<p>On&nbsp;Saturday November 23 the 0+ Space will be&nbsp;closed.</p>

Please note

<div class="ex-modal__content__row"><i class="info-bar__icon info-bar__disabled info-bar__noCursor ex-modal__icon"></i>
<p class="ex-modal__content__text ex-modal__content__text--tableCell">The exhibition is&nbsp;wheelchair accessible</p>
<a class="ex-modal__content__text ex-modal__content__link" href="/ru/visit/disabled_visitors?kind=blind">Learn more</a></div>
<div class="ex-modal__content__row"><i class="info-bar__icon info-bar__deaf info-bar__noCursor ex-modal__icon"></i>
<p class="ex-modal__content__text ex-modal__content__text--tableCell">Russian Sign Language tours of&nbsp;exhibitions</p>
<a class="ex-modal__content__text ex-modal__content__link" href="https://garagemca.org/en/event/tours-of-new-exhibitions-in-russian-sign-language">Learn more</a></div>
<p class="ex-modal__content__text ex-modal__content__footer">Garage Museum of&nbsp;Contemporary Art organizes regularly scheduled events for visitors with disabilities.&nbsp;<a class="ex-modal__content__text ex-modal__content__link ex-modal__content__inline" href="/en/visit/disabled_visitors?kind=blind">Learn more</a>.</p>

<p class="ex-modal__content__text">We&nbsp;offer a&nbsp;range of&nbsp;tours for individuals and groups. Choose the one that&rsquo;s best for you.</p>
<p><a class="ex-modal__content__text ex-modal__content__link" href="/en/visit/tours">Learn more</a></p>

Thomas Demand. <i>Mirror Without Memory</i>

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129836829&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="First fragment. Thomas Demand in collaboration with architects Caruso St John, Nagelhaus" href="https://soundcloud.com/garagemca/first-fragment-thomas-demand-in-collaboration-with-architects-caruso-st-john-nagelhaus" target="_blank">First fragment. Thomas Demand in collaboration with architects Caruso St John, Nagelhaus<br /><br /></a></div>
<p><em>Nagelhaus</em> is a joint project by Thomas Demand and the British-Swiss practice Caruso St John Architects (founded by Adam Caruso and Peter St John), with whom Demand collaborated on his now canonical exhibitions at the Neue Nationalgalerie in Berlin and the Cartier Foundation for Contemporary Art in Paris. The story behind the appearance of <em>Nagelhaus</em> developed in several stages. The object won a competition for a major public art commission in Zurich. It was supposed to be located in an abandoned part of town that at the time was being intensively re-developed, as a kind of phantom archaeological fragment. The house references so-called &ldquo;nail houses,&rdquo; private buildings whose owners refuse to leave when construction of new urban infrastructure begins around them. Such houses stand in sharp contrast to the massive construction sites that surround them.</p>
<p>The project by Demand and Caruso St John refers to the story of the Yang family in Chongqing, China. For three years they lived in their house while a 10-meter foundation pit was dug around it. Eventually, the owners came to an agreement with the authorities. They were well compensated financially, and the building was demolished.</p>
<p>Demand and Caruso St John&rsquo;s project envisioned their home as being made of smooth wooden panels to avoid any sense of &ldquo;handmadeness.&rdquo; The milled surface is based on a 3D scan of a weathered cardboard box found on a street in Zurich. It was important to them that the house would be an abstractly general image of the original, with modified proportions and materials. The source of the image was a photograph of a &ldquo;nail house&rdquo; found on the Internet.</p>
<p>The project was approved by the authorities and submitted to a general referendum, resulting (not without interference from third-party interests and the usual political arguments) in an objection due to the size of the budget of one particular part: the cost of the disabled toilet. Accordingly, the original <em>Nagelhaus</em> was first displayed at the 2010 Venice Architecture Biennale. Today it occupies the Atrium at Garage.</p>
<p>According to Demand, the model has its own existence and materiality, transgressing our usual reality. It is not about representing the future. We have somehow, imperceptibly, found ourselves in a world of models that determine many things, from the weather forecast to communications, politics, and economics. A model that can reduce all nuances to structurally simple elements is more suited to describing our everyday reality, in which the &ldquo;algorithmizing&rdquo; of digital and real behavior, the analysis of &ldquo;particulars&rdquo; in the form of big data for the production of various models in science and daily communication, become a mode of consciousness. In this sense, Demand&rsquo;s modeling confronts the viewer with an image of contemporaneity, the variability of which seems to depend on the arsenal of tools available to the &ldquo;modeler.&rdquo; The artist provides us with a wide spectrum of possibilities, as can be seen in the exhibition <em>Mirror Without </em>Memory, on view in the Central and West Galleries.</p>

