Russia

Alexandra Exter in front of Nadezhda Udaltsova's paintings at the exhibition The Store, Moscow, March/April 1916.

Second Spring Exhibition of OBMOKhU, Moscow, May/June 1921.

El Lissitzky, Prounenraum [Proun Room], Great Berlin Art Exhibition, May 1923.

Arseny Avraamov, Symphony of Sirens, Moscow, November 1923. The steam 'Magistral' and the conductor on the roof are visible.

Avant-garde

Artists

Nikolai Kulbin (St. Petersburg), Alexei Kruchenykh, Vsevolod Meyerhold, Arseny Avraamov, Kazimir Malevich (Moscow/St. Petersburg), Wassily Kandinsky (Moscow/Weimar), Naum Gabo (Moscow/Berlin), Vladimir Tatlin (Moscow), El Lissitzky (Moscow/St. Petersburg/Vitebsk), Alexander Rodchenko (Moscow), Varvara Stepanova, Vesnin brothers, Mikhail Larionov, Natalia Goncharova, Alexandra Exter, Lyubov Popova, Olga Rozanova, Nadezhda Udaltsova, Velimir Khlebnikov, Vladimir Mayakovsky, Lilya Brik, Sergei Tretyakov, Mikhail Matyushin, Wladimir Baranoff-Rossine.

Groups

Hylaea (Moscow, *1910), Blue Rose (Moscow, 1906-08), Union of Youth (St. Petersburg, 1909-17), Knave of Diamonds (Moscow, 1910-17), Donkey's Tail (c1910-13), Ego-Futurists (St. Petersburg, *1911), Tsentrifuga futurist group (Moscow, 1913–17), Supremus (1915-16), Zhivskulptarkh (1919–20), OBMOKhU (at IZO, 1919–22), UNOVIS (at Vitebsk Art School, 1920–22), Projectionists, October.

Theorists and historians

Vladimir Markov (Voldemārs Matvejs), Nikolay Punin, Osip Brik, Pavel Florensky, Aleksei Gan.

Filmmakers

Dziga Vertov, Yelizaveta Svilova, Esfir Shub.

Institutes

IZO Narkompros (Moscow, *1918), INKhUK (at IZO, 1920–24), GINKhUK (St. Petersburg, 1923–27).

Schools

Vitebsk Popular Art Institute (1919–22), VGIK (*1919), VKhUTEMAS (1920–26), RAKhN (Moscow, 1921–30, from 1925 GAKhN), VKhUTEIN (1926–c30).

Exhibitions

0.10 (St. Petersburg, 1915), First State Exhibition (Moscow, 1918), Tenth State Exhibition: Non-Objective Creativity and Suprematism (Moscow, 1919), OBMOKhU exhibitions (Moscow, May 1920 and May 1921), First Russian Art Exhibition (Berlin, 1922). More.

Resources

• Miguel Molina Alarcón, Baku: Symphony of Sirens: Sound Experiments in The Russian Avant-Garde. Original Documents and Reconstructions of 72 Key Works of Music, Poetry and Agitprop from the Russian Avantgardes (1908-1942), London: ReR Megacorp, 2008. Book and 2-CD.
• Andrei Smirnov, Lubov Pchelkina, Generation_Z: Russian Pioneers of Sound Art and Musical Technology in 1910-1930, Moscow, 2009. [1]
• Russian Avantgarde Foundation
• Russian Avant-Garde, Tumblr page.
• RusArtNet: Avant-Garde
• Russian constructivist posters, 2.
• Russian Visual Arts: Art Criticism in Context, 1814-1909
• The Russian Utopia, a depository of almost 500 architectural projects from the last 300 years.

Literature

Source writings (in Russian, selection)

Poshechina obshestvennomu vkusu, 1912. Download.

Artists' books

• 140+ books of Russian Futurism, 1910-1930. [2]
• Selected articles on music and technology.
• Sadok sudey [Садок Судей], St. Petersburg: Zhuravl', April 1910, 131 pp.
• Igor Severyanin, Prolog. Ego-futurizm [Пролог. Эго-футуризм], Summer 1911.
• Igor Severyanin, Konstantin Olimpov, Skrizhali Akademii ego-poezii (Vselenskiy futurizm) [Скрижали Академии эго-поэзии (Вселенский футуризм)], January 1912.
• David Burliuk, Nikolai Burliuk, Alexander Kruchenykh, Wassily Kandinsky, Benedikt Livshits, Vladimir Mayakovsky, Victor Khlebnikov, Poshechina obshestvennomu vkusu. V zashchitu svobodnogo iskusstva. Stikhi, proza, stat'i [Пощёчина общественному вкусу. В защиту свободного искусства: Стихи, проза, статьи], Moscow: Georgy L. Kuzmin, December 1912.
• Alexei Kruchenykh, Pobeda nad solntsem [Победа над Cолнцем], Moscow, 1913.
  • "Victory Over the Sun", trans. Ewa Bartos and Victoria Nes Kirby, The Drama Review 15:4 (Fall 1971), pp 106-124. (in English)
• Strelets [Стрелец], 3 Vols, St. Petersburg, 1915, 1916, 1922. Futurist almanac.
• Sergei Sharshun, Dadaizm, Berlin: Evropa Gomeopat, 1922; repr. in Moscow: Salamandra, 2012, 115 pp.
• Alexander Tufanov, K zaumi, St. Petersburg, 1924.

Nikolai Kulbin, "Slobodnaya muzika", 1910. Download.

Vladimir Markov, Faktura, 1914. Download.

Nikolay Punin, Pamyatnik III internatsionala. Proyekt khud. E. Tatlina, 1920. Download.

Pavel Florensky, Mnimosti v geometri, 1922. Download.

