On&nbsp;Saturday November 23 the 0+ Space will be&nbsp;closed.

Please note

7-9 years 

10-14 years 

15-17 years 

0-6 years 

Architecture

Photo

Journalism

Psychology

Music

Books in English

Family

Garage Dance

Garage.txt

Garage Screen

Stream

Contemporary Critical Thought

Directors’ series

The Garage Journal

Exhibition catalogues

Research

Children's books

Garage + Ad Marginem

Seminars, Workshops and Training

Lectures & Talks

Concerts & Performances

Film Screenings

Exhibitions

Courses

Tours

Concerts & performances

Conferences

Exhibitions & projects

News

Interview

Talks

Lecture cycles

Conferences and seminars

Book presentations

Art Guide

Garage publishing program

Sponsors, patrons, and partners

Information partners

Garage publishing program in collaboration with Artguide Editions

Garage International Publishing Program

Library events

Books in english

Russian

English

Bilingual (russian/english)

Film programs

GARAGE Club

Programs for exhibitions

Events

Garage Live

Academic program

Grants

Field research

Patronship

Garage Studios

Mosaic Music

GARAGE Student

Film festival

Film distribution

Sign language

Mental disabilities

Migration

Audio description

Tactile models

Accessibility guide

Physical accessibility

GARAGE Individual

Digital accessibility

Diversity

Events at Garage

Garage publishing program and Strelka Press 

Text

Audio

Video

Feature

Guide

GARAGE Individual +1

Research laboratories

Artistic research

Translation to russian sign language

Subtitles

Adapted tours

Quiet room

Translation to uzbek, tajik, and kyrgyz

GARAGE Premium

“We Treasure Our Lucid Dreams”

Space 1520

GARAGE Circle

Temporality

Disability

Affect

Overcoming

Body

Timelessness

Non-normative body

GARAGE Collectors Circle  

Experience of the other

Otherness

Developmental disabilities

Mental health

Trauma

Personal experience

Neural networks

Language

7-11 years

Plain language

Garage Café

The computer class schedule

Mediation

Oleg Baranov Going Down

Podcasts

Shelf of the Month. Theatrе

Publishing program page

Series of meetings with residents

Open call

Shelf of the Month. Cinema

Shelf of the Month. Modern Dance

Projects Oral History and Oral History 2.0

Visitors in a wheelchair

garage-txt

Open storage

Public programs

Free

Registration required

Free for exhibition ticket holders

Paid

Booking required

Booking via phone or email is required

Booking on reception is required

Off-site projects

Architecture and design

Supervision

Museology

Philosophy

Economy

Cinematography

Critical biography

Memoirs and diaries

For Garage card holders

For children

GARAGE + Ad Marginem

GARAGE PRO

Minima

Paperback

Hardcover

Hardcover with dust jacket

Book review

Professional programs

Video review

Garage publishing program in collaboration with Ad Marginem Press

Garage publishing program in collaboration with Ad Marginem Press. GARAGE PRO Series

Garage publishing program in collaboration with Ad Marginem Press. Minima Series

City tours

Exhibition tours

Seminars, workshops & training

Lectures & talks

Long before snapshot aesthetics became fashionable William Eggleston started to take pictures of his hometown Memphis, Tennessee. He discovered new and unexpected forms of beauty in the seemingly mundane surroundings of everyday life. Wistfully exploring his native South, he pioneered the use of color photography, which at the time had mainly been used for advertising and magazine work. This handsome book presents a long overdue survey of his luminous photographs spanning from 1967 to the present, drawn primarily from Eggleston's own archives. A kitchen sink, a country road, a girl lying in the grass: Eggleston's deceptively simple images reveal hitherto hidden and intricate pleasures of the visible world. In an insightful interview Eggleston recounts the development of his approach to photography, while the introductory essay by writer and curator Thomas Weski places Eggleston's work in the context of his contemporaries.

