(Source: http://www.buro247.ru/events)

The Garage hosts the "Personal Choice" exhibition.

Works by Andy Warhol, Komar and Melamid and Vlad Mamyshev-Monroe tell about Russian collectors, who presented at the exhibition the best painting from their collections.

In 1892 Pavel Tretyakov donated to the state about 2 thousand paintings from his collection and became the national hero, remaining nearly the only one Russian philanthropist honored during Soviet period, when collecting art works was considered a sick extravagance of rich and excessively rich people. Today, when the art once again became free to float away into private hands, the Garage Centre for Contemporary Culture tried to draw attention to the collector's personality, his role in the life of the arts and to ruin his image as a moneybags, blind to the beautiful, who tramples spirituality in the name of bourgeois values.

For the "Personal Choice" exhibition, the major non-governmental art institution addressed to the heart surgeon Mikhail Alshibay, entrepreneurs Vladislav Doronin and Leonid Blavatnik, Daria Zhukova, Roman Abramovich and other collectors asking to choose just one work from their reserves and to explain what they liked most about it. In a result, they collected twenty art works from twenty collections, among which are: the epic painting "The Feast of Trimalchio" by AES+F collective (it reinterprets one of the chapters of "Satyricon" by Petronius in the glossy thrash style); the portrait of the poet Lev Rubinstein in the metro car, painted by photorealist Semyon Faibisovich and "Cosmonaut" by Oleg Kulik – the Soviet hero's dummy in a shabby suit, hanging from the ceiling.

In general, the exposition's face was Russian artists exercising the wit on Soviet and contemporary metaphysics. But there are, for example, also steel "Triangles" by American classic of the kinetic sculpture Alexander Calder, and the "Panel with skulls II» by British radical artists the Chapman brothers. However, "Personal Choice" exhibition is a deep intellectual statement of its supervisors about the mechanisms that sustain the art world. If nothing new happens to the contents of this world, then its internal structure should change: this is the pivotal tenet of the exhibition.