Raymond Pettibon. The Cloud of Misreading

Text

Video

Gary Carrion-Murayari, the Kraus Family Curator at the New Museum, one of the curators of the first solo exhibition of Raymond Pettibon The Cloud of Misreading talks about the show and the artist&rsquo;s works and methods.
The Cloud of Misreading is Raymond Pettibon&rsquo;s first solo exhibition in Russia. This presentation brings together nearly 400 works by the legendary American artist including drawings with his signature interplay of image and text, zines, videos, ephemera, and more.
Pettibon&rsquo;s prodigious approach to drawing has resulted in a staggering accumulation of images from history, popular culture, nature, and literature. The artist&rsquo;s early work from the late 1970s and 80s (distributed in self-published zines and on the covers of album covers in the nascent Southern California punk scene) offered a dark portrait of America in the second half of the 20th century. The protagonists of these works including violent mobsters, crooked cops, compromised women, corrupt youth, deranged hippies, cult members, and dimwitted punks. The stark imagery and darkly humorous captions of these works made Pettibon an underground legend long before he came to the attention of the larger art world.
By the early 1990s, Pettibon&rsquo;s vision gradually expanded to encompass the breadth and complexity of American history and culture. The tenor of his work shifted from strident to poetic, with a gradual softening of his graphic style and expansion of his subject matter. In the past thirty years, he has created iconic series of drawings on subjects as varied as surfing, baseball, cartoons, natural history, love, war, and his own artistic aspirations and failings. The title of this exhibition evokes the creative use of language that has evolved in Pettibon&rsquo;s work over the course of his career. The show also features a selection of source material from the artist&rsquo;s monumental archive, demonstrating the way in which he edits, interprets, and re-contextualizes quotations from texts across disciplines and historical periods. This sculptural approach to writing and literary history has allowed Pettibon to craft an instantly recognizable language, one that is deeply personal and inherently communal, allowing major and minor voices to speak in unison.
Gary Carrion-Murayari
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The Cloud of Misreading show brings together around four hundred works, including ephemera and materials from the personal archive of the artist. Most of them are drawings with fragments of text. Garage has published a booklet specially for the Raymond Pettibon show with translations of the texts that constitute the essential part of the artist&rsquo;s works. You can find the printed version at the exhibition space and download the electronic version below. Poet, translator, and musician Kirill Medvedev has become the Russian voice of Raymond Pettibon. Here you can find a selection of works with their Russian translations.
<a class="button button--black" href="//cdn-ec-static.garagemca.org/storage/tinymce_asset/1/2/1266/file-a0578583-797b-48ca-9807-0e1920523620.pdf">Download the booklet</a>

