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Файл:Culturology. Educational manual
.pdf
81
December 1962 was a significant milestone in the history of contemporary
Russian art. At that time, a famous exhibition was held at the Manege, dedicated to
the 30th anniversary of the Moscow Union of Artists, where works were presented not
only by sociorealists, but also by new Soviet avant-garde artists. Works of the avantgardists caused the general secretary Khrushchev an extremely negative reaction and
led to a “crackdown” in all artistic areas. The hope for freedom in the world of Soviet
art has died. This event gave rise to the phenomenon of Russian culture in the second
half of the 20th century, which received several names — non-conformism,
underground, conceptualism, the second avant-garde.
“Second wave” in faces
In the late 1950s, young artists again turned to the legacy of the first wave of
Russian avant-garde, relegated to the background. There is a rediscovery of PetrovVodkin, Lentulov, Malevich. Young designers turn to the works of Russian avantgarde artists, avant-garde aesthetics are introduced into the interiors of apartments.
The relevance of the first wave can be traced in contemporary art to this day.
Task
In the summer of 2021, VolgaFest festival was held in Samara. Within its
framework, a team of volunteers led by the Samara artist A. Syailev painted part of
the wall of the Samara State District Power Plant along Volzhsky Prospekt.
Look at the photos below42. What artist's paintings do they look like? Try to
explain why artists, both in the 1950s and today, turn to the work of avant-garde
artists of the early twentieth century?
42
Photos are by Yu.A. Kuzovenkova.
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A sign of the avant-garde of the second wave was that the school in art, as an
institutional form, turned out to be irrelevant. Groups of artists did not develop
according to the “master-student” principle, they arose on other grounds. They were
characterized by the fact that there was no hierarchy within the associations. Nobody
taught anyone. Everyone learned from each other, considered themselves equal. For
example, the Leanozovskaya group is a group of relatives and close family friends:
Evgeny Kropivnitsky and his wife Olga Potapova, their children Valentina and Lev
Kropivnitskaya, Valentina's husband Oscar Rabin, and their close friends — artists
Vladimir Nemukhin and Lydia Masterkova, poets Genrikh Sapgir, Igor Kholin, Yan
Satunovsky, Vsevolod Nekrasov. As we can see, these new associations did not
include only representatives of any one sphere in art, which makes the second wave
of avant-garde related to the first. Sretensky Boulevard Group consisted of
neighbors: Ilya Kabakov, Viktor Pivovarov, Eric Bulatov, Ivan Chuikov.
Acquaintance with the art of European modernism, the study of the Russian
avant-garde of the early XX century determined the direction of the search for their
conceptual foundation by domestic artists. Trying to catch up with everything that
domestic painting missed during the Stalin period, the avant-garde artists of the
second wave mastered everything at once: German and French abstraction,
surrealism, expressionism, everything that had been developing in the West decade
by decade. The protest against sociorealism was the work of artists of the “severe
style”: Geliy Korzhev, Viktor Popkov, Tair Salakhov, Pavel and Mikhail Nikonov,
Nikolai Andronov.
The second wave of Russian avant-garde brought not only new ideas, but also
new forms to art. Thus, the “Collective Actions” group was one of the first to
introduce such a new art form as performance into the Russian art space.
Question
Mikhail Grobman is a representative and theorist of the second wave of the
Russian avant-garde, called this period of Russian art “genuine artistic polyphony”43.
Recall M. Bakhtin's concept of polyphony and answer the question: why does
Grobman call this period “artistic polyphony”?
Task
Make a report for 10 minutes about the work of one of the representatives of
the second wave of Russian avant-garde. Pay attention to his life situation (for
43
Гробман М. Второй русский авангард // Зеркало. 2007. № 29. URL: https://magazines.gorky.media/
zerkalo/2007/29/vtoroj-russkij-avangard.html.
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example, avant-garde art could rarely be the main source of income: What was his
main profession? Did he emigrate abroad? If yes, then where and why?) and the
features of his work. For example: What artists were inspired by? What topics did he
touch upon in his painting? What was the peculiarity of his artistic style?).
Conclusion
Reflecting on the second wave of the Russian avant-garde, art historian Boris
Groys wrote:
“Art in the West speaks in one way or another about the world… It can also
speak about itself, but it speaks about how it is carried out in the world. Russian art
from the icon to the present day wants to talk about the other world. In Russia,
people now very willingly recall that the word "culture" comes from the word "cult".
Culture here is understood as a set of arts. Culture acts both as the custodian of the
original revelation and as a mediator for new revelations. The language of art differs
from ordinary language, from the language of everyday life, not primarily because it
speaks of the world more beautifully and gracefully, and not because it speaks of the
"artist's inner world", etc. The language of art is different in that it speaks of another
world, about which only art alone can speak. With its inner structure, the language of
art reveals the structure of the other world, just as the structure of everyday language
reveals the structure of the local world. And each opportunity that is discovered for
the language of art to say something new reveals something new and previously
unknown in the structure of another world. Therefore, an artist can be loved because
he discovered an undesirable area. Art in Russia is magic”.
B. Groys. Article “Moscow Romantic Conceptualism”44
Literature and internet sources
1. Van Cleave M.J., Jurczak P.M., Schneck Ch., Sjoquist D. Introduction to
Philosophy. — UCF PRESSBOOKS, 2019. P. 259–262.
2. Portnova T.V. Peculiarities of the Russian ballet in the end of the XIX
century — beginning of the XX century // Religación. Revista de ciencias sociales
y humanidades. — 2019. — Vol. 4. — № 21. — Р. 106–111.
3. Lavrov L., Perov F. The phenomenon of the Saint Petersburg variant of the
regular city // Architecture and Engineering. — 2016. — Vol. 1. — № 1. — P. 31–39.
44
Гройс Б. Московский романтический концептуализм // Московский музей современного искусства:
сайт. URL: https://mmoma.ru/press/articles/boris_grojs_moskovskij_romanticheskij_konceptualizm/.
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4. How Malevich, Kandinsky, Rodchenko, Tatlin, Larionov, and others created
the radically new art of the 20th century // Arzamas: сайт. URL: https://arza
mas.academy/materials/1231.
5. How Russian avant-garde artists created urban and street art in the country //
Russia Beyond : [website]. — URL: https://www.rbth.com/arts/328979-russian-avantgarde-street-art.
6. Fleener E.M. Peter the Great as a Constructive Revolutionary. 2007 //
Western Oregon University : [website]. — URL: https://wou.edu/history/files/2015/
08/Erin-Fleener.pdf.
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