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

Please note

Main Collection

Garage Museum of Contemporary Art archive

An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 The action Sharik is an example of maximum simplification and the artist’s humorous and silly approach. In this action he used shaving foam and film editing, which allowed him to create a balloon that appeared out of nowhere and disappeared without a trace.

 An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 The action Sharik is an example of maximum simplification and the artist’s humorous and silly approach. In this action he used shaving foam and film editing, which allowed him to create a balloon that appeared out of nowhere and disappeared without a trace. 

Sharik, Shirokyi Buerak

An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 The action Fountain was one of his most difficult ideas to create. It took a year and a half to prepare. The artist spoke to engineers, firefighters, and harbor workers so that his flight would look plausible. In the end, to make the action happen, he borrowed a GP‑21 hydro‑loader from the river port. Le Jen’s walk on a cloud of splashes lasts only a few seconds and he shows his excitement at seeing his work transform the power of water into a poetic metaphor for the artist's freedom to create in both nature and society.

 An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 The action Fountain was one of his most difficult ideas to create. It took a year and a half to prepare. The artist spoke to engineers, firefighters, and harbor workers so that his flight would look plausible. In the end, to make the action happen, he borrowed a GP‑21 hydro‑loader from the river port. Le Jen’s walk on a cloud of splashes lasts only a few seconds and he shows his excitement at seeing his work transform the power of water into a poetic metaphor for the artist's freedom to create in both nature and society. 

Fountain. Saratov, Volga

An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 In the action Becken, organized during his residency at Künstlerhaus Schloss Balmoral in Germany, Le Jen dived into a specially prepared tank of water under a red basin. The artistic effect was born from a reversal, a substitution, which made something usually impossible possible, while the labor preceding the “miracle” was hidden by a clever shot.

 An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 In the action Becken, organized during his residency at Künstlerhaus Schloss Balmoral in Germany, Le Jen dived into a specially prepared tank of water under a red basin. The artistic effect was born from a reversal, a substitution, which made something usually impossible possible, while the labor preceding the “miracle” was hidden by a clever shot. 

Becken (Basin), Bad Ems, Germany

Andrei Monastyrsky is one of the main ideologues of Moscow Conceptualism, a leading contemporary artist, and a co‑founder of the group Collective Actions, which began producing spatial and time‑based actions in 1976. Over the years group members have included Nikita Alexeev, George Kiesewalter, Nikolai Panitkov, Igor Makarevich, Elena Elagina, Sergei Romashko, and Sabine Hänsgen. Most of the actions were documented and published in fifteen volumes entitled Trips Out of Town. 

 The two‑hour video recording Depot was shot at Depot railroad station on the Savelovskaya line on January 30, 1990 for Andrei Monastyrsky’s installation Trip to the West. The location was not accidental. This was where Collective Actions participants met the viewers of their first actions in the mid‑1970s in order to accompany them through the forest to the Kievogorsky Field, which was the main place for the group’s events. The film is a minimalist sequence of views of railroad platforms, bridges, technical elements, trains, and the landscapes surrounding the station. The fixed shots of views are accompanied either by their usual background noises or the voices of Monastyrsky, George Kiesewalter, and Sabine Hänsgen reading excerpts from the Handbook of Snow, edited by D.M. Gray and D. H. Male (Leningrad: Gidrometeoizdat, 1986), in Russian, German, and English. The book consists of three parts: “Snow and the Environment,” “Snowfall and Snowcover,” and “Snow and Engineering.” 

 This film is the first in a series of video recordings (mostly made by Sabine Hänsgen) which not only document actions but also have their own aesthetic meaning as part of a “new demonstration space.” In the preface to the seventh volume of Trips Out of Town Monastyrsky stresses that, in his view, these videos focus on exhibiting the flow of events. Viewers are more involved with the metaphysics of place than the documentation of a particular action. 

 The short, thirty‑minute version of Depot was shown on April 29, 2022 as part of the eponymous action by Sabine Hänsgen, Elena Biserna and Henry Andersen at the Oscillation festival in Brussels.

 Andrei Monastyrsky is one of the main ideologues of Moscow Conceptualism, a leading contemporary artist, and a co‑founder of the group Collective Actions, which began producing spatial and time‑based actions in 1976. Over the years group members have included Nikita Alexeev, George Kiesewalter, Nikolai Panitkov, Igor Makarevich, Elena Elagina, Sergei Romashko, and Sabine Hänsgen. Most of the actions were documented and published in fifteen volumes entitled Trips Out of Town. 