Gary Carrion-Murayari on The Cloud of Misreading

Garage has published a booklet specially for the Raymond Pettibon show with translations of the texts that constitute the essential part of the artist&rsquo;s works. Poet, translator, and musician Kirill Medvedev has become the Russian voice of Raymond Pettibon. Here you can find a selection of works with their Russian translations.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-12---%D0%92%D0%B5%D0%B4%D1%8C-%D1%8F-%D0%BF%D1%80%D0%B0%D0%BA%D1%82%D0%B8%D1%87%D0%B5%D1%81%D0%BA%D0%B8-%D1%83%D0%B1%D0%B5%D0%B6%D0%B4%D0%B5%D0%BD.jpg" alt="" width="1006" height="1356" />
<h2>Ведь я практически убежден: когда мы станем достаточно хорошо видеть и научимся доверять собственным глазам, не будет особой сложности в том, чтобы рисовать то, что мы видим.</h2>
Без названия (&laquo;Ведь я&hellip;&raquo;). 2008
Бумага, тушь, перо, гуашь. 75,6 &times; 56,5 см
No Title (For I am&hellip;), 2008
Pen, ink, and gouache on paper 75.6 &times; 56.5 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D1%81.-13---%D0%9D%D0%B5-%D0%B7%D0%BD%D0%B0%D1%8E%2C-%D1%87%D1%82%D0%BE-%D1%8D%D1%82%D0%BE.jpg" alt="" width="1006" height="1371" />
<h2>Не знаю, что это было, но точно не летающая тарелка.</h2>
Без названия (&laquo;Не знаю, что это было&hellip;&raquo;). 1991 Бумага, тушь, перо. 76,2 &times; 56,5 см No Title (Whatever I saw&hellip;), 1991 Pen and ink on paper 76.2 &times; 56.5 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-18---%D0%9E%D0%BD%D0%B8---%D0%B1%D0%B0%D1%81%D1%82%D0%B8%D0%BE%D0%BD%2C-%D0%B7%D0%B0%D1%89%D0%B8%D1%89%D0%B0%D1%8E%D1%89%D0%B8%D0%B9.jpg" alt="" width="1006" height="734" />
<h2>Они &mdash; бастион, защищающий американские интересы, американские военные базы от внутренних и внешних врагов.</h2>
Без названия (&laquo;Они&hellip;&raquo;). 2014 Бумага, тушь, гуашь, уголь. 54,9 &times; 75,6 см No Title (They are the&hellip;), 2014 Ink, gouache, and graphite on paper 54.9 &times; 75.6 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-37---%D0%9D%D0%B0%D1%81%D0%BA%D0%BE%D0%BB%D1%8C%D0%BA%D0%BE-%D0%B1%D1%8B%D1%81%D1%82%D1%80%D0%BE.jpg" alt="" width="1006" height="753" />
<h2>Насколько быстро? Невыразимо быстро&hellip; Врум.</h2>
Без названия (&laquo;Насколько быстро? Невыразимо&hellip;&raquo;). 1960-е Бумага, тушь, цветной мелок. 21,6 &times; 27,9 см No Title (How fast? Unspeakably&hellip;), 1960s Crayon and ink on paper 21.6 &times; 27.9 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-56---%D0%9F%D0%BE-%D0%BA%D0%B0%D0%BA%D0%BE%D0%BC%D1%83-%D1%82%D0%BE-%D0%BD%D0%B5%D0%B2%D0%BE%D0%BE%D0%B1%D1%80%D0%B0%D0%B7%D0%B8%D0%BC%D0%BE%D0%BC%D1%83.jpg" alt="" width="1006" height="1092" />
<h2>По какому-то невообразимому стечению обстоятельств потом он снова возник в Константинополе. Пламя, в котором сгораю, дарую ему. Пока дрова ожидали этой милости. В очаге.</h2>
Без названия (&laquo;По какому-то невoобразимому&hellip;&raquo;). 1991 Бумага, тушь, перо. 64,8 &times; 58,4 см No Title (By some strange&hellip;), 1991 Pen and ink on paper 64.8 &times; 58.4 cm
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&nbsp;<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-79---%D0%AF-%D1%83%D0%B1%D0%B8%D0%BB-%D0%B4%D0%B2%D0%BE%D0%B8%D1%85.jpg" alt="" width="1006" height="700" />
<h2>Я убил двоих!</h2>
Без названия (&laquo;Я убил двоих!&raquo;). 1984 Бумага, тушь, перо. 26 &times; 36,8 см No Title (I killed two!), 1984 Pen and ink on paper 26 &times; 36.8 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-131---%D0%9E%D1%82%D0%B5%D1%86-%D0%BD%D0%B0%D0%B7%D1%8B%D0%B2%D0%B0%D0%BB-%D0%BC%D0%B5%D0%BD%D1%8F.jpg" alt="" width="1006" height="1314" />
