Ticket office closes 30 minutes before Museum closing time
How is the project operated?
Garage is the first philanthropic institution in Russia to create a comprehensive public mandate for contemporary art.
How long has it been in existence?
Garage was founded in 2008 by Dasha Zhukova and Roman Abramovich.
What was your motivation?
Garage Museum of Contemporary Art is a place for people, art, and ideas to create history.
Who is responsible for the programming?
Curators and directors
Number and average duration of exhibitions/events per year.
2015: 14 exhibitions
2016: 16 exhibitions
2017: 12 exhibitions
More than 4,000 educational and public events per year.
What kind of events are usually organized?
Exhibitions, performances, family days, public events for the exhibitions, inclusive programs, educational courses for children and adults, presentations, festivals, book fairs.
How is your programming determined?
Through an extensive program of exhibitions, events, education, research, and publishing, the institution reflects on current developments in Russian and international culture, creating opportunities for public dialogue, as well as the production of new work and ideas in Moscow. At the center of all these activities is the Museum’s collection, which is the first archive in the country related to the development of Russian contemporary art from the 1950s through the present.
Do you accept proposals/submissions?
Recognizing the need for institutional support of culture and art in Russia, Garage Museum of Contemporary Art founded the grant programs for different kinds of activities. Learn more at http://garagemca.org/en/about/grants
Over the next year we will pursue parallel narratives under the framework Unstable States, New Constitutions in our first long term feature. Through this itinerary we aim to study our increasingly global instability as a method of learning and unlearning the present and gather the constellations and speculative forms rising from this constant state of crisis. We ask: Can this unprecedented moment of dissolution also be an opportunity for rearticulation and rearrangement?
For the month of September, guest editor Samuel Hertz has assembled a group of artists/theorists whose work focuses of re-imagining ideas and forms of perception. He asks: Is there a sensible way to speak about perception as a political act? Are there methods of performance that identify and enact new political and global sensitivities? What does a focus on perceptive practices add to conversations about re-thinking institutions, senses, sexualities, ecologies, and aesthetics?
Is the act of painting a polite refusal against the instrumentalization of labor and knowledge? https://t.co/q2FasdaOBf