 The two‑hour video recording Depot was shot at Depot railroad station on the Savelovskaya line on January 30, 1990 for Andrei Monastyrsky’s installation Trip to the West. The location was not accidental. This was where Collective Actions participants met the viewers of their first actions in the mid‑1970s in order to accompany them through the forest to the Kievogorsky Field, which was the main place for the group’s events. The film is a minimalist sequence of views of railroad platforms, bridges, technical elements, trains, and the landscapes surrounding the station. The fixed shots of views are accompanied either by their usual background noises or the voices of Monastyrsky, George Kiesewalter, and Sabine Hänsgen reading excerpts from the Handbook of Snow, edited by D.M. Gray and D. H. Male (Leningrad: Gidrometeoizdat, 1986), in Russian, German, and English. The book consists of three parts: “Snow and the Environment,” “Snowfall and Snowcover,” and “Snow and Engineering.” 

 This film is the first in a series of video recordings (mostly made by Sabine Hänsgen) which not only document actions but also have their own aesthetic meaning as part of a “new demonstration space.” In the preface to the seventh volume of Trips Out of Town Monastyrsky stresses that, in his view, these videos focus on exhibiting the flow of events. Viewers are more involved with the metaphysics of place than the documentation of a particular action. 

 The short, thirty‑minute version of Depot was shown on April 29, 2022 as part of the eponymous action by Sabine Hänsgen, Elena Biserna and Henry Andersen at the Oscillation festival in Brussels. 

Depot

Acquired from the artist

Andrei Monastyrsky is a leading ideologue of Moscow Conceptualism, a legend of contemporary art, and one of the founders of the group Collective Actions, which has been producing spatial and temporal actions since 1976. Over the years the group has included Nikita Alexeev, George Kiesewalter, Nikolai Panitkov, Igor Makarevich, Elena Elagina, Sergei Romashko, and Sabina Haensgen. Most of the actions were documented and published in 15 volumes as  Trips Out of Town . 

 The assemblage Transport. An Aesthetic Plate is related to the so‑called object zone of the demonstrative field of actions, which took place between 1983 and 1985 and were part of the third volume of  Trips Out of Town . In the preface, Monastyrsky stressed the aesthetic independence of the objects: they can be exhibited without the accompanying texts and photographs. 

 Initially Transport was created for the action Discussion , which took place in Monastrysky’s apartment on September 28, 1985. The first stage of the action involved listening to a 55-minute recording of Monastyrsky’s text “TsZI‑TsZI,” and the the second was a discussion accompanied by slide films from the series Fragments. Closed City . The discussion was made more difficult by the fact that every comment by participants was repeated into a microphone by Monastyrsky. 

 The visuals comprised an exhibition of Category CA objects (the group’s term), which included nine absurdist objects, some of which had already been used in other actions. Transport. An Aesthetic Plate comprised “wooden frames, covers of the magazine Guten Tag with metallic wings and stars, and metal sheets combined and laid on top of each other in a specific manner.” 

 According to Joseph Backstein, “these objects are typically completely and utterly incomprehensible to those not in the know. They are not objects, but some kind of embodiment of the absurd.” Later Monastyrsky would state that the creation of the objects was an unconscious act which took on meaning for him during the making of the action. In essence, this action was an attempt to be liberated “from a mentalized aesthetic program,” from “the ideological social space of accepted reality” or, in simpler terms, we might say that it, like most of CA’s actions, involved a search for internal freedom in a situation of total lack of liberty.

 Andrei Monastyrsky is a leading ideologue of Moscow Conceptualism, a legend of contemporary art, and one of the founders of the group Collective Actions, which has been producing spatial and temporal actions since 1976. Over the years the group has included Nikita Alexeev, George Kiesewalter, Nikolai Panitkov, Igor Makarevich, Elena Elagina, Sergei Romashko, and Sabina Haensgen. Most of the actions were documented and published in 15 volumes as  Trips Out of Town . 

 The assemblage  Transport. An Aesthetic Plate  is related to the so‑called object zone of the demonstrative field of actions, which took place between 1983 and 1985 and were part of the third volume of  Trips Out of Town . In the preface, Monastyrsky stressed the aesthetic independence of the objects: they can be exhibited without the accompanying texts and photographs. 

 Initially  Transport was created for the action  Discussion , which took place in Monastrysky’s apartment on September 28, 1985. The first stage of the action involved listening to a 55-minute recording of Monastyrsky’s text “TsZI‑TsZI,” and the the second was a discussion accompanied by slide films from the series  Fragments. Closed City . The discussion was made more difficult by the fact that every comment by participants was repeated into a microphone by Monastyrsky. 

 The visuals comprised an exhibition of Category CA objects (the group’s term), which included nine absurdist objects, some of which had already been used in other actions.  Transport. An Aesthetic Plate  comprised “wooden frames, covers of the magazine  Guten Tag  with metallic wings and stars, and metal sheets combined and laid on top of each other in a specific manner.” 

