It&nbsp;can be&nbsp;cold in <a href="https://garagemca.org/en/programs/library" target="_blank">the Library</a>. We&nbsp;recommend you bring warm clothing.

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Main Collection

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

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

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

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

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

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

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

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

A Text for a Film Application

An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 The action Sharik is an example of maximum simplification and the artist’s humorous and silly approach. In this action he used shaving foam and film editing, which allowed him to create a balloon that appeared out of nowhere and disappeared without a trace.

 An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 The action Sharik is an example of maximum simplification and the artist’s humorous and silly approach. In this action he used shaving foam and film editing, which allowed him to create a balloon that appeared out of nowhere and disappeared without a trace. 

Sharik, Shirokyi Buerak

Анастасия Ливаднова — мультидисциплинарная художница, чья художественная практика формируется на стыке перформанса, фотографии и видео. Она исследует психологические и социокультурные аспекты коммуникации, идентичности и уязвимости, часто работает с жанром автофикшен.
Видеоперформанс This is all about wrong moment in the right time («Это все о неправильном моменте в правильное время») снят в 2023 году в Милютинском переулке в Москве в соавторстве с Алексеем Токуном. В центре сюжета — сама художница, за кадром звучит фрагментированный текст на английском языке, напоминающий ее внутренний монолог. Речь выстроена как поэтический манифест с элементами spoken word — художественной декламации, сочетающей рваный ритм, интонационную напористость и варьирование мелодики. Затем в героиню начинают бросать яйца: она достает теннисную ракетку, пытаясь отражать удары. Пространство двора и тело Ливадновой постепенно покрываются скорлупой и желтками, формируя визуальный образ коллективной агрессии как реакции на нестандартное, уязвимое поведение.
Произведение отсылает к автобиографическому эпизоду — неудачному собеседованию Ливадновой с немецким художником Даниэлем Рихтером во время поступления в Венскую академию изобразительных искусств. По словам художницы, интервью началось с вопроса о портфолио. После стандартной фразы «Меня зовут Настя Ливаднова» она сознательно отказалась от традиционного формата презентации, вместо этого начав мелодично напевать «м‑м-м», перелистывая слайды презентации: этот жест остался непонятым. Финальные титры видео иронично комментируют произошедшее: «Посвящается семи минутам интервью с Даниэлем Рихтером и последовавшим за ним десяти часам терапии с Антоном Шпильманном».

Анастасия Ливаднова — мультидисциплинарная художница, чья художественная практика формируется на стыке перформанса, фотографии и видео. Она исследует психологические и социокультурные аспекты коммуникации, идентичности и уязвимости, часто работает с жанром автофикшен.
Видеоперформанс This is all about wrong moment in the right time («Это все о неправильном моменте в правильное время») снят в 2023 году в Милютинском переулке в Москве в соавторстве с Алексеем Токуном. В центре сюжета — сама художница, за кадром звучит фрагментированный текст на английском языке, напоминающий ее внутренний монолог. Речь выстроена как поэтический манифест с элементами spoken word — художественной декламации, сочетающей рваный ритм, интонационную напористость и варьирование мелодики. Затем в героиню начинают бросать яйца: она достает теннисную ракетку, пытаясь отражать удары. Пространство двора и тело Ливадновой постепенно покрываются скорлупой и желтками, формируя визуальный образ коллективной агрессии как реакции на нестандартное, уязвимое поведение.
Произведение отсылает к автобиографическому эпизоду — неудачному собеседованию Ливадновой с немецким художником Даниэлем Рихтером во время поступления в Венскую академию изобразительных искусств. По словам художницы, интервью началось с вопроса о портфолио. После стандартной фразы «Меня зовут Настя Ливаднова» она сознательно отказалась от традиционного формата презентации, вместо этого начав мелодично напевать «м‑м-м», перелистывая слайды презентации: этот жест остался непонятым. Финальные титры видео иронично комментируют произошедшее: «Посвящается семи минутам интервью с Даниэлем Рихтером и последовавшим за ним десяти часам терапии с Антоном Шпильманном».