First fragment. Thomas Demand in collaboration with architects Caruso St John, Nagelhaus

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129843750&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Second fragment. SANAA. Model Studies" href="https://soundcloud.com/garagemca/second-fragment-sanaa-model-studies" target="_blank">Second fragment. SANAA. Model Studies<br /><br /></a></div>
<p>The architecture and spatial design of the Lab by the Japanese architectural practice SANAA was suggested by Thomas Demand&rsquo;s series Model Studies, which he shot at various times in SANAA&rsquo;s office in Tokyo. The beginning of the series dates back to 2011, when Demand discovered in the archive of American architect John Lautner, which is kept at the Getty Center in Los Angeles, 12 models of buildings that Lautner&rsquo;s firm had designed in the 1960s. They were working models made from ephemeral, random materials that were at hand and not intended to be shown to the client or for public display. The models had pencil marks on them and occasional explanatory notes. Their visible imperfection and temporary nature&mdash;a record of enquiry and mistakes&mdash;were of the utmost interest to Demand. Fragments picked out by the eye of the camera acquire sculptural properties, falling apart into abstract elements and re-assembling again, pulled together by a single recognizable detail (a door, a passage, columns).</p>
<p>In 2013, Demand made his first visit to the office of the founders of SANAA, Pritzker Prize winners Kazuyo Sejima and Ryue Nishizawa. Every square meter of the modest-sized office space was occupied by paper and cardboard models, often stacked on top of each other. These stacks frequently consisted of different models of the same building that together created a record of the endless adjustment of details and ideas and allowed one to trace the evolution of the project, like a geological cross-section. Paper is important to the practice of both SANAA and Demand, and in neither case does it demonstrate the properties of a fragile and easily discarded material. Paper brings with it the possibility of quick changes, experimentation, and the specific dynamic of the tiniest details, a crucial element of the Japanese architects&rsquo; practice.</p>
<p>The environment presented in the Lab brings together actual models&mdash;or spatial exercises&mdash;by SANAA and prints of Demand&rsquo;s photographs from Model Studies, produced specially for the exhibition. In this particular case, while Demand&rsquo;s photographs are not a background, they are physically weaker variations of themselves that cede the spotlight to the actual architectural models, the three-dimensional shapes that were the object of the photographer&rsquo;s attention. The model studies&mdash;exercises in finding the right form, detail, and structure&mdash;are displayed on three table surfaces.</p>
<p>On the first table there are models of four buildings by SANAA, KSA, and OORN. The models are of the same scale and explore the potential of bent geometry in the search for the optimal shape. The second table features a 1:1 scale model of a ceiling detail. Full-size models are an important tool when working on detail, and this fragment of a large element shows how different details and materials can work together. Ten large spaces presented as 1:100 scale models cover the third table in an almost ornamental structure. They very clearly show how the structure of a building is formed, from the almost abstract shapes that anticipate it to extremely detailed models.</p>
<p>SANAA&rsquo;s models always deal with the variable, dynamic relationships between the elements and the process of their discovery and adjustment. As Kazuyo Sejima explains (when commenting on the project for Sakuji Apartments in the outskirts of Tokyo), &ldquo;&hellip;a piece of architecture has to be composed of several parts; each part has to have a structure that is free from overall structure; such parts have to be somehow gathered to make one piece of architecture. [. . .] an accumulation of these small shifting relationships creates a building that is versatile and flexible as a whole.&rdquo;</p>
<p>In SANAA&rsquo;s architectural practice (as in Demand&rsquo;s work) a model, or paper representation, is fluid and changeable, and exists in various regimes (of visibility, presence, priority), with different functions and resolves various tasks.</p>

