Section 1: Futurism Studies

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Contents Editorial IX Conventions of dates and transliteration used in this volume XXI Section 1: Futurism Studies Jordan Tobin Marinetti’s Visit to Russia in 1914: Reportage in Russia and in Italy 3 Elena O. Kirillova Futurism in the Russian Far East at the Beginning of the 1920s: The Historical and Cultural Context 35 Gabriella Elina Imposti Velimir Khlebnikov’s Early Dramatic Production 73 Andrey Rossomakhin The Posters of Vasily Kamensky: Typography, Actionism, Scandals 97 Marina Dmitrieva Maria Siniakova’s Sensual Futurism 122 Isobel Palmer Mayakovsky’s Voices: Futurist Performance and Communication in Verse 157 Olga Sokolova The New Semiotics of Advertising in Italian and Russian Futurism 188 Przemysław Strożek Futurist Wrestlers and Constructivist Worker-Sportsmen: The Russian Avant-garde and Heavy Athletics in the 1910s–1920s 214 Dijana Metlić Zenitist Cinema: Influences of Marinetti and Mayakovsky 236 VI Contents Elena Grigoryants The Futurist Tradition in Contemporary Russian Artists’ Books 269 Section 2: Archive Reports Tomi Huttunen and Tapio M. Pitkäranta The Futurism Collection at the National Library of Finland in Helsinki 297 Section 3: Caricatures and Satires of Futurism in the Contemporary Press Larisa Alekseeva “The Broom of Satire, the Brush of Humour”: Mayakovsky in Caricatures Preserved in the State Literary Museum in Moscow 311 Section 4: Obituaries Carlo Piccardi and Luciano Chessa Daniele Lombardi (1946–2018) 339 Matteo D’Ambrosio Enrico Crispolti (1933–2018) 349 Section 5: Critical Responses to Exhibitions, Conferences and Publications Ester Coen Futurist Art Post Zang Tumb Tuuum 357 Angela Sanna The Futurist Universe at the Massimo Cirulli Collection 367 Contents VII Enrico Martines A Hundred Years of Futurism in Portugal: The Conference 100 Futurismo in Lisbon 380 Ricardo Vasconcelos A Hundred Years of Portuguese Futurism: The International Congress Futurismo Futurismos in Padua 389 Jorge Uribe 100 Years of Portugal futurista: An Exhibition and Study Day in Lisbon 400 Michael Syrimis New Studies on Futurist Cinema 411 Claudio Palomares Salas Ultraism and the Historical Avant-garde 421 Olga Sokolova The Verbo-voco-visual Artists’ Books of the Russian Avant-garde 429 Henryk Baran Evolutions of Russian Futurism in the 1910s and 20s 435 Section 6: Bibliography A Bibliography of Publications on Futurism, 2016–2019 443 Section 7: Back Matter List of Illustrations and Provenance Descriptions 473 Notes on Contributors 479 VIII Contents Name Index 487 Subject Index 527 Geographical Index 557.

Recommended publications

The T Ransrational Poetry of Russian Futurism Gerald J Ara,Tek

The T ransrational Poetry of Russian Futurism E Gerald J ara,tek ' 1996 SAN DIEGO STATE UNIVERSilY PRESS Calexico Mexicali Tijuana San Diego Copyright © 1996 by San Diego State University Press First published in 1996 by San Diego State University Press, San Diego State University, 5500 Campanile Drive, San Diego, California 92182-8141 http:/fwww-rohan.sdsu.edu/ dept/ press/ All rights reserved. -', Except for brief passages quoted in a review, no part of thisb ook m b ay e reproduced in an form, by photostat, microfilm, xerography r y , o any other means, or incorporated into any information retrieval system, electronic or mechanical, withoutthe written permission of thecop yright owners. Set in Book Antiqua Design by Harry Polkinhorn, Bill Nericcio and Lorenzo Antonio Nericcio ISBN 1-879691-41-8 Thanks to Christine Taylor for editorial production assistance 9 8 7 6 5 4 3 2 1 Acknowledgements Research for this book was supported in large part by grants in 1983, 1986, and 1989 from the International Research & Ex changes Board (IREX), with funds provided by the National En dowment for the Humanities, the United States Information Agency, and the US Department of State, which administers the Russian, Eurasian, and East European Research Program (Title VIII). In addition, I would like to express my gratitude to the fol lowing institutions and their staffs for aid essential in complet ing this project: the Fulbright-Bayes Senior Scholar Research Program for further support for the trips in 1983 and 1989, the American Council of Learned Societies for further support for the trip in 1986, the Russian Academy of Sciences, and the Brit ish Library; iri Moscow: to the Russian State Library, the Rus sian State Archive of Literature and Art, the Gorky Institute of World Literature, the State Literary Museum, and the Mayakovsky Museum; in St.
Cubo-Futurism

Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet.
Constructivist Book Design: Shaping the Proletarian Conscience

Constructivist Book Design: Shaping the Proletarian Conscience We . are satisfied if in our book the lyric and epic Futurist books were unconventionally small, and whether Margit Rowell evolution of our times is given shape. —El Lissitzky1 or not they were made by hand, they deliberately empha- sized a handmade quality. The pages are unevenly cut One of the revelations of this exhibition and its catalogue and assembled. The typed, rubber- or potato-stamped is that the art of the avant-garde book in Russia, in the printing or else the hectographic, or carbon-copied, early decades of this century, was unlike that found any- manuscript letters and ciphers are crude and topsy-turvy where else in the world. Another observation, no less sur- on the page. The figurative illustrations, usually litho- prising, is that the book as it was conceived and pro- graphed in black and white, sometimes hand-colored, duced in the period 1910–19 (in essentially what is show the folk primitivism (in both image and technique) known as the Futurist period) is radically different from of the early lubok, or popular woodblock print, as well as its conception and production in the 1920s, during the other archaic sources,3 and are integrated into and inte- decade of Soviet Constructivism. These books represent gral to, as opposed to separate from, the pages of poetic two political and cultural moments as distinct from one verse. The cheap paper (sometimes wallpaper), collaged another as any in the history of modern Europe. The covers, and stapled spines reinforce the sense of a hand- turning point is of course the years immediately follow- crafted book.
Chance Operations and Randomizers in Avant-Garde and Electronic Poetry Tying Media to Language

Chance Operations and Randomizers in Avant-garde and Electronic Poetry Tying Media to Language Jonathan Baillehache Abstract This article explores and compares the use of chance procedures and randomizers in Dada, Surrealism, Russian Futurism, and contemporary electronic poetry. I analyze the role of materiality of media in creating unexpected literary outcomes through a discussion of Freud’s concept of the uncanny and Katherine Hayles’s concept of computation as symptom. The goal of this essay is to compare the literary use of chance operations by historical avant-garde poets (Dadaists, Russian Futurists, and Surrealists) with the use of randomness in electronic lit- erature (specifically in generative poetry). In this essay, randomness and chance are essentially equivalent terms, but reflect different cultural and epistemological contexts. Chance is traditionally associated with art and print literature, such as automatic writing or the cut-up technique, whereas randomness in this essay is associated with computers and electronic litera- ture. Literary uses of chance or randomness are context-bound and reflect different artistic agendas: in the surrealists’ literary technique of automatic writing,1 for instance, randomness is used in order to explore the uncon- scious, whereas in Nanette Wylde’s electronic poem Storyland, randomness is used to explore the ambiguity between human subjects and machines. How do these different contexts of bibliographic publication and protocols . 1 André Breton and Philippe Soupault’s Les Champs Magnétiques, published in France in 1920, is considered one of the first books written with the method of “automatic writing”, or, as Breton puts it, “to blacken paper with a laudable disregard for any literary output” [“noircir du papier avec un louable mépris de ce qui pourrait en sortir littérairement” ].
Primitivism in Russian Futurist Book Design 1910–14

