In Gorky Park opened a new museum building “Garage” – Russian newspaper

Today, the museum of modern culture “Garage” opened to the public its new building in Gorky Park.

Here you can play ping-pong, eat dumplings, get a T-shirt with the slogan (all as a participation in the project “Tomorrow – is a matter of” legendary artist from Buenos Aires Rirkrita Tiravanii), see the bespoke two huge paintings of Eric Bulatov, more reminiscent of the scale panels (“All in the garage!”), and see several exhibitions, including three at once – a world celebrity Japanese Yayoi Kusama. And Yayoi Kusama his “theory of infinity” (the so-called one of her projects) has extended beyond the museum – in Gorky Park, priodev tree trunks in his favorite red polka dots.

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The transformation is perhaps one of the key words that define the new space museum where the exhibition It strives to become a sports hall and installation of spills outside the building where the archive (and teen team of young researchers) goes toward the audience, and carefully preserved mosaic and green tiles of the 1960s – is adjacent to the white panels, ready to come down from the ceiling and turn the space of the hall in the “white cube”. Actually, the building itself – is the transformation of the former cafe “The Seasons” (huge – 1200 seats!), Built in 1968, into a museum.

The second key word is probably the conservation, restoration. Because when in March 2011 the command “Garage” and Rem Koolhaas (OMA architectural office), entered the former “Four Seasons”, they met with no concrete ruins of the facade, but with well-preserved structure. Mosaic 1960 was quite typical of the final thaw, blending smoothly into the era of stagnation, and, it seemed, was the first in line to “update” or “reconstruction”. Rem Koolhaas But for that generation of 1968 says “my generation” (meaning, of course, the student barricades in May 1968 in Paris, not the tanks of the Warsaw Pact in Prague), minimalist austerity and democracy cafes typical Soviet modernism 1960 -x recalled the ideals and hopes of young intellectuals of Europe, not the Soviet public catering. And he did everything to save not only the construction of buildings, but also a mosaic, and even a modest dark green tiles on the wall of the hall (where it remained, of course).

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During the tour, the journalists asked the architect, and whether the game is worth the candle. Type, and whether it was like that gently worn with the standard cafe and wall panels, if this is not the faience almost half a century ago, and what a Florentine mosaic in an ancient palazzo. Then it was discovered that it is for Rem Koolhaas is a very important point. It is, of course, understands that such an approach to architecture 1960-1980′s, the exception rather than the rule. What’s the truth: if the era of Fin de Siècle (not the recent century, and now pozaproshlogo XIX) or constructivism find fans, the bright personality devoid of style of architecture 1960-1980 can boast a variety of defenders. But traces of the past are erased, and without our help, and, therefore, a good idea to keep them as evidence of a bygone era. At the very least, give an opportunity to young to enter the space where the grandparents danced, listened to jazz, flirting, courted, fell in love. In short, just live. Plus Koolhaas interested in the opportunity to keep an open mind, the scale, the permeability of the space and the cafe in the new museum project.

It is clear how this approach differs from our usual eye Moscow remake when taken from the last “box”, which is a basket in the supermarket filled with a new filling. “Restart” by Rem Koolhaas is not only delicate attention to the Soviet 1960s, but subtle dialogue with the architects of the era. Of course, no “gigantism” (the author of the famous essay on the subject of conquering another “tops” hardly worth the wait). Koolhaas packs the concrete structure of the old building with two layers of translucent polycarbonate – the material is quite democratic. This leaves almost the entire first floor, “the glass”, maintaining the transparency of the border between the building and the park. Moreover, built over the entrance wall panel, 11 meters wide, can be lifted, revealing the interior of the atrium with installations, exhibitions to view to the park. Terrace on the roof of the same raised-panel door operates a temporary “wall”. In other words, the space of the building functions as a “transition” from the past to the future of City Park – a museum of the East to the West and vice versa.

So the word “meeting” may well claim to be the third key to the concept of buildings and museums. We are talking about a meeting with the art, and a meeting with the past, and contemporary debates about both. Almost all the exhibition that “Garage” opens a new building, just aim at active interaction with the audience. It is clear that the aesthetics of participation, which is considered a model by the artist Rirkrit Tiravaniya, there is more than appropriate. In fact, the project is not only impressive Tiravanii dumplings and the presence of a ping-pong table, but also the fact that this whole food-Sports-Art is a dialogue (or ping pong) with Slovak conceptualist Julius Koller (1939-2007), which He was a passionate lover of tennis and hosted performances by employing balls and rackets, ping-pong table to the maximum. Exhibition Koller – immediately, it is for “Garage” is clearly also a continuation of the theme of contemporary art in the former socialist countries, which was one of the central problems in the recent project “The grammar of freedom”.

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In fact, all the current exhibition – the application of the selected museum work strategies. Hits – exhibition of international celebrities, whether Katharina Grosse (its picturesque installation took all the space temporary pavilion “Garage”), Yayoi Kusama and Taryn Simon (she did a project with “Rosatom”, the results of which can be considered safe only in the year 3015 …) – only one of the bids. Other – research projects drawn from the archive of the domestic art of the last thirty to fifty years, and the museum that takes as its basis the work. In this sense, the photographic exhibition “The Insider” George Kizevaltera and sociological project “The Tree of Modern Art,” and “Field Study” – a clear demonstration of intent. At least, that “the tree of contemporary art” there are going to grow, water, study.

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