Theory

• Nikolai Kulbin, Svobodnaya muzyka. Primeneniye novoy teorii khudozhestvennogo tvorchestva k muzyke [Свободная музыка. Применение новой теории художественного творчества к музыке], St. Petersburg, 1909, 7 pp. [3]
  • expanded as "Slobodnaya muzika. Rezultaty primeneniya teorii khudozhestvennogo tvorchestva k muzyke" [Свободная музыка. Результаты применения теории художественного творчества к музыке], in Studiia impressionistov, ed. Nikolai Kulbin, St. Petersburg: Butovskoi, 1910, pp 15-26. [4] [5]
  • "Die Freie Musik", in Der Blaue Reiter, eds. Kandinsky and Franz Marc, 1912; 2nd. Ed., 1914, pp 69-73. (in German)
• Nikolai Kulbin, "Svobodnoe iskusstvo, kak osnova zhizni. Garmoniya i dissonans (O zhizni, smerti i prochem)", in Studiia impressionistov, ed. Nikolai Kulbin, St. Petersburg: Butovskoi, 1910, pp 3-14. First delivered as a lecture to the Society of People's Universities in St. Petersburg in 1908, and on 12 February 1912 in a modified version under the title "The New Art as the Basis of Life" at a debate organised by the Knave of Diamonds. Part repr. in Manifesty i programmy russkikh futuristov, ed. V. Markov, Munich, 1967, pp 15-22. [6]
  • "Free Art as the Basis of Life: Harmony and Dissonance (On Life, Death, etc.) [Extracts] 1908", in Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, ed. John E. Bowlt, Viking Press, 1976, pp 11-17, n300-301. (in English)
• Vladimir Markov, Printsipy novogo iskusstva [Принципы нового искусства; Principles of the New Art], 1912.
• Vladimir Markov, Printsipy tvorchestva v plasticheskikh iskusstvakh: Faktura [Принципы творчества в пластических искусствах: Фактура], St. Petersburg: Soiuz molodezhi (Union of Youth), January 1914, 70 pp. Drafted in Autumn 1912.
  • "Texture Material", trans. Maria Laakso, in Russian Avant-Garde 1910-1930: The G. Costakis Collection, Vol. 2, ed. Anna Kafetsi, Athens: National Gallery and Alexandros Soutzos Museum, 1995. (in English)
• Alexander Bogdanov, Iskusstvo i rabochiy klass [Искусство и рабочий класс], Moscow: Prolet. kultura, 1918, 79 pp.
  • Die Kunst das Proletariat, Leipzig: Wolgast, 1918. (in German)
  • Armenian trans., Moscow, 1920.
  • La science, l'art et la classe ouvrière, trans. Blanche Grinbaum, eds. H. Deluy and D. Lecourt, Paris: Maspero, 1977, 292 pp. (in French). Review.
• Nikolay Punin, Pervyi tsikl lektsii, chitannykh na kratkosrochnykh kursakh dlya uchiteley risovaniya: Sovremennoye iskusstvo [Первый цикл лекций, читанных на краткосрочных курсах для учителей рисования: Современное искусство], St. Petersburg, May 1920, 84 pp. [7] [8]. Given in Petrograd in summer 1919 at a crash course for student teachers of drawing. Cover designed by Malevich.
  • "Cycle of Lectures" [Extracts from the 5th and 6th lectures], in Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, ed. & trans. John E. Bowlt, New York: The Viking Press, 1976, pp 170-176. (in English)
  • "First Cycle of Lectures (Petrograd, 1920)", trans. Igor Serebryakov, in Russian Avant-Garde 1910-1930: The G. Costakis Collection, Vol. 2, ed. Anna Kafetsi, Athens: National Gallery and Alexandros Soutzos Museum, 1995. (in English)
• Nikolay Punin, Pamyatnik III internatsionala. Proyekt khud. E. Tatlina [Памятник III интернационала. Проект худ. Е. Татлина], St. Petersburg [Петроград]: Otdel IZO Narkompros [Отд. изобразительных искусств Н.К.П; Department of Visual Arts of Narkompros], 1920, 7 pp. Text, [9], [10]
  • "The Monument to the Third International", trans. Christina Lodder, in Art in Theory, 1900-1990: An Anthology of Changing Ideas, eds. Charles Harrison and Paul Wood, 1992, pp 311-315. (in English)
• Pavel Florensky, Mnimosti v geometrii [Мнимости в геометрии], Moscow: Pomore [Поморье], 1922; repr. Munich: Otto Sagner, 1985, with an introductory essay by Michael Hagemeister; Moscow: Lazyr [Лазурь], 1991, 96 pp. "Poiasnenie k oblozhke" (pp 58-65) was reprinted in Florensky, U vodorazdelov mysli Т.1. Stati po inkusstvu, ed. N.A. Struve, Paris: YMCA Press, 1985, pp 369-379. [11]
  • "Spiegazione della copertina", in Florenskij, La prospettiva rovesciata e altri scritti, ed. Nicoletta Misler, Rome: Casa de Libro, 1983, pp 136-143. (in Italian)
  • "Explanation of the Cover", trans. Avril Pyman, Leonardo 22:2 (1989), pp 239-244. (in English)
  • "Explanation of the Cover", trans. Wendy Salmond, in Beyond Vision: Essays on the Perception of Art, ed. Nicoletta Misler, Reaktion Books, 2002, pp 183-196, n297-298. (in English)
• Aleksei Gan, Konstruktivizm [Конструктивизм], Tver: Tverskoe izdatelstvo, October-December 1922.
  • "Constructivism" [Extracts], trans. John Bowlt, in The Tradition of Constructivism, ed. Stephen Bann, New York: The Viking Press, 1974, pp 32-42; repr. in Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, ed. & trans. John E. Bowlt, New York: Viking Press, 1976, pp 214-225; repr. in Art in Theory, 1900-1990: An Anthology of Changing Ideas, eds. Charles Harrison and Paul Wood, Blackwell, 1992, pp 318-320. (in English)
  • "Der Konstruktivismus", trans. Annelore Nitschke, in Am Nullpunkt. Positionen der russischen Avantgarde, eds. B. Groys and A. Hansen-Löve, Frankfurt a.M.: Suhrkamp, 2005, pp 277-365. (in German)
• Nikolay Punin, Noveyshie techeniya v russkom iskusstve [Новейшие течения в русском искусстве], 1927-28.
• Pavel Florensky, Istoriya i filosofiya iskusstva [История и философия искусства], Moscow: Mysl [Мысль], 2000.

Selected covers of the journal LEF. Download.

