Russia

Avant-garde

Artists

Nikolai Kulbin (St. Petersburg), Alexei Kruchenykh, 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, Osip Brik, Lilya Brik, Sergei Tretyakov, Mikhail Matyushin, Wladimir Baranoff-Rossine (optophonic piano, 1924)

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.

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), 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

Literature

• 140+ books of Russian Futurism, 1910-1930. (in Russian)[2]
• Selected articles on music and technology. (in Russian)
• Sadok sudey [Садок Судей], St. Petersburg: Zhuravl', April 1910, 131 pp. (in Russian)
• 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.
• Poshchechina obshchestvennomu vkusu. V zashchitu svobodnogo iskusstva. Stikhi, proza, stat'i [Пощёчина общественному вкусу. В защиту свободного искусства: Стихи, проза, статьи; A Slap in the Face of Public Taste: In Defense of Free Art: Poems, Prose, Essays], Moscow: Georgy L. Kuzmin, December 1912. (in Russian)
• Alexei Kruchenykh, Pobeda nad solntsem [Победа над Cолнцем], Moscow, 1913. (in Russian)
  • Victory Over the Sun, trans. Ewa Bartos and Victoria Nes Kirby, The Drama Review 15:4 (Fall 1971), pp 106-124.
• Strelets [Стрелец], 3 Vols, St. Petersburg, 1915, 1916, 1922. Futurist almanac. (in Russian)
• E.P. Radin, Futurizm i bezumie [Futurism and Madness], St. Petersburg, 1914. (in Russian)
• Konstantin Umansky, Neue Kunst in Russland, 1914-1919, Potsdam: G. Kiepenheuer, 1920. (in German)
• LEF journal 1-7, Novyi LEF journal 1-24, 1923-25 & 1927-29. (in Russian)
• Alexander Tufanov, K zaumi, St. Petersburg, 1924. (in Russian)
• Camilla Gray, The Russian Experiment in Art, 1863-1922, Thames & Hudson, 1962, 324 pp.
• Vladimir Markov, Russian Futurism: A History, University of California Press, 1968, 467 pp.
• Augusto de Campos, Haroldo de Campos, Boris Schnaiderman, Poesia russa moderna, São Paulo: Perspectiva, 1968. (in Portuguese)
• Screen, Vol. 12, No. 4: Documents from Lef, 1971-72, pp 25-160.
• 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. Chardžiev, K. Malevič, M. Matjušin, The Russian Avant-Garde / K istorii russkogo avangarda, Stockholm: Hylaea Prints, 1976. (in English/Russian)
• Hubertus Gaßner, Zwischen Revolutionskunst und Sozialistischem Realismus. Dokumente und Kommentare. Kunstdebatten in der Sowjetunion von 1917–1934, Cologne: DuMont, 1979. (in German)
• 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. [3]
• 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.
• Art Journal, Special Issue on "The Russian Avant-Garde", Vol. 41, No. 3 (Autumn 1981). [4]
• 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)
• Marjorie Perloff, The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture, University of California Press, 1985. [5] [6]
• Richard Stites, Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution, Oxford University Press, 1988, 344 pp.
• Charlotte M. Humphreys, Cubo-Futurism in Russia, 1912-1922: The Transformation of a Painterly Style, University of St Andrews, 1989. PhD Thesis.
• E.F. Kovtun, Russkaya futuristicheskaya kniga [Русская футуристическая книга], Moscow: Kniga, 1989, 248 pp. (in Russian) [7] [8]
• Richard Andrews , Milena Kalinovska, Art Into Life: Russian Constructivism 1914-1932, New York: Rizzoli Publications, 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.
• 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)
  • Velikaya utopiya: Russkii i sovetskii avangard 1915-1932, Moscow: Izdatelstvo Galart, 1993. (in Russian)
  • Die Grote Utopie: Russische Avantgarde 1915-1932, Amsterdam: Stedelijk Museum, 1992. (in Dutch)
• 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.
• Larry Sitsky, Music of the Repressed Russian Avant-garde, 1900-1929, Greenwood, 1994, 347 pp. [9]
• Gerald Janecek, Zaum: The Transrational Poetry of Russian Futurism, San Diego State University Press, 1996, 428 pp.
• Selim Khan-Magomedov (Селим Хан-Магомедов), Архитектура советского авангарда, Книга первая: Проблемы формообразования. Мастера и течения [Soviet avant-garde architecture, I: Problems of morphogenesis. Masters and currents], Moscow: Stroyizdat, 1996, 709 pp. (in Russian)
• Georgii Kovalenko (ed.), Avangard 1910kh - 1920kh godov, Vzaimodeistvie iskussty, Moscow: Gosudarstvennyi institut iskusstvoznaiya, 1998. (in Russian)
• 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.
• 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.
• 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.
• 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.
• Maria Gough, The Artist as Producer: Russian Constructivism in Revolution, University of California Press, 2005, 257 pp. [10]
• A.P. Kudryavtsev, N.O. Dushkina (eds.), From VKhUTEMAS to MARKhI, 1920-36, Moscow: A-Fond Publishers, 2005, 231 pp. (in English/Russian)
• Tomáš Glanc, Jana Kleňhová, Lexikon ruských avantgard 20. století, Libri, 2005. (in Czech)
• 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.
• Christina Lodder, Constructive Strands in Russian Art, London: Pindar Press, 2005, 596 pp.
• Heritage at Risk - Special Edition: The Soviet Heritage and Europe Modernism (April 2006).
  • Annemarie Jaeggi, "Relations between the Bauhaus and the Russian avant-garde as Documented in the Collection of the Bauhaus archive Berlin".
• Ilia Dorontchenkov (ed.), Russian and Soviet Views of Modern Western Art, 1890s to Mid-1930s, trans. Charles Rougle, Berkeley: University of California Press, 2009.
• Wolfgang Mende, Musik und Kunst in der sowjetischen Revolutionskultur, Cologne/Weimar: Böhlau, 2009, 644 pp. (in German) [11]
• Obvaly serdtsa: Avangard v krymu, Moscow: Salamandra, 2011, 187 pp. (in Russian)
• Lars Kleberg, Aleksei Semenko (eds.), Aksenov and the Environs, Huddinge: Södertörns högskola, 2012. (in Russian/English)
• Rosamund Bartlett, Sarah Dadswell (eds.), Victory over the Sun: The World’s First Futurist Opera, Exeter: University of Exeter Press, 2012.
• Sergei Sharshun, Dadaizm, Moscow: Salamandra, 2012, 115 pp. (in Russian)
• Dennis G. Ioffe, Frederick H. White (eds.), The Russian Avant-Garde and Radical Modernism, Boston: Academic Studies Press, 2012. [12]
• Julia Vaingurt, Wonderlands of the Avant-Garde: Technology and the Arts in Russia of the 1920s, Northwestern University Press, 2013, 322 pp. [13] [14]
• 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.
• "Part VIII. 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. [15]
• 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)
• Nancy Perloff, "Mirskontsa (Worldbackwards): Collaborative Book Art and Transrational Sounds", Getty Research Journal 5 (2013), pp 101-118.

