#VKhUTEMAS

[natvoltaic]

Georgii Krutikov, The Flying City

[conformi]

Jean-François Zevaco, Fire Station, Agadir, Morocco, 1954-1963 VS El Lissitzky, Beat the Whites with the Red Wedge, 1919

[wouas]

[cheaphousespending]

Controversy continues surrounding postponed Vkhutemas show

Commentary continues to proliferate in the architecture community after Cooper Union’s last-minute decision to postpone the exhibition Vkhutemas: Laboratory of the Avant-Garde, which was supposed to open on January 25. The Soviet design school opened in Moscow in 1920 and operated for a decade before being shut down in 1930. Architectural historian Jean-Louis Cohen, author of Building a New New…

[baradragon]

no one is asking but the current discourse in architecture is peder anker publishing an op-ed on archinect basically tearing down a vkhutemas exhibition at the cooper union organized by anna bokov as “propaganda for the russian state” and accusing bokov of working with putin but it turns out that anker just hates bokov and wants her exhibition to fail and his half-assed excuse for calling bokov a putin-sympathizer is because her father is a high ranking russian architect and shook hands with putin at a professional event in 2017

[sovietpostcards]

Kirov street, backyard of VKhUTEMAS (art school). Photo by Vladimir Bogdanov (Moscow, 1989).

[pwlanier]

Ter-Gevondyan T.R. "Conversation" 1962. GZ23 Cardboard, tempera.

Tamara Rubenovna Ter-Gevondyan

(1908-2000)

Professional painter, received higher art education in Vkhutemas-Vkhutein, studied with Lev Bruni and Konstantin Istomin. Since the 1930s, she has worked as an artist in the field of animation and television cinema, and also acted as a theorist (co-author of several books and articles devoted to the problems of visual solution of the film). Ter-Gevondyan worked as a production designer on the set of G. Shengelia, M. Kalatozov, the most independent directors of that time. In 1958, she came to Elia Belyutin's New Reality studio. Together with the New Reality studio, it passed all the milestones of its development, ban and relocation, did not miss a single exhibition in Abramtsevo from 1964 to 1992.

Participant of the I exhibition of Russian abstractionists - Taganskaya ( 1962 ) and the first avant-garde exhibition in the Manege ( 12.1962).

Art Molotov

[grayghostofthenorth]

Myslina Maria Vladimirovna (1901-1974). Sleeping Borzoi (1960s)

Paper, watercolor. 28 x 39.5 cm. Decorated in Passepartout. Graphics, animator. She studied at Vkhutemas, then at the art studio of the AHR. Member of OMAHR. She was engaged in painting, poster, caricature. Participated in exhibitions since 1926. Member of the Union of Artists. Arrested in 1937 as a family member of a traitor to the Motherland. Sentenced to eight years in labor camps, followed by disqualification. She worked at a dye factory, in an embroidery workshop.

[mosertone]

VKhUTEMAS school of art

[secretsofuniverse]

The Lenin Institute for Librarianship by Ivan Leonidov (1927)

from Fosco Lucarelli’s article for SOCKS :

Ivan Illich Leonidov (1902-1957) designed the Lenin Institute for Librarianship (the collective scientific and cultural center of the USSR) in 1927 as his thesis project at the VKhUTEMAS, the art and technical School of Moscow, with Alexander Vesnin as his tutor.

The Institute is made of a series of individualized shapes embodied by clear geometrical forms – mostly rectangular boxes and a sphere – which are boldly composed together. The three main buildings of the institute are a massive library with five million books joined by the Institute of librarianship, both contained in a high-rise building; the auditorium which also functions as a planetarium and as a speaking platform for mass demonstrations, located in a huge glass sphere elevated from the floor through a metallic structure; and the actual research institute hosting the research labs, a horizontal slab, suspended, which also connects the two other buildings. The single volumes are related through the composition of two asymmetrical axes on a decentralized circular platform where both the auditorium and the library are located. The library axis is also prolonged by a straight suspended roadway leading to the city center.

