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Please note

It&nbsp;can be&nbsp;cold in&nbsp;the Library. We&nbsp;recommend you bring warm clothing.

Main Collection

This video work by the young video artist and director Dasha Likhaya has been put together from recordings from her personal archive, shoots made for this film, and found recordings. It is constructed as a new artistic world which is close to the genre of autofiction. The main character in the film talks on the phone to her ex, reading out the text of her film application and sharing everyday news. She experiences discomfort and poeticness during this intimate dialogue, even to the extent of a physical feeling of her own powerlessness. 

The artist creates a situation in which the viewer is an accidental witness to private conversations. Documentary and found materials are transformed into artifacts of the artistic world of the film, as if they were part of its reality. The extreme zoom, which makes the images abstract, the superimposition of screens, and the materiality of the screen space support this delicate construction.

Everyday life becomes a field in which deep sensual experiences unfold: the registers of the everyday and the highly emotional alternate and encourage each other. 

At Garage the work is presented as an installation: the slight vibrations of the parachute fabric on which it is projected match the film's plot and create a special tactility of perception, changing the geometry and color of the video, but simultaneously saturating them with the randomness of movement.

This video work by the young video artist and director Dasha Likhaya has been put together from recordings from her personal archive, shoots made for this film, and found recordings. It is constructed as a new artistic world which is close to the genre of autofiction. The main character in the film talks on the phone to her ex, reading out the text of her film application and sharing everyday news. She experiences discomfort and poeticness during this intimate dialogue, even to the extent of a physical feeling of her own powerlessness. 

The artist creates a situation in which the viewer is an accidental witness to private conversations. Documentary and found materials are transformed into artifacts of the artistic world of the film, as if they were part of its reality. The extreme zoom, which makes the images abstract, the superimposition of screens, and the materiality of the screen space support this delicate construction.

Everyday life becomes a field in which deep sensual experiences unfold: the registers of the everyday and the highly emotional alternate and encourage each other. 

At Garage the work is presented as an installation: the slight vibrations of the parachute fabric on which it is projected match the film's plot and create a special tactility of perception, changing the geometry and color of the video, but simultaneously saturating them with the randomness of movement.

A Text for a Film Application

Moscow Lights

The group Factory of Found Clothes (FFC) founded by Natalia Pershina‑Yakimanskaya (Gluklya) and Olga Egorova (Tsaplya) in 1995, has since its earliest works focused on the subject of things as projections of human existence. In their manifesto dialogue for the project Girlfriends (1995) Gluklya and Tsaplya stated: “We are friends, and as well as being soulmates what unites us is our shared interest in Things, and specifically, in their most human variety—Clothes.”

In FFC projects dresses literally spoke to the viewer and told them about the lives of their former owners. They reflected social traumas and fears, relieved themselves of their functionality, and became universal metaphors of human destiny. The duo diversified their work with clothes: they painted fabric and made it into dresses, gave a second life to found costumes, immortalising them by telling their tragic stories, sent them on journeys to dissolve their past in a new existence. 

Interpreted by FFC, an item of clothing would ultimately become a symbol of a character’s inner essence, whether that person was a worker, a retired senior, a diligent schoolgirl or a heartbroken teenager. The main demiurge of their performances and installations, however, was the high‑school student, their alter ego: a figure of romantic recklessness, purity and preparedness for Great Deeds. 

Gradually, their works became more socially oriented, yet their interest in textiles as symbols of life, and in the topic of the feminine, which represents supragender kindness, striving for justice, fragility coexisting with strength in friendship, remained.

Their video installation Scarlet Sails was inspired by Alexander Grin’s novel, whose protagonist Assol is able to cope with all the hardships of an unfair world due to her firm belief in the possibility of a fairy tale ending. The scarlet sails on the white ship of Arthur Gray confirm the reality of her utopian dream, bringing her happiness and peace.

