From April 21 to&nbsp;30 we&nbsp;will be&nbsp;installing new works in&nbsp;some parts of&nbsp;open storage. We&nbsp;recommend you visit during a&nbsp;<a href="https://garagemca.org/en/event/mediations-of-the-project-open-storage-a-prologue" target="_blank">mediated tour</a>.

Please note

Main Collection

Garage Archive Collection (Trips Out of Town and MANI Buchgalterium archive)

Private gift

Works on display in Garage open storage include the first five volumes of Trips Out of Town by the group Collective Actions (founded in 1976; organizers of the actions included Andrei Monastyrsky, Nikita Alexeev, Nikolai Panitkov, Elena Elagina, Igor Makarevich, Sergey Romashko, Sabine Hänsgen, and others), a key representative of Moscow Conceptualism. Each volume is a form of report on the activities of Collective Actions that includes descriptions of the actions, photo documentation, participants’ impressions, and theoretical essays. The group's actions mostly took place in various places in Moscow and Moscow region, away from urban areas (hence the title of the volumes). The best‑known location for the actions was the Kievogorskoe field near Lobnya, which was not just a regular gathering place for participants but a hermetic metaphysical space where, as if on a blank sheet of paper, the outlines of new actions would be drawn time and again. By the end of the 1980s, after completing the fifth volume of Trips Out of Town, Andrei Monastyrsky was considering winding up the Collective Actions project. The basic discursive framework had been produced and participants' interest in organizing actions has waned. Nevertheless, after the compilation of the fifth volume, Collective Actions moved on to a new stage in their history and their actions, as well as work on new volumes of Trips out of Town, have continued until the present day. 
 
 At first sight, the Trips Out of Town books seem to be an intermediate, non‑independent artifact existing between archival evidence and the actions themselves. Usually, documentation of actions or performance art is seen as something secondary which only refers back to the original work, the implication being that the authentic experience in its entirety is only available to participants and viewers at the moment of the event itself. In the case of Collective Actions, however, the book format offers one of the most all‑encompassing ways of experiencing the actions. 
 
 Both role of each participant and the point of view from which they saw what was happening played an important part in the actions. Viewers came up with very different interpretations of the experience depending on their location within the space of the action, the emotional state and thoughts with which they arrived at the place, the extent to which the organizers had explained the action, and their knowledge of the history of the group's past activities. In fact, the group’s actions were not reduced exclusively to the performative part played out in the field. Receiving an invitation, traveling to the location, waiting for the action to begin, participants' experiences during the performance of actions, and the reflection on it that followed were all constituent elements of the work. A contemporary viewer holding a volume of Trips Out of Town and freed from their own existential experience of participation is presented with a different and, in a sense, broader picture than the immediate witnesses of the action, who are themselves the subject of contemplation and experience. Each module in the display is devoted to one Trips Out of Town volume. The materials presented are divided into several groups: descriptive (textual descriptions of the actions and the organizers' comments, photo and audio documentation), narrative (participants' stories), and discursive (articles, conversations, and essays by the participants).

 Works on display in Garage open storage include the first five volumes of Trips Out of Town by the group Collective Actions (founded in 1976; organizers of the actions included Andrei Monastyrsky, Nikita Alexeev, Nikolai Panitkov, Elena Elagina, Igor Makarevich, Sergey Romashko, Sabine Hänsgen, and others), a key representative of Moscow Conceptualism. Each volume is a form of report on the activities of Collective Actions that includes descriptions of the actions, photo documentation, participants’ impressions, and theoretical essays. The group's actions mostly took place in various places in Moscow and Moscow region, away from urban areas (hence the title of the volumes). The best‑known location for the actions was the Kievogorskoe field near Lobnya, which was not just a regular gathering place for participants but a hermetic metaphysical space where, as if on a blank sheet of paper, the outlines of new actions would be drawn time and again. By the end of the 1980s, after completing the fifth volume of Trips Out of Town, Andrei Monastyrsky was considering winding up the Collective Actions project. The basic discursive framework had been produced and participants' interest in organizing actions has waned. Nevertheless, after the compilation of the fifth volume, Collective Actions moved on to a new stage in their history and their actions, as well as work on new volumes of Trips out of Town, have continued until the present day. 
 
