Dvizhenie

Dvizheniye Group (Movement). Founded in 1962 by Lev Nusberg in Moscow. Until 1976. Activities ranged from early, static works in painting and sculpture to kinetic constructions, performance, installations and projects related to urban planning.

Lev Nusberg, Galja Bitt, Sascha Grigorjev, Francisco Infante, Tatjana Bystrova. The Movement Group, was formed in 1964 by a number of young Russian artists who shared an interest in working with geometric forms to express sensations of infinity that they believed form the essence of human experience. In 1966 the group included the following persons: Nusberg, Infante, Kuznetsov, Buterlin, Viacheslav Koleichuk, Zanevskaya, Orlova, Glinchikov, Mura- veva, Bitt, and others.
Also: Vladimir Galkin, Georgij Lopakov, Viktor Stepanov.

In the mid- to late-1960s, these individuals turned their collective attention to kinetic installations, or “artificial spaces,” which became Dvizheniye’s main focus for the duration of its history.

Transferred the suprematist and constructivist systems to a more synthetic environment in the form of functional design (eg. urban designs celebrating the 50th anniversary of the October Revolution in 1966 in Leningrad) and interior design, and outdoor performance (e.g. the Galaxy Kinetic Complex in 1967).

Nusberg tested out constructivist principles, while Infanté engaged and explored the influence of Naum Gabo and Malevich (hence his utopian, "supreme" projects, such as a skyscape remade along geometric lines). The collective proclaimed kinetic art meant for mass, ecstatic viewing, and created in an urban setting various synthetic wonders, with flashing lights, transparent plastics, screens, mirrors, smoke, and noise pouring out of loudspeakers. For the most part, this ideological design remained utopian, unhindered by the authorities. "The Movement"'s "live machines" continued El Lissitzky's later illusionist project, first by aspiring to hyper-individualism, but also in their critique of "dry" and "one-sided" geometry. Quite predictably, these artists rejected Western kineticism as too individualistic and its construction as moribund. The collective performances directed by Nusberg essentially appealed to the senses and sexuality -- reliable antidotes to geometry. The group dissolved after Nusberg emigrated to the United States; beginning in the 1970s, Infanté worked independently, creating conceptual photographs of artificial objects in nature. [1]

Articles

• Vyacheslav F. Koleychuk, The Dvizheniye Group: Toward a Synthetic Kinetic Art, Leonardo, Vol. 27, No. 5, Prometheus: Art, Science and Technology in the Former Soviet Union: Special Issue (1994), pp. 433-436 [2]
• Russian 'Movement' Group (From "CMeHa", No. 1, January, 1968), Leonardo, Vol. 1, No. 3 (Jul., 1968), pp. 319, [3]
• [4]