Ivan Kudriashev’s interplanetary-dynamic abstractions (1917-1928)

Cosmism and
communism
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Click images
to enlarge
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Biographical notes

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Born
Kaluga, 1896; died Moscow, 1972.

From 1913 to 1917 Kudriashev attended the Moscow Institute of Painting, Sculpture, and Architecture, and from 1918 to 1919 studied with Kazimir Malevich at the SVOMAS [Free State Art Studios]; there he met Ivan Kliun, Antoine Pevsner, and Naum Gabo. From 1918 on, under the influence of the ideas of the space scientist Konstantin Tsiolkovskii (conveyed to Kudriashev by his father, a carpenter who made rockets and other devices for Tsiolkovskii), he turned to the problems of cosmic abstract painting, as filtered through Suprematism. After the Bolsheviks’ revolutionary seizure of power in October 1917, Kudriashev worked for about a year on propaganda designs for automobiles to celebrate the first anniversary of the Revolution.

Ivan Kudriashev, photographer unknown (1940s)

In 1919, he was sent to Orenburg to establish the SVOMAS. That same year Kudriashev participated in the city’s inaugural State Exhibition, showing sketches for the mural of the First Soviet Theater along with other abstract works. Over the next year he worked on the interior to the Summer Red Army Theater and organized a branch of the UNOVIS group in Orenburg.

Kudriashev arrived in Smolensk in 1921, while serving as the supervisor of a train for the evacuation of starving children. There he met Katarzyna Kobro and Wladyslaw Strzeminski, two Polish followers of Malevich. Later on Kudriashev returned to Moscow, and from late 1921 onward worked as a designer. In 1922 he sent work to the “Erste russische Kunstausstellung” (First Russian Art Exhibition) at the Galerie van Diemen in Berlin. Between 1925 to 1928 his abstract works were displayed at the first, second, and fourth OST exhibitions.

After 1928, Kudriashev stopped exhibiting in the Soviet Union.

Early works.

Planets

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Ivan Kudriashev is one of the lesser-known painters of the Soviet avant-garde. Not for lack of talent, however. Brilliant, brooding, and celestially driven, Kudriashev was often given to interstellar flights of the imagination. He dreamed of nighttime passages between the Earth and other planets. This of course reflected the gravitational pull of Tsiolkovskii’s cosmism, which always held extraterrestrial ambitions.

Many of his darker paintings from the 1920s convey this sense of cosmic loneliness — that of a solitary mind launched and set adrift in a cold vessel, wandering through the black expanse of space. Kudriashev’s career was brief, but blazed a path fed by rocket-fuel. Continue reading

Not art but communism

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Early in 1921 the Soviet Commissar of Enlightenment Anatolii Lunacharskii nominated the young avant-garde artist El Lissitzky to serve as the USSR’s cultural ambassador to the West. At the time, the civil war in Russia was still waging, but the end was in sight. Narkompros, the People’s Commissariat of Enlightenment, was ordered by Lenin to prepare to make cultural inroads in Western Europe, where revolution had stalled out but might yet be reignited. When David Shterenberg, the director of IZO (Narkompros’ Fine Arts Department), accused Lissitzky of cynically using the funded trip to Germany and the Netherlands as simply a way to promote UNOVIS, the artistic group to which he belonged at the time, the artist immediately shot back:

We are taking not art but communism to the West.

Despite the reservations expressed by art historians such as Victor Margolin, Margaret Tupitsyn, and Henk Puts about the political intent of Lissitzky’s mission, the late Detlef Mertins uncovered evidence a couple years ago that this indeed was the case. On the surface of things, of course, this statement by Lissitzky seems startlingly naïve. How could revolutionary form automatically convey revolutionary content?

