Exhibitions in GARAGE: July 2018


Photo: Dima Shumov, © Garage Museum of Contemporary Art
Photo: Dima Shumov, © Garage Museum of Contemporary Art

Dear Friends,

This month, while Moscow caught it’s breath after all the excitement of the World Cup, Garage continued the revelry with the launch of the third episode of the IAM project: Ryoji Ikeda's new audio-visual installation code-verse. On the night before the opening, the artist played live as part of the Mosaic Music series, featuring his latest sound and light performance—supercodex.

In parallel, the summer program at Garage continues with five other exhibitions—a one-man show by Juergen Teller, two multi-disciplinary projects involving ongoing workshops and performances, Infinite Ear and Did You Have a Good Time? Vremena Goda Café since 1968, a project dedicated to our museum goers Dear Visitors..., and a ground-breaking monumental kinetic work by Viacheslav Koleichuk—Atom (1967/2018)—a thirteen-meter-high sculpture in Garage Square.

In other news, Garage's project Open Systems is once again on the road, with a new iteration at the ARTETAGE Modern Art Museum in Vladivostok. Since its beginnings at Garage in 2015, the project has traveled to seven cities across Russia and now includes 29 new initiatives as well as photo and video documentation from each of the previous seven shows.

And lastly, Garage has announced an open call for applications for next year's grants, which offer support to emerging artists aged from 18 to 35, including the Signet Land Art grant for artists over 18 working in the field of land art. The latter considers proposals for a land art piece in Moscow’s Gorky Park as part of collaboration between Garage, the Glenmorangie brand, and the park itself. Applications can be submitted to grant@garagemca.org by September 16. For more information on Garage’s grants program, please visit the website.

For more details please scroll down or visit our website. Have a great Summer!

All the best,

Kate Fowle

Kate Fowle
Garage Chief Curator



Photo: Oksana Mayakova
Photo: Oksana Mayakova


July 19 – August 26, 2018

The final part of the IAM project opens with code-verse, a new multimedia installation by Ryoji Ikeda produced in collaboration with Centre Georges Pompidou in Paris. It represents one possible answer to the question of interactions between artists and the digital world. Ikeda (b. 1966, Gifu, Japan) has been working in digital art since the 1990s. Having started out in electronic music, he later moved on to experiments in video and through them, to the making of large audio-visual installations based on mathematical code. Using musical pitch as a medium, he translates various kinds of data into an almost abstract code—a perfect sequence of “phrases” that create audio-visual compositions like those in code-verse. A universe of code and a code poem, the installation transforms mathematical code into an independent symphonic or polyphonic work. code-verse has no narrative: it communicates with the viewer’s senses. Immersed in white noise, viewers are invited to contemplate the poetry of mathematical relationships and variations in code in the same way one listens to music.



July 13 – August 26, 2018

The next iteration of Garage’s travelling exhibition—Open Systems. Self-Organized Art Initiatives in Russia. 2000–2018—opened last weekend at the ARTETAGE Modern Art Museum in Vladivostok. Running through August 26, the exhibition completes the three-year journey of the Open Systems project.

The goal of the Open Systems project is to identify various types of artistic self-organization, their characteristics and regional specifics outside of large institutions and habitual museum formats. Artistic communes and creative workshops, "apartments" and street assemblies—all these and many other versions of self-organized art communities have been conditionally divided into four groups depending on the place where the exhibitions, promotions, and other events take place.

In Vladivostok, the show will be supplemented with materials on Far Eastern non-commercial initiatives—artists' street festivals and apartment displays, exhibitions in factory workshops and underground passages—reflecting the obvious desire of young artists to achieve autonomy and work independently of public or private institutions. The exhibition features such self-organizations as Vladivostok School of Contemporary Art, Korobka Centre of Everything, the Yakut artists' project #ArtBox, and CHICKEN ZIN from Khabarovsk, as well as Vladivostok’s 3kp, Caesar and The Triple Total Studio, Far Eastern Homewreckers, and Fashion Yurodivy.



