[MEMORABILIA OF THE EARLY AVANT-GARDE EXHIBITIONS] [Student Ticket #395 for Futuristic Exhibition “Magazin”. Petrovka, 17]
[MEMORABILIA OF THE EARLY AVANT-GARDE EXHIBITIONS] [Student Ticket #395 for Futuristic Exhibition “Magazin”. Petrovka, 17]

[MEMORABILIA OF THE EARLY AVANT-GARDE EXHIBITIONS] [Student Ticket #395 for Futuristic Exhibition “Magazin”. Petrovka, 17]

Item #630

1916]. 10x6,5 cm. Fine, previous owner’s ink stamp on the back side. From the
collection of art critic Alexander Zavolokin (1951-2008).
Extremely rare, survival of the time.
The exhibition “Magazin” was organized by Vladimir Tatlin in 1916 in
Moscow. It was held from March 19 to April 20 at Petrovka, 17, in the premises of
a former store. Its exposition included 95 works, among the artists - L. Bruni, M.
Vasilyeva, I. Klyun, V. Pestel’, L. Popova, A. Rodchenko, N. Udal’tsova, A. Exter, V. Yustitsky,
S. Dymshits-Tolstaya. One of the most important exhibitions of the early avant-garde.
Tatlin exhibited reliefs and counter-reliefs, Bruni - reliefs, Popova, Udal’tsova and
Pestel’ - cubist works, Klyun - cubo-futuristic and alogical, Rodchenko - objectless
compositions and graphics. For Rodchenko, the exhibition was a debut in the avantgarde
movement Kazimir Malevich also participated in it, not with suprematist but
cubo-futuristic works.
By arranging this exposition, Tatlin intended to intercept the championship
from Malevich (shortly before that in Petrograd, Malevich’s Suprematist works
created a splash at the “Last Futuristic Exhibition of Paintings “0, 10” ”) and tried to
demonstrate his influence on the exhibitors through their works: Bruni’s “three-sided
reliefs», according to Rodchenko’s testimony, was a «broken barrel from under the
cement and a glass punched by a bullet». Malevich and his followers were invited,
but with the condition - do not exhibit suprematist works. The condition was met, but Malevich appeared on the opening with “0, 10” inscribed on his forehead and
appealing on his back: “I, the apostle of new concepts in art and a mind surgeon, sat
on the throne of creative pride and declared the academy a stable of burghers”. As
V.F. Stepanova wrote in her diary, Malevich was expelled from the exhibition “for the
propaganda of Suprematism”, Klyun also took his works from the exhibition. Therefore,
the composition of the exhibits did not correspond with the exhibition catalogue - the
empty seats were occupied by the works of other exhibitors. The exhibition did not
produce the expected effect; on the contrary, the works were assessed as rather
conservative. (Encyclopedia of Russian Avant-Garde)
[Invitation to the Opening of the Second Spring Exhibition of OBMOKHU on the 22nd
of May 1921]. [Moscow, 1921]. 13,5х16,5 cm. Two damp stains on the left side of the
Extremely rare, survival of the time.
At this exhibition, the «Working Group of Constructivists» (Rodchenko,
Ioganson, Medunetsky, the Stenberg Brothers) first appeared as an independent group
or even phenomenon in avant-garde art. Their works were shown in a separate room:
“color constructions”, spatial constructions, graphics projects, experiments with color
and texture of various materials - wood, iron, canvas, glass. The «Constructivist Working
Group» was formed in March-April 1921 within INKhUK (a unique phenomenon of the
Moscow art culture of the early 1920s conceived on the initiative of V. V. Kandinsky by
a group of artists as the Council of Masters). Many of its members also belonged to
OBMOKhU (i.e. Society of Young Artists), a Moscow avant-garde art group (1919-1923),
was founded by the students of the theater and decorative workshop of G. B. Yakulov
and A.V. Lentulov in the Moscow State free art workshops. Rodchenko, Stenberg brothers, Ioganson, Medunetsky were members of the group. Group’s art show of 1921
held in the former K. Mikhailova’s Salon (B. Dmitrovka str., 11), was its most significant
event. This exhibition, initiated by the artist Vyacheslav Koleichuk, in 2006 was
recreated in the State Tretyakov Gallery from the two remaining photographs.
The preserved photographs “have become the most replicable illustration
of new techniques and principles that have been introduced into art by constructivist
artists. The constructions exhibited at the exhibition were laboratory experiments
in the search for new forms, which could become real spatial objects in the future.
These are suspended structures (Rodchenko), three-dimensional dynamic structures
built according to engineering principles (Stenberg brothers), sculptural compositions
demonstrating the relationship between form and material (Medunetsky), real
balanced structures in the form of spatial cross-shaped constructions”.
This was basically a very first art exhibition of Russian Constructivists on its
early stage.

Status: On Hold