Journals

• Mir iskusstva [Мир искусства; World of Art], St Petersburg, 1898-1904.
• Vesy [Весы. Научно-литературный и критико-библиографический ежемесячник; Libra], ed. Valery Bryusov, Moscow, 1904-09. Symbolist magazine.
• Zolotoe runo [Золотое руно; Golden Fleece], ed. N.P. Riabushinskii, Moscow, 1906-10. Symbolist monthly.
• Apollon [Аполлон; Apollo], Moscow, 1909-17.
• Ocharovannyi strannik [Очарованный странник; Enchanted Wanderer], 10 issues, 1913-16.
• Futuristy [Футуристы: Первый журнал русских футуристов], eds. Vasily Kamensky and David Burliuk, one double-issue, 1914.
• Veshch/Gegenstand/Objet: Mezhdunarodnoe obozrenie sovremennogo iskusstva / Internationale Rundschau der Kunst der Gegenwart / Revue internationale de l'art moderne, eds. El Lissitzky and Ilya Ehrenberg, 2 issues, Berlin, 1922.
• Kino-fot: Zhurnal kinematografii i fotografii [Кино-Фот. Журнал кинематографии и фотографии], ed. Aleksei Gan, Moscow, 6 issues, 1922-23.
• Gostinitsa dlya puteshestvuyuschih v prekrasnom [Гостиница для путешествующих в прекрасном; Guesthouse for travellers in the beautiful], 4 issues, 1922-24. Imaginist poetry magazine.
• LEF journal 1-7, Novyi LEF journal 1-24, 1923-25 and 1927-29.
• Russkoye iskusstvo, 1923.
• Sovremennaya architektura [Современная Архитектура; Modern Architecture], eds. Moisei Ginzburg and the Vesnin brothers, from 1928 Roman Khiger, 1926-30.

Readers, Anthologies

Stephen Bann (ed.), The Tradition of Constructivism, 1974. Download.

John E. Bowlt (ed.), Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, 1976. Download.

• Vladimir Markov (ed.), Manifesty i programmy russkich futuristov, Munich: Wilhelm Fink, 1967, 182 pp. (in Russian). Review.
• Léon Robel (ed.), Manifestes futuristes russes, Français Réunis, 1971, 132 pp. (in French)
  • Os futuristas russos, trans. Georgette Emilia, Lisbon, 1973, 119 pp. (in Portuguese)
• Screen 12(4): Documents from Lef, 1971-72, pp 25-160.
• Stephen Bann, John E. Bowlt (eds.), Russian Formalism: A Collection of Articles and Texts in Translation, Edinburgh: Scottish Academy Press, 1973, 178 pp; New York: Barnes and Noble, 1974, 178 pp. Review.
• Stephen Bann (ed.), The Tradition of Constructivism, Viking Press, 1974, 334 pp.
• John E. Bowlt (ed.), Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, Viking Press, 1976.
• N. Khardzhiev, Kazimir Malevich, Mikhail Matiushin, The Russian Avant-Garde / K istorii russkogo avangarda, Stockholm: Hylaea Prints, 1976, 189 pp. (in English/Russian)
• Hubertus Gaßner, Eckhart Gillen, Zwischen Revolutionskunst und Sozialistischem Realismus. Dokumente und Kommentare. Kunstdebatten in der Sowjetunion von 1917–1934, Cologne: DuMont, 1979, 560 pp. (in German). Contents.
• Anna Lawton, Herbert Eagle (eds.), Russian Futurism through its Manifestoes, 1912-1928, Cornell University Press, 1988, 353 pp; 2nd ed., Words in Revolution: Russian Futurist Manifestoes 1912-1928, New Academia Publishing, 2005, 360 pp. [12] Introduction and Afterword [13]
• A.G. Sokolov (ed.), Poeticheskiye techeniya v russkoy literature kontsa XIX - nachala XX veka. Khrestomatiya [Поэтические течения в русской литературе конца XIX - начала XX века. Хрестоматия], Moscow: Vysshaya shkola, 1988, 368 pp. (in Russian)
• Charles Harrison, Paul Wood (eds.), Art in Theory 1900-1990: An Anthology of Changing Ideas, Blackwell, 1992; 1999, 1220 pp.
• Hubertus Gassner (ed.), Europa, Europa. Das Jahrhundert der Avantgarde in Mittel- und Osteuropa, Bd. 3, Bonn, 1994. (in German)
• Igor Vishnevetskiy (Игорь Вишневецкий) (ed.), Evraziyskoe uklonenie v muzyke 1920-1930-kh godov. Stati i materialy. Istoria voprosa ['Евразийское уклонение' в музыке 1920–1930-х годов], Moscow: Novoe literaturnoe obozrenie, 2005, 124 pp. (in Russian) [14]
• K.E. Shtayn (ed.), Tri veka russkoy metapoetiki: Legitimatsiya diskursa, Tom 2: Konets XIX — nachalo XX vv. Realizm. Simvolizm. Akmeizm. Modernizm [Три века русской метапоэтики: Легитимация дискурса, том 2: Конец XIX — начало XX вв. Реализм. Символизм. Акмеизм. Модернизм], Stavropol: Izdatelstvo Stavropolskogo gosudarstvennogo universiteta, 2005, 884 pp. (in Russian)
• K.E. Shtayn (ed.), Tri veka russkoy metapoetiki: Legitimatsiya diskursa, Tom 3: Pervaya polovina XX veka. Avangard: Kubofuturizm. Egofuturizm. Tsentrifuga. Luchizm. Imazhinizm. Proletkul't. Lef. VAPP. Konstruktivizm. OBERIU [Три века русской метапоэтики: Легитимация дискурса, том 3: Первая половина XX века. Авангард: Кубофутуризм. Эгофутуризм. Центрифуга. Лучизм. Имажинизм. Пролеткульт. Леф. ВАПП. Конструктивизм. ОБЭРИУ], Stavropol: Izdatelstvo Stavropolskogo gosudarstvennogo universiteta, 2006, 830 pp. (in Russian)
• Dennis G. Ioffe, Frederick H. White (eds.), The Russian Avant-Garde and Radical Modernism: An Introductory Reader, Boston: Academic Studies Press, 2012. [15]
• Alex Cigale, "Back to Futurism", in (ĕm): A Review of Text and Image 1 (2012), pp 100-159. Commented English translations of poems by D. Burliuk, Khlebnikov, Kruchenykh, Severyanin, Aseev, Gnedov, Pasternak, Mayakovsky, Kharms, Shershenevich, Selvinsky, Kirsanov, Voznesensky, Khvostenko and Segay.
• Leo Butnaru (ed.), Manifestele avantgardei rusei, Bucharest: Biblioteca Bucureştilor, 2012, 271 pp. (in Romanian)

Catalogues

The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932, 1992. View online.

