The Moscow Museum of Modern Art presents for the first time in Russia an extensive solo exhibition of Jacques Lipchitz, a major personality in the 20th century sculpture, a foremost figure in the School of Paris, a close friend of Amedeo Modigliani, Chaïm Soutine and Pablo Picasso. The project is a part of the 70th anniversary celebration of the Israel State foundation.

The exhibition at the MMOMA will introduce the Moscow public to the art of one of the most significant sculptors of the 20th century. Besides, it will be a historic event for the world art scene, and rightfully so, as Lipchitz, a Franco-American artist of Jewish origin, was born in the Russian Empire, and now an extensive display of his works will be open in Russia for the first time ever. 

The project ‘Jacques Lipchitz (1891-1973). A Retrospective’ is a progressive immersion into the creation of the artist whose oeuvre is intrinsically connected with the crucial events of the 20th century that overturned the very course of the world history. Progressing through the display, the viewer witnesses the changes in the style of Lipchitz’s works, as he/she ‘lives through’ the epoch. The artist’s manner evolves from naturalistic traditions to Cubism, and then to a less formalised style of his urban sculptures, which dwell on the complex mixture of mythological and religious motifs. The Cubist traditions are coherently expressed in Lipchitz’s artworks. If he developed the basics of Cubist sculptural vocabulary at the beginning of his artistic career, later on the artist used these practices to create his unique plastic style, his music of space. Over 100 works displayed at the MMOMA, including sculptures, drawings in Indian ink, crayons and pencil, form a meditation on the existential expression of the 20th century sculpture, its place in the present-day culture and the milieu where the artist formed over the period of his career. Geometric studies and sketches, commissioned artworks, and Cubist sculptures go together with works on paper, including drawings of independent design. The dynamical rhythm of the display is supplied not only by Lipchitz’s artwork but as well by the fragments from his diaries, photos and objects.

Developing the concept of the summer pavilion for a large development company PIK, we were faced with the task of complying with the design code held by the aesthetic features of the company, as well as creating a bright point of attraction for a large number of people at the main parks in Moscow and St. Petersburg. To solve this problem, we used dichroic glass film. In combination with the minimalist snow-white space of the entire summer pavilion, the glass facades with film became a bright accent and a place for photographs of pavilion visitors.

Showcase in the lobby of the New Tretyakov Gallery where video installations about the works of the ‘Farewell to Eternal Youth’ exhibition series will be shown.

Showcases project for books and posters in the library of ‘Garage‘ museum of contemporary art.

In winter 2017, the MMOMA Education Center opened on the site of the Moscow Museum of Modern Art in Yermolaevsky Pereulok, 17. The creation of such a center has become a logical development of the museum’s activities in the field of education and the popularization of modern art, which allows consolidating and expanding the existing educational projects of the Museum.

The project did not imply a global rework of the internal space. The museum building is an architectural monument of the twentieth century, and it was impossible to completely change it. We proposed to remove some, in our opinion, unnecessary elements inside, expanded the windows, made the space of the ground floor visible, literally transparent, from the street. The architectural solution corresponds to the objectives of the Education Center - to be open to every visitor. 

On the first floor, the focus has shifted from the stairs to the 'wings' - now there is a MMOMA Kids children's area and a museum cafe with a shop. For the library on the 2nd floor, we designed furniture, offered a special lighting.The exhibition space on the 3rd and 4th floors has practically not changed: the halls remained as free as possible and at the same time 'flexible' for artistic solutions. On the fifth, where lectures, conferences and master classes will be held, we created mobile partitions that will allow changing the space depending on the objectives of the event. The symbol of space and elements uniting it is a huge luminous sphere on the central staircase and dozens of spheres of different sizes at the entrance, in the library and on all floors of the center. We decided that the accents and highlights in space should be made not by color, but by texture and natural materials. On the vertical wall of the staircase, which, like an artery, passes through all the floors, a metal panel appeared that hides the office space.

