work of OMA in Kate Fowle: You have a rich During the process I felt more current trends in new muse- the interval between the cre- The second important aspect of "a novel about architec- history with Russia—visiting like a mediator than a creator. um architecture? ation and the reinvention of a the project is the scale. The Vre- ture.” He heads the work of since 1967 and more recently KF: How much have your ideas RK: The key question was how building, the norms have radi- mena Goda restaurant had the both OMA and AMO, the research branch of OMA, working with the Hermitage for the Museum changed to negotiate between preserva- cally changed, not only in terms typical Soviet “generosity” in re- operating in areas beyond in St. Petersburg and Strelka since you started work on the tion of the existing building, the of requirements for structural ceiving the public. In that sense, the realm of architecture, in Moscow—but Garage Mu- project three years ago? needs of a con- safety, but also the building offers a very differ- such as media, politics, seum of Contemporary Art RK: There have been two main temporary mu- concerning ser- ent potential from the bloated renewable energy, and is the first building you have changes. At first we were tasked seum, and new The preserved vices and sus- scale of many contemporary art fashion. Koolhaas is a professor at Harvard Uni- realized in the country. What with creating a temporary solu- construction reg- traces of Soviet tainability. As a spaces—a bloating that has also versity, where he conducts was the most significant as- tion, but it later became clear ulations. At first generosity in the result, you have provoked, in my eyes, an enor- the “Project on the City.” In pect of this experience? that we should design a perma- sight, the Vreme- to impose a num- mously inflated scale of art. It 2014, he was the director Rem Koolhaas: It has been nent home for Garage. The sec- na Goda restau- building will always ber of technical was wonderful to mobilize the of the 14th International strange working with a build- ond change was that we were rant appeared improvements scale against the extreme that Architecture Exhibition of generate a relevant ing that I saw as a newly initially fascinated by the ex- to be in good that challenge we see in so many cases of mu- the Venice Biennale, titled context in any Fundamentals. opened restaurant when I vis- isting building, and focused on shape. Howev- the materiali- seums now, which in the near ited Moscow in my twenties, unveiling its past, but as a re- er, for real pres- period to come ty and aesthetic future will inevitably be prob- and that was a ruin when I saw sult of our conversations with ervation and of the original lematic to maintain. it again in my sixties. What was Dasha Zhukova and the Garage transformation structure. That KF: Knowing a building will particularly challenging and team, the design became more of purpose, “good shape” is not is why, in Russia, you see a lot potentially last longer than relevant for me was the de- “useful” and forward-looking in enough: preservation implies a of architecture being complete- any fashion or phase in con- cision to abandon the idea of terms of functioning as an art major intervention, including ly rebuilt, with few traces of temporary art, how much do “my design,” and instead recov- space, as well as maintaining a interfering with a natural aging the original left, because it is you think about the objects or er the building’s original quali- connectivity to history. process, as well as introducing a much more convenient and, exhibitions that could go into ties, while also equipping it for KF: How does your vision for new construction techniques sometimes, invisible way of the museums you create? a completely­ different activity. Garage offer an alternative to and materials. Additionally, in adapting to new conditions. RK: It has been helpful to cu- rate exhibitions while also working on spaces for art. Our role as exhibition-makers also informs our identity as archi- tects. For example, in Ven- ice for When Attitude Becomes Form1, we recreated a 45-year old show in a 500-year old pal- ace. We learned that the more “inflexible” the presence of ar- chitecture is, the stronger the possibilities are for curators to present their own vision. I think museums are surpris-

PHOTO: VICTOR BOYKO GARAGE© MUSEUM OF CONTEMPORARY ART ingly stable. If you look at the Hermitage, which was one of the first public museums con- ceived in the mid-19th century, it is still completely relevant to- day. The art and the public will change, but they will always benefit (or not) from the inten- tions of earlier authors. So, with Garage, I think the preserved traces of Soviet generosity in the building will always gener- ate a relevant context in any pe- riod to come.

1 When Attitudes Become Form: Bern 1969/Venice 2013, Ca’ Corner della Regina, Prada Foundation, Venice, curated by Germano Celant in con- Rem Koolhaas versation with Thomas Demand and and Kate Fowle Rem Koolhaas www.garagemca.org 5 Olga Zakharova DIRECTOR, GORKY PARK

"Thanks to Garage, visitors to Gorky Park can get NEW SERIES acquainted with contemporary art. You’re not just our partners, you’re our friends!" Capital Letters Garage International Advisor Hans Ulrich Obrist talks to artist Erik Bulatov about his experiments with space and text, and the monumental new work he has made for the inaugural Garage Atrium Commission.