Second fragment. SANAA. Model Studies

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129844857&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Third fragment. Thomas Demand in collaboration with Alexander Kluge" href="https://soundcloud.com/garagemca/third-fragment-thomas-demand-in-collaboration-with-alexander-kluge" target="_blank">Third fragment. Thomas Demand in collaboration with Alexander Kluge<br /><br /></a></div>
<p>The German director, writer, producer, author of television programs, public figure, and ideologist of the so-called new German cinema Alexander Kluge has always been open to various kinds of cooperation and creative interactions. One of the most striking episodes of recent times is his collaboration with Thomas Demand, which continues in the exhibition at Garage. Kluge&rsquo;s films, which are video sequels or video interpretations of three works by Demand displayed as part of the exhibition&mdash;<em>Repository</em>, <em>Five Globes</em>, and <em>Ruine</em>/<em>Ruin</em>&mdash;are screened in film pavilions designed by the artist; floating models that are distant references to constructivist form-making. In describing what he has in common with Demand, Kluge centers his thought around the concept of time and attitudes to it: what does the present mean and how long does it last? In 2004, in a conversation with Boris Groys in Moscow, Kluge said: &ldquo;None of us live in the present condition alone. After all, what is the present? One single moment. One twenty-fourth of a second in a film. And it encapsulates a whole eternity. We live with our deceased ancestors, and they live in us. Without these historical horizons and without hopes for the future life would have ceased. For this reason, the present attains a subjunctive mood, that is, it becomes a form of possibility. What we call reality is in fact nothing more than something very close to reality.&rdquo; This &ldquo;very close to reality&rdquo; is most accurately described by Michel Foucault&rsquo;s term &ldquo;heterotopia&rdquo; (which is indirectly related to the concepts of utopia and dystopia: heterotopia is a place where everything is different). Heterotopia determines Kluge&rsquo;s practice: his writing and films operate simultaneously with numerous sources and channels, such as history, theory, personal biography, anecdote, excerpts, and archival references. Just as Demand defamiliarizes the real, &ldquo;othering&rdquo; facts through paper reconstruction, Kluge&rsquo;s multi-channel video collages perform similar operations, bringing an event into the orbit of universal, cosmic time, then approaching the human, the private. Kluge&rsquo;s cutting of time actually refines and clarifies many of Demand&rsquo;s works. Especially those that contain the artist&rsquo;s personal memories or impressions.</p>

Third fragment. Thomas Demand in collaboration with Alexander Kluge, Kino wie ein schöner Hut/Geographical Experiment 1, 2 & 3