 At first sight, the Trips Out of Town books seem to be an intermediate, non‑independent artifact existing between archival evidence and the actions themselves. Usually, documentation of actions or performance art is seen as something secondary which only refers back to the original work, the implication being that the authentic experience in its entirety is only available to participants and viewers at the moment of the event itself. In the case of Collective Actions, however, the book format offers one of the most all‑encompassing ways of experiencing the actions. 
 
 Both role of each participant and the point of view from which they saw what was happening played an important part in the actions. Viewers came up with very different interpretations of the experience depending on their location within the space of the action, the emotional state and thoughts with which they arrived at the place, the extent to which the organizers had explained the action, and their knowledge of the history of the group's past activities. In fact, the group’s actions were not reduced exclusively to the performative part played out in the field. Receiving an invitation, traveling to the location, waiting for the action to begin, participants' experiences during the performance of actions, and the reflection on it that followed were all constituent elements of the work. A contemporary viewer holding a volume of Trips Out of Town and freed from their own existential experience of participation is presented with a different and, in a sense, broader picture than the immediate witnesses of the action, who are themselves the subject of contemplation and experience. Each module in the display is devoted to one Trips Out of Town volume. The materials presented are divided into several groups: descriptive (textual descriptions of the actions and the organizers' comments, photo and audio documentation), narrative (participants' stories), and discursive (articles, conversations, and essays by the participants). 

Trips out of Town, volume 4, part

Viktor Pivovarov is part of the older generation of nonconformist artists and one of the founding fathers of Moscow Conceptualism. A frequent theme for the artist is the poeticization of the everyday and its lyrical idealization. Pivovarov works in various genres, from large‑format paintings to small drawings, but his main medium is the conceptual album, one of the sources of which is his work as a children’s book illustrator, which he began in 1962. 

 The album genre comprises a set of numbered drawing sheets that are viewed in a defined order, where the narrative is a combination of visual and textual elements. Pivovarov created his first album, Staircase of Balls, in 1975, followed by Conclusions, Face, and Tears in the same year. After moving to Prague in 1982, Pivovarov began rethinking his artistic language. Albums and series dedicated to his friends and relatives, Moscow, and reminiscences about the period from the 1950s to the 1970s began to appear in his practice. 

 In the album Kabakov and Pivovarov the artist directly explores the phenomenon of Moscow unofficial art. Above all, this is a nostalgic nod to a past life, but it is also one of the first acts of reconceptualizing the mythologization of a local historical phenomenon which he witnessed. On the first sheet the “ovals” meet at a publisher and begin talking about the international situation. Then, having decided to go for a walk, they take a Chagall‑like flight over a city, fields, forests, and mountains. Their conversation moves on to the philosophical aspects of existence, with Pivovarov’s character emphasizing the mystery of the ordinary and of simple things, such as rocks, worms, light bulbs or matchboxes. Kabakov’s character grumbles about the fate of Russia, the phenomenology of fear, his decline, and creative predestination.

 Viktor Pivovarov is part of the older generation of nonconformist artists and one of the founding fathers of Moscow Conceptualism. A frequent theme for the artist is the poeticization of the everyday and its lyrical idealization. Pivovarov works in various genres, from large‑format paintings to small drawings, but his main medium is the conceptual album, one of the sources of which is his work as a children’s book illustrator, which he began in 1962. 

 The album genre comprises a set of numbered drawing sheets that are viewed in a defined order, where the narrative is a combination of visual and textual elements. Pivovarov created his first album, Staircase of Balls, in 1975, followed by Conclusions, Face, and Tears in the same year. After moving to Prague in 1982, Pivovarov began rethinking his artistic language. Albums and series dedicated to his friends and relatives, Moscow, and reminiscences about the period from the 1950s to the 1970s began to appear in his practice. 

