November 17, 2022 — February 5, 2023
September 6 — October 16, 2022
August 26 — November 20, 2022
AUGUST 11 — OCTOBER 16, 2022
April 30, 2022 — January 29, 2023
INTERACTION: Contemporary Artists Respond to MMOMA Collection
MishMash, 2015.
Agency of Singular Investigations (Anna Titova, Stanislav Shuripa) Studying documentation ("Clown" A. Rodchenko, 1938, reverse side), 2016
Super Taus, No name, Taus Makhacheva, 2016
Date: July 2 — September 27, 2016
Venue: ММОМА, Petrovka 25

Artists: Agency of Singular Investigations (Anna Titova, Stanislav Shuripa), Dimitri Venkov, Gluklya (Natalia Pershina-Yakimanskaya), Arseniy Zhilyaev, Irina Korina, Taus Makhacheva, MishMash (Misha Leikin, Masha Sumnina), Ivan Novikov, Alexander Povzner, (Anastasia Ryabova), Sergei Sapozhnikov.

Curated by Elena Yaichnikova

MMOMA presents a new display of works from its vast collection of 20th and 21st-century art. This time, the exhibition is structured around a dialogue between the museum collection and eleven invited artists and art groups. Each of them have created a display or a total installation based on works from MMOMA and exploring the everyday life of a museum collection, including issues relating to preservation and transportation of works, the museum’s acquisitions policy and its legal aspects, as well as the life of the artists whose works are in the collection and the broader questions relating to the role and functioning of museums in the modern world.
The display will occupy both exhibition floors in the main MMOMA building.

Additional information about the artworks:

Agency of Singular Investigations (Anna Titova, Stanislav Shuripa), Dark Matter (Political Philosophy of Smear and the Social History of Fear), 2016
ASI in collaboration with the Center for Secret History Studies examine particular works from the collection of MMOMA as indicators of social emotions. According to the artists, the main object of their research is the social life of fear. Data collected by the Agency shows that fear has not only become an emotion associated with the 20th and 21st centuries, but is also a powerful force in the era of apparent historical optimism.

Dimitri Venkov, Waiting Room, 2016
The artist invites the viewers to see some of the artworks from the collection of Moscow Museum of Modern Art from an unusual perspective: hidden in shipping crates, works will reach the viewer in the form of descriptions and stories told by other people. The project was inspired by the image of «unattainable» works of art that are either locked away in the museum’s vault or are always on the road, continuously shipped from one institution to another.

Gluklya (Natalia Pershina-Yakimanskaya), Recent Additions to the Museum of Utopian Clothes, 2016
In the spirit of her motto—"the place of the artist is on the side of the weak«—Gluklya intends to replenish her Museum of Utopian Clothes with new exhibits by inviting artists who explore the theme of fragility, and whose works have been acquired to MMOMA collection. The conflict between our subtle inner world and the cruel society is the main theme of the project, which focuses on clothing as a reflection of the nature of its owner. According to the artist, our dress does not only act as a «cocoon», but also helps us cope with vanity, anxiety and desperation of everyday life.

Arseniy Zhilyaev, Moscow Etude, 2016
The project continues a series of experimental exhibitions exploring to the potential future of contemporary art. Moscow Etude is an artistic attempt to destroy modern art as we remember it and present a brand new imaginary art of the near future, where the viewer will see the ashes of the legacy of Malevich in an urn and a cryptic currency sign on the artist’s White Suprematist Cross, which refers to the gesture of Alexander Brener who drew a dollar sign on Malevich’s avant-garde work at Stedelijk Museum in 1997.

Irina Korina, Like in a Movie, 2016
Korina’s installation recreates the atmosphere of an old room, a hard-to-reach attic or abandoned farmstead full of artworks and household items of olden days. The work was inspired by an idea of a museum collection as a story of personal connections and relations between people.

Taus Makhacheva (Super Taus), Untitled, 2016
Super Taus has set on a journey from Makhachkala to Moscow (passing by the Centre Pompidou in Paris) in order to find the right place for a sculptural monument to Maria Korkmasova and Khamisat Abdulaeva—two invigilators from Dagestan museum who managed to save Rodchenko’s painting Abstract Composition (1918) from the hands of a burglar in 1992.

MishMash (Misha Leikin, Masha Sumnina), MishMash 2015, 2016
MishMash 2015 presents a year in the life of art—a graph of the artists’ life superimposed on a graph representing the history of a museum collection. A horizontal line drawn by the artists in the period from January 1 to December 31, 2015 corresponds to groups of artworks from MMOMA assembled according to the date of their acquisition.

Ivan Novikov, Interzone, 2016
Ivan Novikov’s project is based on a study of works from the museum collection and revolves around the concept of "interzone«—an obscure space that exists beyond mainstream culture, a space of freedom. The artist applies this concept to the history of the Russian art of the 20th century and distinguishes three historical periods (from avant-garde to 1941; from 1941 to 1985; from 1985 to the present day) in order to analyze how relations between artists and the particular art movements were formed, while at the same time believing that «the global purpose of art is to create a space for freedom».

Alexander Povzner, Untitled, 2016
Of all the works in MMOMA’s vault, Alexander Povzner has picked out a work by his father Lev Povzner which he exhibits alongside his own recent works, starting an imaginary dialogue between artists of different generations. (Anastasia Ryabova), A Case of Knocking on Someone Else’s Table, 2016
The project by Anastasia Ryabova consists of donating a case of knocking on a table to the MMOMA collection and the congress, where this unusual donation and legal aspects will be discussed. The main objective of the congress is to encourage a change in legal documents that determine museum’s acquisitions policy, which have not been updated for several decades.

Sergei Sapozhnikov, Monroe’s Adventures, 2016
Sergei Sapozhnikov exhibits several works by Vladislav Mamyshev-Monroe, from MMOMA collection alongside his own photographic compositions. In addition to aesthetic to a study of parallels, similarities and differences revealed by the juxtaposition of their work, the project explores the place of photography in the museum collection and in the history of art of the 20th century.