Старый 17.06.2008, 13:00 Язык оригинала: Русский       #1
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По умолчанию Exhibition of Futurism in Pushkin

At the Museum of the Pushkin Fine Arts hosts international exhibition dedicated to the approaching 100-years anniversary of futurism.

Lily Palveleva - the correspondent of Radio Liberty
Dmitry Morozov - Senior
Irina Antonova - Director of the Museum of Fine Arts


Dmitry Morozov: The Museum of Fine Arts Pushkin - a significant event. It hosts international exhibition "Futurism - Radical Revolution. Italy - Russia." The project is dedicated to the approaching centennial of futurism. By Lily Palveleva.

Lily Palveleva: A rare feature for the current case - in futurism is the exact date of birth. Says director of the Italian Museum of Contemporary Art of Trento Gabriela Belli:

Gabriella Belli: This date, which is very important for all those interested in the world of futurism - is February 20, 1909. That day the magazine "Le Figaro" has its first manifesto, signed by Marinetti, who at that time had not yet presented himself as an artist, and often declared himself as a poet. Since that day, with this futuristic appearance of the first such action, we begin the countdown era futurism. But at that date, the most futuristic painting still can not say that it is already there. No. But this statement itself is very dramatic change of environment. It aroused great interest in Marinetti. And many artists, too many poets wanted to meet him, then wanted to feel the spirit of what he first presented in his manifesto.

Lily Palveleva: All of Europe has experienced interest in futurism. However, only in Italy and Russia, this interest was consistent. Just here arose futuristic associations. That this fact and determined the composition of works in the exhibition. Word of the Director of the Museum of Fine Arts, Irina Antonova.

Irina Antonova: We are building an exhibition at the dialogue between Russia and Italy. In preparation for the exhibition and attended museums and private collections in countries such as Italy, Russia, Switzerland, the United States and Israel. The number of participants exceeds 30. Moreover, the exhibition was prepared in such a way that you can get an idea about the main characters and artists. Because, as a rule, such masters as Balla, Severini, Bochoni, Kara, Goncharova, Larionov, Burliuks, Rozanova represented a large number of works of art. But in the course of their lives, they expressed themselves, perhaps in some other way, but at some point, this is the climax, they just were artists belonging to the direction of Futurism.

Lily Palveleva: All the exhibition presents more than 300 works of art. Connoisseur will find differences in the Italian and Russian versions of futurism, but not so well prepared visitor pay attention to how the artists of both countries were inspired by technological progress. Sometimes coincidence is almost literally. Not only at one canvas "Train and plane" Natalia Goncharova details of two cars rushing superimposed on each other. The same motif can be found in the Italian papers, where the lines banked houses as rapidly as airplanes, but a man likened to a perfect mechanism.



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Старый 20.06.2008, 10:53 Язык оригинала: Русский       #2
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По умолчанию Posh text of the exhibition of the Futurists in Kommersant

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.



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Старый 21.06.2008, 22:39 Язык оригинала: Русский       #3
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По умолчанию surveys Commersant

After articles in Kommersant (especially love Weekend) is like and no need to detach themselves from the couch and go watch. Read and fellowship. All of you have thought, the impressions of you have already downloaded and view your prepared.



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Старый 23.06.2008, 12:29 Язык оригинала: Русский       #4
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По умолчанию

fross, you of course I'm sorry, I do not want you any offense. But in my eyes, this phrase
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All of you have thought, the impressions of you have already downloaded and view your prepared.
sounds like something wild. This is the same that do not read the book, since there are reviews, not to watch movies, since there are commentators, not to listen to new music, since there is criticism.
Every man his own, not like anybody else, perception. May speak anything, but if you have not seen this with my own eyes, then you do not have the slightest idea what it really is. and I assure you that even the most professional critics and reviewers are not right and not catches the main idea of the events described.



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Старый 23.06.2008, 13:20 Язык оригинала: Русский       #5
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По умолчанию review and reviews

Did surveys, reviews, etc. not to write, to prepare for the perception? I do not think that the purpose of sponsoring intellect shine.
But personally perceive is not always possible, and often find yourself just go as they do not write. And not always own impression is brighter and more interesting than good reviews.



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Старый 23.06.2008, 15:42 Язык оригинала: Русский       #6
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По умолчанию

fross,

Can agree and disagree at the same time
For example photo-reports Vladimir - often intnresnee events.
A few reviews written or children, or fools, or PR-schiki (in a bad sense of the word).

A must go - painting to look alive.



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Старый 23.06.2008, 18:01 Язык оригинала: Русский       #7
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По умолчанию certainly better live

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fross,

Can agree and disagree at the same time
For example photo-reports Vladimir - often intnresnee events.
A few reviews written or children, or fools, or PR-schiki (in a bad sense of the word).

A must go - painting to look alive.
Painting, and music, and ballet, and theater - all the better to watch "live". But not all in a row (unless it is your profession), and not at any time.
And the time it requires incomparably more (some traffic jams in Moscow that could discourage a visit). So why not read /listen to the record /watch a movie?



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Старый 23.06.2008, 23:09 Язык оригинала: Русский       #8
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По умолчанию

why everything? when the exhibition of the same Kommersant wrote this review when it is an event of global scale - then, of course, also need to go.
There are things that need to MUST to watch, but only those that are subject to availability of time and desire. Futurism, by the way, the first number refers)



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Старый 24.06.2008, 07:33 Язык оригинала: Русский       #9
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По умолчанию Futurism in Italy

Dear Meister,
I can not disagree with you.
And you prokomentiruete attitude of Italians to Futurism. They blamed him that because of the political dominance he was not allowed to develop in Italy, all other areas. And Italy has lost the leading position.



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Старый 24.06.2008, 13:34 Язык оригинала: Русский       #10
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По умолчанию

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Y
They (the Italians) blame him (futurism) that because of the political dominance he was not allowed to develop in Italy, all other areas. And Italy has lost the leading position.
Italy has lost a leader, this is absolutely no doubt, but for 200 years, with interest until futurism, and bring him (Futurism) claims for them (leading position) loss to me seems very unfair to even :-)))



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