An important feature of the overall design is the presence of steel cables with the double role of guy-wires in tension and radio communication antennae. The cables counterbalance the anti-gravitational effect of the highest buildings and especially that of the auditorium which appears as a hot-air balloon ready to take a flight. They also underline the idea of communication among the people working together in the institute and in the whole country.

The center was supposed to be located in Moscow, on the Lenin Hills, the highest spot in the city, just a few kilometers southwest of the Red Square. An aerial tramway with a central aerodrome and suspended roadway would have connected the institute with the center of the city while the radio station would have put it in communication with the whole country.

As to underline an era of unlimited faith in an upcoming technological world, the role of technology is formally and functionally expressed throughout the whole project, especially in the library where an automated book-delivery system with a vertical and horizontal conveyor system delivers the books directly from the stacks to the reading rooms.

The sphere is the most evolutive area: as an auditorium, it can host up to 4000 people, but it can be repartitioned through mobile suspended walls in order to contain smaller audiences. When half of the sphere is opened, and all the seats are withdrawn into the remaining half, it can also be used as a speaking platform for mass gatherings. The sphere of the Planetarium can turn into a science theater after projection screens are installed along the inside skin. A system of elevators provides access to the auditorium.

The whole institute is equipped with communication technology like telephones, radios, and remote televisual pieces of equipment so that the whole staff can work together at the same time.

[mybeingthere]

David Shterenberg (1881 - 1948) was a Ukrainian-born painter and graphic artist. 

He studied in Paris and returned to Russia after the Revolution of 1917. In 1920 Shterenberg was the Director of the Department of Fine Arts at the People's Commissariat for Education. In this role he organised the funding of the Moscow based Institute of Artistic Culture (INKhUK). 

He explained that "We organised the INKhUK as a cell for the determination of scientific hypotheses on matters of art".From 1920 to 1930 Shterenberg taught at the VKhUTEMAS. He showed at an exhibition of Jewish artists in Moscow in 1922 which also featured Marc Chagall. After his death in 1948 he was virtually forgotten.

[natvoltaic]

Nikolai Ladovsky

[randomvarious]

Today's compilation:

Vhutemas Archetypi 1986 Industrial / Avant Garde / Experimental / Neo-Classical

Well, it's not spelled exactly the same way, but, according to the Museum of Modern Art's website...

VKhUTEMAS is an acronym for Vysshie khudozhestvenno-tekhnicheskie masterskie (Higher state artistic and technical studios). Established in 1920 in Moscow as the successor of SVOMAS (Free state art studios), it was conceived as a specialized institution that would prepare qualified master artists, professors, and directors to work in both industry and higher education. It aimed to fulfill the state's goals for efficiency and production by linking art with politics. The curriculum of VKhUTEMAS was similar to that of the Bauhaus. First-year students were required to complete the basic course, which covered subjects including color theory, construction, and art history, providing both an artistic and a political education. Other concentrations included metalwork, woodwork, textiles, and architecture.

Now, two things here: one, VKhUTEMAS did not last very long; it shut its doors in 1930, so, this isn't any kind of collection of music by artists who were actually enrolled there. And two, that entry on MoMA's website makes no mention of music being part of the school's curriculum, either. However, given this terrific album art that depicts some classical-looking statues, as well as the release's name itself—Vhutemas Archetypi—I think it's pretty damn safe to assume that this album was made with that VKhUTEMAS school in mind.

And, really, what better way to sonically reflect the linking of things like art, architecture, and politics than through the genre of industrial music, which has a history of both utilizing tools of all kinds as instruments and incorporating the noises that those tools generate into the music itself?

Now, while I can certainly appreciate the freeform experimentalism of industrial artists, I'm definitely not remotely a fan of the music's subversive, abrasive, and generally unsettling nature. However, when industrial stuff does get combined with other genres that I do enjoy, there's an increased chance that I'll end up digging the product.