This is all about wrong moment in the right time

Artist and CGI specialist Sara Culmann often works with digital drawing, creating scenes in a game engine and matching her lines of research with machinima poetics. Agency of Nowhen is an online platform with short videos imitating the logic of paid content services. The project describes diverse aspects of the phenomenon of bias‑cognitive distortion of the perception of information that creates an imbalance in collective knowledge.

These episodes combine into a series of video essays exploring individual incidences of the deformation of data and the problems of measuring systems. A number of the subjects are based on a careful study of digital environments, for example the one about the production of a consensus of knowledge in Wikipedia, which is narrated by an anonymous Wiki editor who handles arguments about universality and systems for selecting and checking information. Others offer a poetic and experimental exploration of the experience of the subject’s existence in the extremely heterogeneous and randomly technogenic present day. The artist pays particular attention to failed historical lines, experiences not taken into account by society, and elements that have avoided scientific analysis.

By using a type of streaming interface and splitting the work into short episodes, the artist plays with how knowledge is distributed and how the image is circulated today: in ways that are illusory, accessible, universal, and ephemeral.

Artist and CGI specialist Sara Culmann often works with digital drawing, creating scenes in a game engine and matching her lines of research with machinima poetics. Agency of Nowhen is an online platform with short videos imitating the logic of paid content services. The project describes diverse aspects of the phenomenon of bias‑cognitive distortion of the perception of information that creates an imbalance in collective knowledge.

These episodes combine into a series of video essays exploring individual incidences of the deformation of data and the problems of measuring systems. A number of the subjects are based on a careful study of digital environments, for example the one about the production of a consensus of knowledge in Wikipedia, which is narrated by an anonymous Wiki editor who handles arguments about universality and systems for selecting and checking information. Others offer a poetic and experimental exploration of the experience of the subject’s existence in the extremely heterogeneous and randomly technogenic present day. The artist pays particular attention to failed historical lines, experiences not taken into account by society, and elements that have avoided scientific analysis.

By using a type of streaming interface and splitting the work into short episodes, the artist plays with how knowledge is distributed and how the image is circulated today: in ways that are illusory, accessible, universal, and ephemeral.

Agency of Nowhen

An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 The action Fountain was one of his most difficult ideas to create. It took a year and a half to prepare. The artist spoke to engineers, firefighters, and harbor workers so that his flight would look plausible. In the end, to make the action happen, he borrowed a GP‑21 hydro‑loader from the river port. Le Jen’s walk on a cloud of splashes lasts only a few seconds and he shows his excitement at seeing his work transform the power of water into a poetic metaphor for the artist's freedom to create in both nature and society.

 An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

 The action Fountain was one of his most difficult ideas to create. It took a year and a half to prepare. The artist spoke to engineers, firefighters, and harbor workers so that his flight would look plausible. In the end, to make the action happen, he borrowed a GP‑21 hydro‑loader from the river port. Le Jen’s walk on a cloud of splashes lasts only a few seconds and he shows his excitement at seeing his work transform the power of water into a poetic metaphor for the artist's freedom to create in both nature and society. 

Fountain. Saratov, Volga

An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007.

 An architect by education, Misha Le Jen turned to performance art in 1990, inspired, as he says, by the Foucault pendulum in St. Isaac's Cathedral in St. Petersburg. He had the idea of making a painting using the movement of the Earth. To make it, he built a flying machine he called Leplane‑a suspension device that fixed the artist's body in the air, allowing him to assume a new position in relation to the painting surface. He later defined his performances as “consistent rejection of the superfluous in favor of pure action, a striking gesture.” 

 Le Jen interacts with nature and life as a combination of forces that are beyond human control, yet fascinating to study and live. He inherited his interest in the world around him and his approach to creativity as a practice that is integrated into life and natural for a human being from his grandmother, the well‑known Saratov artist Valentina Chelintsova. A positive and active view of the world‑which means the artist is full of hope and enthusiasm in their creative impulse‑seeks simplification rather than complexity, which brings Le Jen's work closer to the craft of inventors rather than to a fundamentally hermetic conceptualism that denounces reality. 