 According to Joseph Backstein, “these objects are typically completely and utterly incomprehensible to those not in the know. They are not objects, but some kind of embodiment of the absurd.” Later Monastyrsky would state that the creation of the objects was an unconscious act which took on meaning for him during the making of the action. In essence, this action was an attempt to be liberated “from a mentalized aesthetic program,” from “the ideological social space of accepted reality” or, in simpler terms, we might say that it, like most of CA’s actions, involved a search for internal freedom in a situation of total lack of liberty. 

Transport. An Aesthetic Plate

The eclectic, colorful, and absurd art of Irina Korina emerges from the simplest materials and things that are transformed into carnival‑like scenery of everyday life. A theater designer by training, Korina works as a spatial artist, forming and conceptualizing environments. Her installations are distinguished by a constructed dramaturgy, often including psychological intrigue. 

 Green Snowflake and Red Snowflake are part of the project Humiliated and Elated, shown at XL Gallery in 2016. The installation consisted of two parts. Psychedelic works on paper were mounted under glass on metal holders placed under illuminated lampshade‑like fringed canopies. Each sheet reproduced out‑of‑context clichéd phrases: “But for some reason I can't,” “Everything is wrong,” “But no...,” “Probably the day after tomorrow,” “I'll become a zero,” “Well, it's probably too much,” “Like in a film,” and so on. The symbol of the project was the phrase “Fatalism + Cynicism” and an image of two swans. Giant dreamcatchers, garlands, metal snowflakes, and other festive decorations hung from the ceiling. By capturing these incongruous afterthoughts of the society of spectacle, Korina exposes the cultural memory of the collective unconscious. The large metal snowflake becomes a heavyweight phantom of a childhood memory left in the distant past.

 The eclectic, colorful, and absurd art of Irina Korina emerges from the simplest materials and things that are transformed into carnival‑like scenery of everyday life. A theater designer by training, Korina works as a spatial artist, forming and conceptualizing environments. Her installations are distinguished by a constructed dramaturgy, often including psychological intrigue. 

 Green Snowflake and Red Snowflake are part of the project Humiliated and Elated, shown at XL Gallery in 2016. The installation consisted of two parts. Psychedelic works on paper were mounted under glass on metal holders placed under illuminated lampshade‑like fringed canopies. Each sheet reproduced out‑of‑context clichéd phrases: “But for some reason I can't,” “Everything is wrong,” “But no...,” “Probably the day after tomorrow,” “I'll become a zero,” “Well, it's probably too much,” “Like in a film,” and so on. The symbol of the project was the phrase “Fatalism + Cynicism” and an image of two swans. Giant dreamcatchers, garlands, metal snowflakes, and other festive decorations hung from the ceiling. By capturing these incongruous afterthoughts of the society of spectacle, Korina exposes the cultural memory of the collective unconscious. The large metal snowflake becomes a heavyweight phantom of a childhood memory left in the distant past. 

Red Snowflake

Green Snowflake

Andrei Monastyrsky is one of the main ideologues of Moscow Conceptualism, a leading contemporary artist, and a co‑founder of the group Collective Actions, which began producing spatial and time‑based actions in 1976. Over the years group members have included Nikita Alexeev, George Kiesewalter, Nikolai Panitkov, Igor Makarevich, Elena Elagina, Sergei Romashko, and Sabine Hänsgen. Most of the actions were documented and published in fifteen volumes entitled Trips Out of Town. 

 In 1996 Monastyrsky began creating the series Golden Lines. In the decades that followed he continued systematically working on this series as a particular contemplative and meditative experience. The artist identifies faults such as spots and marks that have appeared during the process of developing photographs‑be they shots of the Russian provinces, a snowy landscape, a self‑portrait or an absurdist still life‑covers them with metal rivets and joins them in a line. The artist proposes that the abstract structures which result can be interpreted in three ways: as maps of the metro, as a system of constellations or as medieval Taoist symbols from the Book of Changes. 

 General Illustration for Kashira Highway references Monastyrsky’s eponymous psychedelic realist novel based on his diaries of the early 1980s. The text was part of the fourth volume of Trips Out of Town (1986). Full of theological terminology and hallucinatory images, the work explores the experience of coming into contact with the transcendental against the background of Moscow during the period of stagnation. The main character approaches faith with the self‑indulgence of a neophyte, as a result of which he ends up in a psychiatric hospital on Kashira Highway. Monastyrsky’s character is increasingly unwell but sees this as getting closer to spiritual perfection. In the Orthodox tradition there is a developed allegorical description of humankind’s struggles with passion and temptation on the path toward virtue. In General Illustration Monastyrsky uses one of the most striking images from this iconography, the thirteenth‑century icon The Ladder of Divine Ascent from St. Catherine’s Monastery in Sinai. The mirror image of the ladder, by which monks ascend to heaven beset by demons, combines with the golden pattern of the “Taoist diagram of ‘internal alchemy’.” The strange construction hanging in the air is set against the background of a group of people who are retreating into a forest, referencing the work of Collective Actions.