<h2>Отец называл меня &laquo;человеком на выброс&raquo;.</h2>
Без названия (&laquo;Отец называл меня&hellip;&raquo;). 1982 Бумага, тушь, перо. 27,9 &times; 21,6 см No Title (My father called&hellip;), 1982 Pen and ink on paper 27.9 &times; 21.6 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-148---%D0%9F%D0%BE%D0%B7%D0%B2%D0%BE%D0%BD%D0%B8-%D0%BC%D0%BD%D0%B5%2C-%D0%BA%D0%BE%D0%B3%D0%B4%D0%B0-%D0%BD%D0%B0%D0%B3%D1%80%D1%83%D0%B7%D0%B8%D1%88%D1%8C%D1%81%D1%8F.jpg" alt="" width="1006" height="1433" />
<h2>Позвони мне, когда нагрузишься так, что не сможешь ходить или даже вести машину. Займемся любовью.</h2>
Без названия (&laquo;Позвони мне, когда&hellip;&raquo;). 1985 Бумага, тушь, перо. 30,5 &times; 22,9 см No Title (Call me when&hellip;), 1985 Pen and ink on paper 30.5 &times; 22.9 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-203---%D0%9D%D0%B0-%D0%BC%D0%BE%D0%B5%D0%B9-%D1%89%D0%B5%D0%BA%D0%B5-%D1%81%D0%BF%D0%BB%D0%BE%D1%88%D0%BD%D0%BE%D0%B5.jpg" alt="" width="1006" height="822" />
<h2>На моей щеке сплошное мерцание. Лицо мое пасмурно. Постичь смысл.</h2>
Без названия (&laquo;На моей щеке&hellip;&raquo;). 1995 Бумага, тушь, перо. 29,2 &times; 35,6 см No Title (My cheek is&hellip;), 1995 Pen and ink on paper 29.2 &times; 35.6 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-206---%D0%98%D0%BD%D0%BE%D0%B3%D0%B4%D0%B0-%D0%BF%D1%80%D0%B8%D0%B1%D0%BB%D0%B8%D0%B6%D0%B0%D0%B5%D0%BC%D1%81%D1%8F.jpg" alt="" width="1006" height="1049" />
<h2>Иногда приближаемся к более высоким перистым облакам, иногда к более низким кучевым.</h2>
Без названия (&laquo;Иногда приближаемся к&hellip;&raquo;). 2001 Бумага, тушь, акварель. 132,7 &times; 135,9 см No Title (Sometimes approaching the&hellip;), 2001 Ink and watercolor on paper 132.7 &times; 135.9 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-214---%D0%AF-%D0%B2%D0%B5%D1%80%D1%8E%2C-%D1%87%D1%82%D0%BE-%D0%B5%D1%81%D1%82%D1%8C-%D0%B4%D1%80%D1%83%D0%B3%D0%B8%D0%B5.jpg" alt="" width="1006" height="1222" />
<h2>Я верю, что есть другие воды, бессмертные, неподвластные земному разложению. Чистота восходит сквозь них все легче, все быстрее.</h2>
Без названия (&laquo;Я верю, что&hellip;&raquo;). 1987 Бумага, тушь. 57,2 &times; 44,5 см No Title (I believe that&hellip;), 1987 Ink on paper 57.2 &times; 44.5 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-228---%D0%9F%D1%80%D0%BE%D0%B4%D0%B5%D0%BB%D0%B0%D0%BB-%D0%B4%D1%8B%D1%80%D1%83.jpg" alt="" width="1006" height="1214" />
<h2>Проделал дыру.</h2>
Без названия (&laquo;Проделал дыру&raquo;). 2006 Бумага, тушь, перо. 73,7 &times; 58,4 см No Title (Bored a hole), 2006 Pen and ink on paper 73.7 &times; 58.4 cm
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<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%A1.-238---%D0%9A%D0%B5%D0%BD%D1%82-%D0%9A%D0%BB%D0%B8%D0%BC%D1%87%D0%BE%D0%BA%2C-%D0%BF%D1%80%D0%B0%D0%B2%D1%8B%D0%B9.jpg" alt="" width="1006" height="1463" />
<h2>Кент Климчок, правый аутфилдер, &laquo;Ориолс&raquo;. &laquo;Чудила&raquo; Климчок.</h2>
Без названия (&laquo;Кент Климчок&hellip;&raquo;). 1983 Бумага, тушь, перо. 30,5 &times; 22,2 см No Title (Kent Klimchock&hellip;), 1983 Pen and ink on paper 30.5 &times; 22.2 cm
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You can find the printed version of the booklet at the exhibition space and download the electronic version below.
<a class="button button--black" href="//cdn-ec-static.garagemca.org/storage/tinymce_asset/1/2/1266/file-a0578583-797b-48ca-9807-0e1920523620.pdf">Download the booklet</a>
18+&nbsp;