William Eggleston

Available on request

In 2018, Garage Museum of Contemporary Art acquired the archive of Victor Tupitsyn and Margarita Tupitsyn, curators, critics, and art theorists currently based in New York and Paris. 

Victor Tupitsyn and Margarita Tupitsyn have published numerous books, articles, and catalogues examining various aspects of the Soviet avant‑garde and unofficial art. They have curated large‑scale exhibitions on these fields in major institutions, including Tate Modern (London), the Guggenheim Museum (New York), and the Reina Sofia Museum (Madrid). In 1989, they co‑edited the Russian‑language issue of Flash Art magazine. It was largely due to the Tupitsyns’ efforts that Soviet nonconformist art entered the academic curriculum and was covered in scholarly publications. 
 

The archive contains documents on the history of Soviet nonofficial art and poetry, spanning the period from the late 1950s to the late 1990s. It includes extensive documentation of performance art by the group Collective Actions, of MANI (Moscow Archive of New Art), and the legendary co‑op gallery APTART, run in Nikita Alexeev's Moscow apartment from 1982 to 1984. The archive also features photographic and documentary materials related to many conceptual and Sots artists, including Yuri Albert, Sergei Anufriev, Erik Bulatov, Elena Elagina, Ilya Kabakov, Komar and Melamid, Andrei Monastyrsky, Igor Makarevich, Irina Nakhova, Timur Novikov, Larisa Rezun‑Zvezdochotova, Leonid Sokov, and many artists who emerged during perestroika. Records of oral and transcribed conversations, along with extensive correspondence with artists, form a unique historical record of Soviet unofficial art history that would otherwise be missing. Another important part of the archive is a visual record of Margarita Tupitsyn’s historical and contemporary art exhibitions, organized in Europe and the USA from the 1980s to the 2000s. 

The archive also includes the Tupitsyns’ library of Soviet art books, catalogues, and magazines, including those by the Tupitsyns. As part of Garage Library, this collection is now publicly accessible. 

Victor Tupitsyn (b.1945, Moscow) is a poet, philosopher, art critic, and cultural theorist living in Paris and New York. He graduated from the Mathematics Department of Moscow State University (1965). In 1975, Tupitsyn emigrated from the Soviet Union together with his wife, Maragrita Tupitsyn, following political complications caused by their participation in the 1974 Bulldozer Exhibition. He received his PhD in mathematics from the University of New York at Stony Brook in 1976. Tupitsyn’s publications include The Other of Art (1997), Communal (Post)Modernism (1998), Verbal Photography: Ilya Kabakov, Boris Mikhailov, and the Moscow Archive of New Art (co‑authored with Margarita Tupitsyn, 2004), The Eyeball of Discord: Conversations with Ilya Kabakov (2006), Moscow — New York (co‑authored with Margarita Tupitsyn, 2006), The Milieu (2013), Anti‑Shows: APTART, 198284 (2017), The Critique of Systemic Reason (2018), and Dark Museum (2019). In 1989, Tupitsyn co‑edited the Russian issue of Flash Art and in 2003 edited a special issue of Third Text. He has written art criticism for Flash Art, Arts Magazine, and Art Journal (USA); Parachute (Canada); Neue Bildende Kunst, Lettre International, and Texte zur Kunst (Germany); D'Ars and Tema Celeste (Italy); Parallax and Third Text (UK); A‑YA (France); and Moscow Art Magazine and Logos (Russia).