In Gluklya and Tsaplya’s work, young girls do not rely on an impossible (or postponed) happiness, waiting for their prince by the sea. They are ready to create it themselves, sewing scarlet sails in the absence of a manly hero. Suddenly, senior ladies enter their workshop—they have spent years hoping to meet their savior, who will one day arrive from the imaginary. Their discordant choir tries to convince the girls to “believe in miracles,” singing a Soviet song from the Khrushchev Thaw era. Thus, the sober and decisive present meets the dreamy past, which can only wait for solutions to come from the outside. Their confrontation ends in a fight over the Scarlet Fabric, and the past, represented by the sad but persistent old ladies, wins. Grabbing the scarlet sails sewn by the hands of others, the ladies head for the sea, to sail away into the miraculous unknown. 

The ambiguity of the image created by Gluklya and Tsaplya made this one of their best‑known works. Some interpret it politically—red being the symbol of the revolution—although the nature of the revolution here is unclear, since the appropriation of the products of someone else’s labor multiplies the injustice and essentially represents capitalist theft. At the same time, scarlet is the color of Life itself and of the mother’s womb. In this case, the appropriation of the scarlet sail can be interpreted as an attempt to return to a child’s consciousness that is paralyzed in anticipation of a miracle.

The group Factory of Found Clothes (FFC) founded by Natalia Pershina‑Yakimanskaya (Gluklya) and Olga Egorova (Tsaplya) in 1995, has since its earliest works focused on the subject of things as projections of human existence. In their manifesto dialogue for the project Girlfriends (1995) Gluklya and Tsaplya stated: “We are friends, and as well as being soulmates what unites us is our shared interest in Things, and specifically, in their most human variety—Clothes.”

In FFC projects dresses literally spoke to the viewer and told them about the lives of their former owners. They reflected social traumas and fears, relieved themselves of their functionality, and became universal metaphors of human destiny. The duo diversified their work with clothes: they painted fabric and made it into dresses, gave a second life to found costumes, immortalising them by telling their tragic stories, sent them on journeys to dissolve their past in a new existence. 

Interpreted by FFC, an item of clothing would ultimately become a symbol of a character’s inner essence, whether that person was a worker, a retired senior, a diligent schoolgirl or a heartbroken teenager. The main demiurge of their performances and installations, however, was the high‑school student, their alter ego: a figure of romantic recklessness, purity and preparedness for Great Deeds. 

Gradually, their works became more socially oriented, yet their interest in textiles as symbols of life, and in the topic of the feminine, which represents supragender kindness, striving for justice, fragility coexisting with strength in friendship, remained.

Their video installation Scarlet Sails was inspired by Alexander Grin’s novel, whose protagonist Assol is able to cope with all the hardships of an unfair world due to her firm belief in the possibility of a fairy tale ending. The scarlet sails on the white ship of Arthur Gray confirm the reality of her utopian dream, bringing her happiness and peace.

In Gluklya and Tsaplya’s work, young girls do not rely on an impossible (or postponed) happiness, waiting for their prince by the sea. They are ready to create it themselves, sewing scarlet sails in the absence of a manly hero. Suddenly, senior ladies enter their workshop—they have spent years hoping to meet their savior, who will one day arrive from the imaginary. Their discordant choir tries to convince the girls to “believe in miracles,” singing a Soviet song from the Khrushchev Thaw era. Thus, the sober and decisive present meets the dreamy past, which can only wait for solutions to come from the outside. Their confrontation ends in a fight over the Scarlet Fabric, and the past, represented by the sad but persistent old ladies, wins. Grabbing the scarlet sails sewn by the hands of others, the ladies head for the sea, to sail away into the miraculous unknown. 

The ambiguity of the image created by Gluklya and Tsaplya made this one of their best‑known works. Some interpret it politically—red being the symbol of the revolution—although the nature of the revolution here is unclear, since the appropriation of the products of someone else’s labor multiplies the injustice and essentially represents capitalist theft. At the same time, scarlet is the color of Life itself and of the mother’s womb. In this case, the appropriation of the scarlet sail can be interpreted as an attempt to return to a child’s consciousness that is paralyzed in anticipation of a miracle. 