Hans Ulrich Obrist: I’d like to that Favorsky was not a paint- about Artist en Plein talk about the very beginning er; he was an engraver. But his Air (1968)? It’s like a of your artistic life. Your first theory was a universal one. Plein Air manifesto! pieces were made in the early HUO: Then what happened? EB: The object, in this 1950s, but I understand that Why was there a sudden re- case, is the artist. I was you only started signing your duction of space in your trying to show the con- works in 1963? paintings after 1966? nection between the Erik Bulatov: Yes. The most im- EB: After working with the sur- object and the space in portant early work for me is face in 1963–64, it was impor- which it exists. My un- Surface (1963). This was the tant for me to understand what derstanding is that the moment I understood what a the key spatial elements in a space and the surface painting is, what the shape of painting are. After some time, can be in opposition to the surface was. it became clear that there are each other as well as in HUO: Who was your major ar- only two such elements: a hori- harmony, and this op- tistic influence at the time? zontal and a diagonal. There is position could help re- EB: Vladimir Favorsky. He was no way a vertical line could be- flect the Soviet reality a wonderful artist and philos- long to the space of a painting, that surrounded me. opher of art. His concept of it would always belong to the HUO: I remember space was of crucial impor- space of objects. when I first saw your tance to me. HUO: Curiously that reali- works in Zürich al- Erik Bulatov, Moscow, 1981 HUO: Could you explain a lit- zation starts to make your most thirty years Photo: George Kiesewalter tle? paintings more complex. ago, I was struck by Garage Archive Collection EB: Well, first of all, you need to Take Horizontal (1966), the alliance between text Nekrasov’s words suit me best, ­“PERESTROIKA” was reminis- EB: There is a series titled War understand that the flat surface which also marks your transi- and image. It was also the because they are always up in cent of the hammer in the hand and Peace (War of Monuments) between the four corners of the tion to abstraction doesn’t it? first time I heard of the poet the air. They appear not on the of the worker in Vera Mukhi- that I made several sketches for canvas is capable of transform- EB: Yes. Here—as opposed to Nikolay Nekrasov. Have you surface, but in space. It’s as if na’s sculpture Worker and Kolk- from 1989, while we were liv- ing itself into “space.” Working the Modernist works I made used anyone else’s poetry in we’ve pronounced them our- hoz Woman; in other words, a ing in America. It was intend- with the ambiguous nature of before my “horizontal-diag- your work? selves. famous Soviet symbol. ed as a series of lithographs. a painting—transforming it— onal” theory—I needed to EB: Yes, Alexander Blok’s, HUO: Let’s talk about the HUO: And later, did you make It’s the story of a war between this was suggested by Favorsky. transform the object itself into but only once, in Black Night, monumental work you’re other monumental public the American Statue of Liber- HUO: Did you ever meet him “space.” This radically changed White Snow (2000). The rest making for the opening of projects? ty and Vera Mukhina’s Worker in person? the “space-object” relationship of the texts are not necessarily­ Garage’s new building. The and Kolkhoz Woman. EB: Yes. Moreover, I consider in the painting. Nekrasov. Often they’re my words “Come to Garage!” HUO: And the series was myself his pupil. I should say HUO: Can you also tell me own. It is true though that are like a mass appeal. How My understanding never made? The sketches did you choose the font; is is that the space seem very relevant today: it always­ the same in your and the surface can war, peace, capitalism, com- works? munism... all big subjects WHAT IS A COMMISSION? EB: It’s the most common font be in opposition to now. that I used to see everywhere EB: Yes, it’s unrealized, in The practice of commissioning artists to create environment, for which a particular approach is each other as well around me. All political slogans every sense of the word. Now frescos in churches, portraits of patrons, public needed. Artists react differently according to their as in harmony statues, or monuments has a long history. In Eu- interests and practice. A successful commission would be written in this style. I regret I didn’t complete it. At rope, private patronage through the commission- challenges the architecture, environment, or his- It’s the most primitive font pos- that time materials were not ing of works was the main source of livelihood tory of the place it is produced for, and resonates sible, but it is also our heritage available to me, but when I had for artists from the middle ages until the 19th with it uniquely. It is also a work that is a contin- from the avant-garde. EB: Most recently I’ve made the chance, times had changed, century. Despite the restrictions of working “to uation of an artist’s approach, yet offers possibili- HUO: One of your first mon- a work called Freedom for the and I had no more desire to go order,” and the potentially capricious demands ties to expand his or her methods. of patrons, the fact that commissions were of- In recent years, some of the most ambitious umental works was a zeppe- History Museum of the Yeltsin back to the past. I am always ten ambitious in scale and production standards examples of commissioning programs can be lin with “perestroika” writ- Foundation in Ekaterinburg, more interested in what is yet meant that artists had the opportunity to create found in The Unilever Series at Tate Modern ten on it. Where did the idea which will be a huge painting to be done. works which they could not have made without in London, UK; The Fourth Plinth Programme come from? transferred onto a wall later in such financial support. in Trafalgar Square in London, UK; the Grand EB: It was in 1989, for the 2015. I also made The Best City Today, many art institutions have taken on the Palais Monumenta series in Paris, France; the function of commissioners, using private, corpo- Park Avenue Armory program in New York, 200th anniversary of the in the World for Moscow Day rate, or state funds to invite artists to make new USA; and the Deutsche Guggenheim Com- French Revolution. Someone in in 2012, which was not monu- works. The process of commissioning is a way missions in Berlin, Germany. Because of the Paris had the idea that during mental in physical scale but in for institutions to develop deeper relationships substantial amount of preparation and financial the commemoration the “East” scope: it was a pin that was dis- with living artists, as well as providing audiences investment that goes into producing such com- should meet the “West,” so they tributed all over the city, so it with an opportunity to experience art and its sur- missions, the period they are on display for is commissioned American art- reached a lot of people over a roundings in a different way. Often the starting often longer than a traditional exhibition, and point is a specific space in a building or public they are sometimes permanent. ist Keith Haring and myself to wide geography. do something with a zeppelin. HUO: How about utopian pro- The way I drew the hand hold- jects? Many artists have unre- ing the letter “T” in the word alized projects, do you? www.garagemca.org 6

A PLACE FOR DISCOVERY

Garage Education Center Building Garage As the largest pedagogical art initiative in Russia, Garage Education and Public Programs provide access to knowledge, Archive Collection the agency to ask questions, and the fo- rum for public debate. Designed by FORM Bureau in 2013, Ga- cessible artists’ practices from across the coun- rage Education Center has almost 1,000 try since the mid-1950s through documents such square meters of flexible learning and as reports published by local and foreign media event spaces for talks, seminars, confer- from the late 1970s to the present day; a stills ences, and practical workshops, as well library consisting of exhibition documentation, as housing Garage Library. portraits of artists, and reproductions of their Garage Training—including programs works from 1960 to 2010; video documentaries such as Teens Team and Mediators— related to performances and exhibitions in Mos- supports the development of expertise cow from the mid-1950s; and a corpus of texts in emerging generations of art lovers. written by artists from the 1960s through the Offering new skills; hands-on work ex- 1990s; as well as unpublished articles, artists’ bi- perience; and the opportunity to delve ographies, press releases, catalogues, and other deeper into the thinking that occurs be- materials from exhibitions (1985–2013). hind-the-scenes in a cultural institution, It includes many donations and acquisitions from training programs focus on curating, people and organizations that were part of the museum administration, and gallery scene, including TV Gallery (1991-1995) and mediation. the personal archive of founder Nina Zaretskaya, which consists of important documentaries about artists; as well as curator Viktor Misiano; and gal- Garage Library lerists Elena Selina, Aidan Salakhova and Irina Meglinskaya, among many others. In 2014, Ga- Housed in Garage Education Center, the rage also acquired the archive of Leonid Talochkin, Library is the first in Russia to be devot- a well-known Moscow collector of Soviet noncon- ed exclusively to modern and contempo- formist art. This includes boxes full of notebooks, rary art. Currently, it has around 15,000 letters, booklets, and catalogs from all over the exhibition catalogues, books on art the- world, now available for art historians to access for ory and history, and publications on var- the first time. ious artists. The collection continues to As Garage embarks on a new stage of its devel- © GARAGE MUSEUM OF CONTEMPORARY ART grow, with donations and acquisitions opment, the Archive Collection has become cen- from around the world. tral to the activities of the Museum. It is the hub Providing essential reference materi- arage Archive Collection is a unique tions, periodicals, and other ephemera that re- through which the institution is developing and al for researchers, academics, students, public resource of materials about corded the activities of artists in Moscow and sharing knowledge of Russian art, as well as a curators, and art lovers alike, the Li- Russian contemporary art that further afield. In the meantime, Yulia Ovchin- platform for international research projects, in- brary includes a wide selection of pop- has been developed since the ear- nikova was gathering another archival collec- cluding conferences, exhibitions, seminars, and ular periodicals on art and architecture, Gly 1990s and continues today. This ambitious tion at the Soros Center for Contemporary Art, publications. Most recently, this has included such as Third Text, Parkett, Texte zur project was started by the people behind A-Ya which opened in Moscow in 1994. This contained the two-part Reconstruction exhibition (2013- Kunst, October, Elephant, Domus, and magazine, as an “A to Z” of the Russian under- both ephemera and video documentation, shot 2014) at Ekaterina Cultural Foundation in Mos- Mark, as well as files of contemporary ground art scene. Initially, Natalia Briling and by Ovchinnikova, of various art events. In 1999, cow, where curator Elena Selina recreated some Russian press clippings and a collection Milena Orlova worked alongside Sasha Obuk- when the Soros Center closed, this archive was of the seminal exhibitions of the 1990s; and Rus- of rare issues of Mesto Pechati, Pastor, hova (now Head of Garage Archive Collection) given to the Art Projects Foundation, run by sian Performance: A Cartography of Its History A-Ya, and Moscow Art Magazine. Soon, to produce it. In 1992 and 1993, the newborn Obukhova, where it remained until Garage ac- at Garage in 2014, which explored the history the digital catalogue will be online for archive was the basis for two volumes of Who’s quired the entire collection in 2012 and provided of the medium from the Russian avant-garde to international access, and visitors to the Who in Russian Art published by Sergei Khri- the human resources, facilities, and funds to cata- the present. For the opening of the new building, Library will also be able to access the pe- pun, now Co-Director of XL Gallery. logue, store, and continue to build the collection. both the George Kiesewalter show, Insider, and riodical database JSTOR and digital im- Later, Obukhova continued working on the ar- Now, Garage Archive Collection is the largest the project The Family Tree of Russian Contempo- age bank Artstor. chive—collecting exhibition catalogues, invita- public holding of its kind in Russia, making ac- rary Art are developed out of the Archive.

