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

Please note

Main Collection

Gift of the artist

Acquired from the artist

Gift of Anton Belov

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

Игорь Макаревич и Елена Елагина — одна из главных художественных пар в отечественном искусстве последних 40 лет. Они начали совместную работу в 1990 году, их первой совместной работой стал проект «Закрытая рыбная выставка», который на протяжении 20 лет развивался и дополнялся, став одним из знаковых произведений московского концептуализма. К моменту завершения в 2015 году в него вошло 110 объектов — примерно половина из них находится в собрании Музея Людвига в Ахене (Германия). В Музее «Гараж» находятся 24 объекта — крупнейший фрагмент «Закрытой рыбной выставки» в России. 

 Первый показ «Закрытой рыбной выставки» состоялся в 1990 году в загородном Музее МАНИ (Московский архив нового искусства) — на даче художника, участника группы «Коллективные действия» Николая Паниткова. В основе проекта лежала брошюра, выпущенная тиражом 245 экземпляров к выставке, которая была организована в 1935 году по итогам творческой командировки московских художников в Волго‑Каспийский Госрыбтрест в Астрахани, где они знакомились с работой советской рыболовецкой промышленностью. 

 По словам искусствоведа Екатерины Деготь, главная форма произведения в московском концептуализме — «превращенное в предмет слово». «Закрытая рыбная выставка» блестяще иллюстрирует этот тезис: Макаревич и Елагина реконструировали экспозицию по названиям работ в каталоге (в нем не было иллюстраций), буквально овеществляя их в форме загадочных ассамбляжей‑ребусов, собранных в основном из найденных материалов.

Portraits of Hothouse Combine Workers, no. 4

Caravan

Ris-Unok

Green Snowflake

Radio Motor at Sea

Sketch 2

Arseny Zhilyaev became interested in early Soviet museology after moving from Voronezh to Moscow in 2008. The artist felt the echoes of the historical avant‑garde in the still unreconstructed halls of the former Museum of the Revolution (since 1998, the Museum of Contemporary History of Russia). The display was a spatial collage that immersed the viewer in a playful environment where the same event was presented from different perspectives. Marxist museum practices, especially the experimental activities of Aleksei Fedorov‑Davydov, a representative of the social‑formalist approach to art who headed the New Russian Art Department at the Tretyakov Gallery from 1929 to 1934, formed the basis of Zhilyaev's creative method. His participatory projects and immersive installations address an imagined future, allowing a critical look at the contemporary socio‑political context. The artist also uses the conceptual method, where ideas prevail over aesthetics, turning the works into philosophical statements. 

 Art as production, the analysis of labor relations, and the exploration of modes of representation are the main themes in Zhilyaev's creative practice. The sculptural installation Dreamer is part of an imaginary museum of the revolution where exhibits narrating the history of the liberation movement of the future are presented. The naturalistically presented image of a man lying on his side is meant to depict an iconic moment in the “story,” a fainting spell that happened to Ivan Shchegolev (one of Zhilyaev's characters) after a 15-hour work shift. According to legend, this episode served as an impulse for the “worker of the image processing shop” to recognise the urgent need for social change. Subsequently, Shchegolev became one of the leaders of the coming uprising of the new proletariat. Dreamer is therefore a kind of play with alternative versions of the future presented through the familiar form of a sculpture, familiar to many viewers from the displays at local history museums. 

 The installation was shown at the New Tretyakov on Krymsky Val as part of Documents and Monuments, a project to renew the permanent exhibition of the Department of New Trends. Intruding into the usual museum context, the hyperrealistic Dreamer problematizes the boundary between art and life: the viewer feels anxiety and discomfort, facing the moral choice of lending a helping hand or passing by. The moment of decision sharpens the awareness of social responsibility, making us think about how often we ignore the suffering of others in our daily lives. Art becomes not just an object of aesthetic pleasure but also a catalyst for social change, encouraging viewers to take action and empathize.

 Arseny Zhilyaev became interested in early Soviet museology after moving from Voronezh to Moscow in 2008. The artist felt the echoes of the historical avant‑garde in the still unreconstructed halls of the former Museum of the Revolution (since 1998, the Museum of Contemporary History of Russia). The display was a spatial collage that immersed the viewer in a playful environment where the same event was presented from different perspectives. Marxist museum practices, especially the experimental activities of Aleksei Fedorov‑Davydov, a representative of the social‑formalist approach to art who headed the New Russian Art Department at the Tretyakov Gallery from 1929 to 1934, formed the basis of Zhilyaev's creative method. His participatory projects and immersive installations address an imagined future, allowing a critical look at the contemporary socio‑political context. The artist also uses the conceptual method, where ideas prevail over aesthetics, turning the works into philosophical statements.  

