On&nbsp;Thursday September 11, the Museum, Library, Caf&eacute; and Shop will be&nbsp;closed.

Please note

Garage. Self-isolation

Text

Audio

Pressure (1982&ndash;83).&nbsp; Painted wood with lacquer finish, and charcoal, graphite, and ink on paper, 102 3&frasl;8 x 90 x 36 1&frasl;2&rdquo; (260 x 228.6 x 92.7 cm).&nbsp; Courtesy of the artist and Metro Pictures, New York. Collection of the Museum of Modern Art, New York.

Untitled (Potemkin, Black Square),&nbsp;2015.&nbsp; Charcoal on mounted paper, 53 x&nbsp;120 inches (134.6 x 304.8 cm). Courtesy of the artist and Galerie&nbsp;Thaddaeus Ropac; London, Paris,&nbsp;Salzburg.

Untitled (North Cathedral), 2009. Charcoal on mounted paper, 117 x 306&nbsp;inches (297.2 x 777.2 cm).&nbsp; Courtesy of&nbsp;the artist and Metro Pictures, New York.

Untitled (Nathan Bedford Forrest Statue&nbsp;Removal; Memphis, 2017), 2018. Charcoal on mounted paper, 70 x 120&nbsp;inches. (177.8 x 304.8 cm).&nbsp; Courtesy of&nbsp;the artist and Metro Pictures, New York.

Untitled (Raft at Sea), 2016&ndash;2017. Charcoal on mounted paper, 140 x 281&nbsp;inches (355.6 x 713.7 cm).&nbsp; Courtesy of&nbsp;the artist and Metro Pictures, New York.

Detail of Untitled (Raft at Sea)

Untitled (X-Ray of Bathsheba at Her&nbsp;Bath, 1654, After Rembrandt), 2015-2016.&nbsp; Charcoal on mounted paper, 70 x&nbsp;70 inches (177.8 x 177.8 cm).&nbsp; Courtesy&nbsp;of the artist and Galerie Thaddaeus&nbsp;Ropac; London, Paris, Salzburg.

Без названия (Статуя Марианны. Париж, Франция. 1 декабря 2018). 2019 Предоставлено художником и Metro Pictures, Нью-Йорк

Samurai Overdrive, 1986.&nbsp; Plexiglass,&nbsp;brass, steel, wood, silkscreen on&nbsp;canvas; 126 x 354 x 13 inches (320 x&nbsp;899 x 33 cm).&nbsp; Courtesy of the artist and&nbsp;Metro Pictures, New York.

Untitled (Torn Flag), 2018.&nbsp; Charcoal on&nbsp;mounted paper, 70 x 93 inches (177.8 x&nbsp;236.2 cm).&nbsp; Courtesy of the artist and&nbsp;Metro Pictures, New York.

Installation View, &ldquo;Men in the Cities,&rdquo;&nbsp;Triptych. The Pictures Generation,&nbsp;1974&ndash; 1984 Great Hall, The&nbsp;Metropolitan Museum of Art; New York,&nbsp;NY; 2009.&nbsp; Photographer: Eileen Travell.&nbsp; &copy; Metropolitan Museum of Art, New&nbsp;York

Untitled (Gabriel's Wing), 2015.&nbsp; Charcoal on mounted paper, 70 x 120&nbsp;inches (177.8 x 304.8 cm).&nbsp; Courtesy of&nbsp;the artist and Metro Pictures, New York.

Untitled (Eric), from the series "Men in&nbsp;the Cities," 1979&ndash;83.&nbsp; Charcoal and&nbsp;graphite on paper, 96 x 60 inches (243.8&nbsp;x 152.4 cm).&nbsp; Courtesy of the artist and&nbsp;Metro Pictures, New York.

Untitled (Vietnam, 1968), 2017.&nbsp; Charcoal on mounted paper, 80 x 120&nbsp;inches (203.2 x 304.8 cm).&nbsp; Courtesy of&nbsp;the artist and Metro Pictures, New York.

Untitled (Bullet Hole in Window, January&nbsp;7, 2015), 2015&ndash;2016.&nbsp; Charcoal on&nbsp;mounted paper, 76 x 143 inches (193 x&nbsp;363.2 cm).&nbsp; Courtesy of the artist and&nbsp;Galerie Thaddaeus Ropac; London,&nbsp;Paris, Salzburg.

Detail of Untitled (Bullet Hole in Window, January 7, 2015)

Untitled (Vatican Bishops), 2015&ndash;2016. Charcoal on mounted paper, 93 1/4 x&nbsp;140 inches.&nbsp; Courtesy of the artist and&nbsp;Galerie Thaddaeus Ropac; London,&nbsp;Paris, Salzburg.

Untitled (Riot Cops Engaged), 2018. Charcoal on mounted paper, 70 x 146&nbsp;inches (177.8 x 370.8 cm).&nbsp; Courtesy of&nbsp;the artist; Captain Petzel, Berlin; Metro&nbsp;Pictures, New York.

Untitled (Defaced Jewish Cemetery;&nbsp;Strasbourg, France; December 14,&nbsp;2018), 2019.&nbsp; Charcoal on mounted&nbsp;paper, 96 x 144 inches (243.8 x 365.8&nbsp;cm).&nbsp; Courtesy of the artist and Metro&nbsp;Pictures, New York.

Untitled (1st Amendment), 2018 Charcoal on mounted paper, 70 x 99&nbsp;inches (177.8 x 251.5 cm).&nbsp; Courtesy of&nbsp;the artist and Metro Pictures, New York.

Untitled (St. Louis Rams / Hands Up),&nbsp;2016.&nbsp; Charcoal on mounted paper, 65 x&nbsp;120 inches (165.1 x 304.8 cm). Courtesy of the artist and Metro&nbsp;Pictures, New York.

Untitled (Ferguson Police, August 13,&nbsp;2014), 2014.&nbsp; Charcoal on mounted&nbsp;paper, 86 x 120 inches (218.4 x 304.8&nbsp;cm).&nbsp; Courtesy of the artist; Metro&nbsp;Pictures, New York; Petzel, New York.&nbsp; Collection of The Broad Art Foundation.

Untitled (Statue of Confederate General&nbsp;Robert E. Lee Covered; Charlottesville,&nbsp;Virginia; August 2017), 2018. Charcoal&nbsp;on mounted paper, 120 x 95 1/4 inches&nbsp;(304.8 x 241.9 cm).&nbsp; Courtesy of the&nbsp;artist; Captain Petzel, Berlin; Metro&nbsp;Pictures, New York.