Margarita Tupitsyn is an independent curator, scholar, and art critic living in Paris and New York. In 1975, she emigrated from the USSR together with husband Victor Tupitsyn following political complications caused by their involvement in the 1974 Bulldozer Exhibition. Tupitsyn received her PhD in the history of art from the Graduate School of the City University of New York. From 1981 to 1983 she was curator of the Contemporary Russian Art Center of America in New York, where she organized the first exhibitions of Moscow Conceptualism and Sots Art, including Russian New Wave. She was on the editorial board of the journal A‑Ya (France). Her many exhibitions include: Sots Art, New Museum of Contemporary Art, New York (1986); The Green Show, Exit Art, New York (1989); Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism, Tacoma Art Museum (1990); After Perestroika: Kitchenmaids or Stateswomen, Centre International d'Art Contemporain de Montreal (1993); Global Conceptualism: Points of Origin, 1950s‑1980s (co‑curated), Queens Museum of Art, New York (1999); El Lissitzky: Beyond the Abstract Cabinet, Sprengel Museum, Hanover (1999); Verbal Photography: Ilya Kabakov, Boris Mikhailov, and the Moscow Archive of New Art (co‑curated), Museu de Arte Contemporanea de Serralves, Porto (2004); Against Kandinsky, Museum Villa Stuck, Munich (2006); Rodchenko and Popova: Defining Constructivism, Tate Modern, London (2009); and Russian Dada, 1914–1924 at Reina Sofia Museum, Madrid. In 2015, Tupitsyn curated the Russian Pavilion at the 56th Venice Biennale. She is the author of numerous books and catalogues, including Margins of Soviet Art: Socialist Realism to the Present (Milan: Politi Editore, 1989), The Soviet Photograph (Yale University Press, 1996), Moscow Vanguard Art, 1922–1992 (Yale University Press, 2017), and Anti‑Shows: APTART 1982–1984 (co‑authored with Victor Tupitsyn, Afterall, 2017). She has written art criticism for Flash Art, Artforum, Art Journal, and Art in America.

In 2018, Garage Museum of Contemporary Art acquired the archive of Victor Tupitsyn and Margarita Tupitsyn, curators, critics, and art theorists currently based in New York and Paris. 

Victor Tupitsyn and Margarita Tupitsyn have published numerous books, articles, and catalogues examining various aspects of the Soviet avant‑garde and unofficial art. They have curated large‑scale exhibitions on these fields in major institutions, including Tate Modern (London), the Guggenheim Museum (New York), and the Reina Sofia Museum (Madrid). In 1989, they co‑edited the Russian‑language issue of Flash Art magazine. It was largely due to the Tupitsyns’ efforts that Soviet nonconformist art entered the academic curriculum and was covered in scholarly publications. 
 

The archive contains documents on the history of Soviet nonofficial art and poetry, spanning the period from the late 1950s to the late 1990s. It includes extensive documentation of performance art by the group Collective Actions, of MANI (Moscow Archive of New Art), and the legendary co‑op gallery APTART, run in Nikita Alexeev's Moscow apartment from 1982 to 1984. The archive also features photographic and documentary materials related to many conceptual and Sots artists, including Yuri Albert, Sergei Anufriev, Erik Bulatov, Elena Elagina, Ilya Kabakov, Komar and Melamid, Andrei Monastyrsky, Igor Makarevich, Irina Nakhova, Timur Novikov, Larisa Rezun‑Zvezdochotova, Leonid Sokov, and many artists who emerged during perestroika. Records of oral and transcribed conversations, along with extensive correspondence with artists, form a unique historical record of Soviet unofficial art history that would otherwise be missing. Another important part of the archive is a visual record of Margarita Tupitsyn’s historical and contemporary art exhibitions, organized in Europe and the USA from the 1980s to the 2000s. 

The archive also includes the Tupitsyns’ library of Soviet art books, catalogues, and magazines, including those by the Tupitsyns. As part of Garage Library, this collection is now publicly accessible. 