In the Cloud of Misreading or trying to decipher Pettibon’s works

Writer and curator Sarah Lehrer-Graiwer looks at the use of text in Raymond Pettibon&rsquo;s work.
[&hellip;] Pettibon&rsquo;s practice is so consistently scattershot, so single-mindedly pluralistic and all over the place, such an unrelenting spray of disjunctive flashes and wild outbursts, that strong patterns eventually must emerge across the field, as they do throughout all nature. Individual drawings amass into swarms that &nbsp;together exhibit new forms of collective behavior. More on nature: &ldquo;When I hang a show, for the most part, it&rsquo;s usually just as well to put up the drawings randomly, because that&rsquo;s the nature of the work. There are dissociations and attachments and the mind will fill in the blanks.&rdquo;<a href="#_ftn1" name="_ftnref1">1</a> All-over-ness stimulates connectivity and logic fills any breach, instinctively and compulsively; the point being, randomness may not be as easy to achieve as it looks.
The drawings grow out of note-taking, note-keeping, and note-hoarding elevated to heroic heights. Like an exploded notebook, expressing high-velocity release and tearing apart, mental debris blasts across any paper surface, the studio floor, and the gallery walls.
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_PETRA4678_repro%20(2)1.jpg" alt="" width="1200" height="781" /> Raymond Pettibon No Title (It taught, it&hellip;), 2003 57.1 &times; 76.8 cm Pen and ink on paper Courtesy David Zwirner, New York&nbsp;
The artist cares not that it&rsquo;s already been said. In fact, he loves literature&rsquo;s already-said-ness, maybe its best part&mdash;a point of mutual identification, contact, and commonality with a lineage of past Homo sapiens thinkers. (Pettibon prefers dead authors to those living.) And so much has already been said. Awareness of the archive&rsquo;s vastness comes up early and comes on hard&mdash;such unfathomable enormity can either lead to a dead-end, cul-de-sac feeling of paralysis or to a feeling of liberation that enables the artist to work, draw, and write free of pressure. I mean, originality is not only not a new idea, I&rsquo;d say it&rsquo;s rather obsolete. Risk of redundancy will not stop the living. Redundancy is living. I, for one, get turned on by my own insignificance.
&ldquo;[&hellip;] It&rsquo;s a dialogue with the dead, with other writers, that&rsquo;s what it is and any- one who has any background in literary history understands that. One of my models, Burton&rsquo;s Anatomy of Melancholy, is more a work of editing than it is of original writing.... You know the old cliche &ldquo;The great writers steal, the other ones borrow?&rdquo; That goes without saying.&rdquo;<a href="#_ftn2" name="_ftnref2">2</a>
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_PETRA2152.jpg" alt="" width="1200" height="1647" /> Raymond Pettibon No Title (An artist in&hellip;), 1986 35.6 &times; 27.9 cm Pen and ink on paper Courtesy David Zwirner, New York&nbsp;
The practice of seamlessly and consistently integrating other writers&rsquo; words among his own in the form of verbatim or approximately quoted passages (he estimates about a third of his text is borrowed) is a multivalent proposition, accomplishing many things: It brings in a varied chorus of other voices, which is a way to put oneself in relation to a group of chosen others&mdash;to form a disembodied community. It&rsquo;s a way of covering an author the way singers cover songs, bringing their style to bear on the rendition. It turns monologue into a kind of dialogue, relating his drawings to his parallel scriptwriting and filmmaking practice. It&rsquo;s a way of speaking through others, dispersing and expanding identity beyond physical limitation.
[&hellip;] More than write it, Pettibon draws and paints text. Rare exceptions aside, language must come out, like the pictures, in his own hand. Handwriting expresses the timbre, pitch, and mood of voice; font and graphological style capture personality and identity.
Drawn out, his print is expressive and, considered in 2016, signals something other than &ldquo;efficiency&rdquo; or Word doc or professionalism and something more like care&mdash;lettering as tender form-making, or as a drawing from 1989 pro-fesses, I WRITE IT DOWN, EACH WORD, LOVINGLY.
[&hellip;] Sometimes cursive flows, but mostly Pettibon paints all-caps block letters in thin but solid black strokes. This scrawny capitalization has become his hallmark, his brand&rsquo;s graphic identity: &ldquo;To the public, my lettering is the most recognizable, identifiable part of my art, whether or not they actually read the text in the work.&rdquo;<a href="#_ftn3" name="_ftnref3">3</a>