Exter, Goncharova, Popova, Rozanova, Stepanova, Udaltsova: Amazons of the Avant-Garde, 2000. Download.

• Leonard Hutton-Hutschnecker, John E. Bowlt, S. Frederick Starr, Russian Avant-Garde: 1908-1922, New York: Leonard Hutton Galleries, 1971. [16]
• Women Artists of the Russian Avantgarde 1910-1930 / Künstlerinnen der Russischen Avantgarde, 1910-1930, Cologne: Galerie Gmurzynska Köln, 1979, 314 pp. (in English/German) [17] [18]
• Stephanie Barron, Maurice Tuchman, The Avant-Garde in Russia, 1910-1930: New Perspectives, Los Angeles County Museum of Art, 1980, 288 pp. [19]
• Angelica Zander Rudenstine (ed.), The George Costakis Collection: Russian Avant-Garde Art, New York: Harry N. Abrams, 1981, 527 pp. 632 col. and 569 b&w ills. Review.
• Margit Rowell, Angelica Zander Rudenstine, Art of the Avant-Garde in Russia: Selections from the George Costakis Collection, New York: Solomon R. Guggenheim Museum, 1981, 320 pp. 32 col. and 255 b&w ills.
• The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932, New York: Solomon R. Guggenheim Museum, 1992.
  • Wood, Paul, "The Politics of the Avant-Garde", pp 1-24.
  • Rakitin, Vasilii, "The Artisan and the Prophet", pp 25-37.
  • Sharp, Jane A, "The Critical Reception of the 0.10 Exhibition. Malevich and Benua", pp 38-52.
  • Shatskikh, Aleksandra, "Unovis. Epicenter of a New World", pp 53-64.
  • Shatskikh, Aleksandra, "A Brief History of Obmokhu", pp 257-265.
  • Lodder, Christina, "The Transition to Constructivism", pp 266-281.
  • Adaskina, Natalia, "The Place of Vkhutemas in the Russian Avant-Garde", pp 282-293.
  • Lavrentiev, Aleksandr, "What Is Linearism", pp 294-297.
  • Gassner, Hubertus, "The Constructivists. Modernism on the Way to Modernization", pp 298-319.
  • Kovtun, Evgenii, "The Third Path to Non-Objectivity", pp 320-328.
  • Lebedeva, Irina, "The Poetry of Science. Projectionism and Electroorganism", pp 441-449.
  • Douglas, Charlotte, "Terms of Transition. The First Discussional Exhibition and the Society of Easel Painters", pp 450-465.
  • Barnett, Vivian Endicott, "The Russian Presence in the 1924 Venice Biennale", pp 466-473.
  • Dzhafarova, Svetlana, "The Creation of the Museum of Painterly Culture", pp 474-481.
  • Tupitsyn, Margarita, "Fragmentation versus Totality. The Politics of (De)framing", pp 482-496.
  • Compton, Susan, "The Art of the Soviet Book, 1922-32", pp 609-621.
  • Lobanov-Rostovsky, Nina, "Soviet Porcelain of the 1920s. Propaganda Tool", pp 622-633.
  • Douglas, Charlotte, "Russian Fabric Design, 1928-32", pp 634-648.
  • Rakitin, Elena, "How Meierkhold Never Worked with Tatlin, and What Happened as a Result", pp 649-664.
  • Strigalev, Anatolii, "Nonarchitects in Architecture", pp 665-679.
  • Cooke, Catherine, "Mediating Creativity and Politics. Sixty Years of Architectural Competitions in Russia", pp 680-715.
  • Die Grosse Utopie: Die Russische Avantgarde 1915-1932, Frankfurt: Shirn Kunsthalle, 1992. (in German)
  • Die Grote Utopie: Russische Avantgarde 1915-1932, Amsterdam: Stedelijk Museum, 1992. (in Dutch)
  • Velikaya utopiya: Russkii i sovetskii avangard 1915-1932 [Великая утопия. Русский советский авангард 1915-1932], Moscow: Galart, and Bern: Bertelli, 1993, 831 pp. (in Russian)
• Ryszard Stanislawski, Christoph Brockhaus (eds.), Europa, Europa. Das Jahrhundert der Avantgarde in Mittel- und Osteuropa, Bonn, 1994. (in German). Four volumes. Contributions from c150 authors. [20] [21]
  • Volume I, 479 pp. incl. 247 col. pls. and 116 b&w ills. five introductory essays followed by 73 short texts on the work of specific artists.
  • Volume II, 239 pp. incl. 251 b&w ills. 36 essays on aspects of architecture, literature, theatre, film and music.
  • Volume III, compiled by Hubertus Gassner, 367 pp. 354 short texts of the period 1894-1994 by artists, critics etc., in German translation.
  • Volume IV, 99 pp. Biographies; selected bibliography; list of exhibited works; index.
• Anna Kafetsi (Anna Kaphetsē) (ed.), Russian Avant-Garde 1910-1930: The G. Costakis Collection / Rōsikē prōtoporia 1910-1930, ē syllogē G. Kōstakē, 2 Vols, Athens: National Gallery, and European Cultural Centre of Delphi: Alexandros Soutzos Museum, 1995. Vol.1, Catalog; Vol. 2, Theory and Criticism / Thōria-kritikē. With bibliographies in Greek, English, and Russian. (in English/Greek) [22] [23]
• John E. Bowlt, Matthew Drutt (eds.), Exter, Goncharova, Popova, Rozanova, Stepanova, Udaltsova: Amazons of the Avant-Garde, New York: Solomon R. Guggenheim Museum, 2000, 366 pp.
• Miltiades Papanikolaou (ed.), Avant-Garde Masterpieces of the Costakis Collection, Thessaloniki: State Museum of Contemporary Art, 2001, 430 pp. [24]
• The Russian Avant-Garde Book 1910-1934, New York: The Museum of Modern Art, 2002, 304 pp.
  • Deborah Wye, "Art Issues/Book Issues: An Overview", pp 10-23.
  • Nina Gurianova, "A Game in Hell, hard work in heaven: Deconstructing the Canon in Russian Futurist Books", pp 24-32.
  • Jared Ash, "Primitivism in Russian Futurist Book Design 1910–14", pp 33-40.
  • Gerald Janecek, "Kruchenykh contra Gutenberg", pp 41-49.
  • Margit Rowell, "Constructivist Book Design: Shaping the Proletarian Conscience", pp 50-59.
• John Bowlt, Nicoletta Misler, Maria Tsantsanoglou (eds.), Cosmos of the Russian Avant-garde. Art and Space Explorations in Russia, Fondation Botin; State Museum of Contemporary Art, 2010. (in English/Spanish and English/Greek)
• Mary Anne Stevens, Maria Tsantsanoglou, Richard Pare, Building the Revolution: Soviet Art and Architecture, 1915-1935, London: Royal Academy of Arts, 2011. [25]
• Elena Basner, Geurt Imanse, Frank van Lamoen, Michael Meylac, Sergey Sigey, The Russian avant-garde. The Khardzhiev collection at the Stedelijk Museum Amsterdam, Stedelijk Museum/nai010, 2013, 544 pp. [26]
  • Russische avant-garde. De Khardzhiev-collectie, Stedelijk Museum/nai010, 2013, 544 pp. (in Dutch) Extract, [27] [28]