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129860118&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Thomas Demand. Mirror Without Memory" href="https://soundcloud.com/garagemca/thomas-demand-mirror-without-memory" target="_blank">Thomas Demand. Mirror Without Memory<br /><br /></a></div>
<p>The artistic practice of Thomas Demand centers around the image as such, its nature, methods of creation/construction, and the mechanics of the viewer&rsquo;s perception. When we look at Demand&rsquo;s photographs, what do we actually see? How much do the photographed paper-and-cardboard models relate to sensory or historical reality? Do we see some kind of &ldquo;thought forms,&rdquo; mental constructs or living situations when we look at shards of porcelain in a museum, hotel rooms, a fairground ride frozen at the highest point, a landing gate or an empty Bonn parliament? To what extent is an event that actually took place revealed to us, or how it appears in our memory while going through various stages of &ldquo;filtering&rdquo; and construction under the influence of waves of personal forgetfulness and the forming of general conventions regarding past events?</p>
<p>Demand&rsquo;s works, which are all photographed paper models, often created from photographs found in the press or on the Internet, live in a constant flicker between the event and its image, a flicker that noticeably corrects our perception of time. There are never people or visible action in his shots, and it is often problematic for us to correlate a picture with an event, a point on the timeline. Placed next to each other, the objects seem to launch their own autonomous narrative, making us automatically ask ourselves why this particular bathroom is in the picture when it looks like any other three-star-hotel bathroom. What is so special about it, what happened here and when? What is wrong with the cherry blossoms in the backyard of a completely ordinary (apparently American) house? Where should we look for relief from anxiety and vague recognition? United by this search we wander through the exhibition, trying to construct the missing pieces of reality.</p>
<p>Demand&rsquo;s works fundamentally do not line up into a sequential narrative; they remain single, fragmented, splintered. French philosopher Jacques Ranci&egrave;re accurately describes them as &ldquo;mirrors&rdquo; reflecting emptiness. Fragments can only withstand &ldquo;elective affinity,&rdquo; referencing not only the title of Goethe&rsquo;s novel but also the eighteenth-century chemical term that denotes the ability of chemicals to combine with other substances or their compounds, choosing some over others. Informed by the principle of &ldquo;elective affinity,&rdquo; Demand&rsquo;s works also live within the exhibition as essentially autonomous units that assemble into formal or substantive syncopations.</p>
<p>The various combinations of the exhibition become part of a lengthy (and intuitive on the part of the artist) process of seeking, selecting, constructing/cutting and photographing objects, imparting a specific sense of temporariness that merges with other &ldquo;temporarinesses&rdquo;: our unreliable memory, the washing out of pictures from the first pages of search engines and their immersion into an endless digital archive of images &ldquo;on demand.&rdquo;</p>
<p>We&rsquo;ll now go to the Skylight Gallery.</p>

Thomas Demand. Mirror Without Memory

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129862662&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Refuge" href="https://soundcloud.com/garagemca/05-140lufsint" target="_blank">Refuge<br /><br /></a></div>
<p>Specially for the exhibition at Garage, Thomas Demand developed a story around the American IT specialist Edward Joseph Snowden, who released secret documents belonging to the American National Security Agency (NSA) that dealt with the total surveillance of correspondence and telephone conversations of other countries&rsquo; citizens by the American secret services. On June 14, 2013, the USA charged Snowden in absentia with espionage and theft of state property. Soon afterwards he fled from the United States, first to Hong Kong and then to Russia, where he spent more than a month in the transit zone of Sheremetyevo airport. Demand&rsquo;s photographs show the place where Snowden is assumed to have lived at Sheremetyevo. A dead space without windows, each element is reduced to a sign: a table, a bed, a lamp, and so on. This signifying or modeling seems to involve implicit danger. Knowing Snowden&rsquo;s story, we automatically endow these items, deprived of any individual traits, with the properties of ominous objects that suddenly begin to resemble instruments of tracking and detection. One of the photographs creates an extreme from the situation of lying on a bed in a tiny room and staring at the ceiling: it flattens, morphs into a prototype of an elementary playing field (or a modernist grid) and seems to accurately convey the sense of the onset of a new time for a certain person, in which things are as comprehensible as in the first minutes of a new video game.</p>