Scarlet Sails

Gift of the artist

Gift of Igor Makarevich

Acquired from the artist

Private gift

Acquired from the artists

Portraits of Hothouse Combine Workers, no. 4

Caravan

Ris-Unok

Radio Motor at Sea

Sketch 2

Portraits of Hothouse Combine Workers, no. 2

Cuts

Red Fish Cutting

Still Life with Fish

Igor Makarevich and Elena Elagina are one of the key artist couples in Russian art of the past forty years. They began working together in 1990. Their first collaboration was the project Closed Fish Exhibition, which developed and expanded over the twenty years that followed and became a seminal work of Moscow Conceptualism. By the time it was completed in 2015, it included 110 objects, around half of which are now in the collection of the Suermondt‑Ludwig‑Museum in Aachen, Germany. At Garage there are 24 objects, the largest part of the Closed Fish Exhibition in Russia.
 
The first showing of the Closed Fish Exhibition took place in 1990 at MANI (Moscow Archive of New Art) Museum in the country house of artist and Collective Actions member Nikolai Panitkov. The project was built around a brochure published in 245 copies for the 1935 exhibition that followed an official trip by Moscow artists to the Volga‑Caspian Gosrybtrest [State Fish Enterprise] in Astrakhan to learn about the Soviet fishing industry.
 
According to art historian Ekaterina Degot, the main art form in Moscow Сonceptualism is «the word, turned into an object.» The Closed Fish Exhibition is a brilliant illustration of her thesis: Makarevich and Elagina have reconstructed the 1930s exhibition based on the titles of works in its catalogue (which had no illustrations), literally turning them into objects‑enigmatic riddles assembled largely from found materials.

Igor Makarevich and Elena Elagina are one of the key artist couples in Russian art of the past forty years. They began working together in 1990. Their first collaboration was the project Closed Fish Exhibition, which developed and expanded over the twenty years that followed and became a seminal work of Moscow Conceptualism. By the time it was completed in 2015, it included 110 objects, around half of which are now in the collection of the Suermondt‑Ludwig‑Museum in Aachen, Germany. At Garage there are 24 objects, the largest part of the Closed Fish Exhibition in Russia.
 
The first showing of the Closed Fish Exhibition took place in 1990 at MANI (Moscow Archive of New Art) Museum in the country house of artist and Collective Actions member Nikolai Panitkov. The project was built around a brochure published in 245 copies for the 1935 exhibition that followed an official trip by Moscow artists to the Volga‑Caspian Gosrybtrest [State Fish Enterprise] in Astrakhan to learn about the Soviet fishing industry.
 
According to art historian Ekaterina Degot, the main art form in Moscow Сonceptualism is «the word, turned into an object.» The Closed Fish Exhibition is a brilliant illustration of her thesis: Makarevich and Elagina have reconstructed the 1930s exhibition based on the titles of works in its catalogue (which had no illustrations), literally turning them into objects‑enigmatic riddles assembled largely from found materials.

Étude. Oil

The group Factory of Found Clothes was founded by St. Petersburg artists Olga Egorova (Tsaplya) and Natalia Pershina‑Yakimanskaya (Gluklya) in 1995. They were both interested in clothes as a projection of human existence. That same year their first joint project, the installation  Girlfriends, a poetic and symbolically rich work that explored “reality and eternity,” memory and corporeality, was shown at Gallery 21 in St. Petersburg. A reconstruction of  Girlfriends’ created by the artists at the request of Garage, is on display in open storage.

The central object of the installation is a black dress lying on the floor under glass. It becomes a metaphor for the repose of a functional object, which, having lost its role, is frozen in the eternity between life and death. Placed under glass, the dress looks like a museum piece or a child's  sekretik, a hiding place for memories of a carefree past. The relic, surrounded by artificial flowers, becomes an opposition to the girls’ white dresses soaring like angelic entities.

The vertical part of the installation is based on plastic oppositions—black and white, static and dynamic, heavy and light. In contrast there is a spatial horizontal—a row of bright vintage swimsuits reflected in a large mirror in a massive frame.

In the intersection of the material (horizontal, colored) and the sublime (vertical, monochrome) one can read not only the memory of the body, the experience of reality and liberation from it, but also the universal signs of the earthly and heavenly.