Glossaries, Encyclopedias, Dictionaries

• Jan van der Eng (ed.), Compendium of Russian Avant-Garde Terminology, Part 1, John Benjamins, 1983.
• Alexander Flaker, Dubravka Ugrešić (eds.), Pojmovnik Ruske Avangarde, Vols. 1-9, Zagreb, 1984-1993. (in Serbo-Croatian) [29]
• Tomáš Glanc, Jana Kleňhová, Lexikon ruských avantgard 20. století, Libri, 2005. (in Czech) Review.
• K.E. Shtayn, D.I. Petrenko, Russkaya metapoetika. Uchebnyy slovar [Русская метапоэтика. Учебный словарь], Stavropol: Izdatelstvo Stavropolskogo gosudarstvennogo universiteta, 2006, 601 pp. (in Russian)
• V.I. Rakitin, A.D. Sarabyanov (eds.), Entsiklopediya russkogo avangarda [Энциклопедия русского авангарда], 2 Vols, Moscow, 2013. (in Russian) [30] [31]

Journals

• Russian Literature, Special Issues on Russian Avant-Garde. (in Russian, multiple languages) [32]
• Art Journal, Special Issue on "The Russian Avant-Garde", Vol. 41, No. 3 (Autumn 1981). [33]
• Jan van der Eng, Willem Weststeijn (eds.), Avant Garde, Vols. 5-6, Special Issue on "USSR", Amsterdam and Atlanta/GA: Rodopi, 1991, 239 pp. [34]
• Experiment: A Journal of Russian Culture, ed. John Bowlt, Institute of Modern Russian Culture, University of South California, and Leiden: Brill (from the Issue 17 onwards), 1995-. Published annually, focuses on the movements of the early 20th century. [35], [36], Review of Volumes 1-2.

Monographs, Edited books

Camilla Gray, The Russian Experiment in Art, 1863-1922, 1962. Download.

Vladimir Markov, Russian Futurism: A History, 1968. Download.

Andrey Smirnov, Sound in Z: Experiments in Sound and Electronic Music in Early 20th-century Russia, 2013. Download.