Refuge

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129881820&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Historical Records" href="https://soundcloud.com/garagemca/historical-records" target="_blank">Historical Records<br /><br /></a></div>
<p>The exhibition divides very roughly into two sections. The first is&nbsp;<em>Historical Records</em><em>.</em></p>
<p>Thomas Demand is interested in moments and situations that have to do with the political, the representation of power, and irreversible actions that create new reference points in contemporary history. By choosing to represent and later reconstruct them, the artist seems to shift our relationship to the past, revealing the invisible mechanics behind the event&rsquo;s presence in the public field, and retrospectively launching a reflexive process that spans questions from &ldquo;what if&rdquo; to &ldquo;what actually happened?&rdquo;</p>
<h2>7.1 Control Room, 2011</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129883905&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Control Room, 2011" href="https://soundcloud.com/garagemca/control-room-2011" target="_blank">Control Room, 2011<br /><br /></a></div>
<p>This photograph features a reconstruction of the control room at the Fukushima Daiichi Nuclear Power Plant, where a level-7 nuclear disaster took place in March 2011 (the same level on the International Nuclear and Radiological Event Scale was previously ascribed to the Chernobyl disaster). Yet, the only evidence of an emergency is offered by the fallen ceiling panels. Demand says that when we look at photographs from Fukushima, &ldquo;we are looking not at a disaster but at an image of a disaster.&rdquo; The original photo was taken on the phone of a Tokyo Electric Power Company employee, who travelled to the disaster zone. Within four days, the unedited image was impossible to find: in every photograph the control room looked as if nothing had happened, all the panels were in place, and nothing betrayed even the slightest interruption to the work of the plant.</p>
<h2>7.2 Parliament, 2009</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129884769&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Parliament, 2009" href="https://soundcloud.com/garagemca/parliament-2009" target="_blank">Parliament, 2009<br /><br /></a></div>
<p>This work references the much-reproduced photo of the parliament building in Bonn, which was left empty when, after 30 years of gathering here, the parliament moved to the Reichstag Building in Berlin. Due to the camera angle, the presidium is left outside the frame. Now the minimal interiors, dark furniture, and brass rivets are the only witnesses to the distinguished history of West German democracy after World War II. The history of divided Germany is officially over, but whether unification and the transfer of the institutes of power to Berlin will be smooth and painless is another question.</p>
<h2>7.3 Ballot, 2018</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129886680&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Ballot, 2018" href="https://soundcloud.com/garagemca/ballot-2018" target="_blank">Ballot, 2018<br /><br /></a></div>
<p>Voting booths, which are meant to ensure the independence and confidentiality of every voter&rsquo;s political choice, look like a children&rsquo;s construction set or a small-scale model of themselves. It is clear that they do not in fact offer much privacy. This is not the first time that Demand has explored basic democratic procedures (as in Poll, 2001), capturing that which has become obvious over the past 20 years: the individual voting booth is the last place where the election of the powers that be really takes place, and has become an empty signifier. The procedure itself has become a very fragile and abstract process.</p>
<h2>7.4 Backyard, 2014</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129888243&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Backyard, 2014" href="https://soundcloud.com/garagemca/backyard-2014" target="_blank">Backyard, 2014<br /><br /></a></div>
<p>This very regular-looking backyard belongs to the house where Tamerlan Tsarnaev lived with his wife and child. In 2013, he and his brother Dzhokhar Tsarnaev planted self-made bombs at the Boston Marathon. After the terrorist attack, photographs of the two brothers&rsquo; lives circulated in the press, including the &ldquo;original&rdquo; image featured in this photo, where one could spot a woman coming out of the house. In the absence of humans, the spectacular blossoming cherry tree becomes the center of the composition. Appearing to be even more in focus and in contrast than the rest of the photograph, it almost automatically makes the image idyllic.</p>
<h2>7.5 Gate, 2004</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129888765&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Gate, 2004" href="https://soundcloud.com/garagemca/gate-2004" target="_blank">Gate, 2004<br /><br /></a></div>
<p>The photograph reproduces the image recorded by CCTV cameras early in the morning at the airport in Portland, Maine, during Mohamed Atta&rsquo;s security check. On the same day, September 11, 2001, after changing in Boston for an American Airlines flight, Atta hijacked the plane and crashed it into the North Tower of the World Trade Center in New York City.</p>

