Exhibitions in GARAGE: September 2019

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Dear Friends,

This fall, Garage continues the experiment in making exhibitions ecologically and presents a large-scale biomorphic sculpture by the group Numen/For Use made of Klebio, a newly developed compostable adhesive tape made of cellulose. The new commission Tape Moscow is part of the exhibition The Coming World: Ecology as the New Politics 2030–2100, a large-scale show that brings together historical and new works by more than 50 international artists.

The Coming World: Ecology as the New Politics 2030–2100 will also expand its geolocation, presenting selected works from the show at EXPO CHICAGO this week. Produced in collaboration with one of the oldest non-profit environmental organizations, the Natural Resource Defense Council (NRDC) as part of the Special Exhibitions program (booth #419), the exposition features new works by artists Kim Abeles, Dan Perjovschi, Alexander Obrazumov, and Denis Sinyakov, commissioned by Garage.

In Moscow, this September also marks the starts of the Garage master’s program in Contemporary Art and Curatorship in partnership with the Moscow’s Higher School of Economics. Mirroring the start of the academic year in educational institutions in the country, many events in the Museum’s public program are oriented towards a more professional audience, i.e. artists, curators, writers, and researchers. They include a series of seminars entitled “After Petropolitics: The Politics and Economics of the Coming World”, and Garage Weekend Faculties with Steve Kurtz (Critical Art Ensemble) and Susan Schuppli. An ambitious program of lectures in the framework of the exhibition The Coming World started with a highly political lecture by T.J. Demos and will continue with a talk by Patricia Piccinini, Timothy Morton, and many more.

Keep scrolling for upcoming events and looking forward to seeing you in Moscow, or in Chicago!

Ekaterina Lazareva,
Garage Curator
Co-curator of The Coming World: Ecology as the New Politics 2030–2100

 

GARAGE EXHIBITIONS

NUMEN/FOR USE UNVEILS A NEW INSTALLATION TAPE MOSCOW AT GARAGE ATRIUM

NUMEN/FOR USE UNVEILS A NEW INSTALLATION TAPE MOSCOW AT GARAGE ATRIUM

Тhe group Numen/For Use has taken over part of the Atrium space of the Museum to create a large-scale biomorphic sculpture made of Klebio, a newly developed compostable adhesive tape made of cellulose. Resembling a semi-transparent tentacular structure or a rhizomatic plant inside of which visitors can wander, the corridors of interconnected cocoons largely reproduce the architecture we observe in nature. Numen/For Use has installed site-specific tape installations in institutions around the world, but this is the first time the group has used this type of biodegradable tape, which was developed by the German company Compostella in collaboration with the artists. Around 900 square meters of tape is wrapped layer upon layer, transforming the chaotic skeleton that the installation resembles at the start into a uniform finished structure. Visitors can enter the sculpture and spend time inside it, an experience that might be compared to being in the womb, or in a completely alien world.

 

PUBLIC PROGRAM FOR THE COMING WORLD: ECOLOGY AS THE NEW POLITICS 2030-2100

ARTIST TALK: PATRICIA PICCININI

ARTIST TALK: PATRICIA PICCININI

Date: Friday, September 20, 2019
Time: 19:30–21:00
Venue: Garage Auditorium
Free admission with advance registration

Patricia Piccinini will talk in particular about her works in the exhibition The Coming World: Ecology as the New Politics 2030–2100—The Comforter and Litter—and the way that these works fit into her practice. The artist will also describe her practice in general, which is focused on bodies, nature, and relationships: the relationships between people and other creatures, between people and our bodies, between creatures and the environment, between the artificial and the natural. She is particularly interested in the way that the everyday realities of the world around us change these relations. Perhaps because of this, many have looked at her practice in terms of science and technology, however, it is just as informed by Surrealism and mythology. Her work aims to shift the way that people look at the world around them and question their assumptions about the relationships they have with the world, especially the natural world. Donna Harraway has described her as “a sister in technoculture, a co-worker committed to taking “naturecultures” seriously… [and] a storyteller in the radical experimental lineage of feminist science fiction.”

Piccinini is especially interested in things that fall outside of our traditional ideas of normal or beautiful, or that step across the boundaries that we erect between things. How does contemporary technology and culture change our understanding of what it means to be human? What is our relationship with, and responsibilities towards, that which we create, and with the natural world that surrounds us. While ethics are central, her approach is always ambiguous and questioning rather than moralistic and didactic.

 

WEEKEND FACULTY PROGRAM FOR THE COMING WORLD: ECOLOGY AS THE NEW POLITICS 2030–2100

WEEKEND FACULTY PROGRAM FOR THE COMING WORLD: ECOLOGY AS THE NEW POLITICS 2030–2100

From September 27 until November 3 Garage's Weekend Faculty Program will feature a series of public lectures followed by a three weekends of “crit sessions”, which have been organized for those who wish to deepen their knowledge of research-oriented practices under the guidance of Steve Kurtz (Critical Art Ensemble), Susan Schuppli, and Elin Már Øyen Vister. The series of lectures will be open to the public and will give a broad overview of the invited artists’ practice. The crit sessions will be for a limited audience preselected through an open call.