 In the album Kabakov and Pivovarov the artist directly explores the phenomenon of Moscow unofficial art. Above all, this is a nostalgic nod to a past life, but it is also one of the first acts of reconceptualizing the mythologization of a local historical phenomenon which he witnessed. On the first sheet the “ovals” meet at a publisher and begin talking about the international situation. Then, having decided to go for a walk, they take a Chagall‑like flight over a city, fields, forests, and mountains. Their conversation moves on to the philosophical aspects of existence, with Pivovarov’s character emphasizing the mystery of the ordinary and of simple things, such as rocks, worms, light bulbs or matchboxes. Kabakov’s character grumbles about the fate of Russia, the phenomenology of fear, his decline, and creative predestination. 

Kabakov and Pivovarov

The album genre occupies a special place in the art of Moscow Conceptualism. The founders of this genre are Ilya Kabakov and Viktor Pivovarov. The album is a hand‑drawn entire work with its own narrative and dramaturgy, consisting of a set of unbound sheets. As a postmodern phenomenon, the album combines several elements: book illustration, text, and a kind of ritual, performative action that takes place during a reading or public demonstration. 

 Viktor Pivovarov's first album (Staircase of Balls) appeared in 1975, in parallel to his work in book illustration and painting. His albums are characterized by a philosophical and lyrical tone, and the subjects are often a poeticized reflection on everyday life. After moving to Prague in 1982, nostalgic motifs appeared in Pivovarov's work, and his characters are often friends, relatives, and colleagues from Moscow life. 

 In 1996 Pivovarov created the album Cast of Characters, in which he captured the everyday life of real people, members of Moscow’s artistic and poetic community of the 1970s. Among them are artists Ilya Kabakov, Erik Bulatov, Oskar Rabin, Mikhail Shvartsman, Yuri Sobolev, and Ivan Chuikov, poets and writers Igor Kholin, Genrikh Sapgir, and Yuri Mamleev, religious philosopher Evgeny Schiffers, and many others. There are meetings in studios, night‑time conversations about the eternal, Sunday drawings, philosophical dialogues, domestic life, KGB interrogations, allegorical portraits, and so on. As art historian Ekaterina Lazareva writes, “the atmosphere of this unique ‘unity of the collective soul’ is conveyed by Pivovarov in an extremely subjective way. Where necessary he adds a big blue ear or a meaningful red robe to accurate portrait images. In the genre scenes he provides intimate details of communal life with slight irony. In the allegories ‘A Conversation about Art’ and ‘The Last Existentialist’ he captures the ideas that are in the air.” 

 In 1997, the album Cast of Characters was shown at Obscuri Viri Gallery in Moscow. In 2001, a book of Pivovarov's memoirs, The Agent in Love, was published, in which the artist supplemented many of the themes described in the album with commentaries and reflections.

 The album genre occupies a special place in the art of Moscow Conceptualism. The founders of this genre are Ilya Kabakov and Viktor Pivovarov. The album is a hand‑drawn entire work with its own narrative and dramaturgy, consisting of a set of unbound sheets. As a postmodern phenomenon, the album combines several elements: book illustration, text, and a kind of ritual, performative action that takes place during a reading or public demonstration. 

 Viktor Pivovarov's first album (Staircase of Balls) appeared in 1975, in parallel to his work in book illustration and painting. His albums are characterized by a philosophical and lyrical tone, and the subjects are often a poeticized reflection on everyday life. After moving to Prague in 1982, nostalgic motifs appeared in Pivovarov's work, and his characters are often friends, relatives, and colleagues from Moscow life. 

 In 1996 Pivovarov created the album Cast of Characters, in which he captured the everyday life of real people, members of Moscow’s artistic and poetic community of the 1970s. Among them are artists Ilya Kabakov, Erik Bulatov, Oskar Rabin, Mikhail Shvartsman, Yuri Sobolev, and Ivan Chuikov, poets and writers Igor Kholin, Genrikh Sapgir, and Yuri Mamleev, religious philosopher Evgeny Schiffers, and many others. There are meetings in studios, night‑time conversations about the eternal, Sunday drawings, philosophical dialogues, domestic life, KGB interrogations, allegorical portraits, and so on. As art historian Ekaterina Lazareva writes, “the atmosphere of this unique ‘unity of the collective soul’ is conveyed by Pivovarov in an extremely subjective way. Where necessary he adds a big blue ear or a meaningful red robe to accurate portrait images. In the genre scenes he provides intimate details of communal life with slight irony. In the allegories ‘A Conversation about Art’ and ‘The Last Existentialist’ he captures the ideas that are in the air.” 