The facades, roofs and other architectural elements of the Winery will turn into scenery in the new project by Irina Korina ‘Not only about you’. The sea, the forest grove, the mountain cliff, the spring sky will be subjects for the artist and a new reading of the Winery itself. Irina Korina's exhibition will complete the jubilee cycle ‘Farewell to Eternal Youth’.

Throughout 2017, artists of the cycle ‘Farewell to Eternal Youth’ looked at art in different ways within the framework of personal projects throughout the territory of the Winery. Irina Korina, working with everyday materials - banner fabric, polycarbonate, corrugated board, plastic - scales them, ‘surrounding’ visitors with imitations of nature.

‘Not only for you’ involves the viewer in thinking about the dynamics of environmental changes, the interaction of nature and architecture, civilization and chaos. Similar to theatrical backdrops for a non-existent play or computer game backgrounds, the artist's objects symbolize the impossibility of returning today's civilization to harmony and ecological balance. She ‘breaks the patterns’ in the perception of concepts such as art, space, value, architecture.

‘TECHNE. The prologue' introduces the viewer to the context of technological art and presents an exposition of historical graphic works, art objects and video installations of iconic Russian and foreign authors.

Among them - the pioneer of Soviet media art, the creator of the legendary scientific research institute ‘Prometheus’ Bulat Galeev; video artist, founder of video art Nam June Pike; Japanese audiovisual genius Riochi Kurokawa; media artist Dmitry: vtol: Morozov, world famous for his robotic and sound installations; Canadian Jeremy Bailey creating generative videos; conceptualist, reflecting on the future, Dmitry Prigov; and many others.

The emergence of technological art in its various manifestations are represented by works of the classics of Russian art, such as Peter Beliy or Francisco Infante-Aran, as well as the key Russian art groups 'Коллективные действия' and 'Синий суп'. Special projects by Riichi Kurokawa and Dmitry: vtol: Morozov, presented at the exhibition 'TECHNE. Prologue', fully demonstrate the relationship of the modern artist with new media.

Video about the exhibition: https://vimeo.com/255728879

The exhibition features three videos and a series of photos. All works are united by the theme of a revolution in history and art. The artist regards the coup as a historical event and as an artistic method.

The central video of the exhibition ‘The Anthems of Muscovy’ was created specially for the exhibition together with the composer Alexander Manotskov. In the film, the architectural styles of Moscow are compared with variations on the anthem of the USSR and Russia. Three epochs in architecture, three hymn variations.

Continues the theme of the coup video 'Krisis' (al. Greek turning decision; the court). The classic discussion film, the judicial drama in which the participants, like the jury, try to assess the demolition of the monument to Lenin, but cannot come to a common opinion.

The video 'In another time' takes place in the underground of the Moscow metro, where young people peer at the walls, listen to the sounds, look thoughtfully into nowhere. Dmitry Venkov catches a special course of time that flows in the subway.

One of the first graffiti artists in Russia, the nominee of the Kandinsky Prize, Misha Most will present a large-scale solo exhibition in Moscow. ‘Evolution 2.1’ is the result of an experiment on the interaction of a person with a machine. The central part of the exposition will be occupied by a picturesque panel created by a robot according to the artist's sketch.

Misha Most reflects on the future of the artist's profession and wonders: how will technology affect art? Will the creation of a work of art be a mechanical process or will it remain the prerogative of an exceptional talent?

The entire space of the exhibition is a futuristic image of an experimental laboratory. In the exposition, works created in the co-authorship of man and robot - painting work in progress, the results of the experiments of the machine-artist and the artist-man.

Video: https://www.youtube.com/watch?v=O43jmEBSa2Y

Garage Museum of Contemporary Art presents an exhibition of documents relating to the poetry of Igor Kholin and Genrikh Sapgir, 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.