So, while I hated listening to the vast majority of this mid-80s avant garde industrial comp, I still actually do have a highlight for you all; and it's barely a highlight, but I dig its uniqueness nonetheless. Hunting Lodge is a group from Port Huron, Michigan, and in '85, they put out a 12-inch EP called Tribal Warning Shot. Appearing on this particular comp along with that release's title track is another song from it called "Soul-Vac," which isn't just an industrial tune, but an electro-industrial tune.

Now, maybe you've heard the term electro-industrial before. It's its own subgenre of industrial music that became popular in the 90s, after electronic body music—a form of industrial dance that took root in the 80s, and is referred to as EBM for short—died out. Electro-industrial is known for using hard and gritty beats, scratchy and often modulated vocals, and tends to be more intricate than EBM as well.

But that's actually not the electro-industrial that I'm referring to here. What I'm referring to is a literal hybrid of electro music—the hip hop-adjacent, Afro-futuristic dance music of the 80s that was pioneered by people like Afrika Bambaataa—and industrial music. That's what "Soul-Vac" is: a strange brew of a grainy electro beat with metallic clanging of some kind very prominently laid over the top of it. It's certainly not the greatest thing in the world, but it deserves some points for being a bit different, at the very least.

So, outside of the album art, that one song is the only thing that I can say that I genuinely like about this release. But people with far weirder tastes than mine will probably enjoy this one way more than I do, since it has legendary industrial acts like Laibach, SPK, and Lustmord on it.

Anyway, I don't think that I'll ever end up acquiring the taste for industrial stuff, but at least I managed to find one cool tune in this batch, which is why I always give a chance to music that I myself don't expect to particularly enjoy.

Highlights:

Hunting Lodge - "Soul-Vac"

[webionaire]

In Avant-Garde as Method: Vkhutemas and the Pedagogy of Space, 1920-1930 (Park Books, 2020), Anna Bokov examines the history of the Higher Art and Technical Studios (Vysshie khudozhestvenno-tekhnicheskie masterskie) in Moscow, known most commonly by its acronym Vkhutemas. Operating between 1920 and 1930, Vkhutemas was a centre for developing new pedagogical methods to support mass education in art and technology

[joseandrestabarnia]

Konchalovsky Mijaíl (1906-2000)

RETRATO DE A.S. KONCHALOVSKY DE NIÑO

1938

Tamaño - 54x66

Material - lienzo

Técnica - óleo

Número de inventario - ZhS-6820

Recibido de Antipin N.N. 2008

Mikhail Konchalovsky es hijo de un destacado artista ruso, uno de los organizadores de la asociación creativa "Jack of Diamonds" Pyotr Konchalovsky. La formación de Mikhail Konchalovsky como pintor tuvo lugar bajo la influencia de su padre, a quien a menudo acompañaba en viajes creativos. En 1924, mientras estaba en París con su familia, M. Konchalovsky asistió a clases en la Academia Libre Grand Chaumière. En 1924-1930 estudió en el famoso VKHUTEMAS (VKHUTEIN) en los talleres de A. Osmerkin e I. Mashkov. En el contexto de los procesos creativos de la segunda mitad del siglo XX, Mikhail Konchalovsky se convierte en un artista que invariablemente siguió la tradición pictórica que adoptó, la cual se basa en la prioridad de la forma y el color, así como en la apelación a los géneros clásicos. de naturaleza muerta, paisaje y retrato. En las décadas de 1970 y 1980, el concepto de "cezannismo ruso" volvió a ser relevante para toda una galaxia de jóvenes artistas en Moscú. A pesar de que, en las condiciones de los nuevos tiempos, Mikhail Konchalovsky fue el único "heredero directo" de estos principios en la pintura, nunca logró escapar de la sombra de su famoso padre.

