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

RAPпресс. — 1999, № 1 (3)

Available on request

Igor Ponosov is an artist, curator, and street art theorist, co‑founder and editor of the project Partizaning. He started out as a graffiti artist in 1999, publishing books on street art in Russia and the post‑Soviet countries, curating the urban art project Stena and the festival of grassroots initiatives Delai Sam, organizing conferences, and taking part in education programs about street art. The archive he gathered from 1998 to 2020 includes graffiti zines, newspapers, hip hop magazines, articles on the Russian graffiti scene, catalogues and books about street artists such as Pasha 183, Kirill Lebedev (Kto), and TOY. It also features rare publications released for actions by the Partizaning movement and for the Delai Sam festival, as well as preparatory materials for books that Ponosov helped publish. 

An important part of the archive is made up of photographs of “urban phenomena"-collections of forms produced by the painting over of graffiti (buffing) in Moscow‑and social graffiti; of city‑endorsed propaganda murals; of walls; of comments and dialogues on the walls by the entrance to Winzavod Center for Contemporary Art, where the project Stena took place; and of exhibitions, festivals, fairs, and street art objects. The collection of ephemera in the archive includes flyers, posters, and other printed matter for projects that feature street artists, texts on street artists, and texts and interviews produced for exhibitions. The archive also contains unique street art objects: studies and printed photographs of works by Konstantin Danilov (Zmogk), his badges and certificates, and rare stickers by Kirill Lebedev (Kto), A.D.E.D., Artmossfera, and Dima Gred. 

<h2>About the founder</h2>

Igor Ponosov (b. 1980, Nizhnevartovsk) is an artist, curator, and street art theorist. He started out as a graffiti artist in Kiev in 1999. He is the author and co‑author of several publications on street art and since 2010 has given talks on the subject at various forums and conferences and curated a number of education programs focused on street art. In 2011 he co‑founded the Partizaning movement, and from 2011 to 2013 curated Stena, a discussion platform on urban art. From 2013 to 2016 he curated the Art Activism section at the festival Delai Sam. Ponosov has curated exhibitions and festival projects in Berlin, Bishkek, Kazan, Moscow, and St. Petersburg. His books include Art and the City (2016, in Russian) and Russian Urban Art: History and Conflicts (2018). He is a winner of the Sergey Kuryokhin Prize (2016). He lives and works and Moscow.

Igor Ponosov is an artist, curator, and street art theorist, co‑founder and editor of the project Partizaning. He started out as a graffiti artist in 1999, publishing books on street art in Russia and the post‑Soviet countries, curating the urban art project Stena and the festival of grassroots initiatives Delai Sam, organizing conferences, and taking part in education programs about street art. The archive he gathered from 1998 to 2020 includes graffiti zines, newspapers, hip hop magazines, articles on the Russian graffiti scene, catalogues and books about street artists such as Pasha 183, Kirill Lebedev (Kto), and TOY. It also features rare publications released for actions by the Partizaning movement and for the Delai Sam festival, as well as preparatory materials for books that Ponosov helped publish. 

An important part of the archive is made up of photographs of “urban phenomena"-collections of forms produced by the painting over of graffiti (buffing) in Moscow‑and social graffiti; of city‑endorsed propaganda murals; of walls; of comments and dialogues on the walls by the entrance to Winzavod Center for Contemporary Art, where the project Stena took place; and of exhibitions, festivals, fairs, and street art objects. The collection of ephemera in the archive includes flyers, posters, and other printed matter for projects that feature street artists, texts on street artists, and texts and interviews produced for exhibitions. The archive also contains unique street art objects: studies and printed photographs of works by Konstantin Danilov (Zmogk), his badges and certificates, and rare stickers by Kirill Lebedev (Kto), A.D.E.D., Artmossfera, and Dima Gred. 

About the founder

Igor Ponosov (b. 1980, Nizhnevartovsk) is an artist, curator, and street art theorist. He started out as a graffiti artist in Kiev in 1999. He is the author and co‑author of several publications on street art and since 2010 has given talks on the subject at various forums and conferences and curated a number of education programs focused on street art. In 2011 he co‑founded the Partizaning movement, and from 2011 to 2013 curated Stena, a discussion platform on urban art. From 2013 to 2016 he curated the Art Activism section at the festival Delai Sam. Ponosov has curated exhibitions and festival projects in Berlin, Bishkek, Kazan, Moscow, and St. Petersburg. His books include Art and the City (2016, in Russian) and Russian Urban Art: History and Conflicts (2018). He is a winner of the Sergey Kuryokhin Prize (2016). He lives and works and Moscow.

Street art archive

NESCAFE — Чистая энергия

Moscow

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0001.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0002.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0003.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0004.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0005.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0006.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0007.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0008.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0009.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0010.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0011.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0012.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0013.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0014.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0015.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0016.png

RAPÐ¿ÑÐµÑÑ â1(3). ÐÑÑÐ½Ð°Ð» Ð¾ ÑÐ¸Ð¿-ÑÐ¾Ð¿ ÐºÑÐ»ÑÑÑÑÐµ Ð² Ð Ð¾ÑÑÐ¸Ð¸, Ð¿ÐµÑÐ°ÑÐ½ÑÐ¹ Ð¾ÑÐ¸Ð³Ð¸Ð½Ð°Ð»-0017.png

RAPпресс. — 1999, № 1 (3)

Details