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Язык оригинала: Русский #1 |
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in London opened an exhibition of Rodchenko
In London gallery Art Sensus Jan. 21 opened a large-scale exhibition of works by Alexander Rodchenko and his contemporaries, according to the website gallery. The exhibition, entitled "Rodchenko and his circle" represented nearly a thousand photographs, including more than 200 works by Rodchenko himself from private collections, never before exhibited. The central theme of the exhibition, which will run until March 19 - the early stages of establishment of Soviet power. In addition to works by Rodchenko exhibition can also see about 750 pictures Naum Granovsky, Seeds Fridlyand, Max Alpert, Evgeny Khaldei, George Selma, and others. As told RIA Novosti news agency co-owner of the American Stock Tosca Zelda Cheatle, these pictures belong to the fund, which recently closed. Almost all of them for sale. In addition to photographs of Rodchenko on Soviet reality, part of the exhibition are photographs of his relatives and friends. Among other things, the exhibition presents, for example, portraits of Vladimir Mayakovsky, Osip and Lili Brik, Rodchenko's wife, the artist Varvara Stepanova, the director Vitaly Pearl and others. Alexander Rodchenko - one of the main "export" the Russian photographers - was one of the pioneers of constructivism. He is considered a harbinger of graphic design, not only in the USSR, but in the world. In addition to photography and design, Rodchenko was engaged in painting. http://www.lenta.ru/news/2011/01/21/rodchenko/ Gallery of Art Sensus Добавлено через 3 часа 33 минуты Real Utopian as Alexander Rodchenko, Russian fotoavangard glorified all over the world Today the name of Rodchenko, almost synonymous with the Soviet photos 20-30-ies. His works are in major museums around the world. His archive is so great that the scanning of negatives, which conducted the Moscow House of Photography, took 4 years. Nov. 23 Alexander Mikhailovich would have turned 115 years old. And in December, will be a half-century, as it is no longer with us. These two dates in conjunction with the opening of Arena his personal exhibition "Photography - Art," organized by MDP, with the participation Pushkin Museum. Pushkin, Mayakovsky Museum, galleries Alex Lachman. In these days of out of print monograph Rodchenko with the same title, prepared as part of the publishing program of Interros, together with the MDP and humanitarian projects Ivan Polyakov. Even someone who knows nothing about Rodchenko, owe him their view of the world. Famous sharp angles of his photographs bear the energy of a new vision. And as he said once, "each of seeing a new birth to the revolution." We all enjoy the fruits of the revolution "seen", which made the artist along with his colleagues on the "Lef" and later of the "October". This revolution began not in the 20 years, but much earlier. Then, when in 1916, Rodchenko was involved in a futuristic exhibition titled "Shop": "At this time I went in the winter and summer, autumn tattered coat and cap. He lived in a room behind the stove in the kitchen, fenced off with plywood. I'm hungry. But I despised bourgeoisie. despised her favorite art: the Union of Russian artists, aesthetes of the art world. I came close, such as unsecured Malevich, Tatlin and other artists. (...) We are not accountants and clerks of the bourgeoisie. We were the inventors and remake the world in way. We do not chewed nature, like cows chewing gum on his canvases. We created a new concept. We - not izobrazhateli and innovators. "
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Zhanna Vasilieva Последний раз редактировалось Тютчев; 22.01.2011 в 01:24. Причина: Добавлено сообщение |
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Язык оригинала: Русский #2 |
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Real Utopian
as Alexander Rodchenko, Russian fotoavangard glorified all over the world Today the name of Rodchenko, almost synonymous with the Soviet photos 20-30-ies. His works are in major museums around the world. His archive is so great that the scanning of negatives, which conducted the Moscow House of Photography, took 4 years. Nov. 23 Alexander Mikhailovich would have turned 115 years old. And in December, will be a half-century, as it is no longer with us. These two dates in conjunction with the opening of Arena his personal exhibition "Photography - Art," organized by MDP, with the participation Pushkin Museum. Pushkin, Mayakovsky Museum, galleries Alex Lachman. In these days of out of print monograph Rodchenko with the same title, prepared as part of the publishing program of Interros, together with the MDP and humanitarian projects Ivan Polyakov. Even someone who knows nothing about Rodchenko, owe him their view of the world. Famous sharp angles of his photographs bear the energy of a new vision. And as he said once, "each of seeing a new birth to the revolution." We all enjoy the fruits of the revolution "seen", which made the artist along with his colleagues on the "Lef" and later of the "October". This revolution began not in the 20 years, but much earlier. Then, when in 1916, Rodchenko was involved in a futuristic exhibition titled "Shop": "At this time I went in the winter and summer, autumn tattered coat and cap. He lived in a room behind the stove in the kitchen, fenced off with plywood. I'm hungry. But I despised bourgeoisie. despised her favorite art: the Union of Russian artists, aesthetes of the art world. I came close, such as unsecured Malevich, Tatlin and other artists. (...) We are not accountants and clerks of the bourgeoisie. We were the inventors and remake the world in way. We do not chewed nature, like cows chewing gum on his canvases. We created a new concept. We - not izobrazhateli and innovators. "