The group Factory of Found Clothes was founded by St. Petersburg artists Olga Egorova (Tsaplya) and Natalia Pershina‑Yakimanskaya (Gluklya) in 1995. They were both interested in clothes as a projection of human existence. That same year their first joint project, the installation  Girlfriends, a poetic and symbolically rich work that explored “reality and eternity,” memory and corporeality, was shown at Gallery 21 in St. Petersburg. A reconstruction of  Girlfriends’ created by the artists at the request of Garage, is on display in open storage.

The central object of the installation is a black dress lying on the floor under glass. It becomes a metaphor for the repose of a functional object, which, having lost its role, is frozen in the eternity between life and death. Placed under glass, the dress looks like a museum piece or a child's  sekretik, a hiding place for memories of a carefree past. The relic, surrounded by artificial flowers, becomes an opposition to the girls’ white dresses soaring like angelic entities.

The vertical part of the installation is based on plastic oppositions—black and white, static and dynamic, heavy and light. In contrast there is a spatial horizontal—a row of bright vintage swimsuits reflected in a large mirror in a massive frame.

In the intersection of the material (horizontal, colored) and the sublime (vertical, monochrome) one can read not only the memory of the body, the experience of reality and liberation from it, but also the universal signs of the earthly and heavenly.

Girlfriends

Portrait of a Helmsman

Sturgeons

Poetry of Mature Searches

Ris-Unok. Lead Pencil

Deck

Unok

Igor Makarevich and Elena Elagina are one of the key artist couples in Russian art of the past forty years. They began working together in 1990. Their first collaboration was the project Closed Fish Exhibition, which developed and expanded over the twenty years that followed and became a seminal work of Moscow Conceptualism. By the time it was completed in 2015, it included 110 objects, around half of which are now in the collection of the Suermondt‑Ludwig‑Museum in Aachen, Germany. At Garage there are 24 objects, the largest part of the Closed Fish Exhibition in Russia. 
 
The first showing of the Closed Fish Exhibition took place in 1990 at MANI (Moscow Archive of New Art) Museum in the country house of artist and Collective Actions member Nikolai Panitkov. The project was built around a brochure published in 245 copies for the 1935 exhibition that followed an official trip by Moscow artists to the Volga‑Caspian Gosrybtrest [State Fish Enterprise] in Astrakhan to learn about the Soviet fishing industry.
 
According to art historian Ekaterina Degot, the main art form in Moscow Сonceptualism is «the word, turned into an object.» The Closed Fish Exhibition is a brilliant illustration of her thesis: Makarevich and Elagina have reconstructed the 1930s exhibition based on the titles of works in its catalogue (which had no illustrations), literally turning them into objects‑enigmatic riddles assembled largely from found materials.

Igor Makarevich and Elena Elagina are one of the key artist couples in Russian art of the past forty years. They began working together in 1990. Their first collaboration was the project Closed Fish Exhibition, which developed and expanded over the twenty years that followed and became a seminal work of Moscow Conceptualism. By the time it was completed in 2015, it included 110 objects, around half of which are now in the collection of the Suermondt‑Ludwig‑Museum in Aachen, Germany. At Garage there are 24 objects, the largest part of the Closed Fish Exhibition in Russia. 
 
The first showing of the Closed Fish Exhibition took place in 1990 at MANI (Moscow Archive of New Art) Museum in the country house of artist and Collective Actions member Nikolai Panitkov. The project was built around a brochure published in 245 copies for the 1935 exhibition that followed an official trip by Moscow artists to the Volga‑Caspian Gosrybtrest [State Fish Enterprise] in Astrakhan to learn about the Soviet fishing industry.
 
According to art historian Ekaterina Degot, the main art form in Moscow Сonceptualism is «the word, turned into an object.» The Closed Fish Exhibition is a brilliant illustration of her thesis: Makarevich and Elagina have reconstructed the 1930s exhibition based on the titles of works in its catalogue (which had no illustrations), literally turning them into objects‑enigmatic riddles assembled largely from found materials.