Featuring recent acquisitions from Garage Archive Collection, at the heart of the exhibition are manuscripts and samizdat publications donated by artist Viktor Pivovarov, some signed by the authors and many including previously unpublished poems. These are exhibited alongside Pivovarov’s illustrations for Kholin and Sapgir’s unpublished works, and his sketches for the album Kholin and Sapgir Triumphant. The exhibition also features typewritten texts from the archives of Leonid Talochkin and Igor Makarevich, as well as photographic portraits of the poets by one of the chroniclers of the Moscow underground scene of the 1960s and 1970s, Igor Palmin. To provide a broader picture of the Soviet nonconformist literary scene and the lives of the two poets, the exhibition includes newspaper articles and journal clippings from Garage Archive Collection and photographs from the poets’ family archives, as well as recordings of Kholin and Sapgir made in the late 1980s by German researchers Sabine Haensgen and Georg Witte, which were featured in the multimedia collection Lianozovo School (1992).

Design and production of a table for a restaurant terrace.

The project ‘City sauna' is multi-component and involves different types of media: objects, video, silk-screen printing, photo, graphics. In the center of attention are three types of municipal waste: organic compost, dry hawthorn stems and heat of red-hot microcircuits. Thematically, the exhibition consists of two parts. The archival part is devoted to the history of the issue of the origin of life in the Middle Ages and the new time: illustrations and quotations from books on philosophy, alchemy, natural science and Francesco Redi's experiments. Artistic part - the objects created by the authors, which embody the idea of ​​the origin of life in the conditions of modern civilization.

The elevation and decoration of Palazzo Koshelev, taking into account the nature and specifics of the activities of a single architect, decorator and owner, is the most effective way at the moment to form a holistic view of it. This palace is created with a full understanding of the phantom nature of the building - it cannot gain stability and durability while its ambitious owner is alive, but at the same time, only in working on its massive building there is a chance to understand something important about yourself before holding a retrospective the exhibition halls and corridors will not be what, in the final analysis, should be turned into a ruin. (Regina Gallery)

‘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. Kirill Savchenkov (b. 1987, Moscow. Lives and works in Moscow) focused on the library collection, the Art Projects Foundation collection, and Garage video archive.

The interactive exhibition ‘Codes. Sounds. Signs’, organized in collaboration
with the Embassy of Mexico, consists of reconstructed musical instruments and sound reproducing equipment. They do not just bring together technology in one object, but also expand the boundaries of the listening experience, destroying the primitive standard functionality of the equipment. Tanya Kandiani’s project describes the forms of interaction between musical instrument, machine and man - this, in the broadest sense, is a study of the emerging language of modern technologies.

DIVISARE - https://divisare.com/projects/324091-masterskaya-be-dmitry-chebanenko-codes-sounds-signs

Moscow Museum of Modern Art presents a large exhibition project, which will be an experiment for its participants as well as for its visitors. The Art up. Art in Festival is an attempt to find common ground between the international and Russian art of the 20th - 21st cc. and visual philosophy of companies, doing business in Russia in different economic sectors. Within the experiment, the Museum will be a platform for dialogue between artistic messages of the areas of ‘pure’ art and everyday life. The project special guest will be the Vladey auction, focused on contemporary Russian art. Two pre-auction exhibitions and public sales will take place on the second floor of the MMOMA main premises. Portion of the obtained proceeds will be directed at financing the Museum’s exhibition and education projects.

During the exhibition, the mansion at 25, Petrovka Street will become an ‘open museum’’. The building, which used to be an estate of the merchant, a gymnasium and a hospital, and has only recently become the first museum of contemporary art in Russia, has preserved the luxurious exterior and interiors of the 17th century. This combination of old and new forms, neighborhood of completely different eras pushes the artist, the viewer and the project participants to free game with the historical and artistic material, characteristic of postmodernist aesthetics, which has always been open to different spheres of human activity.

One of the key contributors to the Moscow underground art scene of the 1970s and 1980s, George Kiesewalter is known as a member of Collective Actions group and the Avantgardists’ Club, and for exhibiting his works at the legendary APTART gallery. What is less-known is that he also was a prolific photographer of the scene in which he participated. Insider is the first exhibition to feature the artist’s documentary archive photographs, which are now part of Garage Archive Collection. 