Could an abstract shape (think of Beat the White Circle with the Red Wedge) really communicate a communist message? Fredric Jameson once remarked, in his 1992 lectures on The Seeds of Time, that “[i]t was one of the signal errors of the artistic activism of the 1960s to suppose that there existed, in advance, forms that were in and of themselves endowed with a political, and even revolutionary, potential by virtue of their own intrinsic properties.” The same charge might be made against the 1920s, of course, leveled against the artistic and cultural avant-garde of that era. I should like to propose another option.

Perhaps it was not just delusional exuberance or an overactive imagination that led them to make such rash claims for themselves, but rather in that moment revolutionary form and revolutionary content appeared to have merged. Or at least, things seemed to be approaching this point. Lissitzky and Ehrenberg, in their otherwise apolitical article appended below, on the end of the Western naval blockade against the fledgling Soviet Union, said as much when they wrote that “we are unable to imagine any creation of new forms in art that is not linked to the transformation of social forms.” The two appeared indissolubly interconnected. Afterward, of course, revolutionary forms of art would be banished from most of Western Europe by fascism and from the Soviet Union by Stalinism. It flew across the ocean to Chicago and New York, where the United States was rapidly in the process of becoming a global superpower. Nevertheless, nothing like the revolutionary social content prevailed in the US, and in the USSR, where this revolutionary social content was still present, revolutionary forms of art were absent. The two had become decoupled.

I’d like to thank Aleksandr Strugach for bringing these fabulous images to my attention, and the Petersburg architecture blogger and historian Sergei Babushkin for posting them. You can access his blog by clicking here, and I hope you’ll forgive this brief meditation on my part. Check out posts on PROUN and Lissitzky’s design for a yacht club also. Enjoy!

The blockade of Russia is coming to an end

El Lissitzky
Ilya Ehrenberg
Veshch (1922)

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The appearance of Objet is another sign that the exchange of practical knowledge, realizations, and “objects” between young Russian and West European artists has begun. Seven years of separate existence have shown that the common ground of artistic aims and undertakings that exists in various countries is not simply an effect of chance, a dogma, or a passing fashion, but an inevitable accompaniment of the maturing of humanity. Art is today international, though retaining all its local symptoms and particularities. The founders of the new artistic community are strengthening ties between Russia, in the aftermath of the mighty Revolution, and the West, in its wretched postwar Black Monday frame of mind; in so doing they are bypassing all artistic distinctions whether psychological, economic, or racial. Objet is the meeting point of two adjacent lines of communication.

We stand at the outset of a great creative period. Obviously reaction and bourgeois obstinacy remain strong enough on all sides in Europe as well as in disoriented Russia. But all the energy of those who cling to the past can only, at the very most, delay the process of constructing new forms of existence and communal work. The days of destroying, laying siege, and undermining lie behind us. That is why Objet will devote the least possible amount of space to combating the epigones of the academy. The negative tactics of the “dadaists,” who are as like the first futurists of the prewar period as two peas in a pod, appear anachronistic to us. Continue reading

The Rationalist current in Soviet avant-garde architecture

ASNOVA at VKhUTEMAS

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Not all of the early Soviet architectural avant-garde was “Constructivist,” strictly speaking. Though this was the title often generically used to describe to all modernist architecture coming out of Russia, only those pieces produced by the architectural group OSA can really be considered constructivist per se. OSA’s self-proclaimed doctrine was constructivism, founded on the principle of the “functional method” of design, as Ginzburg and the Vesnin brothers described it.

Earlier, another avant-garde group — the Association of New Architects, or ASNOVA — had been founded in 1923 by Nikolai Ladovskii, Nikolai Dokuchaev, Vladimir Krinskii, and El Lissitzky (though Lissitzky spent most of his time abroad). This school of architectural thought was deeply informed by the principles of abstract Suprematism in painting, the style invented by Kazimir Malevich some years before. In fact, Lissitzky’s PROUN series led directly into his architectural phase of production.