Historical Records

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129889803&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Closedness" href="https://soundcloud.com/garagemca/closedness" target="_blank">Closedness<br /><br /></a></div>
<p>The model is essentially a projection of a space: without electricity, sterilized, drawn to perfection and uninhabited. It is simplified and enclosed, without a physical connection to reality. These qualities echo certain themes in Demand&rsquo;s work that explore closedness, separation, limitation, and insularity.</p>
<h2>8.1 Princess, 2021</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129890352&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Princess, 2021" href="https://soundcloud.com/garagemca/princess-2021" target="_blank">Princess, 2021<br /><br /></a></div>
<p>The cruise ship <em>Diamond Princess</em> set out on its latest voyage on January 20 and returned to Yokohama on February 3, 2020. One of its passengers, a Chinese citizen, was diagnosed with Covid. He had left the ship on January 25 in Hong Kong. In the days that followed, 542 of the 3,600 passengers on board the ship became infected. Anchored off Yokohama, the <em>Diamond Princess</em> became a Covid hospital on water. Several countries engaged in serious diplomatic operations to liberate and hospitalize their citizens. The lack of information about the virus and the critical state of several passengers turned the luxury cruise ship into a disturbing symbol of isolation and helplessness in the face of the pandemic.</p>
<h2>8.2 Fence, 2004</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129891264&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Fence, 2004" href="https://soundcloud.com/garagemca/fence-2004" target="_blank">Fence, 2004<br /><br /></a></div>
<p>A fragment of a wire mesh fence dramatically picked out by a bright beam of light in the darkness becomes a pure sign of separation, a border. What is behind it remains unclear&mdash;we only see more darkness, with bright shadows of the fence standing out. Demand found this photograph in an arrest case file at a Brooklyn police station.</p>
<h2>8.3 Bus Stop, 2009</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129892134&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Bus Stop, 2009" href="https://soundcloud.com/garagemca/bus-stop-2009" target="_blank">Bus Stop, 2009<br /><br /></a></div>
<p>The hut in this photograph is in fact a bus stop. Similar structures were veritable social hubs for young people not only in Germany but also in the Soviet Union outside the capital cities. Demand has reconstructed the only bus stop in a hamlet called Loitsche, near Magdeburg in East Germany. It was the sole connection to the world for the two brothers Tom and Bill Kaulitz, who dreamt of a global career as musicians. It is known to be the place where the teenage pop-rock band Tokio Hotel was founded.</p>

Closedness

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129893103&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Artificiality of Nature. Imagining Nature" href="https://soundcloud.com/garagemca/artificiality-of-nature-imagining-nature" target="_blank">Artificiality of Nature. Imagining Nature<br /><br /></a></div>
<p>Another fragment is brought together by the theme <em>Artificiality of Nature. Imagining Nature.</em></p>
<p>The Swiss sociologist Lucius Burckhardt once pointed out that the word &ldquo;landscape&rdquo; implies a construct of the mind. Landscape is a technical term, and when applied, for example, to the idyllic Swiss lands praised in numerous literary and visual masterpieces it means that we are not looking at nature per se but at nature cultivated by humans who work in tourism, agriculture, industry, etc. For Thomas Demand the question of &ldquo;nature&rdquo; is crucial. Is there any nature today that has not been appropriated and cultivated by humans? Does our idea of nature as an antithesis to the city, civilization, and industry make sense? Demand is engaged in a search for the artificial in nature, and to constructing an illusion of nature with an almost surgical set of instruments.</p>
<h2>9.1 Lawn, 1998</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129893820&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Lawn, 1998" href="https://soundcloud.com/garagemca/lawn-1998" target="_blank">Lawn, 1998<br /><br /></a></div>
<p>After his 1996 work <em>Hedge</em>, Demand decided &ldquo;Okay, I&rsquo;ll do a piece of grass. It can&rsquo;t be that difficult.&rdquo; Three months of cutting blades of grass by hand and planting them one by one followed. What could be described as obsessive cutting adds a level of detail to the photograph that our eye is normally incapable of registering. Even if we did set ourselves the absurd task of counting grass on the lawn, our visual apparatus could never capture each individual blade. What shows through this concentrated photographic situation are endless hours spent with scissors in hand.</p>
<h2>9.2 Nursery, 2020</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129894921&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Nursery, 2020" href="https://soundcloud.com/garagemca/nursery-2020" target="_blank">Nursery, 2020<br /><br /></a></div>
<p>The idea that our vision of nature is constructed and predetermined finds its logical development in Nursery. The photograph shows the laboratory of a college in Ontario, where students grow cannabis as part of their training for degrees in cannabis production. Dramatically different from the images of illegal growing, the perfectly organized laboratory is the logical outcome of changes to the law in those countries that have turned cannabis cultivation from a source of crime reports to a lawful activity that opens up new opportunities for the economy.</p>
<h2>9.3 Pond, 2019</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129895722&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Pond, 2019" href="https://soundcloud.com/garagemca/pond-2019" target="_blank">Pond, 2019<br /><br /></a></div>
<p>This monumental work referencing Monet&rsquo;s Water Lilies once again tests our senses through the suggested contemplation of what looks like nature. Views of nature today belong to the realm of operating system interfaces and default settings on computers. Here, the leaves of the water lilies seem stuck onto the surface of the pond, their shape deliberately simplified into almost perfect circles. And no matter how good your eyesight, you are unlikely to discern any reflections, sunbeams or other attributes from the canon of perceiving impressionist paintings.</p>