Death Star 2018, 2018.&nbsp; 40,000 .308&nbsp;FMJ 150 grain brass, copper, lead&nbsp;bullets; cast aluminum; steel Ibeams;&nbsp;steel chain, 254 1&frasl;2 x 254 1&frasl;2 x&nbsp;144 inches (sphere measures 77 inches&nbsp;diameter).&nbsp; Courtesy of the artist; Metro&nbsp;Pictures, New York; Galerie Thaddaeus&nbsp;Ropac; London, Paris, Salzburg.

Detail of Death Star 2018

Longo&rsquo;s New York City taxicab driver&rsquo;s license, 1978&ndash;1979

We asked the editorial team at Psycho Daily to create a playlist for a staying-in party.
<hr />
Psycho Daily: &ldquo;While our favorite clubs are closed we have entertain ourselves at home, perhaps by reading an article from Nonconformist Treasures on the ecstatic behavior of young people on the dancefloors of the 1970s. Or, we can become ecstatic ourselves and start a rave in the kitchen, somewhere between the cups of coffee, Zoom conference calls, and re-washing our favorite cups.
Here&rsquo;s how it works. Tired and still sober, you order a contactless delivery of wine. When it arrives, you press play and call your friends to talk about all those clever articles you read while working at home. You start getting drunk, feeling that four-on-the-floor. As you finish the bottle and switch off the light, substances get metabolized and the sound is cranked up. Between the oven and the table, you imagine yourself at the medium stage: nobody steps on your feet and no one pinches your cigarettes. For several hours you polish the corners of your furniture. By the dawn you are exhausted. This is when delirium crashes the party. Rhythms start screeching and dancing turns into balancing. Determined to put an end to this nightmare, you drag yourself to the bed and pass out, unaware of the hangover you will have for breakfast.&rdquo; &nbsp;
<iframe style="width: 100%; max-width: 660px; overflow: hidden; background: transparent;" src="https://embed.music.apple.com/ru/playlist/%D0%BF%D1%81%D0%B8%D1%85%D0%BE-daily-%D0%BA%D1%83%D1%85%D0%BE%D0%BD%D0%BD%D1%8B%D0%B9-%D1%80%D0%B5%D0%B9%D0%B2/pl.4ae28dbe93cd47dc82593a51dcb56aad?l=en" height="450" frameborder="0" sandbox="allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation"></iframe>