El género del retrato en la obra del artista abarcó su círculo íntimo de amigos y familiares. El retrato de 1938 representa a Andrey (Andron) Konchalovsky (nacido en 1937), sobrino del autor, hijo de su hermana Natalia y del escritor Sergei Mikhalkov, ahora un conocido director y guionista. En la imagen de un bebé de un año sentado en una trona, una cierta característica no escapa, sin embargo, también aquí, Mikhail Konchalovsky pone en primer plano el experimento plástico, así como las combinaciones de colores construidas sobre contrastes. "Para ver no solo el género fugaz, cotidiano, sino también plástico, significativo, estable en él", así es como M. Konchalovsky habló sobre sus tareas.

Información e imagen de la web de la Galería Tretyakov.

[izurat]

ДОПОЛНИТЕЛЬНЫЕ МАТЕРИАЛЫ К КУРСУ

ФИЛЬМЫ

«Штрихи к портрету В. И. Ленина». Фильм 4. «Коммуна ВХУТЕМАС». Творческое объединение «Экран». 1969 – 1970 https://www.youtube.com/watch?time_continue=1947&v=GetnVKkDix0&feature=emb_logo

ДОКУМЕНТЫ ЭПОХИ

От мольберта к машине / Николай Тарабукин. — М.: Издательство „Работник просвещения“, 1923http://tehne.com/library/tarabukin-n-m-ot-molberta-k-mashine-moskva-1923

Искусство и производство : Сборник статей / Б. Арватов.— М.: Пролеткульт, 1926 http://tehne.com/library/arvatov-b-iskusstvo-i-proizvodstvo-sbornik-statey-moskva-1926

Архитектура : Работы Архитектурного факультета Вхутемаса : 1920—1927. — М.: Госиздат, 1927https://monoskop.org/images/3/3d/Arkhitektura_Raboty_arkhitekturnogo_fakulteta_Vkhutemasa_1920-1927.pdf

ВХУТЕИН: высший государственный художественно-технический институт в Москве. .— М.: Академическая типография высшего художественно-технического института. 1929https://monoskop.org/images/c/c2/VKHuTein_1929.pdf

Журнал «Вещь» № 1-2. 1922http://www.togdazine.ru/article/1263

ЛЕФ (журнал). — 1923—1925http://tehne.com/node/4265

Современная архитектура (журнал). — 1926—1930http://tehne.com/library/sovremennaya-arhitektura-zhurnal-1926-1930

В. Маяковский. Выступления на диспуте о постановке «Зорь» в театре РСФСР первом. 22 ноября 1920 года http://feb-web.ru/feb/mayakovsky/texts/ms0/msc/msc-244-.htm

Сенькин С. Ленин в коммуне Вхутемаса // Борьба за реализм в изобразительном искусстве 20-х годов. Материалы, документы, воспоминания. Под ред. П. Лебедева и В. Перельман. ― М., Советский художник, 1962. с. 90―97https://igor-alla.livejournal.com/389966.html

«ВХУТЕМАС 100» специальная подборка исторических изданий и лекций от проекта Электронекрасовка: http://electroproject.nekrasovka.ru/vkhutemas

КНИГИ

Хан-Магомедов С. О. ВХУТЕМАС. Высшие государественные художественно-технические мастерские, 1920—1930. В 2 кн.— М.: Ладья, 1995

Хан-Магомедов С. О. Пионеры советского дизайна. — М.: Галарт, 1995

От ВХУТЕМАСа к МАРХИ. 1920—1936 : Архитектурные проекты из собрания Музея МАРХИ. рук. проекта Л.И. Иванова-Веэн – М.: А-Фонд, 2005

Лаврентьев А. Н. История дизайна: Учебное пособие. — М.: Гардарики, 2008

Лаврентьев А. Н., Курасов С.В., Сазиков А. В. , Заева-Бурдонская Е. А. Строгановка. 190 лет русского дизайна. Монография. — М.: Русский мир, 2016

Вихарева Н.И. Рождение новой профессии — М.:, 2006

Искусство в производстве : Авангард и революция в Советской России 20-х годов / Мария Заламбани ; Перевод с итальянского Н. Б. Кардановой. — Москва : ИМЛИ РАН ; «Наследие», 2003https://monoskop.org/images/d/d8/Zalambani_Maria_Iskusstvo_v_proizvodstve_Avangard_i_revolyutsiya_v_Sovetskoy_Rossii_20kh_godov_2003.pdf