 Andrei Monastyrsky is one of the main ideologues of Moscow Conceptualism, a leading contemporary artist, and a co‑founder of the group Collective Actions, which began producing spatial and time‑based actions in 1976. Over the years group members have included Nikita Alexeev, George Kiesewalter, Nikolai Panitkov, Igor Makarevich, Elena Elagina, Sergei Romashko, and Sabine Hänsgen. Most of the actions were documented and published in fifteen volumes entitled Trips Out of Town. 

 In 1996 Monastyrsky began creating the series Golden Lines. In the decades that followed he continued systematically working on this series as a particular contemplative and meditative experience. The artist identifies faults such as spots and marks that have appeared during the process of developing photographs‑be they shots of the Russian provinces, a snowy landscape, a self‑portrait or an absurdist still life‑covers them with metal rivets and joins them in a line. The artist proposes that the abstract structures which result can be interpreted in three ways: as maps of the metro, as a system of constellations or as medieval Taoist symbols from the Book of Changes. 

 General Illustration for Kashira Highway references Monastyrsky’s eponymous psychedelic realist novel based on his diaries of the early 1980s. The text was part of the fourth volume of Trips Out of Town (1986). Full of theological terminology and hallucinatory images, the work explores the experience of coming into contact with the transcendental against the background of Moscow during the period of stagnation. The main character approaches faith with the self‑indulgence of a neophyte, as a result of which he ends up in a psychiatric hospital on Kashira Highway. Monastyrsky’s character is increasingly unwell but sees this as getting closer to spiritual perfection. In the Orthodox tradition there is a developed allegorical description of humankind’s struggles with passion and temptation on the path toward virtue. In General Illustration Monastyrsky uses one of the most striking images from this iconography, the thirteenth‑century icon The Ladder of Divine Ascent from St. Catherine’s Monastery in Sinai. The mirror image of the ladder, by which monks ascend to heaven beset by demons, combines with the golden pattern of the “Taoist diagram of ‘internal alchemy’.” The strange construction hanging in the air is set against the background of a group of people who are retreating into a forest, referencing the work of Collective Actions. 

General illustration for Kashira Highway, From the series Gold Lines

An architect by education, Misha Le Jen turned to perform‑ance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their cre¬ative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors than to a fundamentally hermetic conceptualism that manifests reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007.

 An architect by education, Misha Le Jen turned to perform‑ance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their cre¬ative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors than to a fundamentally hermetic conceptualism that manifests reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

Catalogues of actions

1. Открытый доступ

Мастер

Misha Le Jen was born in Khvalynsk (Saratov Oblast). He graduated from the Architecture Faculty of Leningrad Engineering and Construction Institute. From 1987 to 1990 he was a member of the art group Zheltaya gora (Saratov) and from 2011 to 2024 was art director and curator of the museum and residencey Artkommunalka. Erofeev and Others. Selected solo exhibitions: Six Actions with a Ball, Pasinger Fabrik, Munich (1994), Horizon and Other Actions, Saratov Radishchev State Art Museum (1997).

Le Jen Misha

Andrei Monastyrsky was born in Petsamo (Pechenga, Murmansk Oblast). He graduated from the Philology Faculty of Moscow State University. He was a founder (1976), theorist, and author of large‑scale actions in the group Collective Actions. He took part in the Biennale of Dissent (Venice, 1977), the 50th (main project, 2003), 52nd (main project, 2007) and 54th Venice Biennale (Russian Pavilion, 2011) and also documenta 12 (Kassel, 2007). He is a recipient of the Andrei Bely Prize for his important contribution to the development of Russian literature (2003) and the Innovation Prize in the nominations Theory, Criticism, Art History (2010) and For Creative Contribution to the Development of Contemporary Art (2015).

Monastyrsky Andrei

Irina Korina was born in Moscow. She graduated from the Faculty of Stage Design at the Russian Academy of Theatrical Art (GITIS) and the Institute of Contemporary Art (Moscow), also studying at the Academy of Fine Arts Vienna. She took part in the 53rd (Russian Pavilion, 2009) and 57th Venice Biennale (main project, 2017). She is a recipient of the Innovation Prize in the nomination New Generation (2015).

Catalogue of the Collection

Sort by