Seiners

Sketch 1

Гор Чахал — математик по образованию, автор стихов и музыкально‑поэтических перформансов, один из пионеров мультимедийного искусства в России. В конце 1980‑х — начале 1990‑х был участником московской арт- и рок‑сцены. Основал перформанс‑группы «Параллельные действия» (1985–1987) и «Театрпост» (1987–1988); осуществил серию акций совместно с группой «Чемпионы мира» (1988). В 1989 году исполнил главную роль в фильме Олега Тепцова «Посвященный». В 1990 состоялась первая персональная выставка Чахала в Первой галерее (Москва). В 1995–1996 году был стипендиатом берлинской Академии художеств, а в 2004‑м — MuseumsQuartier в Вене. С конца 1990‑х Гор Чахал исследует христианскую тематику, объединяя современное искусство, научные методы и богословский дискурс. В 2014 году стал почетным членом Российской Академии Художеств, в 2022‑м — членом‑корреспондентом отделения новейших художественных течений РАХ.
Гор Чахал, как отмечает Виктор Мизиано, принадлежит к первому постконцептуалистскому поколению московских художников, которому довелось приступить к работе в условиях распада модернистского советского общества. Диагностика этого нового социального контекста определялась ранними акциями Чахала, созданными им в 1988 году совместно с группой «Чемпионы мира». Представленные работы из цикла «Иллюзионизм в искусстве» выполнены в те же годы и образуют серию «Удары» (1989). Все пять «объектов» имеют характерные вмятины (выпуклости) на поверхности, как будто нечто скрытое и непостижимое стремится прорваться наружу.
Эти работы можно интерпретировать как предчувствие грядущих изменений, геополитических потрясений и распада Советского Союза, а также тех глобальных процессов, которые захватывали общество и культуру с небывалой скоростью. Ключевая идея цикла «Иллюзионизм в искусстве» заключается в размышлении о скрытых опасностях, тревоге и манипулятивных процессах, которые можно наблюдать, но невозможно объяснить.

Гор Чахал — математик по образованию, автор стихов и музыкально‑поэтических перформансов, один из пионеров мультимедийного искусства в России. В конце 1980‑х — начале 1990‑х был участником московской арт- и рок‑сцены. Основал перформанс‑группы «Параллельные действия» (1985–1987) и «Театрпост» (1987–1988); осуществил серию акций совместно с группой «Чемпионы мира» (1988). В 1989 году исполнил главную роль в фильме Олега Тепцова «Посвященный». В 1990 состоялась первая персональная выставка Чахала в Первой галерее (Москва). В 1995–1996 году был стипендиатом берлинской Академии художеств, а в 2004‑м — MuseumsQuartier в Вене. С конца 1990‑х Гор Чахал исследует христианскую тематику, объединяя современное искусство, научные методы и богословский дискурс. В 2014 году стал почетным членом Российской Академии Художеств, в 2022‑м — членом‑корреспондентом отделения новейших художественных течений РАХ.
Гор Чахал, как отмечает Виктор Мизиано, принадлежит к первому постконцептуалистскому поколению московских художников, которому довелось приступить к работе в условиях распада модернистского советского общества. Диагностика этого нового социального контекста определялась ранними акциями Чахала, созданными им в 1988 году совместно с группой «Чемпионы мира». Представленные работы из цикла «Иллюзионизм в искусстве» выполнены в те же годы и образуют серию «Удары» (1989). Все пять «объектов» имеют характерные вмятины (выпуклости) на поверхности, как будто нечто скрытое и непостижимое стремится прорваться наружу.
Эти работы можно интерпретировать как предчувствие грядущих изменений, геополитических потрясений и распада Советского Союза, а также тех глобальных процессов, которые захватывали общество и культуру с небывалой скоростью. Ключевая идея цикла «Иллюзионизм в искусстве» заключается в размышлении о скрытых опасностях, тревоге и манипулятивных процессах, которые можно наблюдать, но невозможно объяснить.