• Konstantin Umansky, Neue Kunst in Russland, 1914-1919, Potsdam: G. Kiepenheuer, 1920. (in German)
• Camilla Gray, The Russian Experiment in Art, 1863-1922, Thames & Hudson, 1962, 324 pp.
  • Die russische Avantgarde der modernen Kunst 1863-1922, Cologne, 1963. (in German)
• Vladimir Markov, Russian Futurism: A History, University of California Press, 1968, 467 pp.
  • Storia del futurismo russo, Torino: Einaudi, 1973, 421 pp. (in Italian) [37]
• Augusto de Campos, Haroldo de Campos, Boris Schnaiderman, Poesia russa moderna, São Paulo: Perspectiva, 1968. (in Portuguese)
• Susan Compton, World Backwards: Russian Futurist Book 1912-1916, London: British Library, 1978, 136 pp.
• Halina Stephan, “Lef” and the Left Front of the Arts, Munich: Otto Sagner, 1981, 242 pp.
• J.H. Eagle, Russian Formalist Film Theory, Michigan Slavic Publications, 1981, 174 pp. [38]
• Rainer Georg Grübel, Russischer Konstruktivismus: künstlerische Konzeptionen, literarische Theorie und kultureller Kontext, Wiesbaden: Otto Harrassowitz, 1981, 263 pp. (in German) [39]
• Christina Lodder, Russian Constructivism, New Haven and London: Yale University Press, 1983, 328 pp.
  • El Constructivsmo Russo, Madrid: Editorial Alianza S.A.C., 1988, 327 pp. (in Spanish)
• Gerald Janacek, The Look of Russian Literature: Avant-Garde Experiments 1900-1930, Princeton University Press, 1984, 314 pp. Review, Review.
• Marjorie Perloff, The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture, University of California Press, 1985. [40], [41], Review, Review, Review.
• Andrei Nakov, L'avant-garde russe, Paris: Fernand Hazan, 1986. (in French)
  • Avant-Garde Russe, trans. Jacques Gourgue and Shobha Raghuram, New York: Universe Books, 1986, 120 pp.
• David Elliott, New Worlds: Russian Art and Society, 1900-1937, New York: Rizzoli, 1986, 160 pp; W.W. Norton, 1990. Review.
• Richard Stites, Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution, Oxford University Press, 1988, 344 pp.
• E.F. Kovtun, Russkaya futuristicheskaya kniga [Русская футуристическая книга], Moscow: Kniga, 1989, 248 pp. (in Russian) [42] [43]
• Lydya Zaletova, Revolutionary Costume: Soviet Clothing and Textiles of the 1920s, trans. Elizabeth Dafinone, New York: Rizzoli, 1989. Review.
• Miuda Yablonskaya, Women Artists of Russia's New Age, 1900-1935, trans. Anthony Parton, New York: Rizzoli, 1990. Review.
• Richard Andrews , Milena Kalinovska, Art Into Life: Russian Constructivism 1914-1932, New York: Rizzoli, 1990.
• Lynn Mally, Culture of the Future: The Proletkult Movement in Revolutionary Russia, University of California Press, 1990.
• William Craft Brumfield, The Origins of Modernism in Russian Architecture, University of California Press, 1991.
• G. Harrison Roman and V. Hagelstein Marquardt (eds.), The Avant-Garde Frontier: Russia Meets the West 1910-1930, Gainesville, FL.: University Press of Florida, 1992.
• Susan Compton, Russian Avant-Garde Books 1917-1934, The MIT Press, 1992, 175 pp.
• Ronald E. Peterson, A History of Russian Symbolism, Amsterdam/Philadelphia: John Benjamin, 1993.
• Christina Lodder, Russian Painting of the Avant-Garde 1906-1924, Edinburgh: Scottish National Gallery of Modern Art, 1993, 95 pp.
• James von Geldern, Bolshevik Festivals, 1917–1920, University of California Press, 1993.
• Elena Sidorina (Елена Викторовна Сидорина), Skvoz ves dvadtsatyy vek. Khudozhestvenno-proyektnyye kontseptsii russkogo avangarda [Сквозь весь двадцатый век. Художественно-проектные концепции русского авангарда], Moscow, 1994. (in Russian)
• Larry Sitsky, Music of the Repressed Russian Avant-garde, 1900-1929, Greenwood, 1994, 347 pp. [44]
• Gerald Janecek, Zaum: The Transrational Poetry of Russian Futurism, San Diego State University Press, 1996, 428 pp.
• John E. Bowlt, Olga Matich (eds.), Laboratory of Dreams: The Russian Avant-garde and Cultural Experiment, Stanford University Press, 1996, 359 pp. [45]
• Selim Khan-Magomedov (Селим Хан-Магомедов), Arkhitektura sovetskogo avangarda, Kniga pervaya: Problemy formoobrazovaniya. Mastera i techeniya [Архитектура советского авангарда, Книга первая: Проблемы формообразования. Мастера и течения], Moscow: Stroyizdat, 1996, 709 pp. (in Russian)
• Yevgeny Kovtun, Avant-Garde in Russia 1920-1930, Parkstone, 1997, 256 pp. [46]
• Georgii Kovalenko (ed.), Avangard 1910kh - 1920kh godov, Vzaimodeistvie iskussty, Moscow: Gosudarstvennyi institut iskusstvoznaiya, 1998. (in Russian)
• Hilary L. Fink, Bergson and Russian Modernism, 1900-1930, Northwestern University Press, 1998. [47]
• Tomáš Glanc, Videnie russkich avangardov, Prague: Univerzita Karlova, 1999, 175 pp. (in Russian)
• Tatyana Nikolskaya (Татьяна Никольская), Fantasticheskiy gorod. Russkaya kulturnaya zhizn' v Tbilisi (1917-1921) [Фантастический город. Русская культурная жизнь в Тбилиси (1917-1921)], Moscow: Pyataya strana, 2000. (in Russian)
• Александра Шатских, Vitebsk. Zhizn' iskusstva 1917-1922 [Витебск. Жизнь искусства 1917-1922], Moscow: Языки русской культуры, 2001, 256 pp. (in Russian). Interview, Review.
  • Aleksandra Shatskikh, Vitebsk: The Life of Art, New Haven: Yale University Press, 2007, 408 pp. [48], Contents.
• Evgenii Petrova (ed.), The Russian Avant-Garde: Personality and School, St Petersburg: Palace Editions, 2003.
• Barrett Watten, The Constructivist Moment: From Material Text to Cultural Poetics, Middletown, Conn.: Wesleyan University Press, 2003.
• The Russian Avant-Garde (1910-1930): An Unfulfilled Plan: Symposium Proceedings, European Cultural Centre of Delphi, 2004, 357 pp. [49]
• Maria Gough, The Artist as Producer: Russian Constructivism in Revolution, University of California Press, 2005, 257 pp.
• A.P. Kudryavtsev, N.O. Dushkina (eds.), From VKhUTEMAS to MARKhI, 1920-36, Moscow: A-Fond Publishers, 2005, 231 pp. (in English/Russian)
• Christina Lodder, Constructive Strands in Russian Art, London: Pindar Press, 2005, 596 pp.
• Hans Günther, Sabine Hänsgen (eds.), Sovetskaya vlast' i media [Советская власть и медиа; Soviet Power and the Media], St. Petersburg: Akademicheskiy proekt, 2005, 621 pp. [50] (in Russian). Review.
  • Galina Orlova, "'Voochiyu vidim: fotografiya i sovetskiy proyekt v epokhu ikh tekhnicheskoy vosproizvodimosti".
• Alan Bartram, Futurist Typography and the Liberated Text, Yale University Press, 2006, 160 pp. [51]
• Andrew Spira, The Avant-Garde Icon: Russian Avant-Garde Art and the Icon Painting Tradition, Lund Humphries, 2008, 224 pp.
• Aaron J. Cohen, Imagining the Unimaginable: World War, Modern Art, and the Politics of Public Culture in Russia, 1914-1917, University of Nebraska Press, 2008, 246 pp. [52]
• Ilia Dorontchenkov (ed.), Russian and Soviet Views of Modern Western Art, 1890s to Mid-1930s, trans. Charles Rougle, Berkeley: University of California Press, 2009.
• Tim Harte, The Aesthetics and Ideology of Speed in Russian Avant-Garde Culture, 1910-1930, Madison: U of Wisconsin P, 2009, 330 pp. [53]
• Wolfgang Mende, Musik und Kunst in der sowjetischen Revolutionskultur, Cologne/Weimar: Böhlau, 2009, 644 pp. (in German) [54]
• S. Shargorodsky (ed.) Obvaly serdtsa: Avangard v Krymu, Moscow: Salamandra, 2011, 187 pp. (in Russian)
• Gennadiy Aygi, Tvortsy budushchikh znakov [Творцы будущих знаков], Moscow: Salamandra, 2011, 157 pp. (in Russian)
• Rosamund Bartlett, Sarah Dadswell (eds.), Victory over the Sun: The World’s First Futurist Opera, Exeter: University of Exeter Press, 2012.
• Julia Vaingurt, Wonderlands of the Avant-Garde: Technology and the Arts in Russia of the 1920s, Northwestern University Press, 2013, 322 pp. [55], Review.
• Andrey Smirnov, Sound in Z: Experiments in Sound and Electronic Music in Early 20th-century Russia, London: Koenig Books & Sound and Music, 2013, 281 pp.
• Eva Birkenstock, Kerstin Stakemier, Nina Köller (eds.), Anfang Gut, Alles Gut - Actualizations of the Futurist Opera Victory Over the Sun 1913, Kunsthaus Bregenz, 2013. Contributors: Roger Behrens, Devin Fore, Anke Hennig, Oliver Jelinski, Christiane Ketteler, Avigail Moss, Nikolai Punin, Marina Vishmidt. (in German/English)
• Pamela Kachurin, Making Modernism Soviet: The Russian Avant-Garde in the Early Soviet Era, 1918-1928 , Northwestern University Press, 2013, 176 pp. Revised version of the author's 1998 thesis. [56]
• Philip Cavendish, The Men With the Movie Camera: The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s, Berghahn, 2013, 362 pp. [57] [58]