 In 1997, the album Cast of Characters was shown at Obscuri Viri Gallery in Moscow. In 2001, a book of Pivovarov's memoirs, The Agent in Love, was published, in which the artist supplemented many of the themes described in the album with commentaries and reflections. 

Cast of Characters

Folder: 62 × 44 × 2 cm. Each sheet 59.5 × 41.8 cm

Trips out of Town, volume 3, part 1

Trips out of Town, volume 5

Trips out of Town, volume 4, part 2

Viktor Pivovarov is one of the founders of Moscow Conceptualism and a key figure within Soviet unofficial art. An illustrator by education, he had a long involvement with publishers, including the magazines Knowledge is Power, Jolly Pictures (for which he designed the logo with letter characters), and Murzilka and also the publisher Children’s Literature. This experience was the basis of Pivovarov’s experiments with painting, which would later be termed conceptual. In the late 1960s and early 1970s the genre boundaries of his work became permeable: text and image, transferred from book illustration to canvas or board, not only complement each other but are also in a semantic confrontation that draws the viewer into an ironic and subtle associative game. 

 Together with Ilya Kabakov, Pivovarov is the originator of the conceptual album genre. This unique form of artistic expression gave images that are static by nature a temporal impulse. The drawings were intended to be viewed in a strictly defined order so as not to disrupt the unity of the visual narrative. In this way, the album incorporated features of the literary work and the temporality of cinema or theater, while using means of expression exclusive to drawing. In a situation in which artists making “other art” could not freely exhibit, demonstrating sheets from an album in their studio or to a circle of friends and colleagues became a true performance. 

 The album Eros is a narrative about a romantic meeting that takes place in a half‑empty, very ordinary room. In Pivovarov’s poetics the interior, a space concealed from the outside world, becomes a reflection of a person’s spiritual life. The main character does not appear on a single sheet, but the viewer senses their presence through textual messages that alternate with the images: “I was desperately waiting for you,” “I thought you weren’t coming,” “…and such longing.” The melancholy of waiting is interrupted by the central erotic‑euphoric part, where figurative images disappear, making way for abstract forms that transform from sheet to sheet. The return to the room and the world of things occurs through the window, outside which a sunset sky can be seen that reflects the color palette of the abstract, rhythmic compositions. Full of existential lyricism, Pivovarov’s works explore the life of the human soul, with its doubts and worries.

 Viktor Pivovarov is one of the founders of Moscow Conceptualism and a key figure within Soviet unofficial art. An illustrator by education, he had a long involvement with publishers, including the magazines Knowledge is Power, Jolly Pictures (for which he designed the logo with letter characters), and Murzilka and also the publisher Children’s Literature. This experience was the basis of Pivovarov’s experiments with painting, which would later be termed conceptual. In the late 1960s and early 1970s the genre boundaries of his work became permeable: text and image, transferred from book illustration to canvas or board, not only complement each other but are also in a semantic confrontation that draws the viewer into an ironic and subtle associative game. 

 Together with Ilya Kabakov, Pivovarov is the originator of the conceptual album genre. This unique form of artistic expression gave images that are static by nature a temporal impulse. The drawings were intended to be viewed in a strictly defined order so as not to disrupt the unity of the visual narrative. In this way, the album incorporated features of the literary work and the temporality of cinema or theater, while using means of expression exclusive to drawing. In a situation in which artists making “other art” could not freely exhibit, demonstrating sheets from an album in their studio or to a circle of friends and colleagues became a true performance. 

 The album Eros is a narrative about a romantic meeting that takes place in a half‑empty, very ordinary room. In Pivovarov’s poetics the interior, a space concealed from the outside world, becomes a reflection of a person’s spiritual life. The main character does not appear on a single sheet, but the viewer senses their presence through textual messages that alternate with the images: “I was desperately waiting for you,” “I thought you weren’t coming,” “…and such longing.” The melancholy of waiting is interrupted by the central erotic‑euphoric part, where figurative images disappear, making way for abstract forms that transform from sheet to sheet. The return to the room and the world of things occurs through the window, outside which a sunset sky can be seen that reflects the color palette of the abstract, rhythmic compositions. Full of existential lyricism, Pivovarov’s works explore the life of the human soul, with its doubts and worries. 

