Russian futurism
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Russian avant-garde
~1890–1930 Russian and Soviet art movement
The Russian avant-garde was a large, influential wave of avant-gardemodern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism.[2][3][4][5] In Ukraine, many of the artists who were born, grew up or were active in what is now Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, David Burliuk, Alexander Archipenko), are also classified in the Ukrainian avant-garde.[6]
The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde clashed with the newly emerged state-sponsored dir
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The Art of Seeing – States of Astronomy is a collaborative project presented by Georgian and French curators and artists. It showcases 65 Maximiliana or the Illegal Practice of Astronomy, a 1964 work by Georgian artist, poet and editor Ilia Zdanevich (1894–1975) and Max Ernst (1891–1976), along with its related archives. The art book is dedicated to Wilhelm Ernst Tempel (1821–1889), a German astronomer and lithographer, known for his unconventional, sensual approach to astronomy, who was overlooked by contemporaries due to his lack of academic training.
Curator Julia Marchand (France) and associate research curator David Koroshinadze (Georgia) have crafted an original concept for a living archive, to present the story of the art book, that brought the language of the cosmos to life. French artists Rodrigue De Ferluc and Juliette George have created unique furniture inspired by Iliazd’s typography in Maximiliana to establish a visual and spatial identity for the exhibition. Georgian artist Nika Koplatadze reinterprets Maximiliana through a contemporary art lens in a series o
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The Art of Seeing—States of Astronomy
The Georgian Pavilion at the 60th Venice Biennale is happy to present Art of Seeing—States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
The Art of Seeing—States of Astronomy showcases 65 Maximiliana or the Illegal Practice of Astronomy, a 1964 work by Georgian artist, poet and editor Ilia Zdanevich (1894–1975) and Max Ernst (1891–1976), along with its related archives. The art book is dedicated to Wilhelm Ernst Tempel (1821–1889), a German astronomer and lithographer, known for his unconventional, sensual approach to astronomy, who was overlooked by contemporaries due to his lack of academic training.
Zdanevich traced his own history back to Tbilisi, where his publishing house, named “41 degrees” after the latitude Tbilisi shares with Rome, Madrid, New York and other cities, promoted a futurist poetic language known as “ZAUM.” He adopted the name Iliazd soon after emigrating to Paris in 1921 and brought out several major books, including Maximi
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