 To date he has created over sixty actions, some of which were documented in the eight volumes of Catalogues of Actions covering the period from 1993 to 2007. 

Catalogues of Actions (1993–2007)

Artist Olga Grotova’s film explores the tragic events of her own family history, which defined her interest in women’s personal practices of working the land. The artist looks at gardening and the cultivation of smallholdings as a means of female self‑expression and opposition to the repressions and totalitarian pressure. 

In the 1930s thousands of foreigners who had come to the USSR to work became victims of the Great Terror. Like the female relatives of “traitors to the motherland” and “enemies of the people,” the wives, sisters, mothers, and children of foreigners were sent to ALZHIR (Akmolinsk Camp for the Wives of Traitors to the Motherland), a camp within the GULAG system in the Kazakh SSR (now the Republic of Kazakhstan), as relatives of “traitors to the Motherland” and “enemies of the people.” Among the prisoners of that camp were Klavdia and Marina, Grotova’s great‑grandmother and grandmother. 

The corporeality of the video material and the embodiment by the camera, accented by the materiality of the 8 mm film used, is one of the main techniques employed by the artist to create a subtle language for the comprehension of history. Surviving a tragedy of historical proportions proves to be possible thanks to the practice of gardening (both personal and collective, based on mutual assistance), which supported the community of imprisoned women and remained with them for the rest of their lives. This corporeal embodiment of camera and narrator is an important motif for video essay practices, underpinning the complex structure of film and artistic research. 

This work was created as part of the project The Friendship Garden for Garage Field Research.

Artist Olga Grotova’s film explores the tragic events of her own family history, which defined her interest in women’s personal practices of working the land. The artist looks at gardening and the cultivation of smallholdings as a means of female self‑expression and opposition to the repressions and totalitarian pressure. 

In the 1930s thousands of foreigners who had come to the USSR to work became victims of the Great Terror. Like the female relatives of “traitors to the motherland” and “enemies of the people,” the wives, sisters, mothers, and children of foreigners were sent to ALZHIR (Akmolinsk Camp for the Wives of Traitors to the Motherland), a camp within the GULAG system in the Kazakh SSR (now the Republic of Kazakhstan), as relatives of “traitors to the Motherland” and “enemies of the people.” Among the prisoners of that camp were Klavdia and Marina, Grotova’s great‑grandmother and grandmother. 

The corporeality of the video material and the embodiment by the camera, accented by the materiality of the 8 mm film used, is one of the main techniques employed by the artist to create a subtle language for the comprehension of history. Surviving a tragedy of historical proportions proves to be possible thanks to the practice of gardening (both personal and collective, based on mutual assistance), which supported the community of imprisoned women and remained with them for the rest of their lives. This corporeal embodiment of camera and narrator is an important motif for video essay practices, underpinning the complex structure of film and artistic research. 

This work was created as part of the project The Friendship Garden for Garage Field Research.

To My Daughter I WIll Say

За почти 20 лет своего существования «Фабрика Найденных Одежд» стала одним из главных российских коллективов, отвечающих за женский голос в искусстве. Художниц Наталью Першину‑Якиманскую (Глюклю) и Ольгу Егорову (Цаплю) объединил интерес к одежде как средству художественной выразительности. В своих перформансах они исследовали личные границы и внешние ограничения, представляли «женское» как интуитивное в противовес рациональному патриархальному миру.

Фильм «Записки Идеальному Возлюбленному» был создан в 1996 году по приглашению Галереи 21 в арт‑центре «Пушкинская‑10» для презентации проекта «Утопия» в Нью‑Йорке. Показ проходил в Информационно‑технологическом центре (NYIT), продюсерами фильма выступили Ирина Актуганова и Сергей Бусов.