Site-specific performance Escalation of Heroism, Worker and Kolkhoz Woman, Moscow, 2015 © Katerina Pomelova. Image courtesy Isadorino gore dance cooperative
Site-specific performance Escalation of Heroism, Worker and Kolkhoz Woman, Moscow, 2015 © Katerina Pomelova. Image courtesy Isadorino gore dance cooperative


From July 16 to July 21 as part of Garage Live 2018, the Museum presented Silent Period, a joint project with dance cooperative Isadorino Gore aiming to increase the Russian audience’s understanding of live art practices. A workshop program on contemporary dance, performance, and their critical analysis has been designed for new practitioners, critics, and theorists of contemporary dance and performance, who have been selected from across Russia through an open call.

Program teachers include Fernando Belfiore, Elena Demyanenko, Anna Kozonina, Anya Kravchenko, Anna Volkland, and Charlotte Imbault.


Oksana Moroz at IAM: Episode II. Conference at Garage Museum of Contemporary Art, Moscow, July 17, 2018
Oksana Moroz at IAM: Episode II. Conference at Garage Museum of Contemporary Art, Moscow, July 17, 2018


On July 17, Garage held a one-day conference involving leading specialists in new media and researchers on the digital environment. The questions posed during the course of the day included the interrelationship between current developments in technology and artistic practices, and how they may affect artists’ choices of method and media.

Speakers included Anne Dencker Bædkel, Dragan Espenschied, Lev Manovich, Oksana Moroz, Pavel Pack, Vlad Strukov.



Through Hardship to the Stars Directed by Richard Viktorov, Nikolay Viktorov, USSR, 1980, 148 minutes
Through Hardship to the Stars Directed by Richard Viktorov, Nikolay Viktorov, USSR, 1980, 148 minutes


July 2 – September 3, 2018

From July 2 throughout the summer at Garage Screen summer cinema, a selection of films are being screened in which the directors tried to predict the fashion of the future. This program is the result of the partnership between Garage, the online platform FARFETCH, our summer cinema partner, and the periodical about fashion, beauty, and modern culture—The Blueprint. The selection includes six films, in which fashion plays the main part in creating an image of the future or an alternative reality tracing how cinema imagines the fashion of the future and how the designers, along with the directors, dressed the people of the future.

The screenings will be held at Garage Screen every two weeks on Mondays from July 2 until September 3. Each of them will be accompanied by a lecture from fashion historians, costume designers, and fashion journalists from The Blueprint. The joint program opened on July 2 with the screening of Dolls (2002) by Takeshi Kitano and continued with Through the Thorns to the Stars (1981) by Richard Viktorov on July 16. Future screenings include Metropolis (1926) by Fritz Lang on July 30, Blade Runner (1982) by Ridley Scott on August 13, and the famous comic sci-fi film Barbarella (1968) by Roger Vadim on August 27.




On July 18, before the opening of Ryoji Ikeda’s latest installation code-verse, the award winning minimalist electronic composer and artist presented his latest audio-visual set, supercodex [live set], previously played at the Metropolitan Museum of Art in New York and Centre Pompidou in Paris. Released as an album through the German avant-garde label Raster-Noton, the CD supercodex (2013) can be found at codex | edition.

Ikeda’s minimalist yet monumental performances are derived from his expertise in mathematics and information technology. They comprise the public processing of big data, which is transformed into an impressive, hypnotizing mass of sound and black-and-white imagery. Starting with quiet ambient sounds, Ikeda gradually builds up the volume, speed, and diversity of the soundwave, subtly drifting from noise and glitch to ascetic dance beats and back, while turning sound into data, formulae, and sine waves. Overloading human eyesight and hearing with data, he creates a working model of the digital world and our potential future, where every object, physical phenomenon, and even human personality can be presented as a cуclopean database which, in turn, can be recoded into sound and then played.

Mosaic Music is part of Garage Live—a special program of events that reflect on the Museum’s building and its architecture. The program features concerts, artist interventions, performances, and lectures.



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