Eros

Trips out of Town, volume 3, part 2

The album genre occupies a special place in the art of Moscow Conceptualism. The creators of this genre were Ilya Kabakov and Viktor Pivovarov. The album is a hand‑drawn entire artwork with its own narrative and dramaturgy consisting of a set of unbound sheets. A postmodern phenomenon, the album combines several elements: book illustration, text, and a kind of ritual‑performative action that takes place during a reading or public demonstration. 

 The emergence of the conceptual album was largely influenced by external circumstances. Unable to show their works publicly, artists exhibited them in their studios, at apartment and semi‑legal exhibitions. In these circumstances the album form proved to be extremely organic, suitable for display to a small group of people or in the limited space of a studio. The genre was also influenced by the fact that many unofficial artists, including Viktor Pivovarov and Ilya Kabakov, worked as book illustrators. For them, this was practically the only way to continue working in the field of art without being fully integrated into the official artistic environment, where socialist realism reigned supreme. 
 
 In 1982, Viktor Pivovarov emigrated to Prague. During this period he began to rethink the genre of the conceptual album and adapt it to new conditions, in particular to the possibility of public display at exhibitions. The content and structure of the albums become more dynamic and a clear plot emerged. 

 The Agent in Norway was created in that period of Pivovarov's work. It is the artist's largest album, consisting of three parts and containing 72 separate sheets. The work is a pseudo‑documentary archive of an anonymous agent who infiltrates various Norwegian closed societies of intellectuals, poets, and artists. The first part, “Equipment and Characters,” presents photographs of the protagonists and completely unbelievable and absurd spy equipment, such as the “Microapparatus for Recording Mental States” and “The Agent's Special Device, the So‑Called ‘Spare’ or ‘Third’ Hand.” The second part, “Deciphering Reports,” presents the agent's reports. However, they do not contain the linguistic clichés of dry official documents, as the text is more like personal notes. These reports are simply a deciphering of messages that are presented in the form of surrealistic drawings. The third part, “Secret Operations in the Fjords,” documents all of the secret operations mentioned in the second part. As with his reports, the agent provides the information in the form of drawings. 

 The Agent in Norway retains a feature that appeared at the genre's inception, the use of personae. In Kabakov and Pivovarov’s conceptual albums there is always a specific character. Mostly it is a “little man” with his own existential problems, thoughts, and anxieties, often generated by the outside world. Yet Pivovarov's characters, unlike Kabakov's, always bear the imprint of the author's personal experience. This is the case in The Agent in Norway. The main character here is not a “stranger.” He invades the environment in order to reveal any irregularities or to find out information. He is an active participant and observer of various processes.

 The album genre occupies a special place in the art of Moscow Conceptualism. The creators of this genre were Ilya Kabakov and Viktor Pivovarov. The album is a hand‑drawn entire artwork with its own narrative and dramaturgy consisting of a set of unbound sheets. A postmodern phenomenon, the album combines several elements: book illustration, text, and a kind of ritual‑performative action that takes place during a reading or public demonstration.  

 The emergence of the conceptual album was largely influenced by external circumstances. Unable to show their works publicly, artists exhibited them in their studios, at apartment and semi‑legal exhibitions. In these circumstances the album form proved to be extremely organic, suitable for display to a small group of people or in the limited space of a studio. The genre was also influenced by the fact that many unofficial artists, including Viktor Pivovarov and Ilya Kabakov, worked as book illustrators. For them, this was practically the only way to continue working in the field of art without being fully integrated into the official artistic environment, where socialist realism reigned supreme. 
 
 In 1982, Viktor Pivovarov emigrated to Prague. During this period he began to rethink the genre of the conceptual album and adapt it to new conditions, in particular to the possibility of public display at exhibitions. The content and structure of the albums become more dynamic and a clear plot emerged. 