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Zhanna Vasilieva (Itogi "№ 45 /543 (06.11.06)) Photos by Alexander Rodchenko, from the archives of MoMA (New York): Последний раз редактировалось Тютчев; 22.01.2011 в 01:41. |
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Язык оригинала: Русский #3 |
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Page 42
MAJOR Illiteracy or small disgusting? -------------------------------------------------- ------------------- In the N 4 (April), "Soviet Photo" was placed "letter", in thinly disguised terms accusing Alexander Rodchenko photographs plagiirovanii fotografistov overseas, in particular, Mogul-Nagy. This is - firstly. And when Alexander Rodchenko to expose the nasty ambiguity of this note addressed to the editor "photography" with a letter, last letter is not printed. This - Second. That is why Alexander Rodchenko forced his letter to the editor "of the Soviet photo printed on the pages of the New Lef. -------------------------------------------------- ------------------- Rodchenko. To the Editor of "photography" April 6, 1927
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Последний раз редактировалось Тютчев; 23.01.2011 в 04:10. |
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Язык оригинала: Русский #4 |
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p. 36
Alexander Rodchenko CAUTION --------------- Giving the place the note Rodchenko, edition specifies its strong disagreement with the basic idea of the author, a substitute for the struggle for the "new aesthetics" are utilitarian and production functions, which are in the new photographs, primarily interested in LEF. A detailed response to the "Caution" edition will give a N 12 "New Lef. --------------- Assuming that the most important thing in photography is "what" is removed, not the "how" is removed, some comrades from the LEF warn against stankovizatsii, from the pilot, from formalism in photography, and thus fall into the aesthetics of asceticism and philistinism. You must specify the comrades that the fetishization of fact is not only unnecessary but also harmful to photographs. We struggle with easel painting, not because she estetna, but because it is outdated, weak technical display, cumbersome, is unique and can not serve the masses. We are fighting actually not even with the painting (and so it dies), and a photo "on a painting," from painting, "" under etching, "a woodcut," "under the picture," a sepia "," a watercolor . Fight for something, "that" depict, absolutely nothing on it you just need to specify it. And it's now all done. Bad and just filmed a fact not a cultural thing, and cultural value in photography. No revolution is not in that instead of a portrait of General labor leaders had taken off in the same photographic approach, as under the old regime or under the influence of Western art. The revolution in photography is to shoot a fact due to the quality (as filmed) acted so badly, and suddenly his entire photographic characteristics, that could not only compete with painting, but also showed everyone the perfect way to reveal a new world in science, technology and in everyday life of modern humanity. LEF as the vanguard of communist culture required to show how and what to shoot. What to shoot, everyone knows the photo-circle, and how to shoot, few know. p. 37 Filmed under the working of Christ or Lord and filmed an employee under the Virgin said that better and more important. Simply put, we need to find, search and find a new one (not afraid) aesthetics, the rise and enthusiasm for the expression of pictures of our new socialist facts. A snapshot from the newly built factory for us is not simply a snapshot of the building. The new plant in the picture is not just a fact, but the fact that pride and joy of the country's industrialization of the Soviets, and it is necessary to find "how to take off." We must experiment. Shoot just the facts as well as simply describe them is not new, but that's the trouble, that fact may simply remove the cover art, and simply described the fact conceals a novel. You, the fans of fact, also not so easy to write. And then, comrades, you will soon lose, where the right or left side. Not the lefovets who takes facts, but someone who can photograph fight "of art" pieces of high quality, and for this we need an experiment until stankovizatsii photographic craft. What is an easel-picture? In general, these terms do not, but we can understand this - experimental photography. Do not teach theory, without consulting with practitioners and do not be friends are worse than enemies. Great danger - the abstract theory for practitioners - invented for the sake of aesthetic asceticism. Последний раз редактировалось Тютчев; 29.01.2011 в 05:26. |
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Язык оригинала: Русский #5 |
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Tiutchev, thank you for your message.
Rodchenko was a really unique photos. Remember, even Khardzhiev translated it from the category of avant-garde artists in photography. But he was avant-gardist in the photo, I especially like his rare double exposure. (A. Shevchenko - published in the relevant subject). Here, an interesting double exposure V. Stepanova Here are my favorite pictures that apparently were not included in the exhibition. |
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