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

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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

Trips out of Town, volume 1

Trips out of Town, volume 3, part 1

Trips out of Town, volume 4, part 2

Trips out of Town, volume 3, part 2

Trips out of Town, volume 2

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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