 Art as production, the analysis of labor relations, and the exploration of modes of representation are the main themes in Zhilyaev's creative practice. The sculptural installation Dreamer is part of an imaginary museum of the revolution where exhibits narrating the history of the liberation movement of the future are presented. The naturalistically presented image of a man lying on his side is meant to depict an iconic moment in the “story,” a fainting spell that happened to Ivan Shchegolev (one of Zhilyaev's characters) after a 15-hour work shift. According to legend, this episode served as an impulse for the “worker of the image processing shop” to recognise the urgent need for social change. Subsequently, Shchegolev became one of the leaders of the coming uprising of the new proletariat. Dreamer is therefore a kind of play with alternative versions of the future presented through the familiar form of a sculpture, familiar to many viewers from the displays at local history museums.  

 The installation was shown at the New Tretyakov on Krymsky Val as part of Documents and Monuments, a project to renew the permanent exhibition of the Department of New Trends. Intruding into the usual museum context, the hyperrealistic Dreamer problematizes the boundary between art and life: the viewer feels anxiety and discomfort, facing the moral choice of lending a helping hand or passing by. The moment of decision sharpens the awareness of social responsibility, making us think about how often we ignore the suffering of others in our daily lives. Art becomes not just an object of aesthetic pleasure but also a catalyst for social change, encouraging viewers to take action and empathize. 

Dreamer

Portraits of Hothouse Combine Workers, no. 2

Cuts

Red Fish Cutting

Still Life with Fish

Any conversation about one of the leading Russian artists of the second half of the twentieth century, Erik Bulatov, is often accompanied by a long list of genres which, regardless of their differentiated nature, do not fully reflect the multiplicity and, despite that, the integrity of his creative method. Imagery that is almost photographically accurate, work with the conceptual and plastic components of text, and a subtle irony typical of the sots‑artists‑even this is not the entire arsenal of means that the artist has mastered. 

 In the early 1970s, Bulatov began to collect railroad posters and danger signs. Laconic images with eye‑catching texts to attract attention formed the basis of the visual language which Bulatov the conceptualist would begin to “speak.” Using the Soviet political poster or contemporary advertising banner as a prototype, the artist remained within the framework of traditional techniques and materials. In Bulatov’s programmatic works, the painterly illusion is covered by an intrusive text that forms a boundary between the space of freedom, true reality, and the conglomeration of visual, ideological, and social clichés within which a person is obliged to live. 

 In 2015 Bulatov was commissioned by Garage to create the monumental diptych Come To Garage!, which featured in the exhibition marking the opening of the Museum’s new building in Gorky Park. The two large‑format, nine‑meter‑high works were created graphically using a recognisable font and bright, pure colors reminiscent of 1920s advertising posters. However, whereas the avant‑garde experiments of Vladimir Mayakovsky and Alexander Rodchenko were constructed around the flatness of the collage system, combining image and text, Bulatov remained faithful to the spatial organization of the composition. The inscription “COME TO GARAGE!” against the background of a setting sun seems to fall onto the viewer, while the foreshortened name of the Museum on the second panel, in contrast, draws them into the picture space. The endlessly receding space of schematized sky is filled with balloons, which reference the world’s first amusement parachute tower that operated in Gorky Park in the 1930s.

 Any conversation about one of the leading Russian artists of the second half of the twentieth century, Erik Bulatov, is often accompanied by a long list of genres which, regardless of their differentiated nature, do not fully reflect the multiplicity and, despite that, the integrity of his creative method. Imagery that is almost photographically accurate, work with the conceptual and plastic components of text, and a subtle irony typical of the sots‑artists‑even this is not the entire arsenal of means that the artist has mastered. 

 In the early 1970s, Bulatov began to collect railroad posters and danger signs. Laconic images with eye‑catching texts to attract attention formed the basis of the visual language which Bulatov the conceptualist would begin to “speak.” Using the Soviet political poster or contemporary advertising banner as a prototype, the artist remained within the framework of traditional techniques and materials. In Bulatov’s programmatic works, the painterly illusion is covered by an intrusive text that forms a boundary between the space of freedom, true reality, and the conglomeration of visual, ideological, and social clichés within which a person is obliged to live. 