Applications are only accepted from artists, curators, art critics, writers, and researchers with a proven record in the field of contemporary culture. Twelve outstanding applicants based outside of Moscow will be awarded the Garage Weekend Faculty Scholarship, which will cover return economy class airfare and three nights' accommodation.

 

INTERVENTIONS AND PROVOCATIONS: THIRTY YEARS OF CRITICAL ART ENSEMBLE. A LECTURE BY STEVE KURTZ

INTERVENTIONS AND PROVOCATIONS: THIRTY YEARS OF CRITICAL ART ENSEMBLE. A LECTURE BY STEVE KURTZ

Date: Friday, September 27
Time: 19:30−21:00
Venue: Garage Auditorium
Free admission with advance registration

This lecture presents a sample of some of CAE’s more notorious projects. Through the lens of intervention, Steve Kurtz will speak about models and techniques for public actions and soft subversions aimed at undermining authoritarian tendencies in a time of neoliberal domination.

Sessions by Steve Kurtz will offer the opportunity for critical conversations combining theory and practice between aspiring artists, curators, art critics, writers, and researchers. We will use the cultural research projects of the participants to focus on key issues that the work raises, as well as points of actual or potential friction, building consensus, or constructing plausible deniability.

 

EARTH EVIDENCE. A LECTURE BY SUSAN SCHUPPLI

EARTH EVIDENCE. A LECTURE BY SUSAN SCHUPPLI

Date: Friday, October 25
Time: 19:30−21:00
Venue: Garage Education Center
Free admission with advance registration

How do Earth’s natural media “archives” offer up evidence of environmental degradation and climate change that can be mobilized in making public truth claims? What challenges stand in the way of acting upon such claims, especially within legal forums burdened by the demand to prove direct causality?

During the crit sessions with Susan Schuppli, participants will present their research and current projects taking up some of the key challenges of “witnessing” raised by different materials and events that might demand new ways of seeing or alternate modes of sensing.

How can we—as artists, architects, designers, and creative practitioners—account for and respond to events that don’t conform to human timescales or aren’t organized by human-centered modes of perception? As the environmentalist Aldo Leopold once remarked: “We can be ethical only in relation to something we can see, feel, understand, love or otherwise have faith in."

 

THE POLITICS AND AESTHETICS OF CLIMATE EMERGENCY. А POST REPORT ON THE LECTURE BY T. J. DEMOS

THE POLITICS AND AESTHETICS OF CLIMATE EMERGENCY. А POST REPORT ON THE LECTURE BY T. J. DEMOS

In the framework of the exhibition The Coming World, fall at Garage marks the start of a series of lectures by art professionals around the world that are thinking and acting upon issues of ecology and environmentalism. On September 13, writer and cultural critic T. J. Demos delivered the inaugural lecture “The Politics and Aesthetics of Climate Emergency”, a video recording of which will soon be uploaded on the Garage channel. Tackling the climate emergency discussions, Demos began by asking the quintessential question: emergency for whom? He then continued by unpacking the wider rhetoric around emergency politics and its complexities, bringing to light the dangers climate mobilizations present in particular. The lecture also considered how emergency might give way to the emergence of emancipated futures through intersectionalist social movements.

The series will continue with lectures by Timothy Morton, Stephanie Hessler, Mariana Pestana, and the members of Latitudes group (Max Andrews and Mariana Cánepa Luna). Stay tuned!

 

GARAGE LAUNCHES A MASTER’S PROGRAM IN PRACTICES OF CONTEMPORARY ART AND CURATORSHIP

GARAGE LAUNCHES A MASTER’S PROGRAM IN PRACTICES OF CONTEMPORARY ART AND CURATORSHIP

This fall, Garage successfully launched a two-year, on-campus, practice-oriented master’s program which has no analogs in Russia. The program offers students the chance to explore contemporary art with professionals in the field and provides a unique opportunity to obtain theoretic knowledge and practical skills in the sphere of curatorship, exhibition making, and project management.

As part of Garage Museum of Contemporary Art’s long-term partnership with one of Russia’s leading universities, the Higher School of Economics (HSE), the joint educational program links the expert and theoretic knowledge accumulated by a cultural institution with taught disciplines and research provided by the university.

The first educational project, launched by Garage’s Joint Department at HSE, was an elective-course Contemporary Art: An Introduction to History and Museum and Exhibition. The program topped other courses in the university for the number of students who applied for a place for the second year in a row.

 

CREDITS: Anastasia Potemkina, Pass Me the Salt, Please, 2019, Installation view, Garage Museum of Contemporary Art, Moscow Photo: Alexey Narodizkiy, © Garage Museum of Contemporary Art; Numen/For Use, Tape Des Moines, 2017–2018, Installation view at Des Moines Art Centre, Courtesy of the artists; Photo: A. Narodizkiy, © Garage Museum of Contemporary Art; Photo: A. Narodizkiy, © Garage Museum of Contemporary Art; Critical Art Ensemble. Germany performing Radiation Burn: A Temporary Monument to Public Safety, 2010; © Susan Suppli; © Garage Museum of Contemporary Art.

 

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