Удары

5 частей 9,2 × 15 × 3,5 см (каждая)

Portraits of Hothouse Combine Workers, no. 3

Poet and Pistol is one of Gor Chahal’s earliest works and comprises photographs made by Andrei Bezukladnikov, collages, painting, and poems. Addressing himself to the binomial “artist‑personality,” who was an important element of the conceptual art of the 1970s, he is transformed into a romantic decadent poet and depicts him in the monochrome style of noir or the filmmakers of the “new wave.” Using curly hair, white shirt, tie and black jacket Chahal aestheticizes the life of his lyrical hero, contrasting it to Soviet reality and that of the Perestroika period. He brings together contradictions — life and death, abstraction and reality, invention and fact‑in a single series without a defined narrative, anticipating the consciousness of the video clip. The handsome dandy wanders Moscow’s boulevards, gateways, and hotels in attempt to find a victim or escape the uncertainty of death, and life goes on in the background: mothers with prams, passers‑by on benches. He is a superfluous person, an aesthetically alien element who is out of time and place. This is how Gor Chahal visualizes the poetic metaphor of his art, which was marginal in the Perestoika period and unable to catch up with rapidly changing reality.

 Poet and Pistol is one of Gor Chahal’s earliest works and comprises photographs made by Andrei Bezukladnikov, collages, painting, and poems. Addressing himself to the binomial “artist‑personality,” who was an important element of the conceptual art of the 1970s, he is transformed into a romantic decadent poet and depicts him in the monochrome style of noir or the filmmakers of the “new wave.” Using curly hair, white shirt, tie and black jacket Chahal aestheticizes the life of his lyrical hero, contrasting it to Soviet reality and that of the Perestroika period. He brings together contradictions — life and death, abstraction and reality, invention and fact‑in a single series without a defined narrative, anticipating the consciousness of the video clip. The handsome dandy wanders Moscow’s boulevards, gateways, and hotels in attempt to find a victim or escape the uncertainty of death, and life goes on in the background: mothers with prams, passers‑by on benches. He is a superfluous person, an aesthetically alien element who is out of time and place. This is how Gor Chahal visualizes the poetic metaphor of his art, which was marginal in the Perestoika period and unable to catch up with rapidly changing reality. 

From the project Poet and Pistol

Fishing Season (version)

Portraits of Hothouse Combine Workers, no. 1

Moscow Lights, which was first shown at the 2nd Garage Triennial of Russian Contemporary Art (2020), tells the story of how the publisher Gluschenkoizdat Press moved from its native Kaliningrad to Moscow. The reasons for the move are described briefly and vaguely (financial problems) and neither the activities of the publisher nor the identity of its founder are revealed. Kirill Gluschenko’s project is one of Russian art’s most successful examples of founding a “quasi‑institution” in recent years. During its existence Gluschenkoizdat Press published several photo books on the post‑socialist cities of Eastern Europe (Pskov, Dresden, Kaliningrad) and organized a monumental “summary exhibition” of its activities, Our Days are Rich and Bright (former building of the Moskva furniture factory, 2016). 
 
 The title of the video is taken from the name of a café that opened in June 1976 on Moskovsky Prospekt in Kaliningrad. The café itself does not appear in the film. Nevertheless, Kaliningrad, with its mixture of buildings from the German and Soviet periods, is the central character. 
 
 For Gluschenko the aesthetic of a European city with a regular urban plan is an object of nostalgia and admiration. And even the era of stagnation does not seem so uncomfortable: at that time, in place of complete freedom, intellectuals and creative people had access to a wide range of flexible strategies of doublethink. A person could immerse themselves in their profession and no one would touch them. They could work half the year officially and spend the other half doing their own thing or simply sitting in the boiler room and writing poetry. Gluschenko’s film immerses the viewer in a blissful state of timelessness that is apolitical and even noble.

 Moscow Lights, which was first shown at the 2nd Garage Triennial of Russian Contemporary Art (2020), tells the story of how the publisher Gluschenkoizdat Press moved from its native Kaliningrad to Moscow. The reasons for the move are described briefly and vaguely (financial problems) and neither the activities of the publisher nor the identity of its founder are revealed. Kirill Gluschenko’s project is one of Russian art’s most successful examples of founding a “quasi‑institution” in recent years. During its existence Gluschenkoizdat Press published several photo books on the post‑socialist cities of Eastern Europe (Pskov, Dresden, Kaliningrad) and organized a monumental “summary exhibition” of its activities, Our Days are Rich and Bright (former building of the Moskva furniture factory, 2016). 
 
