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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. 

Moscow Lights

Mikhail Maksimov’s practice focuses on programming potential worlds by testing the boundaries of digital media. He works in 3D video and modeling, machinima, video games, mobile apps, and neural network generators. His works are often expanded into installations, objects, and poly‑narrative situations. 
 
 His attention to the ontology of technological spaces, unusual for the Russian‑speaking art scene, is combined with an inter¬est in mysticism, religion, language systems, infrastructures of knowledge, and historical processes.
 
 The Archive of Transgression, an installation version of his work Flyover (2024), offers a VR experience that combines a sense of flying with liminal states in a dream. “The mechanics of flight or, generally, of movement through the air reveal people’s curiosity and interest in learning, since despite the differences in flying techniques they are all essentially about collecting experiences or even real objects through which the flight takes place,” Maksimov says. 
 
 Viewers are invited on a journey over endless swampland using modified controller wings to explore elements of this archive (experiences stored on VHS tapes) at Life Collection Points.

 Mikhail Maksimov’s practice focuses on programming potential worlds by testing the boundaries of digital media. He works in 3D video and modeling, machinima, video games, mobile apps, and neural network generators. His works are often expanded into installations, objects, and poly‑narrative situations. 
 
 His attention to the ontology of technological spaces, unusual for the Russian‑speaking art scene, is combined with an inter¬est in mysticism, religion, language systems, infrastructures of knowledge, and historical processes.
 
 The Archive of Transgression, an installation version of his work Flyover (2024), offers a VR experience that combines a sense of flying with liminal states in a dream. “The mechanics of flight or, generally, of movement through the air reveal people’s curiosity and interest in learning, since despite the differences in flying techniques they are all essentially about collecting experiences or even real objects through which the flight takes place,” Maksimov says. 
 
 Viewers are invited on a journey over endless swampland using modified controller wings to explore elements of this archive (experiences stored on VHS tapes) at Life Collection Points. 

Flyover OS. Archive of Transgressions

Acquired from the artist

Acquired from XL Gallery, Moscow

Anastasia Bogomolova’s works have been exhibited at Garage more than once. The project Bakal (2016), about the inmates of the labor camp in Chelyabinsk Oblast, was shown at the 1st Garage Triennial of Russian Contemporary Art (2017), and the installation Lookbook (2014–2018) was part of the exhibition The Fabric of Felicity (2018). 

 Bogomolova’s interests are broad and varied: from the toponymics of the Urals to botany. The installation Total: 1,118,176 rubles and 4 kopecks to produce 10 art projects in the period 01.11.2017 to 01.11.2022 (of which 6 completed, 1 in progress, 3 unknown status) was commissioned by Garage and explores economics and the financial position of the artist, a theme that until recently was rarely and unenthusiastically discussed but which today is an object of sociological research. Bogomolova arranges her financial autobiography in the form of an accountant’s office where you can find receipts, reports and other sensitive information that is usually concealed. 

 These types of documents are usually analyzed by descendents (as in the case of the illustrated list of purchases created by Michelangelo for his servant on March 18, 1518) or are a means of criticizing various aspects of the capitalist system (Hans Haacke’s works). But Bogomolova uses financial accounting with a different aim in mind. By revealing the “exact sum” to the viewer, she proposes perceiving artistic labor as actual labor and not as an inspired impromptu event with no concrete value.

 Anastasia Bogomolova’s works have been exhibited at Garage more than once. The project Bakal (2016), about the inmates of the labor camp in Chelyabinsk Oblast, was shown at the 1st Garage Triennial of Russian Contemporary Art (2017), and the installation Lookbook (2014–2018) was part of the exhibition The Fabric of Felicity (2018). 

 Bogomolova’s interests are broad and varied: from the toponymics of the Urals to botany. The installation Total: 1,118,176 rubles and 4 kopecks to produce 10 art projects in the period 01.11.2017 to 01.11.2022 (of which 6 completed, 1 in progress, 3 unknown status) was commissioned by Garage and explores economics and the financial position of the artist, a theme that until recently was rarely and unenthusiastically discussed but which today is an object of sociological research. Bogomolova arranges her financial autobiography in the form of an accountant’s office where you can find receipts, reports and other sensitive information that is usually concealed. 

 These types of documents are usually analyzed by descendents (as in the case of the illustrated list of purchases created by Michelangelo for his servant on March 18, 1518) or are a means of criticizing various aspects of the capitalist system (Hans Haacke’s works). But Bogomolova uses financial accounting with a different aim in mind. By revealing the “exact sum” to the viewer, she proposes perceiving artistic labor as actual labor and not as an inspired impromptu event with no concrete value. 

