Interview

Blasberg: Is that how you got involved with founding a museum there? How do you go from homeopathic medicine to the creative arts?

Zhukova: What happened with the museum was I walked into this amazing building [a 1920s bus depot designed by Konstantin -Melnikov] and learned that some people were interested in turning it into a creative space. They didn’t really have the time or the dedication to do the project, but I thought it was a great idea. Basically, I thought if they were in charge, it wouldn’t reach its full potential, so I decided I would do it. I figured I would have a better grasp of what could be done there, and I could put together a group that would really do it well. I loved the space—the minute I walked into the building that is now The Garage, I had a vision of what it could be. Nine months later, Amy Winehouse was singing at the opening.

Blasberg: I was there that night. It was surreal, man. I was in the front row getting yelled at for rolling around on the stage . . . so embarrassing.

Zhukova: We were just talking about that weekend. No one thought that she would show up. I must have had a whole patch of gray hair, stressing and wondering if she would make it. I’m still surprised she ended up coming.

Blasberg: Did you meet her?

Zhukova: Of course. She was extremely sweet.

Blasberg: So now you’re fully entrenched in the art world. How did you become interested in contemporary art?

Zhukova: My father had always been interested in architecture, and particularly contemporary art, which was kind of unusual for a -Russian man his age. So I was exposed in that manner. In Russia, generally speaking, there’s a prevalence of impressionism, and other -periods that are pretty textbook genres. My dad was super-involved in the architecture of his homes, and he always had cool stuff hanging on the walls. And I’ve always had a lot of friends involved in the arts, many are young artists. So it was combination of these things. And then the museum opportunity came up, so I dove into it. The more I learned, the more I liked it.

Blasberg: Did you enjoy planning The Garage?

Zhukova: Planning is my favorite—to have a vision and watch it materialize. I’ve been really pleased with the exhibitions we’ve had so far, like the Kabakov exhibit last fall, and then François Pinault’s collection of Damien Hirsts, Jeff Koonses, and other amazing pieces, which is up now. I’m very excited about developing The Garage as a cultural center.

Blasberg: Proliferating the creative arts to the Russian people!

Zhukova: Yes. I think it’s so important what kids are exposed to, even on a subconscious level. And with Russia being culturally isolated for so long, it needs a place like this. We have a strong focus on education, and we’re putting together art classes and master classes, lectures for both kids and adults. We’re going for the kids, the grown-ups, the grandparents, the whole family! Even for the people who think that they hate contemporary art. There is some skepticism
of contemporary art in Russia.

Blasberg: Who is helping you with this? I’ve seen you with Larry Gagosian a lot.

Zhukova: He’s just a friend. He’s not affiliated with the museum.

Blasberg: I’m not saying he was, but I have noticed that there are some members of the art community, the more established types, who traditionally don’t take an immediate liking to younger members, but who have taken a real shine to you.

Zhukova: There are other contemporary art museums in Moscow, but there’s not one that’s really internationally contemporary. So I think a lot of artists, gallerists, and collectors have come to Moscow and wanted to do shows, and I think many people in the art community wanted to reach out to the Russian audience, but there hasn’t been an opportunity. So this is an opportunity for them, and consequently they’ve been very supportive of it—and of me.

Blasberg: Have you had any bad experiences? Has anyone been nasty to you?

Zhukova: No, not yet. I guess people wouldn’t say nasty things to my face.

Blasberg: Oh, probably not. But definitely behind your back.

Zhukova: That was the nice thing about not being from the art world, or in the thick of it for a long time. When you’re kind of isolated, you don’t really hear the gossip, or you’re not really involved in it. You’re here, and it’s all going on over there.