 The title of the video is taken from the name of a café that opened in June 1976 on Moskovsky Prospekt in Kaliningrad. The café itself does not appear in the film. Nevertheless, Kaliningrad, with its mixture of buildings from the German and Soviet periods, is the central character. 
 
 For Gluschenko the aesthetic of a European city with a regular urban plan is an object of nostalgia and admiration. And even the era of stagnation does not seem so uncomfortable: at that time, in place of complete freedom, intellectuals and creative people had access to a wide range of flexible strategies of doublethink. A person could immerse themselves in their profession and no one would touch them. They could work half the year officially and spend the other half doing their own thing or simply sitting in the boiler room and writing poetry. Gluschenko’s film immerses the viewer in a blissful state of timelessness that is apolitical and even noble. 

Banner from project “Moscow Lights”

1. Открытый доступ

Мастер

Factory of Found Clothes

Elena Elagina (1949–2022) was born in Moscow and studied in the Philology Faculty of Moscow Pedagogical Institute. 

 Igor Makarevich was born in 1943 in Trialeti (Georgian SSR). He studied in the Art Faculty of the All‑Union State Cinematography Institute (VGIK). 

 From the late 1970s they were involved with the group Collective Actions. The project Closed Fish Exhibition (1990) marked the beginning of their working together. Selected solo exhibitions: Within the Limits of the Beautiful, State Tretyakov Gallery, Moscow (2005); In Situ , Kunsthistorisches Museum, Vienna (2009); Countdown , Moscow Museum of Modern Art (2020). They took part in the 53rd (main project, 2009) and 54th Venice Biennales (Russian Pavilion, as part of the exhibition Empty Zones. Andrei Monastyrski and Collective Actions, 2011). They are winners of the Innovation Prize in the nomination Contribution to the Development of Contemporary Art (2012) and the Moscow Prize in the nomination Visual Art and Architecture (2021).

Igor Makarevich and Elena Elagina 

Kirill Gluschenko was born in Kaliningrad. He graduated from the Institute of Contemporary Art (Moscow) and the Photography Department of the Academy of Fine Arts Leipzig. Selected group exhibitions: The Way of Enthusiasts , Casa Dei Tre Oci, Venice (2012); Detective , Moscow Museum of Modern Art (2014); Space Force Construction , V‑A-C Zattere, Venice (2017); General Rehearsal , Moscow Museum of Modern Art (2018); 2nd Garage Triennial of Russian Contemporary Art, Garage Museum of Contemporary Art, Moscow (2020). He is a winner of the Innovation Prize in the nomination New Generation (2017), the Marion‑Ermer Preis (Leipzig, 2018), the Architectural Book Award (Frankfurt am Main, 2019) and the competition Best Book Design From All Over the World (Frankfurt am Main, 2020). He is the recipient of a grant from the Cultural Foundation of the Free State of Saxony (2018).

Glushchenko Kirill

Likhaia Dasha

Pershina‑Yakimanskaya Nataliya (Gluklya)

Egorova Olga (Tsaplya)

Gor Chahal is a mathematician by training, the author of poems and musical‑poetic performances, and one of the pioneers of multimedia art in Russia. In the late 1980s and early 1990s he was a member of Moscow’s art underground and rock scene. He was the founder of the performance groups Parallel Actions (1985–1987) and Theaterpost (1987–1988) and performed a series of actions with the art group World Champions (1988). In 1989, he played the lead role in Oleg Teptsov’s film The Initiated. In 1990, his debut solo exhibition took place at First Gallery (Moscow). In 1995 and 1996, he was a scholarship holder at the Berlin Academy of Arts and in 2004 at the Museum Quarter in Vienna. Since the late 1990s he has explored Christian themes, combining contemporary art, scientific methods, and theological discourse. In 2014, he became an honorary member of the Russian Academy of Arts and in 2022 a corresponding member of the Academy’s Department of New Art Trends.

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