В фильме художницы обращаются с одеждой по‑хулигански разрушительно (режут, рвут и поджигают ее), чтобы передать социальный накал, новаторство и иронию своего метода. Ольга Егорова вспоминала: «Мы стали думать, что в любви главное — это желание дойти до конца, снять покровы, пробраться до кровеносной системы, чтобы близость была тотальной. Люди ведь трусоваты, ставят границы. Наш фильм „Записки Идеальному Возлюбленному“ — методическое пособие, как эти границы преодолеть». Художницам удается преодолеть границы, и в финале Глюкля театрально падает замертво в черном винтажном платье гимназистки с белым воротником. Оно становится символом идеальной возлюбленной, которая сохраняет верность своим идеалам до конца. Это платье бабушки художницы Анны Бенедиктовны Гецовой. Описание платья как «участницы проекта» — авторское и подчеркивает интерес ФНО к силе (по)дружества.

За почти 20 лет своего существования «Фабрика Найденных Одежд» стала одним из главных российских коллективов, отвечающих за женский голос в искусстве. Художниц Наталью Першину‑Якиманскую (Глюклю) и Ольгу Егорову (Цаплю) объединил интерес к одежде как средству художественной выразительности. В своих перформансах они исследовали личные границы и внешние ограничения, представляли «женское» как интуитивное в противовес рациональному патриархальному миру.

Фильм «Записки Идеальному Возлюбленному» был создан в 1996 году по приглашению Галереи 21 в арт‑центре «Пушкинская‑10» для презентации проекта «Утопия» в Нью‑Йорке. Показ проходил в Информационно‑технологическом центре (NYIT), продюсерами фильма выступили Ирина Актуганова и Сергей Бусов.

В фильме художницы обращаются с одеждой по‑хулигански разрушительно (режут, рвут и поджигают ее), чтобы передать социальный накал, новаторство и иронию своего метода. Ольга Егорова вспоминала: «Мы стали думать, что в любви главное — это желание дойти до конца, снять покровы, пробраться до кровеносной системы, чтобы близость была тотальной. Люди ведь трусоваты, ставят границы. Наш фильм „Записки Идеальному Возлюбленному“ — методическое пособие, как эти границы преодолеть». Художницам удается преодолеть границы, и в финале Глюкля театрально падает замертво в черном винтажном платье гимназистки с белым воротником. Оно становится символом идеальной возлюбленной, которая сохраняет верность своим идеалам до конца. Это платье бабушки художницы Анны Бенедиктовны Гецовой. Описание платья как «участницы проекта» — авторское и подчеркивает интерес ФНО к силе (по)дружества.

Записки идеальному возлюбленному

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. 

 The two‑hour video recording Depot was shot at Depot railroad station on the Savelovskaya line on January 30, 1990 for Andrei Monastyrsky’s installation Trip to the West. The location was not accidental. This was where Collective Actions participants met the viewers of their first actions in the mid‑1970s in order to accompany them through the forest to the Kievogorsky Field, which was the main place for the group’s events. The film is a minimalist sequence of views of railroad platforms, bridges, technical elements, trains, and the landscapes surrounding the station. The fixed shots of views are accompanied either by their usual background noises or the voices of Monastyrsky, George Kiesewalter, and Sabine Hänsgen reading excerpts from the Handbook of Snow, edited by D.M. Gray and D. H. Male (Leningrad: Gidrometeoizdat, 1986), in Russian, German, and English. The book consists of three parts: “Snow and the Environment,” “Snowfall and Snowcover,” and “Snow and Engineering.” 

 This film is the first in a series of video recordings (mostly made by Sabine Hänsgen) which not only document actions but also have their own aesthetic meaning as part of a “new demonstration space.” In the preface to the seventh volume of Trips Out of Town Monastyrsky stresses that, in his view, these videos focus on exhibiting the flow of events. Viewers are more involved with the metaphysics of place than the documentation of a particular action. 

 The short, thirty‑minute version of Depot was shown on April 29, 2022 as part of the eponymous action by Sabine Hänsgen, Elena Biserna and Henry Andersen at the Oscillation festival in Brussels.

 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. 