Special journal issues

• October 7 (Winter 1978): "Soviet Revolutionary Culture", MIT Press.
• October 118 (Fall 2006): "Soviet Factography", ed. Devin Fore, MIT Press.

Book chapters, Papers, Articles (selection)

• Clare Cavanagh, "Pseudo-Revolution in Poetic Language: Julia Kristeva and the Russian Avant-Garde", Slavic Review 52:2 (Summer 1993), pp 283-297.
• Nikolai Izvolov, "The History of Drawn Sound in Soviet Russia", trans. James Mann, Animation Journal (Spring 1998), pp 54-59.
• Annemarie Jaeggi, "Relations between the Bauhaus and the Russian avant-garde as Documented in the Collection of the Bauhaus archive Berlin", Heritage at Risk, Special Edition: "The Soviet Heritage and Europe Modernism" (April 2006).
• Konstantin Akinsha, Sylvia Hochfield, "The Faking of the Russian Avant-Garde", ARTnews, 1 July 2009.
• "Russia, The Soviet Union, and Ukraine", in The Oxford Critical and Cultural History of Modernist Magazines, vol. 3 (Europe, 1880-1940), New York: Oxford University Press, 2013, pp 1237-1362. [59]
• Nancy Perloff, "Mirskontsa (Worldbackwards): Collaborative Book Art and Transrational Sounds", Getty Research Journal 5 (2013), pp 101-118.

Theses

• Charlotte M. Humphreys, Cubo-Futurism in Russia, 1912-1922: The Transformation of a Painterly Style, University of St Andrews, 1989. PhD Dissertation.
• Charlotte Greve, Writing and the 'Subject': Image-Text Relations in the Early Russian Avant-Garde and Contemporary Russian Visual Poetry, Amsterdam: University of Amsterdam, 2004, 344 pp. Ph.D. Dissertation.
• Sarah Julie Dadswell, The Spectacle of Russian Futurism: The Emergence and Development of Russian Futurist Performance, 1910-1914, Vol. 1, Vol. 2, Vol. 3, University of Sheffield, 2005. Dissertation.
• Dennis Ioffe, The Poetics of Personal Behaviour. The Interaction of Life and Art in Russian Modernism (1890-1920), Amsterdam: University of Amsterdam, 2009, 324 pp. Ph.D. Dissertation. [60]

Bibliographies

• Peter W. Hellyer (ed.), A Catalogue of Russian Avant-Garde Books 1912-1934, London: The British Library, 1994. [61]
  • A Catalogue of Russian Avant-Garde Books 1912-1934 and 1969-2003, 2nd ed., London: British Library, 2006, 202 pp. Review.
  • Russian Avant-Garde Artists’ Books 1969-2010 in the British Library.

Experimental film

Constructivist film

• Aelita, Queen of Mars (1924), dir. Iakov Protozanov, based on the novel by Alexei Tolstoy (1923).
• Interplanetary Revolution (1924), dir. N. Khodataev, Z. Komisarenko, and Y. Merkulov. Animated film.

1980s

• Cine Fantom aka Parallel Cinema circle (*1984, Moscow and St Petersburg): Igor Aleinikov, Glen Aleinikov, and others
• Mzhalalafilm group (1980s, St Petersburg): Evgeny Ufit (necrorealism), Evgeny Kondratev
• Che-Paev group (*1988, St Petersburg)
• Leningrad Film School (*1988, St Petersburg): Alexander Sokurev and others
• Vladimir Kobrin

Literature

• http://www.pitt.edu/~slavic/video/prerevolutionary.html
• http://www.pitt.edu/~slavic/video/earlysoviet.html
• Seth Graham (ed.), Necrorealism: Contexts, History, Interpretations, Pittsburgh, 2001.
• Soviet cinema : film periodicals, 1918-1942. Part 1. Journals.

Interactive environments and installations

Artists

• Dvizheniye group (Moscow), 1960s-1970s
• Prometei group (Kazan), 1960s-1990s
• ARGO group (Moscow), 1970s

Events

• 1965 - Exhibition - Kinetic Art, Dvizheniye (Movement) group, House of Architect, Leningrad
• 1967 - EXPO '67, Soviet Pavilion, Montreal, Canada
• 1978 - Science and Art, House of Scientists, exhibition, Moscow
• 1979 - Colour - Form - Space, Exhibition Hall on Malaja Gruzinskaja, exhibition, Moscow
• 1987 - Retrospection of Moscow Unofficial Art (1957-1987), Exhibition Hall of the association "Ermitazh" in Belajevo, Moscow
• 1988 - Geometry in Art, Exhibition Hall on Kashirskaja, Moscow

Works

• Cybertheater, 1967, Lev Nusberg and the 'Movement' Group. A 20 m2 complex of kinetic "cyber-creatures", mostly 130 X 80 cm. Members of the Russian 'Movement' Group built in St. Petersburg (then, Leningrad) cyber-creatures, or "cybers", which had five to six degrees of freedom. In this theater of artificial creatures, the actors were capable of controlling the color and intensity of the lights, as well as sounds and smells. A color film was planned by the "Movement" Group. A much bigger and more complex programmed "Cybertheater" was also projected.