&ldquo;[&hellip;] I&rsquo;m way behind in the work I&rsquo;ve already set myself up for. I&rsquo;m spread too thin.&rdquo;<a href="#_ftn4" name="_ftnref4">4</a> Lack of focus, attention deficit, and feeling &ldquo;spread thin&rdquo; is increasingly a cultural, if not species-wide, epidemic, one with as-yet-unknown consequences, possibly terrifying and possibly electric. As Frances put it in that 1997 interview with Pettibon, &ldquo;[t]here is a sense of so many books being open at once or something, it&rsquo;s as if you like to have, like, uh, sort of God! I don&rsquo;t know how to describe it but just to say like all books open, like so many things all open at once.&rdquo;
<img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_PETRA16181.jpg" alt="" width="1200" height="1490" /> Raymond Pettibon No Title (Without their ears&hellip;), 2010 61 &times; 48.3 cm Pen, ink and gouache on paper Courtesy David Zwirner, New York&nbsp;
[&hellip;] Of all Pettibon&rsquo;s metaphoric proxies, from surfer to baseball player to superhero to penis, I prefer the authorial ones and the little boy with a monster hole in his head the most. Vavoom says &ldquo;Vavoom.&rdquo; He always says &ldquo;Vavoom,&rdquo; he only says &ldquo;Vavoom.&rdquo; Just one word, but oh what a big, big word. And he is the best at saying &ldquo;Vavoom:&rdquo; &ldquo;It&rsquo;s the only word he needs. It kind of fulfills all of his needs of expression and in my hands it usually becomes very literary. It&rsquo;s sort of preoccupational with me, and because it&rsquo;s just one word it becomes very liberating in the sense that you can read so much into it...harmony or cliche or figure of speech; it&rsquo;s anything you want it to be.&rdquo;<a href="#_ftn5" name="_ftnref5">5</a> Word and name coincide; identity is boiled down to and equated with that singular utterance for which he is known&mdash;or conversely, he is logos brought to life, the word made flesh. He is a magical invocation: mantra and motto, incantation and brute affirmation.
[&hellip;] Textual voices accumulate over time. Duration matters; moods shift as circumstances develop from day to day, month to month, minute to minute. Fortunes fluctuate, wars are waged, governments change hands. Drawings build and words gather slowly, often over the course of many years: &ldquo;I&rsquo;ve been at this for a long time, and I have voluminous amounts of unfinished work in the studio. They&rsquo;re not all finished at one pass at the drawing board. So when I finally sign the work on the back...do I date it 2011, or 1989 to 2011?&rdquo;<a href="#_ftn6" name="_ftnref6">6</a> This makes it tricky to pin the drawings down in time or chronology&mdash;and I cling to such difficulty. I love that there are very long delays between the beginning and completion of a work, confirming the primacy of the whole practice, as a function of time, over any particular piece. The supreme achievement, the insane passion, is the sustained dedication to a life of reading and drawing, each drawing a mere signpost pointing that way.
<hr />
This is&nbsp;an&nbsp;extract from the exhibition catalogue A&nbsp;Pen of&nbsp;All Work (New&nbsp;York:&nbsp;New&nbsp;Museum/Phaidon, 2016), which is&nbsp;available from <a href="http://bookshop.garagemca.org/catalog/knigi/raymond_pettibon-_a_pen_of_all_work/">Garage Bookshop</a>.
The material was published in Garage Gazette 2017 issue.
<a class="button button--black" href="//cdn-ec-static.garagemca.org/storage/tinymce_asset/1/2/1237/file-83c04868-5f6b-4569-97e6-47fc50f887a3.pdf">DOWNLOAD AS PDF</a>
<hr />
<a href="#_ftnref1" name="_ftn1">1.</a> Raymond Pettibon, interview by Grady Turner, &ldquo;Raymond Pettibon,&rdquo; BOMB, Fall 1999, 42.
<a href="#_ftnref2" name="_ftn2">2.</a> Pettibon in Frances Stark, This Could Become a Gimick [sic] or an Honest Articulation of the Workings of the Mind, ed. Jo&atilde;o Ribas (Cambridge, MA: MIT List Visual Arts Center, 2010), 43.
<a href="#_ftnref3" name="_ftn3">3.</a> Pettibon, interview by Kristine McKenna, Alack (for to no other pass my verses tend), by Raymond Pettibon, Kristine McKenna, and Ed Hamilton, edition of 20 (Venice, CA: Hamilton Press, 2009), 7.
<a href="#_ftnref4" name="_ftn4">4.</a> Ibid, p. 6.
<a href="#_ftnref5" name="_ftn5">5.</a> Pettibon in Ulrich Loock, &ldquo;Interview with Raymond Pettibon,&rdquo; Raymond Pettibon, ed. Ulrich Loock (Bern: Kunsthalle Bern, 1995), 28.
<a href="#_ftnref6" name="_ftn6">6.</a> Pettibon, 2011 interview by Mike Kelley, in &ldquo;By Way of Norman Greenbaum,&rdquo; in Raymond Pettibon, ed. Ralph Rugoff (New York/Los Angeles: Rizzoli/Regen Projects, 2013).