Project for the “new city”

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As opposed to the Constructivists in the Society of Modern Architects (OSA), founded two years later, the premise of architectural Rationalism, as it came to be called, was formalistic rather than functional. The members of ASNOVA appealed to evidence gleaned from the study of psychotechnics, a science imported from Germany and America, to claim that certain formal shapes and patterns of design had a direct effect on the psychology of those who viewed the structure of a building. Once these formal principles could be discerned, they could be used to produce a psychological effect, lifting viewers and inhabitants out of false consciousness and inspiring them to participate in the construction of a new society. Continue reading

Bury me beneath the Black Square

The Suprematist funeral
of Kazimir Malevich

Untitled.
Image: Malevich’s funeral procession,
his coffin carried by Suetin and others (1935)

untitled2

On the death of Kazimir Malevich
……………………………...………(1935)

Daniil Kharms

Ripping the stream of memory,
You look around and your face is pride-stricken.
Your name is — Kazimir.
The sun of your salvation wanes and you look at it.
Beauty has supposedly torn apart your earth’s mountains,
No area can frame your figure.
Give me those eyes of yours! I’ll throw open a window in my head!
Man, why have you stricken your face with pride?
Your life is only a fly and your desire is succulent food.
No glow comes from the sun of your salvation.
Thunder will lay low the helmet of your head.

Daniil Kharms, aburdist Soviet poet

Daniil Kharms, aburdist Soviet poet

Pe — is the inkpot of your words.
Trr — is your desire.
Agalthon — is your skinny memory.
Hey, Kazimir! Where’s your desk?
Looks as if it’s not here, and your desire is — Trr.
Hey, Kazimir! Where’s your friend?
She is also gone, and your memory’s inkpot is — Pe.

Eight years have crackled away in those ears of yours.
Fifty minutes have beat away in that heart of yours.
Ten times has the river flowed before you.
The inkpot of your desire Trr and Pe has ended.
“Imagine that!” you say, and your memory is — Agalthon.
There you stand, pushing apart smoke with your hands supposedly.
The pride-stricken expression on that face of yours wanes,
And your memory and your desire Trr disappear.

May 17, 1935
Translated by
Ilya Bernstein Continue reading

Herr Naphta

Untitled

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Image: A recent photo
of Herr Naphta

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“Herr Naphta” somehow manages to outdo even Herr Vogt in terms of his sheer buffoonery.

Striking the gravest pose of which such a buffoon is capable, Herr Naphta gleefully announces:

I don’t get denounced by pompous racist asshats every day, but when I do, I buy a bunch of beers and celebrate. [italics mine]

Those unfamiliar with Herr Naphta’s collected works might at first mistake this for a just a passing counter-denunciation, improvised on the spot. Looks can be deceiving, though. “Pompous racist asshats” has a precise — nay, a scientific — meaning within his sublimely banal blog of Marxist marginalia. Continue reading

Tea, anyone? Nikolai Suetin’s ceramic Suprematism, 1922-1928

Untitled.
IMAGE: Nikolai Suetin,
Suprematist teasets
(Moscow, 1925-1926)
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Along with Il’ia Chashnik, Nikolai Suetin was Kazimir Malevich‘s most devoted disciple.  He first came under the great master’s tutelage during his studies at the Vitebsk School of Art in 1918, where he also trained with the renowned artist Jean Pougny.  Though a skilled painter, designer, and ceramicist in his own right, Suetin spent much of his time promoting Malevich’s body of work and keeping a photographic record of his life.  Unlike his mentor, Suetin never theorized his work in so self-conscious a fashion.  In 1924, however, he recorded a brief artistic creed in staccato verse, disavowing every attempt to systematize his work:

neither non-objectivity
nor object
what?
“X,” I reply
it signifies the sum of my painterly thought
in the world, and hence
the answer to the question
of modernity…
No system binds me, as I am unsystematic.
A reasonably logical premise can demonstrate any system, but I am alogical and therefore overcome the systems of cubism, futurism, and suprematism.”