 The Agent in Norway was created in that period of Pivovarov's work. It is the artist's largest album, consisting of three parts and containing 72 separate sheets. The work is a pseudo‑documentary archive of an anonymous agent who infiltrates various Norwegian closed societies of intellectuals, poets, and artists. The first part, “Equipment and Characters,” presents photographs of the protagonists and completely unbelievable and absurd spy equipment, such as the “Microapparatus for Recording Mental States” and “The Agent's Special Device, the So‑Called ‘Spare’ or ‘Third’ Hand.” The second part, “Deciphering Reports,” presents the agent's reports. However, they do not contain the linguistic clichés of dry official documents, as the text is more like personal notes. These reports are simply a deciphering of messages that are presented in the form of surrealistic drawings. The third part, “Secret Operations in the Fjords,” documents all of the secret operations mentioned in the second part. As with his reports, the agent provides the information in the form of drawings. 

 The Agent in Norway retains a feature that appeared at the genre's inception, the use of personae. In Kabakov and Pivovarov’s conceptual albums there is always a specific character. Mostly it is a “little man” with his own existential problems, thoughts, and anxieties, often generated by the outside world. Yet Pivovarov's characters, unlike Kabakov's, always bear the imprint of the author's personal experience. This is the case in The Agent in Norway. The main character here is not a “stranger.” He invades the environment in order to reveal any irregularities or to find out information. He is an active participant and observer of various processes. 

The Agent in Norway

1. Открытый доступ

Мастер

Collective Actions was founded in 1976 in Moscow. The initial group comprised Nikita Alexeev (until 1980), George Kiesewalter, Andrei Monastyrsky, Nikolai Panitkov and Lev Rubinstein. In 1979 Sergei Romashko, Elena Elagina, Igor Makarevich joined the group, followed by Sabina Hänsgen in 1985. The group took part in the Biennale of Dissent (Venice, 1977) and exhibited in the Russian Pavilion at the 54th Venice Biennale (2011).

Collective Actions

Viktor Pivovarov was born in Moscow. He studied at Kalinin Moscow Art and Industrial College and in the Graphics Department of Moscow Printing Institute from 1957 to 1962. He took part in the Biennale of Dissent (Venice, 1977). He is a recipient of the Innovation Prize in the nomination For Contribution to the Development of Contemporary Art (2017).

Pivovarov Viktor

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Tactile models

Accessibility guide

Physical accessibility

GARAGE Individual

Digital accessibility

Diversity

Events at Garage

Garage publishing program and Strelka Press 

Text

Audio

Video

Feature

Guide

GARAGE Individual +1

Research laboratories

Artistic research

Translation to russian sign language

Subtitles

Adapted tours

Quiet room

Translation to uzbek, tajik, and kyrgyz

GARAGE Premium

“We Treasure Our Lucid Dreams”

Space 1520

Contemporary Critical Thought

Directors’ series

The Garage Journal

GARAGE Circle

Temporality

Disability

Affect

Overcoming

Body

Timelessness

Non-normative body

GARAGE Collectors Circle  

Experience of the other

Otherness

Developmental disabilities

Mental health

Trauma

Personal experience

Neural networks

Language

7-11 years

Plain language

Garage Café

The computer class schedule

Mediation

Oleg Baranov Going Down

Podcasts

Shelf of the Month. Theatrе

Publishing program page

Series of meetings with residents

Open call

Shelf of the Month. Cinema

Shelf of the Month. Modern Dance

Projects Oral History and Oral History 2.0

Visitors in a wheelchair

garage-txt

Public programs

Free

Registration required

Free for exhibition ticket holders

Paid

Booking required

Booking via phone or email is required

Booking on reception is required

Off-site projects

Architecture and design

Supervision

Museology

Philosophy

Economy

Cinematography

Critical biography

Memoirs and diaries

For Garage card holders

Exhibition catalogues

Research

For children

GARAGE + Ad Marginem

GARAGE PRO

Minima

Paperback

Hardcover

Hardcover with dust jacket

Book review

Professional programs

Video review

Garage publishing program in collaboration with Ad Marginem Press

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

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

City tours

Exhibition tours

Catalogue of the Collection

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