Kitchen rave scenario from Psycho Daily

The Room of Contemporary Art at the Hermitage

In far off 2014, a number of Russian artists wrote new art-making instructions for the Moscow iteration of <a href="https://garagemca.org/en/event/do-it-moscow">do it</a>, an ongoing traveling project that Hans Ulrich Obrist launched in 1993. Essentially, do it was an experiment with the exhibition format (for one thing, it avoided the cost of shipping artworks), and we at Garage think it would work perfectly in the current situation, enabling people to connect to art without leaving the house. In today&rsquo;s difficult circumstances, we invite you to revisit those witty instructions and devote some time to art.
<hr />
<h2 class="text__nomargin">Yuri Albert (b. 1959)</h2>
Untitled (2014) 
1
Imagine a work of art that nobody can understand;
2
Now, try to understand it and explain it to others.
<hr />
<h2 class="p3 text__nomargin">Nikita Alekseev (b. 1953)</h2>
Ripples In the Water (2014)
Find a lumpy stone weighing around 200gr (finding the stone must be done at a distance no less than 100 km from any ocean or seashore).
Go to the beach using any available means of transport; while on the way, keep shifting the stone from one hand to the other. Fling the stone in the water, and make a photo of the rings breaking up on the water surface.
Write twelve short texts (no longer than a page) relating to the following topics:
&ldquo;Flinging stones in the water&rdquo; &ldquo;Flinging cushions in the water&rdquo; &ldquo;Flinging sticks in the water&rdquo; &ldquo;Flinging bricks in the water&rdquo; &ldquo;Flinging footballs in the water&rdquo; &ldquo;Flinging books in the water&rdquo; &ldquo;Flinging geese in the water&rdquo; &ldquo;Flinging icons in the water&rdquo; &ldquo;Flinging politicians in the water&rdquo; &ldquo;Flinging oranges in the water&rdquo; &ldquo;Flinging kippers in the water&rdquo; &ldquo;Flinging sand in the water&rdquo;
Illustrate those texts with the photo made on the beach.
Publish the texts as a book in 120 + 1 copies, and post them to a hundred and twenty unfamiliar addresses found in the address book of the city where you live.
As for the last copy, keep it to yourself and show it to nobody.
<hr />
<h2 class="p1 text__nomargin">Sergei Sitar (b. 1969)</h2>
Untitled (2014)
&nbsp;
&nbsp;
&nbsp;
DON&rsquo;T DO WHAT THIS INSTRUCTION IS SUGGESTING
&nbsp;
&nbsp;
&nbsp;
<hr />
<h2 class="p1 text__nomargin">Andrei Monastyrski (b.1949)</h2>
Poetry of actions (1988-2014)
&nbsp;
<img src="https://cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%9C%D0%BE%D0%BD%D0%B0%D1%81%D1%82%D1%8B%D1%80%D1%81%D0%BA%D0%B8%D0%B8%CC%861.jpg" alt="" width="1575" height="866" />
&nbsp;
<img src="https://cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%9C%D0%BE%D0%BD%D0%B0%D1%81%D1%82%D1%8B%D1%80%D1%81%D0%BA%D0%B8%D0%B8%CC%862.jpg" alt="" width="1575" height="1052" />
<hr />
<h2 class="p3 text__nomargin">Alexander Petrelli (b. 1968)</h2>
Untitled (2014)
An excerpt from Neobyknovennyj Kontsert (An Unusual Concert, 1946), <a href="http://youtu.be/6KJy6WFBqR8">Sergey Obraztsov&rsquo;s vaudeville-style puppet show</a>.
Select six participants for a re-enactment of the video excerpt.
&nbsp;<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14787.13.08.jpg" alt="" width="1600" height="585" />
Master of Ceremonies:
Being a devoted connoisseur of all things new, I can&rsquo;t ignore a special form of ultra-avant-garde music that is quite popular
in some corners of the West&hellip; and the South-West.
My dear friends, we all do sound. To live means, primarily, to sound. Man sounds! Remember the golden words of Gorky:
&ldquo;Man&mdash;it sounds.&rdquo; At this time, however, you will hear something apart from a man&mdash;the sounds of things around him.
Things will sound, life will sound.
Meet Valdemar Kysh, Vice-President of the Zyuzino Society for Promoting New Sounds, and his quintet Wham -71!
Raise the curtain, please.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14.15.5457.jpg" alt="" width="1600" height="1204" />
Valdemar Kysh: 
Listen to the three-part quantum musical construction entitled Worldview.
Part 1: &ldquo;Deep in Thought&rdquo;
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14.16.5453.jpg" alt="" width="1600" height="581" />
The calm transparent adagio&mdash;delicatomento, congusto, non-propo, acabalemento; to some extent, celebroso, misterioso&mdash;
is marked by the arising avicenda, or a peculiar dialog between the vigorous wind staccato and a singularly vibrating, rattling string glissando. The door&rsquo;s intimately screeching legato ends on an unambiguously protesting metal rail note, apparently affirming the prevalence of the young in the eternal conflict between fathers and children.
Would you please.
Thus ends Part 1.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-24542-at-14.22.57.jpg" alt="" width="1600" height="1207" />
Part 2: &ldquo;Contemplation&rdquo;
Well, here listeners are certain to discern the composer&rsquo;s personal tones, emphasized by a light mormorando of the tea solo instrument. The conclusion of Part 2 is marked by allegro furioso barbaro&mdash;a wild howl of a domestic creature.
Would you please.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14.33420.07.jpg" alt="" width="1600" height="1213" />
Part 3: &ldquo;Finale: Apogee,&rdquo; which concludes with the author&rsquo;s explicit ultimo credo, finely and gently conveyed by moncando-pianissimo sussurando of the flush tank instrument.
Would you please.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14.2009.36.jpg" alt="" width="1600" height="576" />
<hr />
<h2 class="p1 text__nomargin">Oleg Kulik (b.1961)</h2>
Life Higher than Art Guide (2014)
&nbsp;
&nbsp;
1) Perch chickens on poles above your head;
2) Sit down at the desk, take a pen and a pad of paper;
3) Write the story of your life;
4) Having worked for 8 hours, compare your impressions of writing this biography with its content.
&nbsp;
&nbsp;
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_KULIK3.jpg" alt="" width="1108" height="1600" />
<hr />
Anatoly Osmolovsky (p./ b. 1969)
Instruction for viewers (2014)
Look at the picture of existing slices of bread and choose the pattern you like. The selected patterns should then be sent for manufacturing.
&nbsp;
Existing slices of bread:
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%9E%D1%81%D0%BC%D0%BE%D0%BB%D0%BE%D0%B2%D1%81%D0%BA%D0%B8%D0%B8%CC%8611.jpg" alt="" width="1600" height="1063" />
Examples of patterns:
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%9E%D1%81%D0%BC%D0%BE%D0%BB%D0%BE%D0%B2%D1%81%D0%BA%D0%B8%D0%B8%CC%86387.jpg" alt="" width="1600" height="861" />
&nbsp;
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D1%85%D1%85%D1%85%D1%8534.jpg" alt="" width="1600" height="1029" />
<hr />
<h2 class="p1 text__nomargin">Konstantin Zvezdochetov (b. 1958)</h2>
&nbsp;
White Performance (1982)
One half of a room, including the walls, the floor, and the ceiling, is completely covered with cotton wool, to look like a white stage. Two white chairs are positioned on either side of the &ldquo;stage&rdquo;; above them, two rows of white ropes run across the room (just above human height). Bandaged from head to toe, a man is seated in one of the chairs, holding a scalpel with his teeth. A white disposable glove, filled with red dye, is hanging from one of the ropes. The man stands up and slowly moves forward, touching the rope, until the scalpel in his mouth reaches the glove. The dye spills around the room from the cut glove, while the man proceeds further and sits down on a second chair.
&nbsp;
Atlantis (1982)
&nbsp;
We need a toilet.
Also, we need a piece of poo.
And an empty pack of Belomorkanal smokes.
A man enters a restroom and takes a dump. Then he puts the empty Belomorkanal pack face up on top of his poo, examines it, and flushes the toilet.
<hr />
&nbsp;
<h2 class="p1 text__nomargin">Еlectobroutique (f. 2004)</h2>
ARTOMAT.pro Instruction (2014)
&nbsp;
<a href="http://artomat.pro/">ARTOMA</a>T is an automated system for the production of art. Choose an object, add to it various features, bring it together with another object and put it in the right place, and your unique artwork is ready!
Our programme has an intuitive interface and offers unlimited creative possibilities. To enhance the pleasure of creation a slight bit more, here is a short instruction:
Step 1. Choose one of the 80 carefully selected objects for your further creative work: an airplane, Micky Mouse, the statue of Venus de Milo or anything else.
Step 2. Choose the transformation you would like your object to go through&ndash;you can choose to rotate it, blow it up, cover it with paint, combine it with another object etc. You can reshape it more than once! At this stage you can rotate the object around a vertical axis.
Step 3. Choose where to place your work of art: a museum, a town square, a gallery, the desert, african village etc.
Step 4. Choose how to place your work of art: on the floor, on a podium, in an aquarium&hellip;
Bingo! Your artwork is finished! You can email it to a friend or start again!
Enjoy creating!
Electroboutique
<img src="https://cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_11801603645_1b81657feda2_o.jpg" alt="" width="1600" height="591" />
<hr />
<h2 class="p1 text__nomargin">Valia Fetisov (b. 1989)</h2>
Imminent Collapse (2014)
&nbsp;
&nbsp;
&nbsp;
Someone must take a large sum of money, go to the supermarket, hide the money behind the items on the shelves and spread the news about what he/she has done.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_DO-IT-BOOK-31.jpg" alt="" width="1215" height="805" />
&nbsp;
&nbsp;
&nbsp;
&nbsp;

