If the reader happen to think that the revolution — a new broom (trump) sweeps clean — only here in Washington, the finger in the sky. In unison with the capital broke out another revolution — in new York. Believe it or not — the Russian revolution! Is called: A Revolutionary Impulse. However, with the subtitle: The Rise of The Russian Avant-Garde. Albeit limited — for now — the Museum walls: the exhibition at MOMA, as here we have abbreviated they call the Museum of modern art.
The revolution mobilized and designed
Although the chronological limits of this genre and wanted to say “eclectic,” or rather a hybrid of the exhibition the Russian avant-garde from 1912 to 1934, but it is concentrated around the seventeenth year, and if not dedicated, is dedicated to the centenary of the Bolshevik revolution. Not sure how this anniversary will be celebrated in Russia, but here in the City of the yellow devil, according to this Grand Museum performance, it will not pass unnoticed, and this is only the first step. With this revolutionary in all respects (and not just thematically), the show is not just about the revolution, but the glory of the revolution, which gave a powerful dope new art. I doubt that this is possible Alleluia exhibition in Russia of betraying the principles and acts of the great October socialist revolution, wholesale and retail.
Me with the move argue that it is exclusively dedicated to artistic shoots of this revolution, not totally her own… Yes And no. When you see the happy face of a farmer in the film “Earth” Alexander Dovzhenko (1930), or performance on the stage of a red army soldier in Budyonovka on photography by Alexander Rodchenko, or charged with powerful energy propaganda posters of the Stenberg brothers, Vladimir and George, all this alone and the more overall effect on the viewer hypnotically. Even then I feel myself deceived, duped, snookered.
That, however, is curious: the calculation of this PR is sometimes applied, and sometimes the easel, of the present, without fools, art was much more durable, since it acts on the viewer after a century. More durable than the Russian revolution, which was covered by itself or not without outside interference — it depends on how you look. One of the many “isms” of this time — luchism vividly represented in the exhibition really radiant works of Mikhail Larionov and Natalia Goncharova. So, using this name as a dynamic metaphor, we can say that the rays emanating from the Russian avant-garde art, have acted and continue to act on the viewer, which is powerful not only artistic but also ideological exposure.
Art to burn the hearts of people? Oh, fool me not difficult — I delude myself happy? Yes, even so! Lowering his ideas and ideology, these two, plus or minus, sacred decade of the last century there was a great upsurge of Russian, and then Soviet (but not Russian, God forbid from this Volapuk!) art. I will refer to at least on vertex, religious names: Malevich, Kandinsky, Tatlin, El Lissitzky, Rodchenko, Mayakovsky, Eisenstein, Dziga Vertov, Meyerhold.
I therefore marked this exhibition hybrid that it has a place for every creature on the pair. In addition to traditional painting, drawing, sculpture, installations, decorations, collages, architecture, design, photography, posters, magazines (“LEF” for example), books (spectacular edition “About it” with big-eyed Mayakovsky Lilya Brik on the cover) and other prints, handmade, hand-painted books, such as “Abstruse knigi” Aleksei Kruchenykh and others. Well, the movie, the one that is for us (for them) the most important, from the silent “the Fall of the Romanovs”, circa 1927, to the classic “Potemkin” and “Man with a movie camera” (the viewer has the opportunity to see their fragments and whole). It was an art revolutionary, not only ideologically and thematically, but also in form.
The theory of the water and the child
Where went this saying that we should not throw out with the bathwater, is unknown, but threw it into circulation Martin Luther (not king!), and since then it has taken root in all the major languages. It is applicable to our narrative drive, right? In the sense that if the ideas and turned into a naphthalene, inspired by their art, on the contrary, strengthened its position, becoming a classic. Here is a vivid, though a paradoxical illustration of this dashing the concept of water and the child, and in our case — the separation of the eternal from the perishable aesthetics policy.
Well, Yes, Lenin’s body, it’s time to bury them, but by itself the tiered stylobate with columns and stands architect Shchusev save as an artistic masterpiece, right? Amazingly, by the way, that in the heyday of Stalin’s neoempire, when the middle 30’s with all the “isms” — except for socialist realism — was over once and for all in all kinds of Soviet culture, in the heart of the Soviet capital, on the Brokeback red square, and left to stand the monument of the formal architecture.
Whatever you like to call a revolution against associated directly to art-the impulse, the inspiration, the Muse, Pegasus, forage base, breeding ground, — but this ideological additional forage provided the art life expectancy of at least half a decade, until Stalin’s era dropped the vanguard of history and moved to socialist realism, in which aesthetic categories will not be considered without having any relationship to the culture. Is that funny, anecdotal, superstructure. Tragic fate of the avant-garde masters: some were forced to go underground, others emigrated, others became apostates and renegades and went into the service to power, when life “have become a hopeless liar in the Bud” (Mandelstam).
The thought settled and took shape on a spectacular performance at the MOMA: it is not necessary to throw out neither art nor its associated ideology, nor the whole of the stage of Russian history as if it never happened, and each time to begin again from scratch. Yes, the story is moving forward, destroying itself, but no historian in the past pure and impure pages, but because it looks back, as it was bequeathed great predecessor, sine ira et studio — without anger and bias. That is non-judgmental. I will say that I am ideologically irradiating activated on this exhibition, where the viewer everywhere you look, revolutionary emblems and slogans and familiar faces of leaders. Even so: the art evokes not only the good but also the bad feeling different. Anyway, this dynamic and dramatic exposition is interesting in itself, and as an excuse to razmyshlizmy.