Tales Of An Insider: George Kiesewalter

Although it was relegated to the "under- ground," Soviet experimental and non- conformist art had its own archivists and chroniclers. One of them is George Kie- sewalter, whose camera captured mo- ments in the everyday life of his circle. The artist’s shots are indeed very special: "This photo is from 1982. I was taking pictures familiar faces of Soviet underground art- of Dmitri Prigov while Vadim Zakharov was ists appear in unexpected roles. Here the interviewing him for our To the Studios album. artist comments on his photographs. "This is a photo from the Artists’ Rooms series—a shot of Yuri Albert and Nadya Stol- The interview was then lost, but included in the George Kiesewalter: Insider povskaya’s room taken around 1985. You can see their son Gleb sitting on the bed. As I book was a text by Prigov—his rather distorted East Gallery remember, he refused to move for the photograph to be taken, and so he went down in memory of the same interview." June 12–August 23, 2015 the history of Soviet postmodernist art." www.garagemca.org 7 Vladislav Martynov CEO, YOTA DEVICES

"Since its inception, Garage has been a Moscow art RUSSIAN ART cluster and a landmark place for anyone interested in the sublime. We wish you success!" The Family Tree Of Russian Contemporary Art

stallation in the new Garage artists he considers belong to it. stitutes the Russian art uni- building. Opinions are an important part verse. By choosing an option in The concept of The Family Tree of Family Tree, but so too are the menu, people can find out of Russian Contemporary Art facts, such as an artist’s partic- more about key postwar Rus- came out of a series of debates ipation in an unofficial exhibi- sian art groups and movements around the possibility of tracing tion, or a performance. These (the Lianozovo and Dvizhenie a history of contemporary art were documented in invitations, groups, Moscow Conceptual- in Russia. Who are its key fig- booklets, and photographs, or ism, or the Avant-Garde Club, ures? How are they connected through newspaper articles, for example); landmark events to each other, and to all the oth- which help researchers build a (such as the 1974 Bulldozer er people on the ever-changing picture of what happened, with Exhibition and the infamous art scene, which includes nu- whom, and when. ­Manege exhibition of 1962); merous artists, authors, cura- One of the outcomes of Family and cult places (like the In Try- tors, theorists, and collectors? Tree is a continually expanding okhprudny Lane Gallery). One possible model for the database containing informa- Over the summer, a series of Family Tree was sug- gested by Ilya Kabak- ov’s installation Noma (1993), through which FAMILY TREE LECTURES AND SCREENINGS he made visible what The public program for The Family Tree of Russian Contem- he believed to be the porary Art includes regular screenings of video interviews main currents in Rus- with Russian artists in Garage Auditorium, including Erik sian underground art. Bulatov, Vladimir Yankilevsky, Dmitry Prigov, , In this installation at Francisco Infante, and others, as well as a series of Artist Talks Hamburger Kunsthalle moderated by art historian Andrey Kovalev in the exhibition space, including the rare opportunity to hear from Sots Art he represented the pioneer Vitaly Komar. “pantheon” of twelve Those seeking to fill the gaps in their knowledge of the era are Moscow Conceptual- also invited to attend a course of weekly lectures in Garage ists through their art- Education Center. Each session will be led by an art historian works. who will cover the career of a single artist or art group: for Two of the artists fea- example, Vitaly Patsukov will give a lecture on ; Evgenia Kikodze will speak about Mikhail Chernyshov; Gleb tured in Noma were the Napreenko on Anatoly Osmolovsky; and Valentin Diaconov on co-founders of Collec- the group of artists he jokingly calls “the new boring.” tive Actions—Andrei Monastyrsky and Nikita PHOTO: SASHA OBUKHOVA © GARAGE MUSEUM OF CONTEMPORARY ART Alexeev. Such associations with tion on contemporary artists. A talks and debates in the exhi- he story of Russian con- to take on this challenge, to Part of the handmade other groups are represented on future outcome will be a book bition space will invite people temporary art—work find out what kind of “family “sketch” of the Family Tree the Family Tree by lines, which on the history of Russian con- to participate in the creation research project, created that has been produced tree” has grown out of those in summer 2014 then connect to other events temporary art. The opening of Family Tree, so it can contin- since the 1950s—has histories. Conceived as a long- and people, such as (in the case exhibition at Garage presents ue to grow and change shape Tnever been studied or de- term research project involv- of these artists) the APTART a diagram of Family Tree as it through collective knowledge scribed as a continuous nar- ing art historians, artists, and Gallery. Another source of in- has been developed to date, as and experience. rative that makes connections sociologists, and using Garage formation is texts, such as artist well as an interactive installa- The Family Tree of Russian and associations between Archive as a reference, the Michail Grobman’s The Second tion commissioned specifically Contemporary Art different communities across first “shoots” of this tree are Avant-Garde, in which he named to animate visitors’ experience LAB the country. Garage decided presented in an interactive in- both the movement and the 35 of the vast network that con- June 12–August 9, 2015