do it Moscow: Instructions for the (isolated) viewer

In far off 2014, a number of Russian artists wrote new art-making instructions for the Moscow iteration of <a href="https://garagemca.org/en/event/do-it-moscow">do it</a>, an ongoing traveling project that Hans Ulrich Obrist launched in 1993. Essentially, do it was an experiment with the exhibition format (for one thing, it avoided the cost of shipping artworks), and we at Garage think it would work perfectly in the current situation, enabling people to connect to art without leaving the house. In today&rsquo;s difficult circumstances, we invite you to revisit those witty instructions and devote some time to art.
<hr />
<h2 class="text__nomargin">Yuri Albert (b. 1959)</h2>
Untitled (2014) 
1
Imagine a work of art that nobody can understand;
2
Now, try to understand it and explain it to others.
<hr />
<h2 class="p3 text__nomargin">Nikita Alekseev (b. 1953)</h2>
Ripples In the Water (2014)
Find a lumpy stone weighing around 200gr (finding the stone must be done at a distance no less than 100 km from any ocean or seashore).
Go to the beach using any available means of transport; while on the way, keep shifting the stone from one hand to the other. Fling the stone in the water, and make a photo of the rings breaking up on the water surface.
Write twelve short texts (no longer than a page) relating to the following topics:
&ldquo;Flinging stones in the water&rdquo; &ldquo;Flinging cushions in the water&rdquo; &ldquo;Flinging sticks in the water&rdquo; &ldquo;Flinging bricks in the water&rdquo; &ldquo;Flinging footballs in the water&rdquo; &ldquo;Flinging books in the water&rdquo; &ldquo;Flinging geese in the water&rdquo; &ldquo;Flinging icons in the water&rdquo; &ldquo;Flinging politicians in the water&rdquo; &ldquo;Flinging oranges in the water&rdquo; &ldquo;Flinging kippers in the water&rdquo; &ldquo;Flinging sand in the water&rdquo;
Illustrate those texts with the photo made on the beach.
Publish the texts as a book in 120 + 1 copies, and post them to a hundred and twenty unfamiliar addresses found in the address book of the city where you live.
As for the last copy, keep it to yourself and show it to nobody.
<hr />
<h2 class="p1 text__nomargin">Sergei Sitar (b. 1969)</h2>
Untitled (2014)
&nbsp;
&nbsp;
&nbsp;
DON&rsquo;T DO WHAT THIS INSTRUCTION IS SUGGESTING
&nbsp;
&nbsp;
&nbsp;
<hr />
<h2 class="p1 text__nomargin">Andrei Monastyrski (b.1949)</h2>
Poetry of actions (1988-2014)
&nbsp;
<img src="https://cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%9C%D0%BE%D0%BD%D0%B0%D1%81%D1%82%D1%8B%D1%80%D1%81%D0%BA%D0%B8%D0%B8%CC%861.jpg" alt="" width="1575" height="866" />
&nbsp;
<img src="https://cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%9C%D0%BE%D0%BD%D0%B0%D1%81%D1%82%D1%8B%D1%80%D1%81%D0%BA%D0%B8%D0%B8%CC%862.jpg" alt="" width="1575" height="1052" />
<hr />
<h2 class="p3 text__nomargin">Alexander Petrelli (b. 1968)</h2>
Untitled (2014)
An excerpt from Neobyknovennyj Kontsert (An Unusual Concert, 1946), <a href="http://youtu.be/6KJy6WFBqR8">Sergey Obraztsov&rsquo;s vaudeville-style puppet show</a>.
Select six participants for a re-enactment of the video excerpt.
&nbsp;<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14787.13.08.jpg" alt="" width="1600" height="585" />
Master of Ceremonies:
Being a devoted connoisseur of all things new, I can&rsquo;t ignore a special form of ultra-avant-garde music that is quite popular
in some corners of the West&hellip; and the South-West.
My dear friends, we all do sound. To live means, primarily, to sound. Man sounds! Remember the golden words of Gorky:
&ldquo;Man&mdash;it sounds.&rdquo; At this time, however, you will hear something apart from a man&mdash;the sounds of things around him.
Things will sound, life will sound.
Meet Valdemar Kysh, Vice-President of the Zyuzino Society for Promoting New Sounds, and his quintet Wham -71!
Raise the curtain, please.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14.15.5457.jpg" alt="" width="1600" height="1204" />
Valdemar Kysh: 
Listen to the three-part quantum musical construction entitled Worldview.
Part 1: &ldquo;Deep in Thought&rdquo;
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14.16.5453.jpg" alt="" width="1600" height="581" />
The calm transparent adagio&mdash;delicatomento, congusto, non-propo, acabalemento; to some extent, celebroso, misterioso&mdash;
is marked by the arising avicenda, or a peculiar dialog between the vigorous wind staccato and a singularly vibrating, rattling string glissando. The door&rsquo;s intimately screeching legato ends on an unambiguously protesting metal rail note, apparently affirming the prevalence of the young in the eternal conflict between fathers and children.
Would you please.
Thus ends Part 1.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-24542-at-14.22.57.jpg" alt="" width="1600" height="1207" />
Part 2: &ldquo;Contemplation&rdquo;
Well, here listeners are certain to discern the composer&rsquo;s personal tones, emphasized by a light mormorando of the tea solo instrument. The conclusion of Part 2 is marked by allegro furioso barbaro&mdash;a wild howl of a domestic creature.
Would you please.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14.33420.07.jpg" alt="" width="1600" height="1213" />
Part 3: &ldquo;Finale: Apogee,&rdquo; which concludes with the author&rsquo;s explicit ultimo credo, finely and gently conveyed by moncando-pianissimo sussurando of the flush tank instrument.
Would you please.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Screenshot-2020-04-22-at-14.2009.36.jpg" alt="" width="1600" height="576" />
<hr />
<h2 class="p1 text__nomargin">Oleg Kulik (b.1961)</h2>
Life Higher than Art Guide (2014)
&nbsp;
&nbsp;
1) Perch chickens on poles above your head;
2) Sit down at the desk, take a pen and a pad of paper;
3) Write the story of your life;
4) Having worked for 8 hours, compare your impressions of writing this biography with its content.
&nbsp;
&nbsp;
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_KULIK3.jpg" alt="" width="1108" height="1600" />
<hr />
Anatoly Osmolovsky (p./ b. 1969)
Instruction for viewers (2014)
Look at the picture of existing slices of bread and choose the pattern you like. The selected patterns should then be sent for manufacturing.
&nbsp;
Existing slices of bread:
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%9E%D1%81%D0%BC%D0%BE%D0%BB%D0%BE%D0%B2%D1%81%D0%BA%D0%B8%D0%B8%CC%8611.jpg" alt="" width="1600" height="1063" />
Examples of patterns:
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%9E%D1%81%D0%BC%D0%BE%D0%BB%D0%BE%D0%B2%D1%81%D0%BA%D0%B8%D0%B8%CC%86387.jpg" alt="" width="1600" height="861" />
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<h2 class="p4 text__nomargin">Еlectobroutique (f. 2004)</h2>
ARTOMAT.pro Instruction (2014)
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<a href="http://artomat.pro/">ARTOMA</a>T is an automated system for the production of art. Choose an object, add to it various features, bring it together with another object and put it in the right place, and your unique artwork is ready!
Our programme has an intuitive interface and offers unlimited creative possibilities. To enhance the pleasure of creation a slight bit more, here is a short instruction:
Step 1. Choose one of the 80 carefully selected objects for your further creative work: an airplane, Micky Mouse, the statue of Venus de Milo or anything else.
Step 2. Choose the transformation you would like your object to go through&ndash;you can choose to rotate it, blow it up, cover it with paint, combine it with another object etc. You can reshape it more than once! At this stage you can rotate the object around a vertical axis.
Step 3. Choose where to place your work of art: a museum, a town square, a gallery, the desert, african village etc.
Step 4. Choose how to place your work of art: on the floor, on a podium, in an aquarium&hellip;
Bingo! Your artwork is finished! You can email it to a friend or start again!
Enjoy creating!
Electroboutique
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<h2 class="p1 text__nomargin">Valia Fetisov (b. 1989)</h2>
Imminent Collapse (2014)
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Someone must take a large sum of money, go to the supermarket, hide the money behind the items on the shelves and spread the news about what he/she has done.
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Garage Library holds a wide selection of Russian and international periodicals on art, architecture and design. Unfortunately, most of them are not available online in their entirety, but some of their content is. The team at Garage have prepared an overview of websites allowing free access to the materials from magazines featured at the library.&nbsp;
<h3>Visual art</h3>
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One of the most influential academic journals on contemporary art, October is associated with some of the most influential authors in Western art history, including <a href="https://garagemca.org/en/catalogue?authors=926ca1d9-1960-4e8e-bb97-6e0c488a5bc4">Douglas Crimp</a>&nbsp;and <a href="https://garagemca.org/en/catalogue?authors=8c23fde2-557e-4103-aa93-bff3b6befcb0">Rosalind Krauss</a>&nbsp;among others. Quite a few articles from October can be found on the website of MIT Press. For easier navigation, a <a href="https://www.mitpressjournals.org/action/showMostReadArticles?journalCode=octo">&ldquo;most read&rdquo; filter</a> is available. Of the most recent additions, see an<a href="https://www.mitpressjournals.org/doi/pdf/10.1162/octo_a_00379"> essay on American minimalist artist Robert Morris</a> (who, as we learn from the article, had departed from minimalism by the 1980s) and an <a href="https://www.mitpressjournals.org/doi/abs/10.1162/octo_a_00366">analysis of the Trump-era political caricature</a>.
Another pillar of the Western art criticism is <a href="https://www.artforum.com/news">Artforum</a>. Less academic than October, it focuses on the analysis of the current developments in art. Its website features a newsfeed&nbsp;as well as some of the articles from the printed edition, such as&nbsp;<a href="https://www.artforum.com/print/202001/huang-yong-ping-81611">Huang Yong Ping's obituary</a>&nbsp;from the January issue (his installation was part of the exhibition The Coming World at Garage), an <a href="https://www.artforum.com/print/201909/bruce-hainley-on-pierre-bonnard-the-colour-of-memory-81072">analysis of a major exhibition</a> of the French symbolist painter Pierre Bonnard&nbsp;from November 2019 ,and a <a href="https://www.artforum.com/print/201908">selection of materials</a> on the legacy of a key American critic and postmodernist theorist Douglas Crimp.
Our personal favourite is the British <a href="https://www.artmonthly.co.uk/magazine/site/issues">Art Monthly</a>. Along with serious long reads it features reviews of important exhibitions and interviews with artists, curators and critics&mdash;a great source for staying informed about the latest trends in art. Art Monthly publishes one article from every issue online.
Another journal stocked by the library is the Italian <a href="http://moussemagazine.it/">Mousse Magazine</a>, whose original design is also reflected in the structure of its website. Free materials include essays on artists and interviews with them as well as exhibition reviews. This might be one of the best sources for those who want to follow developments in art.
Perhaps, the only periodical that has all of its materials available online is the British <a href="https://frieze.com/">Frieze</a>. Frieze collaborates with professional critics and art historians, and if you are searching for a particular artist online, you will often come across a link to their pages&mdash;a good option for those who want to learn more about art.
<a href="https://bombmagazine.org/">BOMB Magazine</a> publishes interviews with artists and by artists, offering literally first-hand information on art. &nbsp;
One of the most recognized editions in the field, The Art Newspaper has websites in <a href="https://www.theartnewspaper.com/">English</a>, <a href="http://www.theartnewspaper.ru/">Russian</a>&nbsp;and&nbsp;<a href="https://daily.artnewspaper.fr/">French</a>. It publishes daily news and needs no recommendation. &nbsp;
One source that is not available at Garage Library, but will definitely be of use to anyone interested in Eastern European art is <a href="https://blokmagazine.com/">Blok Magazine</a>. One of its recent articles is a&nbsp;<a href="https://blokmagazine.com/the-very-act-of-being-destroyed-theft-and-destruction-at-the-arsenal-gallery-in-bialystok/">review of the exhibition</a> Theft and Destruction at the Arsenal Gallery in Białystok, Poland, which featured some Russian artists among others.
<h3>Photography</h3>
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If you are interested in contemporary photography be sure to follow the blog of <a href="https://aperture.org/blog/">Aperture</a>, one of the key American editions on the subject. Aperture do not re-publish their articles online, but in their blog, they review new photographic books, exhibitions, and projects by international star photographers.
<a href="https://camera-austria.at/en/">Camera Austria</a> publish previews of articles from their latest issues as well as fragments from photographic books. Their page can be a good starting point for further online searches.
We also recommend checking out the <a href="https://t.me/about_photography">Telegram channel</a> of our colleague, photography historian Viktoria Musvik, who ran two seasons of reading groups on photography theory and visual studies at Garage Library.
<h3>Architecture and design</h3>
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<a href="https://www.domusweb.it/en.html">Domus</a> is one of the world&rsquo;s key journals on architecture and needs no introduction. A lot of their articles are available for free on their website.&nbsp;
For a panoramic view of contemporary architecture and architectural critique, visit <a href="https://www.architectural-review.com/">Architectural Review</a>. The website has a convenient search feature, however, not all of the articles are available for free.&nbsp;
<a href="http://www.abitare.it/en/">Abitare</a> is published in English and Italian and features materials on a variety of visual practices including design, art, and architecture. &nbsp;