Offering rare glimpses into an otherwise closed community, Kiesewalter’s photographs capture the energy of the Moscow underground in the 1970s and 1980s. His archive includes documentation of Collective Actions’ happenings, apartment exhibitions, portraits of fellow nonconformist artists and interiors of their studios, as well as scenes from their everyday life. ‘In the mid-1970s I was simply taking pictures of the people and events I liked on my basic Smena-7 camera that I always carried in my bag,’ Kiesewalter recalls. ‘I would photograph everything that happened in my circle, emphatically dissolving into whoever or whatever I was shooting and the whirlpool of happenings, travel, and meetings. I was shooting my buddies, my equals, ‘from the inside’. 

The student project, made in Sint Lucas school of architecture, meant to find a place in the city of Ghent, to feel its atmosphere and to breathe new life into it with minimal interventions. After exploring the city, an empty island was chosen on the outskirts of Ghent, which once housed the city customs.

The main problems identified were:

1. Conflict of use

An enclosed use of the gardens turns the island into un-claimed land. An inviting ambience crashes into a feeling of prohibition.

2. Lack of identity

A loss of character along time. Tension between industrial and dwelling structures; rooted and fragile ways of living.

3. Failure in readability

Non-defined and non-walkable borders. An heterogeneous structure disables the reading of an island.

Artist Vadim Zakharov’s video archive - produced over the last 25 years - offers a unique overview of the Moscow Conceptualists, as well as their predecessors and immediate successors, through recording the exhibitions in Moscow and the West that made public the protagonists who formed this community.

With footage of more than 180 shows that took place in cities such as Paris, Cologne, New York, Rome, Milan, and Berlin, the archive offers an unprecedented, nuanced, and singular view of an era when exhibition-making became the central lens through which artists could communicate with an audience they otherwise had little opportunity to connect with.

This exhibition and it's title, ‘Postscript after RIP’, represents the moment when Zakharov leaves his archive to rest in peace, and Garage Museum of Contemporary Art takes on the role of taking care of this collection.

‘Postscript after RIP’ is both an installation made by Vadim Zakharov and the first major display of his archive, which is now part of Garage Archive Collection.

Conversion of the former art workshop to an architectural bureau.

‘Garage, Archived’ coincides with the first anniversary of Garage’s move to its permanent home in Gorky Park.

This exhibition is the first project to draw on the Museum’s institutional archive, sharing with audiences key milestones, such as the reconstruction of the historical spaces it has occupied, the experiences of the people who shape its inner workings, and the evolution of the educational and exhibition programs.

At the exhibition, visitors will also get the chance to look back on the Museum’s eight-year history in real time: Garage’s research team has recorded ten video interviews with several members of staff, some of whom have been working at Garage since it was founded in 2008.

For something quite different, one part of the exhibition is dedicated to an unusual archaeological collection, discovered during construction on the site of the new Garage building: medical vessels, and ink and perfume containers, dated back to the late 19th and early 20th centuries.

Jungle Fresh Stage at Bosco Fresh Fest 2018, planed as a space settlement. The three main objects of the zone - stage, bar and art object are interconnected by corridors - greenhouses, which are paths for people, but also, with a certain frequency, have exits from the corridors for free movement around the site. The outer walls of the corridors are mirror surfaces due to which they dissolve in space. Inside the corridors - plants with fluorescent lamps. Above the whole area, the cables are suspended on which the lighting is hanged.

Exhibition 'VDNKH. Architecture. Events. People 'is a retrospective of the impressions of photographers who filmed VDNH for seventy-eight years. Most of the photographs presented in GUM will be shown to the audience for the first time.

The exposition is built chronologically and is divided into periods: 1930-1940, 1950-1960, 1970-1980, 1990-2000, 2014-2017. The main part of the project is the work of the classics of Soviet and Russian photography, and the most recent shots, which captured the large-scale reconstruction of the Exhibition of Economic Achievements, were made by young photographers, winners of the project ‘VZLET’, whose goal is to discover new names and support young cultural professionals.