ни беспредметность
ни предмет.
что?
я отвечаю X (икс)
это значит сумма моей живописной мысли
на мир и значит
ответ на вопрос осязания
современности «…»
Никакая система не связывает меня, ибо я бессистемен «…»
Разумно логической предпосылкой можно доказать всякую систему, но я алогичен и потому преодолеваю системы кубизма, футуризма и супрематизма «…»

While Suetin authored numerous remarkable works, perhaps his most striking pieces came in the form of Suprematist plateware commemorating the Bolshevik revolution in October 1917.  These were made over the course of the 1920s, especially from 1922-1928.  Included in this post are several very high-resolution photographs of these works.  Enjoy!

Nikolai Suetin’s Suprematist plateware

The “arkhitektons” and “planets” of Suprematism

Kazimir Malevich, Nikolai Suetin,
and Il’ia Chashnik, 
with an
article by Aleksei Gan

Extracts from SA, 1927
(no. 3, pgs. 104-106)

During recent years comrade Malevich has worked exclusively in the field of volumetric Suprematist compositions, on problems of the volumetric and spatial forms of material masses. This is somewhat related to the tasks facing creators of modern architecture.

Malevich works intuitively…His experience is not organized by consciousness…So while volumetric Suprematism does not yield objects of that concrete social utility without which modern architecture is not architecture at all, they have vast importance as abstract research of new form, as such.

Kazimir Malevich does not accept either [Rationalism or Constructivism]. He pursues his own “purely suprematist” path, on the principle of its “primacy” or “superiority” [pervenstvo]. What then is Suprematist architecture? It is “the primacy of volumetric masses and their spatial solution in consideration of weight, speed, and direction of movement.”

True, this metaphysical formulation does not yield much, to put it mildly, to an intellect thinking materialistically. But Malevich does not only speak, he does, and what Malevich does, we repeat, has great psychological importance. In his new Suprematist volumes and volumetric combinations there is not the smallest particle of atavism.

This is where Suprematist studies can be very important. They could be very beneficially introduced into the Basic Course of the VKhUTEMAS, in parallel to those exercises currently conducted under the influence of the psychologist [Hugo] Münsterberg’s Harvard Laboratory.

The novelty, purity, and originality of abstract Suprematism fosters a new psychology of perception. This is where Malevich’s great contribution will lie.

Яков Чернихов, «Архитектурные фантазии: 101 композиция» (1925-33) — Along with fully searchable, downloadable PDFs of the original Russian texts

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Forty-five sketches by the brilliant former Suprematist painter and visionary architect Iakov Chernikhov, all composed between 1925-1933 and published together in his book Architectural Fantasies: 101 Compositions.

For any of my readers who know Russian, please feel free to download the full-text, searchable PDFs of these brilliant texts:

The spatiotemporal dimensions of abstract art and the genesis of modern architecture

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Read Ross Wolfe’s “The Graveyard of Utopia: Soviet Urbanism and the Fate of the International Avant-Garde”

Modernist Architecture — Positive Bases

The theory and practice of modernist architecture were positively based on two primary phenomena that developed under capitalism: the abstract sense of space and time created by the internal dynamic of capitalism, and the more concrete process of industrialization that took place in Europe over the course of the nineteenth century. The former of these developments, the abstract side of capitalism’s spatiotemporal dialectic, first manifested itself spatially in the medium of Cubist and post-Cubist abstract painting (Neo-plasticism, Purism, Suprematism) and temporally in the simultaneous representation of motion and light by movements such as Futurism and Rayonism. This abstract temporal dimension was deepened and refined by the avant-garde’s appropriation of Taylorism, the system of “scientific management” in industry founded in America just prior to the First World War.[211] A discussion of Taylorization’s impact on modernist architecture will lead into a more general discussion of the inescapable influence that European industrialization had on its overall development. Specifically, it will examine the modernists’ fascination with machine technologies, efficiency, and the principle of standardization. All these aspects of modern society had been brought into existence by nineteenth-century capitalism in the shift from more primitive manufacturing techniques to full-blown industrialism. In this way, modernist architecture can be seen in its positive connection to the forces and logic unfolding out of capitalist modernity, in addition to its negative bases that were outlined in the previous subsection. Modernism captured in its architecture the greater project of “rationalization” that was taking place throughout the Western world during this time, as theorized by thinkers such as Weber, Adorno, and Horkheimer.