Artificiality of Nature. Imagining Nature

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129896700&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Art Places" href="https://soundcloud.com/garagemca/art-places" target="_blank">Art Places<br /><br /></a></div>
<p>A small group of works is connected with the spaces of art, where art is made, stored or displayed. It is called <em>Art Places</em>.</p>
<p>Thomas Demand often explores &ldquo;art places&rdquo;&mdash;spaces where art is made, stored or displayed. He dissects ad hoc ideas about the artist&rsquo;s labor (see the relatively early work <em>Barn</em>, based on the photo of Jackson Pollock and Lee Krasner in their barn studio) and the long-term storage of art works, which is not always carried out by museums and not always with the aim of &ldquo;preserving and popularizing&rdquo; art.</p>
<h2>10.1 Attraction, 2013</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129897624&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Attraction, 2013" href="https://soundcloud.com/garagemca/attraction-2013" target="_blank">Attraction, 2013<br /><br /></a></div>
<p>This work, which looks like Thomas Demand&rsquo;s nod to Gorky Park and its history, in fact grew out of a 1960s manual for &ldquo;good photographers.&rdquo; The manual explained how a short exposure can create the effect of a &ldquo;frozen moment.&rdquo; Demand did the same but with a long exposure. The paper model of the ride was too large to be built in the studio vertically. If you turn it ninety degrees in your mind, you will see the object the way it was built.</p>
<h2>10.2 Atelier, 2014</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129899043&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Atelier, 2014" href="https://soundcloud.com/garagemca/atelier-2014" target="_blank">Atelier, 2014<br /><br /></a></div>
<p>Sheets of colored paper scattered across the floor look more like a children&rsquo;s workshop than the studio of the elderly Henri Matisse who, after surviving a difficult operation at the age of 72, could no longer work with easel painting and invented a new technique&mdash;decoupage. Of course, paper cuttings on the floor are a very familiar sight for Demand. They are the unavoidable extras, the waste, the archaeological layer that covers the floor as he works. In fact, he does not let anyone enter his studio. No one witnesses his working process or has the opportunity to capture &ldquo;the artist at work&rdquo;&mdash;an image so popular within mass culture.</p>
<h2>10.3 Landing, 2006</h2>
<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129899727&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Landing, 2006" href="https://soundcloud.com/garagemca/landing-2006" target="_blank">Landing, 2006<br /><br /></a></div>
<p>One of the most ironic of Demand&rsquo;s works in this sense is Landing, which reconstructs an almost comical mishap at the Fitzwilliam Museum in Cambridge. A visitor searching for the painting galleries realized that he was near the applied art wing, where Qing Dynasty vases were on display. He turned round to go back but tripped on his shoelace and fell into the vases, smashing them. An observation by Barnett Newman comes to mind, quoted by Rosalind Krauss in her essay &ldquo;Sculpture in the Expanded Field,&rdquo; that sculpture is &ldquo;what you bump into when you back up to see a painting.&rdquo;</p>