Articles

• Leonardo, Vol. 27, No. 5, 1994. Prometheus: Art, Science and Technology in the Former Soviet Union: Special Issue. [62]

Computer art

Works

• Kitty, 1968, computer animation. A group of russian physicists and mathematicians with N.Konstantinov in the head of it created mathematic model of the cat and its moving and realized this model in the program for the computer “BESM-4”. Computer printed hundreds of frames on the paper using alphabet symbols and then they were converted to the cinefilm. [63] [64] [65]

Video art

Equipment

• First experiments with video 8 cameras date back to the late 80s, when western video art started to cross the borders of the Soviet Union, which at that period became less resistant not only to the formerly viciously denounced "degenerate, imperialistic" forms of art, but also to the technical devices necessary to produce first Russian works of video art. [66]

Artists

• Gia Rigvava
• Sergey Shutov
• Vladimir Mogilevsky
• Kirill Preobrazhensky
• Aleksey Isaev
• Vadim Fishkin
• Boris Yukhananov, first video in 1985
• Aleksandr Molodkin and Vitaly Bashmolkin
• 1990s: Bulat Galeyev
• The Blue Noses group (*1999): Alexander Shaburov (Ekatarinenburg), Viatsheslav Mizin (Novosobirsk)

Video installations

• 1990s: Isupov, Galeyev, Isaev, Fishkin

Events

• History of Russian Video Art, exhibition series, 2007-2010, Moscow

Collections

• collectors: Antonio Geusa, Dmitry Pilikin (St Petersburg)

Articles

• Anatoly V. Prokhorov, "HALF A KINGDOM FOR A STRANGE HORSE !". [67]
• "From Underground to Foreground: The Rise of Video Art in Russia". [68]
• Lucie Buechting, "Carbon Club: On Russian Video Art", 2004. [69]

Resources

• http://videotochka.ru/ - russian video art gallery, edition 2009
• Anthology of Russian Video Art, [70] [71] [72] [73] [74] [75] [76] [77]

Electroacoustic and experimental music, sound art

Electro-acoustic music

• Valery Beluntsov, composer, founded Electro-acoustic studio in Moscow State Musical College
• Julia Dmitryukova, Composer, Musicologist
• Dmitry Tcheglakov, Composer, cellist
• Stanislav Kreichi, Composer, Sound Engineer. In 1961 joined group of engineers and composers who designed ANS synthesizer and with the ANS composed music for several films, performances and shows
• Vladimir Nikolaev, composer
• Tatyana Mikheyeva, composer
• Sergei Zagny, composer and musicologist
• Michael Prosniakov, Musicologist, Founder and Director of Stockhausen Institute, Moscow.

Electronic music

• Yurii Yukechev
• Andrei Rodionov
• Viktor Ulyanich
• Viktor Katayev
• Igor Mikhailenko

Works

• Electronic_music_instruments_in_CEE
• CD Mrs. Lenin. Electro-Acoustic music from the Theremin Center, http://payplay.fm/theremincenter
• Discography of Theremin Works, compiled by Matthias Sauer, Leonardo. [78]

Events

• 1996 - Concert program for Lev Theremin’s 100 anniversary.
• 1997 - The Theremin Center. The Multimedia Concert Program at Russian Musical Academy, Moscow.
• Generation Z exhibition in Budapest, 2011

Centres

• Stockhausen Institute, Moscow, *1991, founded and directed by Michael Prosniakov
• Theremin Center, Moscow, *1992, directed by Andrey Smirnov
• Electro-acoustic studio in Moscow State Musical College

Literature

• "Recent Russian Texts on the Theremin", compiled by N. Nesturkh, B. Galeyev, S. Zorin, I. Vanechkina and S. Sintzova. Leonardo. [79]
• "Theremin International Resource Directory. Documents, Publications, Written Materials, Films and Other Resources on the Theremin; Archives, Museums, Libraries Containing Theremin Materials; Musical Works and Film Scores Written for the Theremin." Compiled by Matthias Sauer. Leonardo. [80]

New media art, Media culture

Cities

Moscow, St Petersburg, Kazan, Yekaterinburg, Sebastopol, Perm

Resources

• Eva Wohlgemuth and Kathy Rae Huffman, Siberian Deal, travel report, 1995. [81], [82]
• Mediatheque, First collection of media art in Russia with a non-commercial access, [83]
• http://www.mediamuseum.ru, [84]
• diss.cetera ostWEB, [85]

Literature

• Collaborative research on internet in Russia, [86]
• Katherine Liberovskaya, "Behind the Cyrillic Curtain : Notes on Internet Art and Culture in Russia", 2001, [87]
• Lev Manovich, "Behind the Screen / Russian New Media", 1997. [88]
• Andrea Hapke, Andrea Jana Korb, "Russische cyberfeministische Strategien", course plan, 2002. [89]
• Andrea Hapke and Andrea Jana Korb, "'Russische' cyberfeministische Strategien zwischen Realität, Virtualität und Fiktion – Ein Dialog", German. [90]
• Florian Schneider and James Allen. Runet - interview with olia lialina. 2000. [91]
• Jürgen Bruchhaus, "Runet 2000 - Politik und russisches Internet", Master thesis, 2000, German. [92] [93]
• Media Art in Russia. ISEA Newsletter #95, January-February 2004. [94], [95]

Bibliography

• "Soviet Bibliography". Books on the theme "Art, Science and Technology" published in the Soviet Union from 1917-1991 (in Russian). Compiled by Bulat M. Galeyev. Leonardo. [96]
• "Bibliography of Articles Published in Leonardo on Art, Science and Technology in the Former Soviet Union", Leonardo. [97]
• "Russian Books on Art, Science and Technology (1992-2000)", compiled by Leonardo International Co-Editor Bulat M. Galeyev and Vladimir G. Chudnovsky. [98]

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