"This portrait of Nikita Alexeev is part of the Love Me, Love My Umbrella series. Alexeev was one of the few people who took the "Andrei Filippov—an admirer of ancient Rome and the creator of quasi-histor- project seriously, and decorated the umbrella in his own style, gluing ical paintings; a great lover of Cuban rum and cigarettes—lived in an ordinary paper cutouts all over it." pre-fabricated house on the outskirts of Moscow. Everywhere on the tables "This is the culmination of a performance by Mikhail Chernyshov and his short-lived and shelves a variety of candle sconces had been placed. On the walls, one Krasnaya Zvezda group, if I’m not mistaken. Had it not fallen apart so quickly, it could could observe the symbiosis of icons and ironic examples of Sots Art charac- have been just as important a phenomenon as Collective Actions and their Journeys to teristic of our circle." the Countryside." www.garagemca.org 8

GARAGE NAVIGATOR

West Gallery Central Gallery Skylight Gallery East Gallery

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Atrium Mosaic 1 Tiles 2

The Autumn mosaic exemplifies both Factory-made ceramic tiles from the the stylistic experiments of Soviet Mod- 1960s—low-cost and generic when they ernism (see article on page 3), and Rem were produced—have now become a Koolhaas’ innovative approach to creat- fashionable rarity. In keeping the orig- ing a contemporary museum. Although inal tiles, Koolhaas has turned the cleaned of the graffiti left from when the “everyday” of the past into a rare expe- building was derelict, the preservation rience for us now. process has carefully restored traces of each stage of the mosaic’s life in the Vre- mena Goda restaurant, from the 1960s to the 1990s.

Entrance / Exit

Auditorium

Resource Room

Kids’ Room

Reception Double-T Panels 3 Polycarbonate

The double-T panels that form Garage’s The use of Italian polycarbonate for the Tickets ­ceiling—part of the original 1968 build- façade of the new Museum is both prac- ing—can be observed most closely in the tical and symbolic. While being an ele- Resource Room. An engineering wonder gant engineering solution to housing all Café of their time, they enabled wide spaces the mechanical and functional needs of to be spanned with minimum columns. the building, it also references the mod- LAB Entrance / Exit In the 1960s, such panels were only pro- ernist dream of the perfect palace built Bookshop duced in the Soviet Union and the USA. of glass.

Toilet

Mother and Baby Room

Elevator Garage Education Center Garage Museum Garage Pavilion of Contemporary Art Cloakroom

Disabled Toilet

Main entrance to Gorky Park Disabled Elevator

Stairs www.garagemca.org 9

GARAGE NAVIGATOR

West Gallery Central Gallery Skylight Gallery East Gallery

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Entrance / Exit

Auditorium

Resource Room

Kids’ Room

Reception 2 Tickets

Café

LAB Entrance / Exit Bookshop

Toilet

Mother and Baby Room

Elevator

Cloakroom

Disabled Toilet GARAGE CARD

With a GARAGE card, Disabled Elevator ­admission to all exhibitions is free, and you can skip the lines! Stairs www.garagemca.org 10 Masato Nakamura VICE PRESIDENT, PANASONIC RUSSIA

"Panasonic is honored to be a partner of FOOD AND SPORT Garage, a leading contemporary art institution. Congratulations on the beginning of a new stage in the development of museum technology in Russia and beyond." So You Think You Art In Action Know About Pelmeni?

After taking Rirkrit Tiravanija on a tour of pelmeni (dumpling) eat- eries to prepare for his exhibition at Garage, we can, in all serious- ness and honesty, declare that: 1 If you are looking for perfect dumplings, you should go to Mari Vanna. We found our- selves there on the first night of the artist’s visit and were served picture-postcard pelmeni like those in the canonical Soviet cookbook from 1939, The Book of Tasty and Healthy Food. Mari Vanna Spiridonevsky Pereulok, 10a +7 495 650 6500 www.marivanna.ru/msk/ 2 To sample dumplings as a main dish rather than for start- ers, there’s nothing on earth that can compare to Georgian dumplings, known as khinka- li. One of the best places to try them is Sakhli. Sakhli

Bolshoi Karetny Pereulok, 6/1 MEXICO KURIMANZUTTO, AND TIRAVANIJA RIRKRIT OF COURTESY +7 495 699 4503 www.sahli.ru/en/ y the time you read this, we will Rirkrit Tiravanija, Untitled 2012 (Mañana es la oslovakia. Tiravanija does away with have done a number of very unu- cuestión), installation view of the exhibition any negation and resistance contained U.F.O – NAUT JK (Július Koller), orchestrated sual things that defy how exhibi- by Rirkrit Tiravanija at kurimanzutto, Mexico in Koller’s original performances, and 3 tions are usually made: we have City, 2012 invites the audience to play, eat, and do The most radical way to expe- Bnot arranged loans with other museums; whatever they like. rience the cuisine is in a “ryu- we have not organized for artworks to pleasure of unmediated communica- “In a museum?” you might ask. Sure! Rirkrit Tiravanija was mochnaya”—a vodka bar. In- be shipped; or checked dates and credit tion, of direct action. Tiravanija is equal- Where else?