Word (Nec)romancer

Surfing is one of the most iconic and poetic Raymond Pettibon's images. The Cloud of Misreading at Garage presents both small-scale and monumental surf paintings, as this one, painted by the artist especially for Garage. Watch the artist's work in progress, and come to see the exhibition.
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Film festival

Film distribution

Sign language

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Audio description

Tactile models

Accessibility guide

Physical accessibility

GARAGE Individual

Digital accessibility

Diversity

Events at Garage

Garage publishing program and Strelka Press 

Audio

Feature

Guide

GARAGE Individual +1

Research laboratories

Artistic research

Translation to russian sign language

Subtitles

Adapted tours

Quiet room

Translation to uzbek, tajik, and kyrgyz

GARAGE Premium

“We Treasure Our Lucid Dreams”

Space 1520

GARAGE Circle

Temporality

Disability

Affect

Overcoming

Body

Timelessness

Non-normative body

GARAGE Collectors Circle  

Experience of the other

Otherness

Developmental disabilities

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Personal experience

Neural networks

Language

7-11 years

Plain language

Garage Café

The computer class schedule

Mediation

Oleg Baranov Going Down

Podcasts

Shelf of the Month. Theatrе

Publishing program page

Series of meetings with residents

Open call

Shelf of the Month. Cinema

Shelf of the Month. Modern Dance

Projects Oral History and Oral History 2.0

Visitors in a wheelchair

garage-txt

Open storage

Public programs

Free

Registration required

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Booking via phone or email is required

Booking on reception is required

Off-site projects

Architecture and design

Supervision

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Philosophy

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Critical biography

Memoirs and diaries

For Garage card holders

For children

GARAGE + Ad Marginem

GARAGE PRO

Minima

Paperback

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Hardcover with dust jacket

Book review

Professional programs

Video review

Garage publishing program in collaboration with Ad Marginem Press

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

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

City tours

Exhibition tours

Seminars, workshops & training

Lectures & talks

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Hours

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Toward the Source

An international online platform, initiated by Garage Museum of Contemporary Art, bringing together archives on Russian art from the postwar period to the present.

Russian Art Archive Network

If our soup can could speak: Mikhail Lifshitz and the Soviet Sixties

Andro Wekua. Dolphin in the Fountain

The Other Trans-Atlantic

Discounts in Garage Café and the shops in the Museum and the Narkomfin Building, special tour offers, and access to the communal block of the Narkomfin Building

GARAGE card

key:subscription

Film screenings in the Museum auditorium

GARAGE SCREEN

The first public contemporary art library in Russia

Library

The collection created by the brand .solutions includes oversize cotton shirts and roomy bags made of waxed canvas

Garage х .solutions

Garage Museum of Contemporary Art’s collection was founded in 2024 and includes paintings, drawings, sculpture, video, objects, and installations created by Russian artists since 1980

Collection

A collection of jewelry by Garage Museum of Contemporary Art and the jewelry brand Mineral Weather

Narkomfin × Mineral Weather

Garage Collection of&nbsp;Russian Art from 1980 to&nbsp;the 2020s

Open Storage. A Prologue

Sound poetry, an ambient soundscape, and an audio essay on memory in the new season of Station Radio

STATION RADIO. SEASON 05

Raymond Pettibon at Garage

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