Art journals online 

How do you write you dissertation when public libraries including Garage Library&rsquo;s reading room are closed? Or would you simply like to know more about a particular artist, art movement or work? Garage Research team member and head librarian Valery Ledenev has prepared an overview of resources that might be of use to researchers and anyone interested in contemporary art.
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The range of books on contemporary art available online and for free is limited (<a href="https://garagemca.org/en/event/garage-self-isolation/materials/zhurnaly-onlayn-art-journals-online">journals</a> are a little bit easier to find), but you can get access to quite a few texts, or at least their excerpts, if you know where to look for them.
A good place to start is&nbsp;<a href="https://blogs.getty.edu/iris/museum-catalogues-from-eight-institutions-you-can-now-read-online/">Online Scholarly Catalogue Initiative</a>&nbsp;launched by the Getty Foundation in 2009. Institutions that publish their exhibition and collection catalogues on the OSCI platform for free use include giants like the Met, the Smithsonian Institution, and Tate. The collections of these and other participants are not limited to contemporary and modern art. Among other things, you will find countless catalogues on subjects ranging from the <a href="http://pulverer.si.edu/">art of Japan</a>, and <a href="https://www.nga.gov/research/online-editions/17th-century-dutch-paintings.html/">Dutch old masters</a>&nbsp;to <a href="https://www.artic.edu/digital-publications/american-silver">American silver</a>.
The <a href="http://www.getty.edu/publications/virtuallibrary/index.html">website of the Getty Foundation</a> itself is worth a visit&mdash;there too, you will find many interesting and valuable sources.&nbsp;
On the website of Art Institute Chicago you will find publications for the exhibitions of <a href="https://www.artic.edu/digital-publications/caillebotte-paintings-and-drawings-at-the-art-institute-of-chicago">Gustave Caillebotte</a>, <a href="https://www.artic.edu/digital-publications/gauguin-paintings-sculpture-and-graphic-works-at-the-art-institute-of-chicago">Paul Gauguin</a>, <a href="https://www.artic.edu/digital-publications/manet-paintings-and-works-on-paper-at-the-art-institute-of-chicago">&Eacute;douard Manet</a>, <a href="https://www.artic.edu/digital-publications/matisse-at-the-art-institute-of-chicago">Henri Matisse</a>&nbsp;and other modernists.&nbsp;
The San Francisco Museum of Modern Art has launched the <a href="https://www.sfmoma.org/rauschenberg-research-project/">Rauschenberg Research Project</a>, and on the Tate website, you will find catalogues of the gallery&rsquo;s research projects on <a href="https://www.tate.org.uk/research/publications/modern-american-art-at-tate">American painting</a>&nbsp;and <a href="https://www.tate.org.uk/research/publications/performance-at-tate">performance</a>.
No overview on the subject would be complete without a mention of the <a href="https://archive.org/details/guggenheimmuseum">online library of the Solomon R. Guggenheim Museum</a>, which holds one of the broadest and most diversified collections of texts on modern art from across the world. You will find Guggenheim publications in the bibliographies of many academic works&mdash;they are also among the frequently requested editions at Garage Library.
What can&rsquo;t be found on museums' websites, might be available at <a href="https://www.gutenberg.org/wiki/Main_Page">Project Gutenberg</a>. Unfortunately, a search for &ldquo;Warhol&rdquo; will yield only one result, and even that will not be an edition entirely devoted to Warhol (100 New Yorkers of the 1970s by Max Millard)&mdash;while the search for &ldquo;Beuys&rdquo; will yield nothing. However, you will easily find many of the older essential writings, such as Guillaume Apollinaire&rsquo;s seminal piece on cubism&mdash;a good opportunity to re-read the classics!
It is definitely worth to visit Academia.edu&mdash;a global network for academics to share their findings. Access to sources is unlimited, but not everything can be downloaded with a free account. Here you will find, among other books, a Russian translation of <a href="https://www.academia.edu/35087103/_Это_было_навсегда_пока_не_кончилось._Последнее_советское_поколение_">Alexei Yurchak&rsquo;s Everything Was Forever, Until It Was No More</a>, <a href="https://moscowstate.academia.edu/KovalevAndrey">most articles</a> by one of the key Russian art critics Andrey Kovalev, and a thesis on <a href="https://www.academia.edu/37761965/ИСРАИЛОВА_МАРИНА_БЕРКИНОВНА._ПРОБЛЕМА_ДОКУМЕНТАЦИИ_В_РОССИЙСКОМ_ПЕРФОРМАНСЕ_1970_2010-е_">documentation of performance</a> in Russia by St Petersburg-based academic Marina Israilova&nbsp;partially based on materials from Garage Archive Collection. &nbsp;&nbsp;&nbsp;
Finally, I am going to use this opportunity to recommend a page with my own <a href="https://independent.academia.edu/ValerijLedenev">writings on Russian and international art</a>, published in the Russian press over recent years.
Valeriy Ledenev