Victor Tupitsyn (b.1945, Moscow) is a poet, philosopher, art critic, and cultural theorist living in Paris and New York. He graduated from the Mathematics Department of Moscow State University (1965). In 1975, Tupitsyn emigrated from the Soviet Union together with his wife, Maragrita Tupitsyn, following political complications caused by their participation in the 1974 Bulldozer Exhibition. He received his PhD in mathematics from the University of New York at Stony Brook in 1976. Tupitsyn’s publications include The Other of Art (1997), Communal (Post)Modernism (1998), Verbal Photography: Ilya Kabakov, Boris Mikhailov, and the Moscow Archive of New Art (co‑authored with Margarita Tupitsyn, 2004), The Eyeball of Discord: Conversations with Ilya Kabakov (2006), Moscow — New York (co‑authored with Margarita Tupitsyn, 2006), The Milieu (2013), Anti‑Shows: APTART, 198284 (2017), The Critique of Systemic Reason (2018), and Dark Museum (2019). In 1989, Tupitsyn co‑edited the Russian issue of Flash Art and in 2003 edited a special issue of Third Text. He has written art criticism for Flash Art, Arts Magazine, and Art Journal (USA); Parachute (Canada); Neue Bildende Kunst, Lettre International, and Texte zur Kunst (Germany); D'Ars and Tema Celeste (Italy); Parallax and Third Text (UK); A‑YA (France); and Moscow Art Magazine and Logos (Russia).


Margarita Tupitsyn is an independent curator, scholar, and art critic living in Paris and New York. In 1975, she emigrated from the USSR together with husband Victor Tupitsyn following political complications caused by their involvement in the 1974 Bulldozer Exhibition. Tupitsyn received her PhD in the history of art from the Graduate School of the City University of New York. From 1981 to 1983 she was curator of the Contemporary Russian Art Center of America in New York, where she organized the first exhibitions of Moscow Conceptualism and Sots Art, including Russian New Wave. She was on the editorial board of the journal A‑Ya (France). Her many exhibitions include: Sots Art, New Museum of Contemporary Art, New York (1986); The Green Show, Exit Art, New York (1989); Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism, Tacoma Art Museum (1990); After Perestroika: Kitchenmaids or Stateswomen, Centre International d'Art Contemporain de Montreal (1993); Global Conceptualism: Points of Origin, 1950s‑1980s (co‑curated), Queens Museum of Art, New York (1999); El Lissitzky: Beyond the Abstract Cabinet, Sprengel Museum, Hanover (1999); Verbal Photography: Ilya Kabakov, Boris Mikhailov, and the Moscow Archive of New Art (co‑curated), Museu de Arte Contemporanea de Serralves, Porto (2004); Against Kandinsky, Museum Villa Stuck, Munich (2006); Rodchenko and Popova: Defining Constructivism, Tate Modern, London (2009); and Russian Dada, 1914–1924 at Reina Sofia Museum, Madrid. In 2015, Tupitsyn curated the Russian Pavilion at the 56th Venice Biennale. She is the author of numerous books and catalogues, including Margins of Soviet Art: Socialist Realism to the Present (Milan: Politi Editore, 1989), The Soviet Photograph (Yale University Press, 1996), Moscow Vanguard Art, 1922–1992 (Yale University Press, 2017), and Anti‑Shows: APTART 1982–1984 (co‑authored with Victor Tupitsyn, Afterall, 2017). She has written art criticism for Flash Art, Artforum, Art Journal, and Art in America.

Margarita Masterkova‑Tupitsynа and Viktor Agamov‑Tupitsyn archive

9783908247982-uk.jpg

Biography

Photography

Weski Thomas

Article author

Eskildsen Ute

Knape Gunilla

Editor

Eggleston William

Mentioned

Preface

Hopps Walter

Göteborgn

Hasselblad Center

Moscow, Garage Archive Collection

International photographers

Contact&nbsp;Us

Hours

GARAGE Card

Today at Garage

Youtube

Telegram

Mailing list

Subscribe to our mailing list and get the latest news from Garage

Press Mailing List

To join our press mailing list, please include your email address in the field

Toward the Source

An international online platform, initiated by Garage Museum of Contemporary Art, bringing together archives on Russian art from the postwar period to the present.

Russian Art Archive Network

If our soup can could speak: Mikhail Lifshitz and the Soviet Sixties

Andro Wekua. Dolphin in the Fountain

The Other Trans-Atlantic

Discounts in Garage Café and the shops in the Museum and the Narkomfin Building, special tour offers, and access to the communal block of the Narkomfin Building

GARAGE card

William Eggleston

Details