Total: 1,118,176 rubles and 4 kopecks to produce 10 art projects in the period 01.11.2017 to 01.11.2022 (of which 6 completed, 1 in progress, 3 unknown status)

Igor Samolet came to the fore in the late 2010s, when he offered a new approach to project photography, basing his multi‑part installations on screenshots of messages in messenger apps and on social networks. Samolet considers these traces of human communication or reactions to the world a basic unit of personal and collective memory. In his projects of the past eighteen months, the artist has begun to reconsider his method, introducing into his practice various objects, documentary photography, and texts by invited curator friends. 
 
 The installation Angle of Incline, shown at XL Gallery in spring 2024, reflects this stage in his search for a new voice. The screenshots became memories, dark silhouettes‑like books or faded photos‑in the counter‑light of fabric pockets. The artist appeared in the video, where his condition and intention were revealed not through words (a message in online correspondence) but through actions: resisting the pressure of water strong enough to knock him down and defending himself with a deformed canvas “until he found a position that balanced his effort and the opposing pressure. This balance was the perfect ‘angle of incline’.” However, it was unstable, as the tilt angle (in geodesic terms) is always described in percentage rather than exact values since it is dependent on the original horizontal and vertical coordinates. That is why the expressive video and the minimal curtain with pockets, which might lead the viewer to reflect on geometric abstraction or poetic refrains, are complemented by a shabby box in which the artist sent the work to a curator friend. It is evidence of the horizontal connections that, today more than ever, are essential for our stability.

 Igor Samolet came to the fore in the late 2010s, when he offered a new approach to project photography, basing his multi‑part installations on screenshots of messages in messenger apps and on social networks. Samolet considers these traces of human communication or reactions to the world a basic unit of personal and collective memory. In his projects of the past eighteen months, the artist has begun to reconsider his method, introducing into his practice various objects, documentary photography, and texts by invited curator friends. 
 
 The installation Angle of Incline, shown at XL Gallery in spring 2024, reflects this stage in his search for a new voice. The screenshots became memories, dark silhouettes‑like books or faded photos‑in the counter‑light of fabric pockets. The artist appeared in the video, where his condition and intention were revealed not through words (a message in online correspondence) but through actions: resisting the pressure of water strong enough to knock him down and defending himself with a deformed canvas “until he found a position that balanced his effort and the opposing pressure. This balance was the perfect ‘angle of incline’.” However, it was unstable, as the tilt angle (in geodesic terms) is always described in percentage rather than exact values since it is dependent on the original horizontal and vertical coordinates. That is why the expressive video and the minimal curtain with pockets, which might lead the viewer to reflect on geometric abstraction or poetic refrains, are complemented by a shabby box in which the artist sent the work to a curator friend. It is evidence of the horizontal connections that, today more than ever, are essential for our stability. 

Angle of Incline

Kazan artist Ilgizar Khasanov has been a key figure in the art scene of his city for several decades. Khasanov works with the Soviet material legacy, revisiting it in a lyrical way. Collecting various rare and unusual everyday objects from the Soviet period and combining them into installations, he does not aim to reproduce the spirit of the era but wishes to reveal through objects the personal stories of their anonymous owners. In a way, these often very ordinary and unassuming objects are themselves animated and reveal their independent life in the gap between the aesthetics of the Soviet era and individual human destinies.

 The installation Diary of an Unknown Person (1956–1965) is based on the diary of a Soviet citizen purchased at a flea market. The diary covers the years from 1956 to 1965, with entries written not daily but selectively. Most entries consist of monotonous descriptions of unremarkable events that happened during the day. Khasanov has complemented this striking document of the early Khrushchev Thaw period with authentic objects of the time: a stool, a worn jacket, a cigarette, an inkwell, and a still life featuring a modest lunch. These objects create an illusion of the anonymous protagonist being present in the room and reconstruct fragments of their everyday life, while the glass corridor space with the absurd signs for the entrance and exit refers, according to the artist, to images of a sarcophagus or a fairy‑tale coffin.

 Kazan artist Ilgizar Khasanov has been a key figure in the art scene of his city for several decades. Khasanov works with the Soviet material legacy, revisiting it in a lyrical way. Collecting various rare and unusual everyday objects from the Soviet period and combining them into installations, he does not aim to reproduce the spirit of the era but wishes to reveal through objects the personal stories of their anonymous owners. In a way, these often very ordinary and unassuming objects are themselves animated and reveal their independent life in the gap between the aesthetics of the Soviet era and individual human destinies.