In addition, the photo exhibition will complement the video about VDNH. On the screen installed next to the exposition, an archived historical video will be broadcast, as well as a video series about the plans for the development of the Main Exhibition of the country.

The Moscow Museum of Modern Art presents a solo show of the artist Valery Chtak ‘IF MY WAY - NO WAY’. The exhibition is divided into several sections, which define the artist’s identity. These are a sub-cultural cluster, music studio, workshop, etc. The exposition is located on four floors of the Moscow Museum of Modern Art in Ermolaevsky Lane and brings together works of various genres and techniques, the majority of which will be created directly in the Museum’s halls.

The Chtak’s show is a total installation. Each element of the exhibition having a compositional and meaningful completeness belongs to a single symbolic system - collection of witty phrases, aphorisms, common symbols, banalities and manifestations of mass and popular culture, numerical and text riddles, borrowings and citations from music, literature, visual art and philosophy, which the artist has been ‘accumulating’ for his practice.

The works of French photographers provide an opportunity to get acquainted with the unique architectural and museum complex of France - the House of George Sand in Nohant.

The exhibition presents a home puppet theater (castellas), canteen, boudoir and George Sand study, alleys and rose garden.

The exhibition in Khamovniki reveals poetic mystery of the George Sand estate, whose sister was the famous estate of L.N. Tolstoy in Moscow.

Occupying the first three floors of the museum, Kuzkin’s project comprises the scaled photo and video documentation of 70 actions and performances, occurred during the last 8 years of the author’s active artistic career.

Photo pads, specially created for the exhibition, are, according to the author, material evidences of memory, deliberately turning the exhibition into a retrospective.

Garage Museum of Contemporary Art is proud to present Köken Ergun’s first solo exhibition in Russia: a new project titled ‘Young Turks’. Comprising a two-channel video and immersive installation, the exhibition explores the impact of Turkish international schools in more than 100 countries around the world.

Using an intimate documentary style, Ergun shot footage during his research in Turkey, Kenya, and Indonesia, focusing on the Turkish Olympics, organized annually through the network of schools. Following the preparations of the students to participate in Turkish folklore, poetry, and song competitions, Ergun’s film also captures the final event in Turkey. This includes a fair ground with country stands, which is reminiscent of a World’s Fair in its scope and exoticism for local visitors, who are equally intrigued at seeing the international students speaking Turkish fluently.  

Continuing Ergun’s long-term focus on communities that are not known to a greater public and the importance of ritual in such groups, ‘Young Turks’ is a research project that prioritizes individual stories - via interviews conducted with students, teachers, and other members of the community - to explore how the role of education impacts both neocolonialist and intercultural dialogues.

‘MOON’ is not a single installation, but a live organism that stretches around the world.

How does it work? Individual cube would contain a small - scale exhibit, that would be chosen to represent a museum’s collection and increase public interest.

The cube itself is portable and easy to construct. While the space is adaptable to almost any kind of small scale art exhibit. It might be a couple of paintings, video, sound art or even an interactive installation.

‘MOON’ would be located in non-places, that are normally transitional spaces. The project enables them to become cross-roads for human interaction and contributes to its social value.

In such crowded places as airport terminals, train stations or shopping malls ‘MOON’ introduces one to the exhibitions hosted in the city. One could sneak a peek to one of the biggest museums of the world instead looking at his/her smart-phone.

‘MOON’ as a visual form is autonomous from its function. Its shape does not represent anything, but triggers one’s imagination. It is not about the physical form, but how one engages with it. Everyone understands it differently. One can leave the usual environment and venue out into the art world, that would lead to refreshed imagination and new bright ideas.

The aim is to create an area that will be a gradient between the city and the port. To continue walking and cycling routes. To give opportunity  for people to enjoy the main attraction of the port city – connection with water, without disturbing the existing, more private structures for yachting and fishing.

Interior of the private house, created for the time of rental

Real Estate 2016 - https://vimeo.com/188151841

Moscow Urban Forum 2017 - https://vimeo.com/233320347