I read with great pleasure
http://www.kommersant.ru/doc.aspx?Do...&NodesID=8 Many of copyright finds and elegant finale. I quote entirely, because "Commerce" then upryachet it into the archive.
Away from the past future
//The Futurists in the Pushkin Museum of Fine
The newspaper Kommersant »№ 104 (3921) of 20.06.2008
Photo: 1 of 5
A collective portrait of the Italian Futurists located in the apse of the White Hall - proposed downright worship them
Exhibition
At the Pushkin Museum of Fine passes an exhibition "Futurism. Russia-Italy.'s Radical Revolution. Phenomenon of futurism studied GREGORY b-Revzin.
Exhibition is devoted to the next century of Italian Futurism - in 1909, Filippo Marinetti published a manifesto of futurism in the journal Le Figaro. It about a hundred works of the Italians - Umberto Boccioni, Giacomo Balla, Gino Severini, Carlo Kara Fortunatto Depero, Enrico Prampolini, Antonio St. Elia. And about the same Russian - Kazimir Malevich, Natalia Goncharova, Mikhail Larionov, Olga Rozanova, Lyubov Popova, Aristarchus Lentulova, Vladimir Mayakovsky, Vladimir Burliuk, Ilya Zdanevich, Alexandra Exter and Michael le Dante. Not that comprehensive, but very representative exhibition.
She has a few unexpected scenario. Initially, it seems that all she is primarily Italian, and Russian to them - a kind of appendage. Italians given to the White Hall of the museum, it leads to the famous staircase GMII, somewhat theatrically transformed Boris Messerer, a collective portrait of the Italian Futurists located in the apse of the White Hall, so that you are invited to downright worship them. This is probably as well as the fact that the work of the Italian Futurists in Russia is almost no defined response to the exhibition. Most critics have given a clear preference for the Italian part of the introduction of the Italians as a methodical teacher, and Russian - as pupils daffy. It is in the spirit of Marinetti's own impressions of Russia when he came here in 1914, with lectures and was surprised that his Russian colleagues, although calling themselves futurists, in fact, did not hear, do not follow in general are not entirely clear where.
I do not think, however, that the Italian part of the exhibition is really worthy of such a filing. She prepared Museum of Contemporary Art of Trento and Roveretto. Of the major works of futurism, included all encyclopedias, there is one thing - a statue of "The muscles in fast motion" Umberto Boccioni. There really is something that is not present in any other avant-garde movements of Europe 1910-s, - the idea of the body as a dynamic flow of matter in space, a kind of plastic reading the ideas of Henri Bergson. But the major works of art of futurism, which overlapped images of different stages of the movement of the body or mechanism, the exhibition is almost no (exception - the chamber "Flying Swallows" Giacomo Balla). It basically works, representing the geometric transformation of reality in which the Italian Futurists seem secondary students of French Cubists. Perhaps The futurists be presented as something else, the impression would be different. But looking at this exhibition, a much better understanding of the whole outrage Apollinaire Paris school at the statements Marinetti - for them it looked not just the inventor of the bicycle, but as the inventor, who also issued on this invention manifest.
After the Italians exhibit makes a turn and leads to the Russian part. And then there is the effect of exquisite social events, where the owner seems to be in every way emphasizes the importance of the guest, but two or three movements of the issues that he himself was steeper in the order. First, there was the Italians level artists Kasimir Malevich (its futuristic "Hotel" - just an incredible form of ownership on the background of the Italian inaudibility), nor Lyubov Popova. I have a sense of politeness simply do not let them on the show, limiting the order not higher than Aristarchus Lentulova - it certainly beats the Italians in the sense of sense of color, but on the whole neighborhood with him does not discredit them. Secondly, the museum pretty agricultural area around Roveretto, the district center, where the lead track from the small picturesque villas Palladio and where you can even leave the track - it is you really do not Pushkin Museum. Russian part of the exhibition, which assembled the work of a dozen provincial museums, where the stunning quality of work, where everything is very finely staged, where between the business, as if in passing, provided an excellent exposition of futuristic quality of the book, looks like a thoroughbred indecently close to the Italians. One can not help remembering and burning eyes of collectors futuristic books from the 1970's, and endless conferences, reports, publications, where each leaf of this heritage has been described with such enthusiasm, as if this picture by Raphael.
In general, having exposure in a circle, gets a great sense of pride and for the Russian avant-garde, and for our art studies, who can both select and apply the material, and for the Pushkin Museum, which can in between times for the three months to compile such exposure. And then you stand with this feeling of pride fool. Yet what we called "Russian Futurists", and not they - "Italian budetliane. They gave a sense of movement, the name, philosophy, and we let them leave and then much further, but still this part of the way, from 1909 to 1914, the first, walked behind them and they have learned. And the only thing that is unclear at the exhibition - how it happened? Why do not we have them?
I will dare to make one assumption. Italian Futurism was the most intelligent of all the avant-garde currents. He put the future. The fact is that when the French invented cubism, there was no appeal to the future. "Les Demoiselles d'Avignon" by Picasso - is on the contrary movement to the past, to the rock paintings, this time archaization program for all artists of Cubism. And that Marinetti first said: No, guys, avant-garde - is not a return to the origins of mankind, this leap into the future. That he joined the case with the aesthetics of motion, with the machines. And this, as a fortune-teller predicting the future, conquers all others.
True, he did it in a French magazine. All the initial efforts of the Milanese Futurists were meant to be appreciated in Paris, as a result of contact between the vanguard and the future very quickly became a commonplace of the avant-garde texts from Finnish to Greek. But the first thought to say it Marinetti, and the very picture of Milanese, who were in a plastic sense of the province of France, proved to be an ideological weapon of colossal force. It's not a painting - without this compound vanguard of the future and the machine would have no avant-garde design, or architecture. Avant-garde would not have occupied the world - this was "a radical revolution". And we went after him like all the others went. Before Marinetti Russian avant-garde sought support in the icon, splints, primitive. After - in flights of airplanes, automobiles, and, of course, delighted with the bike.