Art Places

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129900246&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Dailies" href="https://soundcloud.com/garagemca/dailies" target="_blank">Dailies<br /><br /></a></div>
<p>Having established a set of rules that contrasts sharply with the subject of the image, Demand would first notice something on the street that had the potential to turn into such a sketch and then find an application for the endless flow of photographs taken with his smartphone in the hope of &ldquo;using them someday, somehow.&rdquo; The <em>Dailies </em>are more varied in terms of composition. As the artist explains, they do not have the architectural significance of large-scale photographs: they are not &ldquo;windows,&rdquo; merely fixed views of various insignificant things shot mainly outdoors. The fact of leaving the studio and testing the method literally in the open air (and, we should add, in Californian light; Demand launched the series when he lived and worked in Los Angeles) makes the <em>Dailies </em>an air gap in many of Demand&rsquo;s exhibitions. In this case, collected in a single space, they do not form a series that does not end in principle but increase the density of visual micro events, training the eye to register the seemingly imperceptible and secondary. They are partly reminiscent of the mechanics of social media, with its fixing of everyday impressions or micro-events, reducing or replacing text and even the word as a suitable instrument for describing reality.</p>

Dailies

<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1129834213&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Garage" href="https://soundcloud.com/garagemca" target="_blank">Garage</a> &middot; <a style="color: #cccccc; text-decoration: none;" title="Introduction" href="https://soundcloud.com/garagemca/introduction-1" target="_blank">Introduction<br /><br /></a></div>
<p>Welcome to the first Russian exhibition of German artist Thomas Demand, one of the most important artists of recent decades. Borrowing images from the media and other sources, Demand recreates the scenes they depict in 1:1 scale using paper and cardboard, essentially making sculptures that he photographs and then destroys. All of the works in this exhibition are photographs of paper-and-cardboard models that alter our experience of reality and significantly affect the mechanics of memory. We seem to have to answer questions such as &ldquo;What do we actually remember?&rdquo; &ldquo;What remains in our consciousness after a big event?&rdquo;</p>
<p>&ldquo;What is the function of the visual image in the world today and what is the status of its producer, whether they are an artist or any one of us posting on social media?&rdquo;</p>
<p>The exhibition <em>Mirror Without Memory</em> consists of several fragments spread across two floors.</p>

Inrtoduction

<p>Garage Museum of Contemporary Art presents the first Russian exhibition of Thomas Demand, one of the most important photographers of recent decades. Borrowing images of events from the press other sources (or organizing technical shoots), Demand reproduces these scenes in life size from cardboard and paper&mdash;basically making sculptures&mdash;after which he photographs them and subsequently destroys the models.</p>
<p><em>Mirror Without Memory</em>&nbsp;is composed of several fragments spread across two floors of the Museum. The ground floor is focused on the concept of models and modeling, the alpha and omega of Demand&rsquo;s practice. Through interaction with architects (the Japanese practice SANAA and the UK-Swiss practice Caruso St John Architects), the artist presents a comprehensive exploration of the model: its life cycles, inner dynamics, the regimes of its synchronization with physical reality. On the first floor this energy of dialogue produces different forms. The first things the visitor discovers when climbing the stairs are hanging cinema structures that show movies by the German film- and TV maker, author, producer, public figure, and ideologist of the New German Cinema, Alexander Kluge. These film pavilions, designed by Demand, are floating models that distantly reference constructivist form-making. Kluge&rsquo;s films are video sequels or video interpretations of three works by Demand displayed as part of the exhibition&mdash;<em>Repository</em>,&nbsp;<em>Five Globes</em>, and&nbsp;<em>Ruine</em>/<em>Ruin</em>.</p>
<p>The main part of the exhibition brings together works from the period 1991&ndash;2021. The last series was made especially for Garage and examines the story of Edward Snowden. Accordingly, Demand&rsquo;s exhibition is a complex systemic reflection not only of subjects selected in collaboration with the architects and Alexander Kluge but also of reality itself and our ideas about it, which are regulated today by unreliable memory, general conventions regarding events of one kind or another, and subjective experiences.</p>
<p style="text-align: right;">Curator: Katya Inozemtseva</p>

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The computer class schedule

Mediation

Oleg Baranov Going Down

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Shelf of the Month. Cinema

Shelf of the Month. Modern Dance

Projects <i>Oral History</i> and <i>Oral History 2.0</i>

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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

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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

Inrtoduction

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