Primitivism in Russian Futurist Book Design 1910–14 In the introduction to his book “Primitivism” in 20th ponents in 1913), Russian artists such as Mikhail Jared Ash Century Art, William Rubin notes the relative paucity of Larionov, Natalia Goncharova, Kazimir Malevich, and scholarly works devoted to “primitivism—the interest of Olga Rozanova espoused the fundamental aesthetic prin- modern artists in tribal art and culture, as revealed in ciples and theories, set the priorities, and developed the their thought and work.”1 While considerable attention courage to abandon naturalism in art in favor of free cre- has been paid to primitivism in early-twentieth-century ation, pure expression, and, ultimately, abstraction. French and German art in the time since Rubin’s 1984 The present work focuses on the illustrated publication, Western awareness of a parallel trend in book as the ideal framework in which to examine primi- Russia remains relatively limited to scholars and special- tivism in Russia. Through this medium, artists and writ- ists. Yet, the primary characteristics that Russian artists’ ers of the emerging avant-garde achieved one of the recognized and revered in primitive art forms played as most original responses to, and modern adaptations of, profound a role in shaping the path of modern art and primitivism, and realized the primary goals and aesthetic literature in Russia as they did in the artistic expressions credos set forth in their statements and group mani- of Western Europe. “Primitive” and “primitivism,” as festos. These artists drew on a wide range of primitive they are used in this text, are defined as art or an art art forms from their own country: Old Russian illumin- style that reveals a primacy and purity of expression.
A Companion to Andrei Platonov's the Foundation

A Companion to Andrei Platonov’s The Foundation Pit Studies in Russian and Slavic Literatures, Cultures and History Series Editor: Lazar Fleishman A Companion to Andrei Platonov’s The Foundation Pit Thomas Seifrid University of Southern California Boston 2009 Copyright © 2009 Academic Studies Press All rights reserved ISBN 978-1-934843-57-4 Book design by Ivan Grave Published by Academic Studies Press in 2009 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com iv Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. Published by Academic Studies Press 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com CONTENTS CHAPTER ONE Platonov’s Life . 1 CHAPTER TWO Intellectual Influences on Platonov . 33 CHAPTER THREE The Literary Context of The Foundation Pit . 59 CHAPTER FOUR The Political Context of The Foundation Pit . 81 CHAPTER FIVE The Foundation Pit Itself .
„Lef“ and the Left Front of the Arts

Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................
Constructivism (Art) 1 Constructivism (Art)

Constructivism (art) 1 Constructivism (art) Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism as an active philosophy lasted until about 1934, greatly effecting the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Some of its motifs have been reused sporadically since. Beginnings The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko during 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed during 1922.[1] Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited during 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Photograph of the first Constructivist Exhibition, 1921 Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new ohilosophy was established by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry directed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture during 1918. IZO, the Commissariat's artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune.
Art Bibliographies Futurism in Italy and Russia, Vorticism in Britain

Art Bibliographies: Futurism in Italy and Russia, Vorticism in Britain ! Art Bibliographies: Futurism in Italy and Russia, Vorticism in Britain! ! Art Bibliographies: Futurism! in Italy and Russia! (Art Bibliographies: Vorticism! separaely listed below)! ! Berghaus, Gunter. Futurism and politics: between anarchist rebellion and fascist !! !reaction, 1909-1944, Providence, RI; Oxford: Berghahn Books, 1996.! Chessa, Luciano. Luigi Russolo, futurist: noise, visual arts, and the occult, Berkeley; ! !London: University of California Press, ca. 2012.! Hulten, Pontus (ed.). Futurismo & futurismi (Exhibition, 1986), London: Thames and ! !Hudson, 1987.! Humphrey, Richard. Futurism, London: Tate Gallery Publishing, 1999. HL! Lawton, Anna and Herbert Eagle (eds. and translation). Russian futurism through its ! !manifestoes, 1912-1928, Ithaca; London: Cornell University Press, 1988.! Markov, Vladimir. Russian futurism: a history, London: MacGibbon & Kee, 1969.! Nash, J.M. Cubism, Futurism and Constructivism, London: Thames and Hudson, 1974.! Northern Arts. Futurismo, 1909-1919 (Exhibition, 1972-1973), Newcastle-upon-Tyne: ! !Northern Arts; Edinburgh: Scottish Arts Council, 1972.! Ottinger, Didier (ed.). Futurisme a Paris: une avant-garde explosive (Exhibition, !! !2008-2009), Paris: Editions du Centre Pompidou, ca. 2009.! Petrova, Yevgenia (ed). Russian futurism: and David Burliuk, "the father of Russian ! !futurism”, translated by Kenneth MacInnes, St Peterburg: Palace editions, !ca. 2000.! Poggi, Christine. Inventing futurism: the art and politics of artiﬁcial optimism, !! ! Princeton; Oxford: Princeton University Press, ca. 2009.! Poggi. In deﬁance of painting: cubism, futurism, and the invention of collage, New ! !Haven, Conn.; London: Yale University Press, ca. 1992.! Rye, Jane. Futurism, New York: Dutton, 1972.! Taylor, Joshua C. Futurism, New York: Museum of Modern Art, 1961.! Tisdall, Caroline and Angelo Bozzolla. Futurism, London: Thames and Hudson, ca.
The University of Chicago Kazimir Malevich And