PHOTO: RIRKRIT TIRAVANIJA STUDIO TIRAVANIJA RIRKRIT PHOTO: born in Buenos Aires, stead of the faux-Soviet places Argentina in 1961 and lines for labels. Instead, we have taken ly relaxed in his relations with 20th cen- Rirkrit Tiravanija: with white linen napkins, try works between New York, an artist to try pelmeni all over Mos- tury art history: his use of ping pong Tomorrow is the Question somewhere like Vtoroe Dykh- Berlin, and Chiang Mai. cow; organized for hundreds of people references performances by Czechoslo- Central Gallery anie, where we took our guest, Selected recent exhibitions to stand together to make a giant ques- vakian artist Július Koller (1939–2007), June 12–August 23, 2015 include: U.F.O. – NAUT who made himself at home tion mark shape outside of Gorky Park; who subverted the whole system of For information on activities: JK (Július Koller), Centre quicker than we did! And as for d’Art Contemporani researched into ping pong tables and state-sanctioned art in socialist Czech- www.garagemca.org the pelmeni? Well, this place is Barcelona, Spain (2014); kitchenware; sourced and installed car- not about the food... Focus: Rirkrit Tiravanija, pet; and learned how to print on t-shirts. Vtoroe Dykhanie Modern Art Museum of Fort The person who has provoked all this unu- Pyatnitsky Pereulok, 8 Worth, Texas, USA (2014); sual activity is artist Rirkrit Tiravanija, who PING PONG CLUB HEAVEN Oktophonie, Park Avenue +7 495 951 7016 for many years has been testing the bound- Armory, New York, USA In 2012, when the Mayans had pre- cow’s ping pong aficionados, we saw (2013); Soup / No Soup, aries of art and encouraging people to be dicted the world would end, the air in a vision of heaven—a mirrored ping Grand Palais, Paris, France more than just passive spectators in a mu- the underground courts of the Mos- pong table made by artist Rirkrit Ti- 4 (2012); A Retrospective seum. Imagine this: instead of staring at a cow Ping Pong Club was thick with ravanija set in a tropical environment. For something new, go to Grand (tomorrow is another huge abstract painting (with a knowledge- cement dust. Players washed it down It appeared as a paradise for the fine day), Museum Café Dr. Zhivago in the Hotel able expression on your face, of course), with drinks provided by anonymous players who make it to the finals in Boijmans Van Beuningen, sponsors, and it felt like there was not amateur tournaments…The kids are National, where we finished our you are playing ping pong; next to you, Rotterdam, Netherlands, much else to do. This was the moment no longer afraid: before them is the week-long pelmeni tour. A res- Musee d’Art Moderne de someone else is playing ping pong, too; when ping pong in Moscow got a new perfect fantasy, where the ball draws taurant that clearly belongs in la Ville de Paris, France, further away, people are serving dump- life, becoming the game of punk rock an elegant line in the air and freezes a different time and place, this and Serpentine Galleries, lings; and others are printing slogans on and skateboards, a game for kids who in the most beautiful moment accord- team of artist “tour guides” will London, UK (2004). t-shirts. Is this really a museum? You bet! had left home and dropped out of high ing to their (angelic) wish. Tiravanija is included in All remember its outstanding cui- Tiravanija’s practice is not about art- school. It was a definitive moment for Tiravanija’s mirrored table reflected a the World’s Futures at the a sport that used to be known as table radiant future for ping pong in Russia: sine and eccentric characters 56th Venice Biennale, Italy works or cherished objects, but about tennis, and was associated with elder- now, he is creating something mean- for a long time to come. (2015). relations between viewers, between the ly men in faded tracksuits. ingful in Moscow for the kids who Grand Café Dr. Zhivago audience and the artist, and the artist We survived the end of the world, and cannot play anything else. Mokhovaya Ulitsa, 15 and the institution. He brings life into instead of a fiery hell swallowing Mos- www.pingpongclubmoscow.com +7 499 922 0100 art: instead of cerebral experiences, art www.drzhivago.ru becomes associated with the joy and www.garagemca.org 11 Dmitry Savitsky GENERAL DIRECTOR, SILVER RAIN RADIO

"Awesome! Garage's new building means we get a new ENVIRONMENTS and unique museum in the very centre of Moscow! As Garage’s long-term partner, Silver Rain radio wishes you the best of luck and a lot of creative energy!" 800 Square Meters Of Painting

An imaginary A: …There is a large hole in the A: I was walking under some only the ­traces… fallen—but with colors all over There was so much that changed wall, yes. No, there is no other canvas fabric and suddenly the B: Why did you think so? them. They seemed alive. while I was walking. In some conversation entrance. canvas was everywhere, cover- A: There were colors every- B: Were you in heaven then? places I lost sight of the folds between someone B: How odd! Hmm… and then ing the walls, the floor, as if a where! Raw, vivid colors. I think A: Don’t be silly. Why would I and the colors, and there was who has seen the what? giant woman was sitting some- the world must have been black come back if I was? To talk to only soil and whiteness around work and someone A: It’s hard to describe: I’ve nev- where on top of the building and white before. The people you!? I think I always wanted me. I didn’t mind; it felt like no- er been in a place like that. First, wearing a long white dress, and who did it—if they were peo- to see the world that way—why body had been there before me. who has not. I thought I had just entered at I was walking through its folds. ple—must have been taller than can’t it really be that way? All B: What happened later? the wrong time—I felt like I B: Was the lady pretty? me or maybe they were able objects are equal. Everything A: I saw colors around me for caught the space metamorphos- A: There was tension in that gi- to fly. You see, the paint was can be imagined in another the first time. ing—it was like spying on a cat- ant cloth. Maybe she was trying in places I can reach only with shape. You know, while I was Katharina Grosse: erpillar turning into a butterfly. to escape. I thought that a kind my eyes: my arm is not that turning left, the ground felt soft yes no why later Do you see what I mean? of revolution had just happened long! Have you been to heav- and a slight slope disoriented me Garage Pavilion B: No, not really. in those folds, and I could see en? There were colored trees— because I wasn’t looking down. June 1–August 9, 2015

Installation view Katharina Grosse yes no why later, 2015 at Garage Pavilion Courtesy of Galerie nächst St. Stephan / Rosemarie Schwarzwälder, Vienna and Johann König, Berlin PHOTO: ILYA IVANOV, © GARAGE MUSEUM OF CONTEMPORARY ART, KATHARINA GROSSE AND VG BILD-KUNST, BONN, 2015 BONN, BILD-KUNST, VG AND GROSSE KATHARINA ART, CONTEMPORARY OF MUSEUM GARAGE © IVANOV, ILYA PHOTO:

98 people work at Garage. Meet some of the team!