A tertiary influence may be cited alongside these two main positive bases of avant-garde architecture: the working class. In some sense, the modernists’ identification with the European proletariat can be traced to their general disgust with bourgeois society, coupled with the widespread leftist idea that the working class could play a revolutionary role in the construction of a new and more rational society. But in another sense, the modernists’ valorization of working class must have stemmed from its association with industrial production, which held an obvious positive appeal for avant-garde architects. Though this affirmation of the laboring masses of Europe thus had its sources in both positive and negative aspects of modern society, its general character should be seen as positive. Either way, the avant-garde expressed its solidarity with workers in its quest to provide them with adequate dwelling conditions, and, more broadly, to overcome the chronic shortage of urban housing. The modernists’ efforts to this end can be seen in their commitment to the creation of a standard Existenzminimum — l’habitation minimum, Kleinstwohnung,or “minimum dwelling.”[212]

DIALECTICS OF CAPITALISM

General

Rational

Systematic

Universal

Irrational

Anarchic

Particular

Temporal

Abstract

Homogeneous

Cyclical

Scientific

Mechanical

Concrete

Heterogeneous

Linear

Historical

Dialectical

Spatial

Abstract

Homogeneous

Global/International

Decentralized/Dispersed

Egalitarian

Expansion

Concrete

Heterogeneous

Local/National

Centralized/Concentrated

Hierarchical

Contraction

Architectural

Modernism

Traditionalism

FIGURE 1: The Spatiotemporal Dialectic of Capitalism and Architecture

Before detailing this more social component of modernist architectural ideology, it is proper to examine the formal properties imparted to it by the abstract spatiotemporal dimension of capitalism. Referring back to the characteristics established beforehand as belonging to the abstract forms of space and time manifested under capitalism,[213] the extent to which these qualities were expressed by modernist art and architecture will be made clear. The scientific, cyclical, and synchronous character of its temporality; the geometric, centrifugal, and global/international character of its spatiality; their mutual homogeneity — all these categories will be important to bear in mind moving through the following analysis. For these traits, generated by the inherent dynamism of modern society, would embed themselves in the artistic unconscious of a generation of painters and architects. These then would bubble to the surface in the works of the modernists, which expressed the new spatiotemporal sensibility of their age. Such expressions of this new aesthetic orientation should be seen as manifestations of the latent social dynamic of capitalism, however, mediated perhaps by the genius of individual artists.[214]

Ivan Kudriashev’s “Construction of a Rectilinear Motion” (1925)

Iakov Chernikhov’s “Architectural Fantasy 11” (1925-1931)

In his groundbreaking 1938 lectures on Space, Time, and Architecture, the modernist and insider historian of the avant-garde movement Sigfried Giedion credited the rise of the new architecture to a newfound sense of “space-time” that congealed around the turn of the twentieth century. According to Giedion, this modern aesthetic[215] sensibility described an abstract, four-dimensional unity of temporalized spatiality, much like the kind outlined in physics by Albert Einstein in 1905. This placed a heavy emphasis on the notion of “simultaneity.”[216] Giedion could have easily added the work that was taking place in philosophy in the writings of Henri Bergson around the same time.[217] In either case, he claimed that explicit awareness of this new sense of space and time appeared first in the works of abstract art, years before the artists’ insights were later taken up and applied by modernist architects. In the first decade of the century, Giedion asserted, “[p]ainters very different in type but sharing a common isolation from the public worked steadily toward a new conception of space. And no one can understand contemporary architecture, become aware of the feelings hidden behind it, unless he has grasped the spirit animating this painting.”[218] Continue reading