 In 2015 Bulatov was commissioned by Garage to create the monumental diptych Come To Garage!, which featured in the exhibition marking the opening of the Museum’s new building in Gorky Park. The two large‑format, nine‑meter‑high works were created graphically using a recognisable font and bright, pure colors reminiscent of 1920s advertising posters. However, whereas the avant‑garde experiments of Vladimir Mayakovsky and Alexander Rodchenko were constructed around the flatness of the collage system, combining image and text, Bulatov remained faithful to the spatial organization of the composition. The inscription “COME TO GARAGE!” against the background of a setting sun seems to fall onto the viewer, while the foreshortened name of the Museum on the second panel, in contrast, draws them into the picture space. The endlessly receding space of schematized sky is filled with balloons, which reference the world’s first amusement parachute tower that operated in Gorky Park in the 1930s. 

Come to Garage!

Portrait of a Helmsman

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

Ris-Unok. Lead Pencil

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 twenty‑four 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 that are 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 twenty‑four 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 that are enigmatic riddles assembled largely from found materials. 

Closed Fish Exhibition

Deck

Unok

Sketch 1

Irina Korina is an artist and set designer and a sophisticated producer of total installations assembled from parts of the everyday environment and echoes of collective memory. Her first major project, Urangst, was presented in 2003 at XL Gallery. Korina carefully directs the constructed environment, building a dramaturgy and systematically immersing the audience in a surrealistic whirlwind of sensations and emotions. The main working material is ubiquitous cheap finishing textures, fabrics, tablecloths and oilcloths, plastic cladding, siding, Styrofoam, and so on. Spectacular garish ornamentation and kitsch embellishment play an important role. Korina's installations are full of carnival‑like madness and a deliberate pretentiousness of various aesthetics. 

 Spectrum (2013) is one of a number of bas‑relief objects that were created outside a series and are characterized by their compact size. The multilayered structure of the work is filled with references to football themes and national motifs. The object is assembled from fragments of the club symbols of Zenit, Arsenal, and Lokomotiv, which are intertwined with traditional Russian scarves. Irina Korina offers a reflection on the concept of national pride: its nature, origins, and how pride “in our own” transforms into hostility and aggression.

 Irina Korina is an artist and set designer and a sophisticated producer of total installations assembled from parts of the everyday environment and echoes of collective memory. Her first major project, Urangst, was presented in 2003 at XL Gallery. Korina carefully directs the constructed environment, building a dramaturgy and systematically immersing the audience in a surrealistic whirlwind of sensations and emotions. The main working material is ubiquitous cheap finishing textures, fabrics, tablecloths and oilcloths, plastic cladding, siding, Styrofoam, and so on. Spectacular garish ornamentation and kitsch embellishment play an important role. Korina's installations are full of carnival‑like madness and a deliberate pretentiousness of various aesthetics. 

 Spectrum (2013) is one of a number of bas‑relief objects that were created outside a series and are characterized by their compact size. The multilayered structure of the work is filled with references to football themes and national motifs. The object is assembled from fragments of the club symbols of Zenit, Arsenal, and Lokomotiv, which are intertwined with traditional Russian scarves. Irina Korina offers a reflection on the concept of national pride: its nature, origins, and how pride “in our own” transforms into hostility and aggression. 

Specter

Portraits of Hothouse Combine Workers, no. 3

Fishing Season (version)

Portraits of Hothouse Combine Workers, no. 1

1. Открытый доступ

Мастер

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 

Erik Bulatov was born in 1933 in Sverdlovsk. He attended the art studio at the Moscow House of Pioneers and studied at Moscow Middle Art School and then at the Moscow Surikov State Art Institute. From 1959, he worked at the Detgiz publishing house with Ilya Kabakov and Oleg Vassiliev. He has participated in numerous exhibitions, including the Biennale of Dissent (Venice, 1977) and the 43rd and 50th Venice Biennale (1988, 2003). He is a recipient of the Innovation Prize in the nomination For Creative Contribution to the Development of Contemporary Art (2012).

Bulatov Erik

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).

Korina Irina

Arseny Zhilyaev was born in Voronezh. He graduated from the Faculty of Philosophy and Psychology of Voronezh State University and studied at the Institute of Contemporary Moscow (Moscow) and the Valand Academy of Art and Design (Gothenburg). In 2008, together with Nikolai Alekseev, Ivan Gorshkov, and Ilya Dolgov, he founded Voronezh Center for Contemporary Art. He took part in the 14th Lyon Biennial (2015), the 9th Liverpool Biennial (2016), the 11th Gwangju Biennale (2016), Manifesta 13 (Marseille, 2020), and the 14th Shanghai Biennale (2023). He is a recipient of the Innovation Prize in the nomination New Generation (2011).

Catalogue of the Collection

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