Ludmila I’m fortunate Kit Hell When I Amina The main thing Valery Garage Library Snejana I get goose Pavel For me, Garage Kuznetsova to work in an Designer first visited Nmadzuru is the team. Ledenyov has everything Krasteva bumps thinking Zemlyansky is first and amazing place Garage I knew Everyone is very I need for my about the fact foremost a muse- Accountant Assistant, Senior Curator Security with great immediately professional and work. I often use that I have the um which not colleagues! that this was the PR Department it’s a great pleas- Librarian it for my own chance to be only gives people Together we place for me: to ure working with research. part of some- a chance to see really are making work, to live... such people. thing which will art but also to history. and to die. change lives. learn to love and understand it. www.garagemca.org 12

FIELD RESEARCH

Generated by the interests of artists, curators, and writers working around the world, Garage Field Research program gives a new perspective on overlooked or little- known events, philosophies, places, or people relating to . Each project lasts 1 to 3 years, and the end result is not predetermined. For the opening of the new Garage Po lytec building, four current Field Research projects are being hnic Museum presented at various stages of development. ailovo Izm

Face-To-Face: The American National Exhibition in Moscow, 1959/2015 Developed in collaboration with the by artists who allegedly harbored Shubin trace the wider cultural, politi- Museum of American Art in Berlin communist ideals. cal, and economic contexts. (MoAA), Face-to-Face is an exhibi- A year ago, researchers began col- Through the process of developing tion about the legendary American lecting various types of information the show, it became clear that such National Exhibition in Moscow, held about the National Exhibition—from “face-to-face” encounters as the Na- in the summer of 1959. Conceived as documentary photographs, films, and tional Exhibition played their part in a “corner of America” in the heart of press clippings, to personal accounts altering the course of the Cold War, the city, the National Exhibition was from visitors and people who worked contributing to the thawing of relations designed to showcase how America there. For Face-to-Face, aspects of between the two superpowers. “Re-re- eats, works, thinks, imagines, and cre- the original exhibition are partially re- membering” one exhibition through ates. It received much public acclaim, constructed using photographs from making another also activates differ- despite harsh comments from the So- catalogs and archives; oral histories ent layers of meaning which are intrin- viet press, but also caused one of the provide the “emotional” emphasis sically related to the imperfections of Krasn rchive biggest controversies in the American in the accompanying documentary memories. ogorsk A art world at that time, by presenting materials; and Americanist Victoria cutting-edge “abstract” art, produced Zhuravleva and historian Alexander

r lie de an ch ky Chizhevs Zoological Museum

r we To v o h k u h S

Anton Vidokle: This is Cosmos Artist Anton Vidokle’s research project Mountains, and . a gigantic, conscious ocean. is a story about a journey; a quest There would be no need to go this Part of the exhibition is also dedicat- undertaken to understand Russian far for a documentary, or even for a ed to the connection between the key cosmism. He asks, what were the conventional research project. Howev- ideas of the Russian cosmists and the main ideas behind one of the most er, Vidokle wanted to visit the places radical art of the Russian avant-gar- important Universalist projects in Rus- where cosmism becomes almost tan- de. Artists like Kazimir Malevich and sian philosophy and culture? What gible—where the boundaries between his pupils, and Mikhail Matyushin and is its legacy? To answer these ques- the philosophical and the real become his “organic school” followers not only tions, Vidokle gathered an interna- unclear—and cosmological discourse, moved in the same circles as the cos- tional team and travelled to a range which would usually seem speculative mists, but they seemed to visualize of places connected to the real and and abstract, becomes very concrete their ideas—new energies, the con- imaginary histories of the movement: and relevant. The resulting film has a quest of gravity, and the concept of from small Russian towns to Kazakh- therapeutic effect on viewers, promis- “post-human”—communicating them stan, Kyrgyzstan, Tajikistan, the Pamir ing them the experience of cosmos as on a physical, sensory level. www.garagemca.org 13

FIELD RESEARCH

ry Libra Eisenstein Kra snog orsk Archive

Saving Bruce Lee: African and Arab Cinema in the Era of Soviet Cultural Diplomacy (A Prologue) From the 1960s onwards, hundreds For the past two years, Dakar- and turning to their respective countries, of foreign students came to the So- Beirut-based curators Koyo Kouoh some made films that were banned; viet Union each year to study, most and Rasha Salti have been traveling others produced a few masterpieces from the Eastern Bloc, but also from to Moscow and researching what and then were forced to stop work- Africa and the Arab world. A number happened to those students. This has ing. What unravels in the course of of those students graduated from the involved interviewing the filmmakers the research is an increasingly com- Gerasimov Institute of Cinematogra- and their classmates; meeting with plicated map of cultural, political, and phy (VGIK) in Moscow. Today, some of experts; and visiting film archives in emotional influences. Saving Bruce them are world famous film directors, Moscow and Paris. Each encounter Lee (A Prologue) is a first attempt at yet little research has been done to has contributed to a puzzle that is yet introducing audiences to the protag- trace the influence of the experienc- to be solved: Kouoh and Salti are not onists within the context of Soviet es they gained during their formative only revisiting the academic canon of cultural diplomacy in African and Arab years. Until now, for example, it is Arab and African film studies, but also countries. This context is summarized unknown what effect studying in a questioning the role of these filmmak- by geographer Philippe Rekacewicz’s totalitarian country, apprenticed to ers in the Soviet history of film. map and complemented by filmmaker renowned Soviet filmmakers, has had The destinies of the seventeen “pro- Alexander Markov’s montages of for- on their cinematic aesthetics. tagonists” are all different: after re- gotten documentary films.

Taryn Simon: Black Square XVII

Artist Taryn Simon has conceived what is the contents of a letter that is sealed ena, and energies with the precision might turn out to be the longest-run- inside the cube. Written by the artist, it of a researcher. For the last decade, ning art project in the history of art is addressed to future generations of one of the objects to pique Simon’s museums. Begun in 2015, it will be an undisclosed time, but will still act interest is Kazimir Malevich’s Black completed in no less than one thou- as a reminder of capsules by Soviet Square, which is 100 years old this sand years. pioneers, which functionaries would year. To the artist, it has become a Then, our unimaginable muse- bury under every new “construction kind of magical emblem containing a um-worker descendants will fill a spe- project of the century.” mighty force, or energy, which she has cially-prepared niche in the museum Simon often works with topics that tried to find parallels with in various wall with a black cube of vitrified nu- are associated with scientists or pol- objects of a similar shape in her photo clear waste, reassured by the lengthy iticians more than artists—things that series Black Square (2006-2011). gestation of the artwork, which has stay hidden or out-of-sight from our rendered it harmless to humanity and everyday life, but which can dramati- Black Square XVII was created in col- the environment. What museum visi- cally change our world. She also ex- laboration with Russia’s State Atomic tors from the future will still not know, plores mysterious objects, phenom- Energy Corporation (ROSATOM). www.garagemca.org 14 Maria Krasnikova DIRECTOR, ART, SCIENCE AND SPORT CHARITY FOUNDATION "Garage is a space where art will not only be TRAVEL discovered, but where it will be made. What you are doing is professional, progressive, and just right." Museum Mile: An Ideal Day Off Garage presents ideas for spending a day off visiting some of Moscow’s many cultural destinations.