Online sources on contemporary art

Robert Longo: Quarantine Films

Sharon Kivland&mdash;artist, curator, writer, and participant in <a href="https://garagemca.org/en/exhibition/i-the-fabric-of-felicity-2018-i">The Fabric of Felicity</a>&mdash;spends a significant part of her year at a small commune Plou&euml;r-sur-Rance on the northwestern coast of France. Besides Sharon and her partner, the sculptor Ron Haselden, the atmospheric house, surrounded by the garden, is inhabited by a group of adopted animals. During self-isolation, the artist found herself busy with a new pastime, regular garden readings to her cat Celeste. Sharon Kivland shared with us a special essay on her experience.
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We have always had cats in our house in France. The first returned with me from Rome many years ago. Alexandre grew into a magnificent cat, noble and clever. He had an incurable illness and died too young. He was joined by Bella, a large tabby who turned up one night. She was never quite comfortable with us, and sometimes when being stroked, she would suddenly bite or claw, as though she had realized we were not those she had lost. The third, Cosima, was found as a tiny kitten in the flooded cellar of a Cistercian monastery on the Czech border; she was smuggled over the borders between there and France in a watering can. She remained tiny, determined, spirited. Later I found Z&eacute;phir, also noble, a characteristic of ginger cats, who had been abandoned in the road behind the house. One summer, we were joined by four farm cats, all of whom had kittens one summer (twenty-four, all rehomed, including Pilou, about whom I will say more below). Two, Limpet and her daughter Smudgelina, moved in with us. Limpet was calico, with great strength of character. Smudgelina was the shadow of her mother, a dilute calicos, semi-feral and discreet. The other two, Minouche and Chat Poule, slept in my neighbor&rsquo;s outbuilding and were fed by us all. Minouche chose this, though she would come inside from time to time, but Chat Poule was too wild, too scared of our dogs and all the other cats until my neighbor&rsquo;s daughter, inheriting her mother&rsquo;s house several years ago, adopted her and she ended her life sleeping between the bed and a sofa until this year. As a kitten, she lived with my hens, from where her name came, until her father, a wild cat we called Grey Boy, brought her down to where we had made a shelter and left food for some other feral cats, who disappeared&mdash;as eventually did Grey Boy, though once I saw him in a field a few kilometers away, and stopped my car to call to him. He looked at me with what I thought to be recognition but kept his distance. My companion came back from the airport one evening with our friends who he had gone to collect, but also with a small ginger kitten, Bevis. He is still with us, rather demanding. I found Fid&egrave;le, another ginger, but pale, fragile, in the garden of the mairie. She was extremely thin, very young, full of parasites, but with a gaiety and courage that has lasted. In the order of appearance of our cats, my memory is hazy, but I think then Jean-Balthazar moved in, a cat who was my passion. We thought he was Pilou, who, after the death of the neighbor who adopted him and his sister Grisette, was left outside her empty house by her heirs, and would only come to be fed, resisting touch. His sister disappeared and as she was tame, I hope she was found and adopted. Jean-Balthazar had an infected paw, which had to be amputated, and so he stayed until his premature death. In my brief absence, we think he was run over by a car, then went to ground for several days, making his way home to me to die in my arms. Pilou was persuaded to move in, as we could see his health was declining&mdash;this took many weeks, months even, until he had the courage to enter. He slept on the bed until his death. Minouche, too, moved in, or rather, I brought her in after I found her supine in the rain from what I thought was a stroke, but now know was the first sign of the brain tumor that eventually killed her. Luna was found in a box in the car park of the supermarket by the pharmacist, who brought her to me. She had severe ringworm and great charm. She is still charming, though she has a vexing tendency to disappear. Aristide has been with us for nearly three years, a black and white cat of immense proportions. We thought he belonged to the farm but then was reported to be living in a drain on the route to the ch&acirc;teau. He sauntered in one day (he has great confidence) and lay on the sofa, where largely, he has remained since. Orph&eacute;e, our youngest cat, a sleek black fellow, was a present from friends who were staying with us. At this point, my companion said no more cats. He has said this before.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_READING-TO-CELESTE-022.jpg" alt="" width="1181" height="886" /> Reading to Celeste, 2020 Photo: Ron Haselden &copy; Sharon Kivland
However: last September, our friends Simon and Val&eacute;rie brought us Celeste, a small young calico cat who had been visiting them in the garden of their summer house. They fed her, but could not keep her, as they were returning to England. She is a complicated little cat, still wild, and had somehow survived in a small town for a year. She had had kittens, but they had died. When she arrived, she was crying for them; she still had milk and could not rest. The vet told me it was unlikely that she would ever settle in a house. This winter, we made progress. She found a place on one of the sofas in the kitchen that she claimed for her own, defended her territory for food, allowed herself to be stroked, though she would never sit on a lap or knee. She started to come into one of the bedrooms upstairs, then found a chair she liked in the library. She particularly liked the upstairs bathroom and would sit in a companionable manner while I had a bath.
Suddenly this has changed. We do not know why. We cannot trace this to any event. It is during the confinement, but there seems to be no relation. She does not want to come into the house unless it is empty. She is frightened of the dogs, of the other cats. Sometimes she returns at night or when I call her to eat, but she is reluctant to stay. Yet, when I go into the garden, she calls for me, demanding my attention. She follows me, mewing. If I sit, she climbs on me at once, purring, circling, then stares into my face. Under confinement and in the fine spell of weather, I have taken to sitting with her every afternoon. I do not have much time for leisure, to spend a few hours doing nothing&mdash;though I suppose that I am comforting and taming a little wild creature, and that is something&mdash;so I read with her, persuading myself that I am spending time usefully. The weather changed yesterday, but in the warm sun, here are some of the things I have read with Celeste.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Aristide-at-front-door3.jpg" alt="" width="1200" height="1600" /> Aristide at the front door, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
Jacques Derrida, The Animal That Therefore I Am, because he comes or surrenders to the animal, to the animal in itself, and the animal in him and the animal at unease with itself. In an endnote, he writes of the cats that have been given to him since the conference at Cerisy, literary creatures from Baudelaire, Rilke,&nbsp; Buber&hellip;&nbsp; Lewis&nbsp; Carroll (of course), though Derrida&rsquo;s real cat, with its unsubstitutable singularity, is not Alice&rsquo;s little cat, a kitten who purrs, and it is impossible to tell if it means yes or no. I read aloud some quotations from Heidegger. Celeste, on my lap, her paws kneading me, closes her eyes. It is not a matter of simply giving speech back to the animal.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Bevis-in-flowerpot34.jpg" alt="" width="1200" height="1600" /> Bevis in the flowerpot, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
