Russian avant-guard in the French foreshorteningIn the Museum of Modern Art of a city of Paris the exhibition " has opened; Rodchenko - the photographer. Eye revolution “ prepared by the Moscow house of a photo (MDF). On the biggest French retrospective show of the most important Russian photographer - the avant-gardist ANNA - TOLSTOV has visited.
under the maintenance it almost Alexander Rodchenko`s same grandiose retrospective show which the Moscow house of a photo has shown last autumn in the Arena by the decade. Unless to a photographic part have added some abstract pictures and spatial designs (the last are recreated by the grandson of the artist Alexander Lavrentevym) - as a hint on many-sided nature of talent of Rodchenko. The most interesting here not that became during a revolutionary time and more or it is less known, and pair of late pictures. What could induce the Soviet person in 1943 to write any krovavo - red flourishes in the spirit of Zhoana Miro? To what this concerns krovavo - red - Stalin, to Hitler or it something personal? However, the eye of the western spectator, nothing a socialist realism knowing about a victory in separately taken country in 1932, most likely, will not hook on these things: such abstractions at them in museums in bulk.
And here than the western spectator by all means should admire, so it quantity rodchenkovskih photos. At them in museums of Rodchenko give out small doses: one - two pictures to tell about foreshortenings, diagonals, a photomontage - about all volume that this great Russian photographer in reportazhnuju has brought shooting to make its adequate on dynamics, pathos and revolutionary enthusiasm of quickly changing socialist validity. In France in general there was only one exhibition of Rodchenko, in 1977. It is now exposed two and a half hundred precious vintage photos, boards, journal covers and turns - from meetings MDF, Mayakovsky`s Museum, Pompidou`s Center and private collections. And though all showed it in Moscow, under the form the Parisian exhibition sharply differs from that that was in the Arena.
Manezhnuju an exhibition were done director MDF by Olga Sviblova individually, in style of a storm peculiar to it and an impact. Razveska was almost that shpalernaja: the House on Mjasnitsky, the Shuhovsky tower, “ New LEF “ “ Cinema - an eye “ pioneers, pilots, athletes - all in some numbers, accelerated tempo that visual shock passed in permanent ecstasy. That exposition as though went to a unison rodchenkovskoj to an aesthetics: it all life both in practice, and in articles - manifestos proved that the photo is the advanced and major of arts, MDF the exhibitions here proves ten years the same to Muscovites.
In France, in the homeland of a photo, nobody should be convinced that a photo - art: here it, unlike Russia, is exposed almost in each art museum. Therefore the exposition to which creation has put also a hand of Emmanuel de L ` Ekote, the keeper of photo collections of the Museum of Modern Art of a city of Paris, is made in quiet, almost academic spirit and by a chronological principle. Photomontages and experiments with a foreshortening and a diagonal, portraits lefovtsev, constructivist Moscow and a new communistic life, journal reportings, illustrations to Vladimir Mayakovsky`s poems and turns “ the USSR on building “ parades of athletes and Red Army men, circus with Vladimir Durov and the Bolshoi theatre... All it merges in one smooth history where on the general background are not allocated in any way masterpieces like “ the Portrait of mother “ or “ Girls with ` the Watering can ` “ Nightmares like the reporting from building of Belomorsko - the Baltic channel. It is ordinary history about any unusual, not similar to the French life. And such way of display too, basically, answers rodchenkovskoj to an aesthetics.
in 1925 Alexander Rodchenko for two months has been sent to Paris, on the International exhibition of decorative art and the industry: to make out Konstantin Melnikova`s well-known pavilion, to do furniture, the equipment and an interior of Working club, to print catalogues. It which reproached in formalistskom imitation the West so much, unique time in the life on this West has got - and straight to epicentre of world art process. It after all here, at the Parisian exhibition of 1925, the term " was born; ar - deko “. Also what Rodchenko? Any delights: burzhuazno, boringly, frivolously, discharged woman - a toy in hands of the man. In Paris, except escalators, Tour d`Eiffel and “ machine “ painting of Fernana Lezhe, he has not seen anything remarkable. To live in the USSR was where more interesting, easier and more cheerfully.
it, of course, amazing reaction. Then here the whole world by hook or by crook aspired. The friend and colleague Rodchenko Mayakovsky to whom the French manner was very much fell in love, comfort, magnificent cars and long-legged Parisians, easily could live and die in Paris, if not Moscow, People`s Commissariat of Internal Affairs and shrew Lilja Brick. And Rodchenko has hardly sat out the two months in Paris: a glamour, shine, everywhere art in bad understanding of this word - as something applied, ukrashatelstvo lives. For it art (that is the photo - because what else now, at a present level of development of technics, there can be an art, except a photo and the cinema) was helps what not simply to build and live: art itself builds, lives, it and is life. And the exhibition has turned out about it.
We - that thought that these strizhennye under one comb pioneers, these Stalin parades of athletes and Red Army men, these zekovskie orchestras on Belomorkanal - all is horror, People`s Commissariat of Internal Affairs, a Gulag. We with pleasure would send all it on boondocks of historical subconsciousness. And here it is found out that all it was simple life, inseparable from art. It is any very French, easy point of view on the world: a sight of the people which have worried of so much revolutions in life and art, often coinciding with each other, how many to the rests also did not dream.