 The installation Diary of an Unknown Person (1956–1965) is based on the diary of a Soviet citizen purchased at a flea market. The diary covers the years from 1956 to 1965, with entries written not daily but selectively. Most entries consist of monotonous descriptions of unremarkable events that happened during the day. Khasanov has complemented this striking document of the early Khrushchev Thaw period with authentic objects of the time: a stool, a worn jacket, a cigarette, an inkwell, and a still life featuring a modest lunch. These objects create an illusion of the anonymous protagonist being present in the room and reconstruct fragments of their everyday life, while the glass corridor space with the absurd signs for the entrance and exit refers, according to the artist, to images of a sarcophagus or a fairy‑tale coffin. 

Diary of an Unknown Person (1956–1965)

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 them¬selves 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 them¬selves 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. 

Poetry of Mature Searches

1. Открытый доступ

Мастер

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

Anastasia Bogomolova was born in Qostanay (Kazakh SSR). Selected solo exhibitions: Dacha/Garden, Moscow Museum of Modern Art (2014); Lookbook, Nizhny Tagil City Museum of Visual Arts, Chelyabinsk State Museum of Visual Arts (2016–2018); Сompartment Height, OkNo Gallerym Chelyabinsk (2023). Selected group exhibitions: 1st Garage Triennial of Russian Contemporary Art, Garage Museum of Contemporary Art, Moscow (2017); The Fabric of Felicity, Garage Museum of Contemporary Art, Moscow (2018); Taming the Void. Fifty Years of Contemporary Art in the Urals, National Center for Contemporary Arts, Moscow, Arsenal, Nizhny Novgorod, Ploshchad Mira Museum Center, Krasnoyarsk (2017–2018); Art and Life in Critical Zones, Konstmuseet i Norr, Kiruna, Sweden (2024).

Bogomolova Anastasia

Igor Samolet was born in Kotlas. He graduated from Syktyvkar State University in graphic design and from Rodchenko Art School (Moscow). Selected solo exhibitions: Drunken Confessions, Vladimir Smirnov and Konstantin Sorokin Foundation, Moscow (2017); See me more, Atelier AM ECK, Dusseldorf (2017); Error Energy, Multimedia Art Museum Moscow (2019); Everything We Remember, Stella Art Foundation, Moscow (2021); The Politics of Hate, szena gallery, Moscow (2021). Selected group exhibitions: Ostlook Exhibition. Contemporary Photography from the East, Hamburg (2018); Über Leben am Land, Kunsthaus Vienna (2019). He is a winner of the German Photobook Award (silver medal, 2014) and a recipient of a Garage grant for emerging artists (2018–2020).

Samolet Igor

Mikhail Maksimov was born in Moscow. He studied at Moscow State Construction University and Rodchenko Art School (Moscow). Selected solo exhibitions: Toptania, Electromuseum, Moscow (2014); Extraction of Humanity, Fabrika Center for Creative Industries, Moscow (2018); Continuous Answer, Sidur Museum, Moscow (2021). Selected group exhibitions: Radical Gaming. Immersion Simulation Subversion, House of Electronic Arts, Basel (2021); Assuming Distance: Speculations, Fakes, and Predictions in the Age of the Coronacene, Garage Museum of Contemporary Art, Moscow (2021). He is an award winner at the Extra Short Film Festival (2012), the International Cannes Video Festival (2015), and the Spirit of Fire Film Festival (Khanty‑Mansiysk, 2018).

Maksimov Mikhail

Ilgizar Khasanov was born in Kazan. He graduated from the Art Department of Kazan Theater College. He is the co‑founder of Smena Center for Contemporary Culture (Kazan, 2013). His solo exhibitions have taken place at the House of Scientists, Moscow (1991), Kazan National Cultural Center (1995), Central House of Artists, Moscow (1998), Russian Cultural Center, Prague (2000), Smena Center for Contemporary Culture, Kazan (2014, 2015, 2016, 2018, 2019, 2021, 2023), and other venues. Selected group exhibitions: Another Generation, Central House of Artists, Moscow, Nizhny Novgorod State Art Museum (1993); Fly I, New Gallery, Samara (2008); Traditions and Innovation, Manege Central Exhibition Hall, Moscow (2009); Territory of the Absurd, M&M Gallery, Kazan (2010; 1st Garage Triennial of Russian Contemporary Art, Garage Museum of Contemporary Art, Moscow (2017); Dreams of Milk, Voznesensky Center, Moscow (2022). He is a member of the Union of Artists of Russia (1996) and the Franz Kafka Society (Prague).

Khasanov Ilgizar

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