Barbara Pym, An Unsuitable Attachment, because it is comic and tragic and everyday, though not of today. Perhaps it was also not of the time it was written. Sophia, the wife of the vicar, has a cat she adores, Faustina. Faustina remains indifferent, and Sophia says she cannot reach her as she has reached other cats, and that somehow,&nbsp;&nbsp;&nbsp; it is the same with Mark, her husband. Mark, sent to buy a fish supper for his wife and cat, wonders what would tempt Faustina&rsquo;s delicate appetite. On holiday in Rome, Sophia lies on her bed and tries to picture what Faustina might be doing. Little scenes come to mind: vigorously chewing a piece of meat, sitting upright and thumping her tail, demanding for the door to be opened, reposing on a bed, curled up in a circle; sharpening her claws on the leg of an armchair, and Sophia can almost smell Faustina&rsquo;s fresh furry smell and her warm sweet breath.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Celeste-at-window23.jpg" alt="" width="1600" height="1600" /> Celeste at the window, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
Colette, The Cat, because, well, because of course, for no-one writes about animals like Colette, though I wonder if anyone reads her anymore. Saha, a Russian Blue, a silver shadow, will not give up her owner, Alain, to Camille, his fianc&eacute;e. The cat is his little bear, his blue pigeon, his pearl-colored demon. While he thinks that in a week he will begin a new life with an amorous and untamed young woman, the cat gives him a cat&rsquo;s kiss, swift, immaterial, seldom accorded. But her eyes are hard. Camille is not very fond of Saha. At the end of the book, Alain leaves Camille. He leaves her for Saha. Camille cannot believe he is leaving her for an animal, and he says while he admits Saha is an animal, what is there higher than this animal?
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Celeste-in-flowerpot45.jpg" alt="" width="1200" height="1600" /> Celeste in the flowerpot, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
Joanna Bourke, What it means to be Human. Reflections from 1791 to the Present, because it starts with a satirical letter published in 1872, in which &ldquo;An Earnest Englishwoman&rdquo; asks &ldquo;Are Women Animals?&rdquo; for women have fewer rights in law than animals. She cries for women to become-animal to benefit from what they are denied. Later, Bourke quotes Rosi Braidotti, concerning the dependence of animal rights advocacy on liberal ideals that are damaging, for the becoming-human of animals cannot &ldquo;be generated by or at the center, or in a dominant position.&rdquo; Bourke suggests we might think in terms of what she calls a &ldquo;negative zoology&rdquo;, God-excised, to think about the radical making of worlds. To this, she adds the M&ouml;bius strip and radical alterity, as ways of thinking with different worlds.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Fide%CC%80le-in-bowl45.jpg" alt="" width="1600" height="1600" /> Fid&egrave;le in the bowl, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
Anne Tyler, Ladder of Years, because it is the story of a woman who walks away from her family on a beach and just keeps on going until she gets to a new town to make a new life. She leaves one cat behind, Vernon, and on the point of making a new life, acquires another, a kitten, George, when she is determined that she will no longer care for anything. His fur is startling soft. It reminds her of milkweed. When she lies on her bed in her lodgings, she feels the denting of the mattress. The kitten passes behind her, brushes the back of her body as if by chance, but it is not. She feels they are performing a dance, courtly, dignified, elaborate. It is a delicate novel of negotiated relationships.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Fide%CC%80le-on-table44.jpg" alt="" width="1200" height="1600" /> Fid&egrave;le on the table, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
Mel Chen, Animacies, because I started it several years ago, but did not finish it. My eyes skimmed the pages in the too-strong sunlight, again failing to take in the animation of the insensate, deathly, and immobile, as though I had become a stone, with a smaller, softer, warmer, calico stone on my lap, whose color is believed to bring good luck. Chen warns against conflating human ideas about the animal with the animal itself; we must, she writes, ask after a broadly construed register of sentience. Thinking and feeling through sentience may revise dominant animacy hierarchies by admitting a range of interanimation and unrecognized recognition. This is not without its problems, she thinks.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Jean-Balthazar.jpg" alt="" width="787" height="591" /> Jean-Balthazar, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
Oxana Timofeeva, The History of Animals. A Philosophy, because I continued to find Chen&rsquo;s book too dense for reading in the hot sun in a canvas deck chair, with the warm weight of Celeste&rsquo;s body on me, my eyes closing, drifting into a half-sleep. She argues I think, for a history of animals, a historical materiality, however spectral. There are animals before the law, and then they are excluded from it, to become things once again. I read aloud to Celeste, reminding her that since animals do not really own their death, they cannot really possess their life, and so they cannot be a subject of law. I reminded her, as she shuffled, extended and unrolled her paws, purred, that she sounds of her own accord, vibrating inwardly and causing the air to vibrate; that her being is manifested, but nothing is said.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Luna%20in%20apple%20tree.jpg" alt="" width="332" height="443" /> Luna in the apple tree, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
&Eacute;lisabeth de Fontenay, Le Silence des b&ecirc;tes : la philosophie &agrave; l&rsquo;&eacute;preuve de l&rsquo;animalit&eacute;, because it is the book to which I return when I am thinking about animals, and also thinking about returning and death. Animals make themselves heard even if they are denied the two types of logos, reason and words, though Porphyry, unlike the Stoics, believes them to have prophorikos. No-one has taught us how to translate what they say. Their language does not speak to us. What is the right of the one who does not speak to be there in the world, in the same way, and in the same world as the one who reasons in the clear language of the mind? What is the right of the one who cannot commit himself to any duty? We name them, and they know we have named them. Cats know their names, but sometimes, often in fact, they cannot be bothered to respond. De Fontenay cites Montaigne, that we live beneath the same roof and breathe the same air, that between us, there is a perpetual resemblance.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Luna-on-table34.jpg" alt="" width="1600" height="1600" /> Luna on the table, 2020 Photo: Sharon Kivland &copy; Sharon Kivland
Georges Perec, Life. A User&rsquo;s Manual, because in re-reading it in confinement, after many years, I found myself collecting the cats in the book. These are: Lady Piccolo,&nbsp;&nbsp;&nbsp; a grey she-cat who belongs to a woman who does not live in this building but in the building next door, though Lady Piccolo spends hours on the staircase; Pip and La Minouche, belonging to Madame Moreau, who sleep on the carpet, paws stretched out and relaxed, in the position known as paradoxical sleep, thought to correspond to the state of dreaming; Petit Pouce, belonging to the Marquiseaux, who first appears as a young cat, black with bronze flecks and a white spot under his neck, wearing a plaited leather collar; Poker Dice, a fat alley cat belonging to Gilbert Berger, who sleeps on a fluffy sky-blue bedspread; and two unnamed kittens, belonging to Madame de Beaumont.

Sharon Kivland. Reading to Celeste 

Garage Research Department hopes you can spend your weekends as well and as easily as Russian artists did and do.
For instance, record yourself on a tape recorder like Andrei Monastyrsky in 1983 or shoot a music video in the bathroom, as Vladik Mamyshev-Monroe did in 1991.
<iframe class="text__embed__content" src="https://www.youtube.com/embed/videoseries?list=PLRSwFqRcpg4Hc-2BiRnh4n8ycfvkhdUOP" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe>

Contemporary Russian Art and Music playlist

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

Contemporary Russian Art and Music playlist

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