At the Garage Museum of Contemporary Art in Moscow, the galleries are reconfigured to accommodate every new show, and for the latest show a series of "pods" have been installed in the museum. The rooms, which are meant to resemble spaceships, featured walls that curve as they slide seamlessly into the floor. The special format is for a show on Russian contemporary artist Pavel Pepperstein, The Human as a Frame for the Landscape. Pepperstein is known for his psychedelic two-dimensional works. The show will be up until June 2.
Posts tagged with "Garage Museum of Contemporary Art":
As part of the 100th anniversary of Germany’s groundbreaking Bauhaus school, the Garage Museum of Contemporary Art in Moscow is exhibiting Moving Away: The Internationalist Architect through November 30, 2018. Moving Away is presented as part of the multi-national bauhaus imaginista project that tracks the influence of the Bauhaus in different countries. At the Garage Museum, the legacy of the Bauhaus in the Soviet Union will be on display. Moving Away will use drawings, letters, notes, diagrams, plans, and photographs of Bauhaus students and educators in Moscow to contextualize their (and their movement’s) relationships with socialism and communism, Moscow itself, and the Soviet Union. Those connected to the second Bauhaus director, architect Hannes Meyer, will be given a particular focus: architect Lotte Stam-Beese, urban planner Konrad Püschel, and architect Philipp Tolziner. Through the examination of these personal materials, Moving Away seeks to humanize the history of modernist utopian design. Although the Bauhaus only lasted from 1919 to 1933, after which the school was unceremoniously closed by the Nazi party, the modernist institution and its ethos of bridging the divide between fine art and architecture had an outsize effect on design history, and Moving Away is far from the only centennial celebration planned. For Moving Away, the Garage Museum asked contemporary artists and theorists to contextualize and respond to the aforementioned archival materials. The show will present the original documents, as well as the responses from theorist Doreen Mende, artist Alice Creischer, and researchers Tatiana Efrussi and Daniel Talesnik. The architecture and design studio Kooperative für Darstellungspolitik handled the exhibition design. Bauhaus imaginista was organized with cooperation from the Bauhaus Kooperation Berlin Dessau Weimar, Goethe-Institut, and Haus der Kulturen der Welt, and pulls together archival material from Bauhaus Archive Berlin, the Bauhaus Dessau Archive, the German Architecture Museum Frankfurt (DAM), the Institute for the History and Theory of Architecture at ETH Zurich, and the Netherlands Architecture Institute, according to the Garage Museum.
Last week another point was scored for social media as the de rigueur disseminator of architecture with the opening of Rem Koolhaas' Garage Museum of Contemporary Art in Moscow’s Gorky Park. As new media takes over old, images of Facebook’s new headquarters by Frank Gehry hit Instagram first, the announcement of BIG replacing Norman Foster at Two World Trade Center came through on Wired, and it may have reached its natural apex with the Garage designed by OMA. The first images of the museum flooded Instagram several hours before the June 10 press event—the museum officially opened on June 12. Feeds from photographer Iwan Baan—@iwanbaan—Nadine Johnson PR, and of course Garage’s own account @garagemca, all captured the guts and glory of a building that still seemed to be finishing up construction. A more traditional press event with architect Rem Koolhaas, museum founder Dasha Zhukova, museum director Anton Belov and Garage chief curator Kate Fowle complimented the social media onslaught. The team sat under a giant mosaic from the building’s previous life as the 1960s pre-fabricated restaurant Vremena Goda where OMA cleverly (when are they not?) retained the generous interior spaces and replaced the exterior with a translucent polycarbonate enclosure. Koolhaas, like Gehry, seems to be returning back to his early projects for inspiration, utilizing low-cost materials for both economical reasons and to subtly subvert expectations of taste. Now, that off-the-shelf approach applies to media and storytelling. By revealing the project via a purely visual medium like Instagram, Koolhaas liberates the architectural narrative from the traditional modes of transmission much like he has altered our preconceptions of what types of buildings materials can be used for and to what purpose. These well-known architects are not the only ones taking charge of their own narratives via social media and using those platforms to create exposure that might not otherwise occur. Los Angeles–based Warren Techentin of WTA created the La Cage Aux Folles installation in the courtyard of experimental gallery Materials & Applications. Collective posts on Instagram led to digital coverage in before appearing in print. Leave it to OMA to most seamlessly integrate old and new media (intentionally or not) to build a narrative for the Garage Museum, an institution positioned to transform from an outpost of the art world to one that spawns its own curatorial efforts.