Abstruse papersin gallery of the Moscow centre of arts
an exhibition avant-guard
In gallery of the Moscow centre of arts on Neglinke have opened at once two exhibitions from a cycle “ New Russian collections “. In halls of the centre of arts adjoin a collection of Russian pointless drawing 1910 - 1920 - h and an exposition of works on Kazimira Malevich`s paper 1910 - 1930 - h years. IRINA - KULIK tells.
Raboty Kazimira Malevich who can be seen in gallery on Neglinke, earlier in Russia were not exposed and, with rare exception, in Russian editions were not printed. Some of them could be seen on devoted to century Malevich to an exhibition organised in 1978 in the Parisian Center of Pompidou, something was reproduced in the western editions devoted to the great Russian avant-gardist. Since recent time these works are included into meeting Artistica Foundation which has given them for the Moscow exhibition.
Malevich`s Graphic works - not so much finished products (as the works of its contemporaries presented in the neighbourhood, pupils or adherents Very Ermolaevoj, Cyril Zdanevicha, Gustav Klutsisa, Alexey Kruchenyh and others), how many not which reports of conceptual and philosophical work, for which complete cloths - something like steps of the space rocket separating at launch. The products presented on Neglinke allow to track this brainwork throughout all creative way of the artist: from a cubism of the beginning 1910 - h to a postsuprematism 1930 - h. Here there are sketches of the future works of painting (sometimes and unfulfilled) and pencil “ analytical schemes “ anatomising already existing products of other artists, for example kubisticheskoe Pablo Picasso`s cloth “ the Violin “ 1912 in which device Kazimir Malevich understood the middle 1920 - h years.
One of the most unusual exhibits - paradoxical “ abstruse “ products 1914 - 1915, created after “ Victories over the Sun “ basic for Russian avant-guard of experience of cooperation of Kazimira Malevich with composer Michael Matyushin and one of the main theorists and experts “ zaumi “ poet Alexey Kruchenyh. However, “ abstruse “ Malevich`s compositions look even radikalnee, than the collages exposed in the next halls Twisted - elegant multi-coloured pieces of paper mixed up with scraps of the used up sheets on which at some effort it is possible to disassemble gloomy enough texts. At Malevich as that practically is not present the text, as is not present also any vizualnosti. And there is, for example, a sheet pulled out from a notebook on which are hardly planned fish, a ladder, something like the broken points, a square and a word “ Pud “. One more piece of paper on which in a frame the deduced inscription " is seen clumsy handwriting; Fight in parkway “ - whether the signature to a nonexistent newspaper picture from a heading “ Incidents “ whether a cover of the unknown book (on mind immediately come “ Cases “ Kharms). One more piece of paper in a section on which the word " is written; Two “ also two zeroes are drawn. For tautological lapidarnostju this equation from a school writing-book on the mathematician the logic paradox appears: what it is in the image a zero plus a zero can give the two? If zeroes really two than one zero differs from another? Perhaps, in Malevich`s drawing the zero and a zero, and, say, zero and a zero to fundamental distinction between which will devote almost twenty years after one of the mini - treatises Daniel Kharms are represented not. As it is known, Kazimir Malevich in 1920 - e recognised years oberiutov as the followers. “ I old bezobraznik, and you young “ - the guru of Russian avant-guard to beginning poets has told.
but “ abstruse “ pieces of paper - only one of phases malevichskih searches. Then will be both sketches, and workings out to postsuprematicheskomu to a country cycle. During this period Kazimir Malevich departs from abstraction in painting, but on - former develops it in the schedule. On sheet, dated the beginning 1930 - h, have taken place the whole seven compositions. Three mixed black squares and a black circle, suprematicheskie konstelljatsii crosses and the rectangles, fluently scratched by a feather, seem any flotilla of kites departing up. Anyway, they already in any way are not the sketch of a picture and are not adhered in any way to a reality of that piece of paper on which they are outlined.