1 Experience Katharina 6 Cross the bridge to the 9 Go next door to the 10 Cross the river via the Grosse’s installation yes no why Museum of Moscow and find Pushkin Museum, home to bridge behind the Cathedral later in Garage Pavilion out more about the city, or see a world-famous collection of Christ the Savior and visit a film at the Documentary of Impressionist and Post- Strelka Institute Bar for a 2 Visit Garage Education Film Center Impressionist paintings from sunset drink Center to find out more about Zubovsky Bulvar, 2 the collections of such famous Bersenevskaya Naberezhnaya, contemporary art and artists +7 495 739 0008 patrons as Sergei Tretyakov, 14, Building 5 www.mosmuseum.ru Sergei Shchukin, and Ivan +7 495 771 7416 3 See our range of summer Morozov www.strelka.com Mokhovaya Ulitsa exhibitions at Garage ­Museum 7 Stroll along Ostozhenka Volkhonka Ulitsa, 14 Znamenka Ulitsa of Contemporary Art and Street to Multimedia Art +7 495 697 1546 ­explore the new building with Museum, Moscow and www.arts-museum.ru/ Borovitskaya Square the help of Garage Mediators enjoy several exhibitions museum/buildings/gallery/ of photography and media- index.php?lang=en Nicholas Roerich 4 Cross the road to Muzeon based contemporary art Museum Art Park and explore the in one building Bolshoi Kamenny Bridge Kremlin Naberezhnaya 8 collection of Russian and Soviet Ostozhenka Ulitsa, 16 Pushkin sculpture +7 495 637 1100 Museum Krymskaya Naberezhnaya, 2 www.mamm-mdf.ru/en 9 +7 985 382 2732 www.muzeon.ru 8 Visit the Nicholas Roerich Museum, dedicated to the Volkhonka Ulitsa 5 Visit the work of artist-mystic Nicholas on and see one of Roerich and his son Svetoslav Prechistenskaya Naberezhnaya the world’s best collections of Maly Znamensky Pereulok, 3/5 Prechistenka Ulitsa Cathedral of Christ Russian avant-garde art +7 499 271 3417 the Savior Patriarch Bridge Bolshaya Polyanka Ulitsa Krymsky Val, 10 www.en.icr.su www.tretyakovgallery.ru/en Ostozhenka Ulitsa 7 10 Strelka Multimedia Institute Prechistenka Ulitsa Art Museum

Zubovsky Bulvar Prechistenskaya Naberezhnaya

Ostozhenka Ulitsa

Museum of Moscow 6 Documentary Film Center

Tretyakov Gallery Prechistenskaya Naberezhnaya r on Krymsky Val Zubovsky Bulvar e v 5 i R 4 Muzeon w Art Park Komsomolsky Prospect Krymsky Val o Bolshaya Yakimanka Ulitsa c

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3 Garage Education Center Garage Museum of Contemporary Art www.garagemca.org 15 Achim Saurer HEAD OF AUDI RUSSIA

"We congratulate you on the long-anticipated opening COMING SOON of the new, Rem Koolhaas-designed building in Gorky Park. We are certain that it will become a global center for art, culture and innovation." Structures Of Existence: The Cells

Louise Bourgeois (b. 1911, Paris, France; d. 2010, New York, USA) lived and worked in New York, USA. Major solo exhibitions include: Louise Bourgeois: Retrospective, Museum of Modern Art, New York, USA, touring (1982–1984); Louise Bourgeois: A Retrospective Exhibition, Frankfurter Kunstverein, Frankfurt, Germany, touring (1989–1991); American Pavilion, 45th Venice Bien- nale, Venice, Italy (1993); Louise Bourgeois: Memory and Architecture, Museo Nacional Centro de Arte / Reina Sofia, Madrid, Spain (1999–2000); Louise Bour- geois: I Do, I Undo, I Redo, inaugural installation in the Turbine Hall, Tate Modern, London, UK (2000); Louise Bourgeois, Guggenheim Museum Bilbao, Spain (2001–2002); Louise Bour- geois at the Hermitage, The State Hermitage Museum, St. Petersburg, Russia, tour- ing (2001–2003); Louise Bourgeois: The Insomnia Drawings, The Whitney Mu- seum of American Art, New York, USA (2003); Louise Bourgeois: Retrospective, Tate Modern, London, UK, touring (2007–2009); Louise Bourgeois: The Return of the Repressed, Fundación PROA, Buenos Aires, Argentina, touring (2011); Louise Bourgeois, National Gallery of Cana- da, Ottawa, Canada (2011– 2013); Louise Bourgeois: Conscious and Uncon- scious, Qatar Museums Authority, QMA Gallery, Katara, Doha, Qatar (2012); PHOTO:© PETER BELLAMY, ART:© THE EASTON FOUNDATION/ LICENSED BY RAO Sammlungshangung Bourgeois, Fondation Beyeler, Basel, Switzer- ouise Bourgeois (1910–2010) en—emerging as a leading voice in the studio, as well as artifacts from her pri- Louise Bourgeois land (2013–2014); Artist is celebrated as one of the most feminist art movement. vate life—including clothing, fabric, inside ARTICULATED LAIR (Coll: MoMA, NYC) Rooms: Louise Bourgeois, significant and influential artists By the 1990s—when the artist was 80 furniture, and sculptures—to produce in 1986 A Woman without Secrets, of the 20th century. Heavily in- years old—she was pushing the bound- charged architectural spaces that refer- Scottish National Gallery Lfluenced throughout her long career by aries of sculpture again through the cre- ence the theater and psychoanalysis, but of Modern Art, Edinburgh, traumatic psychological ation of her emotionally above all reveal the intimate, lived expe- Scotland (2013–2014); Louise Bourgeois: Petite events from her child- charged Cells. Among her riences of the artist. Maman, Museo del Palacio hood in France, Bour- most innovative and chal- Structures of Existence: The Cells is the de Bellas Artes, Mexico geois moved to New York Space does not lenging sculptural works, first comprehensive survey of Louise City, Mexico (2013–2014); in the late 1930s with exist; it is just a the Cells are a series of Bourgeois in Moscow. A wide selection and Louise Bourgeois: I her husband, the art his- architectural spaces that of the Cells will be presented along- Have Been to Hell and metaphor for the torian Robert Goldwa- would come to preoccupy side sculptures, paintings, and draw- Back, Moderna Museet, structure of our Stockholm, touring (2015). ter. There she met many the artist’s attention for ings that led to the development of this Awards and honors include: leading figures in the art existence nearly 20 years. Encap- monumental body of work. Organized United States National world, such as the first sulating several of Bour- by Haus der Kunst in Munich in collab- Medal of Arts (1997) and director of the Museum geois’ artistic concerns oration with Garage, the exhibition will the French Legion of Honor of Modern Art, Alfred Barr, and the art- at once, the Cells act as intense micro- introduce audiences to key aspects of Medal (2008). ists Jackson Pollock, Mark Rothko, and cosms: each is an enclosure that isolates ­Bourgeois’ art. Willem de Kooning. It wasn’t until the her internal world from the external Louise Bourgeois 1970s, however, that her works gained distractions of the museum in which it Structures of Existence: The Cells wider public recognition, and she began is presented. In these unique construc- West Gallery to have a galvanizing effect on a younger tions the artist composes found objects, September 25, 2015– generation of artists—particularly wom- such as from the neighborhood of her February 7, 2016 www.garagemca.org 16 Oliver Barker DEPUTY CHAIRMAN, EUROPE, AND SENIOR INTERNATIONAL SPECIALIST, CONTEMPORARY ART, SOTHEBY’S "The opening of this visionary museum marks the PERSONALITIES beginning of an exciting new chapter for both Garage and contemporary art in Russia."