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. [16]

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. [17] [18] [19]

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. [20]

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 !". [21]
• "From Underground to Foreground: The Rise of Video Art in Russia". [22]
• Lucie Buechting, "Carbon Club: On Russian Video Art", 2004. [23]

Resources

• http://videotochka.ru/ - russian video art gallery, edition 2009
• Anthology of Russian Video Art, [24] [25] [26] [27] [28] [29] [30] [31]

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. [32]

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. [33]
• "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. [34]

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. [35], [36]
• Mediatheque, First collection of media art in Russia with a non-commercial access, [37]
• http://www.mediamuseum.ru, [38]
• diss.cetera ostWEB, [39]

Literature

• Collaborative research on internet in Russia, [40]
• Katherine Liberovskaya, "Behind the Cyrillic Curtain : Notes on Internet Art and Culture in Russia", 2001, [41]
• Lev Manovich, "Behind the Screen / Russian New Media", 1997. [42]
• Andrea Hapke, Andrea Jana Korb, "Russische cyberfeministische Strategien", course plan, 2002. [43]
• Andrea Hapke and Andrea Jana Korb, "'Russische' cyberfeministische Strategien zwischen Realität, Virtualität und Fiktion – Ein Dialog", German. [44]
• Florian Schneider and James Allen. Runet - interview with olia lialina. 2000. [45]
• Jürgen Bruchhaus, "Runet 2000 - Politik und russisches Internet", Master thesis, 2000, German. [46] [47]
• Media Art in Russia. ISEA Newsletter #95, January-February 2004. [48], [49]

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. [50]
• "Bibliography of Articles Published in Leonardo on Art, Science and Technology in the Former Soviet Union", Leonardo. [51]
• "Russian Books on Art, Science and Technology (1992-2000)", compiled by Leonardo International Co-Editor Bulat M. Galeyev and Vladimir G. Chudnovsky. [52]

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