Энциклопедия русского авангарда: Изобразительное искусство. Архитектура (в 3-х томах)/ Авторы-составители В. И. Ракитин, А. Д. Сарабьянов; Научный редактор А. Д. Сарабьянов. — М.: RA, Global Expert & Service Team, 2013 – 2014 http://rusavangard.ru/online/

Чубаров И. Коллективная чувственность. Теории и практики левого авангарда. — М.: Издательский дом высшей школы экономики, 2014

Баухауз и художественные школы эпохи авангарда: Материалы международной конференции, 17–19 апреля 2019 г. РАХ, НИИ РАХ, МГХПА, МАРХИ, НАД. — М.: МГХПА им. С.Г. Строганова, МАРХИ, 2019https://mghpu.ru/images/content/news/sbornik-trudov-konferencii_Bauhaus.pdf

СТАТЬИ

Хан-Магомедов С. О. У истоков советского дизайна // Техническая эстетика. — М.: ВНИИТЭ. 1977 № 3, с. 4-5.

Хан-Магомедов С. О. Проектно-графический архив ВХУТЕМАСа. // Декоративное искусство СССР. — М.: Советский художник. 1982 № 8. — с. 36–40

Хан-Магомедов С.О. Художник-конструктор Е.В. Семенова// Техническая эстетика. — М.: ВНИИТЭ. 1978 №12, с. 18 – 21

Жадова Л.А., ВХУТЕМАС — ВХУТЕИН. Страницы истории // Декоративное искусство СССР. — М.: Советский художник. 1970 № 11 (156), с. 36 – 43

Адаскина Н.Л., Пропедевтический курс ВХУТЕМАСа (1920-1926). // Традиции и истоки отечественного дизайна. «Труды ВНИИТЭ», серия Техническая эстетика. Выпуск 21. — М.: ВНИИТЭ. 1979, с. 44 – 62

Адаскина Н.Л., ВХУТЕМАС. Его роль в формировании основных принципов художественной педагогики 1920-х годов. // ГТГ Вопросы русского и советского искусства. Материалы итоговой научной конференции. Январь 1972. Выпуск 11 — М.: ГТГ. 1973, с. 167 – 198

Адаскина Н.Л., Фаворский и «производственники» // Техническая эстетика — М.: ВНИИТЭ. 1980 № 7, с. 17 – 21

Адаскина Н.Л., ВХУТЕМАС-ВХУТЕИН. К 60-летию со дня основания. (Отчет о конференции во ВНИИТЭ 22 декабря 1980) // Советское искусствознание ’81 выпуск 1. — М.: Советский художник. 1982, с. 373 – 377

Аронов В.Р. Баухауз и ВХУТЕМАС в зеркале истории. // Баухауз и художественные школы эпохи авангарда: Материалы международной конференции, 17–19 апреля 2019 г. РАХ, НИИ РАХ, МГХПА, МАРХИ, НАД. — М.: МГХПА им. С.Г. Строганова, МАРХИ, 2019, с. 14 – 21 https://www.elibrary.ru/item.asp?id=38142828

Хлебников Л. М. Борьба реалистов и футуристов во ВХУТЕМАСе (Новые материалы). / В. И. Ленин и А. В. Луначарский. Переписка, доклады, документы. Ред. И. С. Зильберштейн и А. А. Солов��ев. М., «Наука», 1971 http://lunacharsky.newgod.su/lib/lenin-i-lunacharskij/borba-realistov-i-futuristov-vo-vhutemase-novye-materialy/

Anna Bokov. Vkhutemas and the Bauhaus: On Common Origins and "Creation with Fire". Dust & Data: Traces of the Bauhaus Across 100 Years. Spector Books OHG. 2019, с. 242 – 279https://www.academia.edu/40851933/Vkhutemas_and_the_Bauhaus_On_Common_Origins_and_Creation_with_Fire_