THE UNIVERSITY OF CHICAGO KAZIMIR MALEVICH AND RUSSIAN MODERNISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY DANIEL KALMAN PHILLIPS CHICAGO, ILLINOIS JUNE 2017 Copyright © 2017 by Daniel Kalman Phillips All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ............................................................................................. iv ACKNOWLEDGEMENTS .............................................................................. viii ABSTRACT ............................................................................................................x INTRODUCTION MALEVICH, ART, AND HISTORY .......................................................................1 CHAPTER ONE MODERNISMS BEFORE SUPREMATISM........................................................18 CHAPTER TWO AN ARTIST OF THE NINETEENTH CENTURY ...............................................71 CHAPTER THREE SUPREMATISM IN 1915 ...................................................................................120 CHAPTER FOUR CODA: SUPREMATISMS AFTER SUPREMATISM .......................................177 WORKS CITED................................................................................................. 211 iii LIST OF FIGURES1 0.1 Kazimir Malevich, Black Square, 1915. 0.2 Kazimir Malevich, [Airplane Flying], 1915. 0.3 John Baldessari, Violent Space Series: Two Stares Making a Point but Blocked by a Plane (for Malevich), 1976. 0.4 Yves Klein,
A 'Rupture Backwards' the Re-Emergence of Shamanic Sensibilities Amongst the Russian Avant-Garde From

Durham E-Theses A `Rupture Backwards': The Re-emergence of Shamanic Sensibilities Amongst the Russian Avant-Garde from 1900-1933. GILL, CHARLOTTE,LUCY,KAVANAGH How to cite: GILL, CHARLOTTE,LUCY,KAVANAGH (2015) A `Rupture Backwards': The Re-emergence of Shamanic Sensibilities Amongst the Russian Avant-Garde from 1900-1933. , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11296/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 1 A ‘Rupture Backwards’: The Re-emergence of Shamanic Sensibilities Amongst the Russian Avant-Garde from 1900-1933. 2 Volumes: Volume I Charlotte Gill PhD Education Durham University 2015 2 ABSTRACT This PhD examines the re-emergence of shamanic sensibilities amongst the Russian avant-garde in the period 1900-1933, focusing on the artists Larionov, Goncharova, Malevich, Filonov and Kandinsky. It considers how these pioneering artists, having anticipated Jung’s crisis of psychic dislocation, were perhaps inspired by the ideology, iconography, ritualistic practice and mystical symbolism inherent in shamanism and other associated phenomena.
A Slap in the Face of Public Taste: the Russian Futurists’ Aesthetics of Revolution

A SLAP IN THE FACE OF PUBLIC TASTE: THE RUSSIAN FUTURISTS’ AESTHETICS OF REVOLUTION BY EMILY K LIPIRA THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Russian, East European, and Eurasian Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Advisers: Professor Mark D. Steinberg Associate Professor David Cooper ABSTRACT This thesis examines the historical context in which Russian Futurism formed in 1910 in order to comprehend better this significant movement’s motivations, ideologies, aesthetics, and effects on subsequent literature, art, and politics, particularly those of Russia. It identifies the primary problems of the late Russian Empire and how various groups sought to provide solutions to these troubles to help Russia become modern. While scholars often focus on the Bolsheviks’ proposal of a two-fold socio-political revolution because this view prevailed in and after 1917, other organizations promoted their own interpretations of how to address Russia’s numerous troubles that offer insight into the era and the diversity of opinions that existed during this turbulent period. This project focuses on the most well-known group of Russian Futurists, Hylaea (sometimes also called the Cubo-Futurists), because its members developed unconventional aesthetics of revolution to spread their plan to the Russian public from the time of its founding in 1910 until the outbreak of the Great War in 1914. The Hylaean Futurists’ proposal expanded upon and differed from the Bolsheviks’ vision of revolution because it called for a three-tiered revolution that would encompass aesthetics in addition to politics and society.