Garage 12+ Spotting Yayoi Kusama Gazette: summer © YAYOI KUSAMA YAYOI © Yayoi Kusama was born in 1929 in Matsumoto, Japan 2015 and lives and works in To- This publication has been kyo. She had her first solo produced by Garage Museum show in Japan in 1952 and of Contemporary Art: moved to New York at the Anton Belov, Director end of the 1950s, where Kate Fowle, Chief Curator Anastasia Tarasova, Head of she became known for her Exhibitions, Education, and installations and perfor- Research mances. She returned to Daria Kotova, Head of Tokyo in 1973 and went on Development and Marketing to gain widespread recog- Editorial Team nition from the late 1980s Anastasia Mityushina, through a number of inter- Ruth Addison, Brittany Stewart national solo exhibitions, Project Manager including representing Anastasia Makarenko Japan in 1993 at the 45th Development and Marketing Venice Biennale. Major Alyona Solovyova, touring surveys include Iva Ostistaya, Ekaterina those organized by the Los Istratova, Regina Safina Design Angeles County Museum Denis Landin of Art and The Museum of Drawings Modern Art, New York, USA Kit Hell, Maria Zaikina (1998); Le Consortium, Infographics Dijon, France (2000); Na- Danila Zhestarev, tional Museum of Modern Elvira Nasibullina Photography Art, Tokyo, Japan (2004); Peter Bellamy, Victor Boyko, and the Museum Boijmans Maria Demyanova, Ilya Van Beuningen, Rotterdam, Ivanov, George Kiesewalter, Netherlands (2008). Her Alexander Murashkin, Sasha work was the subject of a Obukhova, Nikolay Zverkov large-scale retrospective in Texts Yulia Aksenova, Anton Belov, 2011-2012, traveling to the Anna Bronovitskaya, Erik Museo Nacional Centro de Bulatov, Kate Fowle, Katya Arte Reina Sofía, Madrid, Inozemtseva, Maria Kalinina, Spain; Centre Georges George Kiesewalter, Rem Pompidou, Paris, France; Koolhaas, Snejana Krasteva, Tate Modern, London, UK; Valery Ledenyov, Anastasia Mityushina, Hans Ulrich Obrist, and the Whitney Museum Valentina Osokina, Marya of American Art, New York, Sarycheva, Asya Shishkova, USA. Kusama’s work is Brittany Stewart, Dasha Zhukova currently the subject of Garage Museum two major museum tours: of Contemporary Art Gorky Park, 9 Krymsky Val,

from 2012, Yayoi Kusama: KUSAMA YAYOI © Building 32, 119049 Moscow A Dream I Dreamed has Opening times traveled throughout Asia; ike falling down the rabbit hole spend time alone in a small mirrored Mon—Thu: 12:00—21:00* and from 2013, Yayoi Yayoi Kusama Fri—Sun: 12:00—22:00* Kusama: Infinite Obsession with Alice in Wonderland, Yayoi Dots Obsession, 2013 room, where thousands of pulsating *Ticket office closes Courtesy Ota Fine Arts, Tokyo/ 30 minutes before has traveled across Central Kusama invites you to enter her in- Singapore; Victoria Miro, London; lights will take you into infinite space. and South America. stallations and peer into her mes- David Zwirner, New York/London; Leaving the museum, you might think Museum closing time KUSAMA Enterprise For further information, please Lmerizing world. that Kusama’s famous polka dots are still call +7 495 645 0520 Portrait of Yayoi Kusama Courtesy Ota Fine Arts, For several decades, the Japanese art- nation. This is the essence of Kusama’s playing with your eyes, but rest assured or +7 495 645 0510 (office) Tokyo/Singapore; Victoria from 11 am to 9 pm Miro, London; David Zwir- ist, who is 86 years old, has been making art: by magically changing the world you are not imagining things—even the or email queries to ner, New York/London; works that offer unique sensory expe- that surrounds us, it also changes us. trees in Gorky Park are part of the artist’s [email protected] KUSAMA Enterprise riences to capture our imagination and At Garage, you can enter a large room universe! www.garagemca.org

take us out of our everyday routines. where the floor, the ceiling, and the Yayoi Kusama: Infinity Theory Printed at Always bright and spectacular, the art- walls have become one, all painted red West Gallery Prime Print Moscow ist makes paintings, sculptures, perfor- and covered with white polka­ dots; or June 12–August 9, 2015 in an edition of 5,000 mances, and immersive environments that bring new life to polka dots and oth- er amorphous shapes. Kusama’s obsession with pattern was in- YAYOI KUSAMA: DOTS OBSESSION spired by her own perceptual experiences: since her childhood, she has been haunt- Look. “Polka dots” are soaring into the sky. ed by hallucinations. Sometimes she Don’t go so far away in the sky. would see the whole world around her I have always wanted to sleep peacefully amid an infinite multitude of falling apart into infinite dots: patterns “polka dots,” but you are leaving me longing for, instead, the bed of clouds shining would spill over the borders of her works, brightly in black. enveloping the artist and everything sur- My “earth story” now held in your arms, yearned to watch this eternal life of rounding her, erasing the boundaries the deep and profound earth. between her inner self and the outside A wish for peace filled with blessings. world. Kusama has learned to use this ex- Is the soul of an artist, a seeker after the truth, a sincere revelation from the polka-dotted perience—which shifted boundaries be- balloons? tween fact and illusion, the real and the And, in company with a place for my soul welled up with tears, I want to keep living imaginary—in making her art. conquering death. You may ask how the works are made? I will continue to live, overcoming the sufferings of birth, aging, sickness and death Technically speaking, they are quite sim- with encouragement from the polka dots. ple. But what you experience when you 2009 look at them, and especially when you find yourself inside one, is beyond expla-