 The two‑hour video recording Depot was shot at Depot railroad station on the Savelovskaya line on January 30, 1990 for Andrei Monastyrsky’s installation Trip to the West. The location was not accidental. This was where Collective Actions participants met the viewers of their first actions in the mid‑1970s in order to accompany them through the forest to the Kievogorsky Field, which was the main place for the group’s events. The film is a minimalist sequence of views of railroad platforms, bridges, technical elements, trains, and the landscapes surrounding the station. The fixed shots of views are accompanied either by their usual background noises or the voices of Monastyrsky, George Kiesewalter, and Sabine Hänsgen reading excerpts from the Handbook of Snow, edited by D.M. Gray and D. H. Male (Leningrad: Gidrometeoizdat, 1986), in Russian, German, and English. The book consists of three parts: “Snow and the Environment,” “Snowfall and Snowcover,” and “Snow and Engineering.” 

 This film is the first in a series of video recordings (mostly made by Sabine Hänsgen) which not only document actions but also have their own aesthetic meaning as part of a “new demonstration space.” In the preface to the seventh volume of Trips Out of Town Monastyrsky stresses that, in his view, these videos focus on exhibiting the flow of events. Viewers are more involved with the metaphysics of place than the documentation of a particular action. 

 The short, thirty‑minute version of Depot was shown on April 29, 2022 as part of the eponymous action by Sabine Hänsgen, Elena Biserna and Henry Andersen at the Oscillation festival in Brussels. 

Depot

Acquired from the artist

Acquired from the artists

Acquired from XL Gallery, Moscow

1. Открытый доступ

Мастер

Группа «Фабрика Найденных Одежд» (ФНО) основана в Санкт‑Петербурге в 1995 году Ольгой Егоровой (Цаплей) и Натальей Першиной‑Якиманской (Глюклей). ФНО принимала участие в программе Первого киберфеминистского Интернационала на выставке documenta X (Кассель, 1997), Интернациональном фестивале Балтийских стран (Хельсинки, 2000), Baltic Babel (Мальмё, 2003), Международном фестивале короткометражного фильма в Оберхаузене (2003, 2007, 2008, 2009). В 2009 году художницы стали лауреатами национальной премии «Черный квадрат» за фильм «Три матери и хор». ФНО прекратила свою деятельность в 2014 году.

Factory of Found Clothes

Misha Le Jen was born in Khvalynsk (Saratov Oblast). He graduated from the Architecture Faculty of Leningrad Engineering and Construction Institute. From 1987 to 1990 he was a member of the art group Zheltaya gora (Saratov) and from 2011 to 2024 was art director and curator of the museum and residencey Artkommunalka. Erofeev and Others. Selected solo exhibitions: Six Actions with a Ball, Pasinger Fabrik, Munich (1994), Horizon and Other Actions, Saratov Radishchev State Art Museum (1997).

Le Jen Misha

Likhaia Dasha

Born in Chelyabinsk. Olga Grotova is an artist. She has a master’s degree in Painting from the Royal College of Art, London (2016). She is currently an associate of the Wysing Art Center’s Syllabus VI, an artist development programme conceived in collaboration with the UK art institutions Studio Voltaire, Iniva, Eastside Projects, and Spike Island. She is a recipient of the Space Artist Award (2021) and the Arts Council England DYCP Award (2021). Recent exhibitions include: Fifth Wave (curated by Ivan Novikov), Garage Museum of Contemporary Art and Moscow Museum of Architecture (2021) and Debris on a Luminous Plain , Centrala Birmingham, Oslo Kunstforening, Mimosa House, London), Osnova Gallery, Moscow (2017). She lives and works in London.

Grotova Olga

Pershina‑Yakimanskaya Nataliya (Gluklya)

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

Egorova Olga (Tsaplya)

Livadnova Anastasia

Born in Kirovsk. Sara Culmann is a media artist. She studied at Stroganov Moscow State University of Arts and Industry and Rodchenko Art School, and in 2012 completed a video art course taught by Provmyza Group from Nizhny Novgorod. She works with time‑based media—found footage, 3D animation and computer games—as well as graphics and objects. Her work has been featured at the Moscow International Biennale for Young Art (2014) and in exhibitions at ISSMAG Gallery, Skolkovo Gallery and Studio, MMOMA, and Electromuseum.

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