Makeeva, Svetlana O. Spatial Projects by Dvizhenie Collective and the Emergence of Installation Art in Russia

Please use this identifier to cite or link to this item: http://dx.doi.org/10.18688/aa2414-7-42
Title Spatial Projects by Dvizhenie Collective and the Emergence of Installation Art in Russia
Author email s.o.makeeva@yandex.ru
About author Makeeva, Svetlana O. — Ph.D., assistant professor, Lomonosov Moscow State University. Senior researcher at the State Institute for Art Studies (SIAS). Lomonosov Moscow State University, Leninskie Gory, 1, 119991 Moscow, Russian Federation. The State Institute for Art Studies (SIAS), Kozitskii per., 5, 125000 Moscow, Russian Federation; SPIN-code: 8479-1444; ORCID: 0000-0001-8525-5106
In the section International Art in the 20th and 21st Centuries DOI10.18688/aa2414-7-42
Year 0 Volume 14 Pages 533–542
Type of article RAR Index UDK 7.038.3 Index BBK 85.19
Abstract

The article focuses at the intersection of two underexplored fields: the history of Russian installation art and the history of Russian kinetic art. The question of what work can be called the first installation in Russia is as relevant as it is debatable. In turn, studying the work of the kinetic collective ’Dvizhenie’ (Movement), whose members were the first Soviet unofficial artists to create large spatial projects, is a challenging research task for a whole number of reasons. The present article aims to reveal what role the projects by ’Dvizhenie’ played in the formation of installation art in Russia. The article examines the conceptual and theoretical framework of Russian kinetic art, building upon the texts by the ’Dvizhenie’ ‘s leader Lev Nusberg. Further, utopian projects (Artificial Bionic-Kinetic Environment), as well as actually realized exhibition design projects by ’Dvizhenie’, are addressed — mainly, the ’Electronics-70’ exhibition. In conclusion, the legacy of the collective is compared with the Western history and theory of installation art and is placed within the general context of installation art in Russia. The article is based on unpublished materials from the Archive of the Garage Museum of Contemporary Art.
Keywords
Reference Makeeva, Svetlana O. Spatial Projects by Dvizhenie Collective and the Emergence of Installation Art in Russia. Actual Problems of Theory and History of Art: Collection of articles. Vol. 14. Eds A. V. Zakharova, S. V. Maltseva, E. Iu. Staniukovich-Denisova. — Lomonosov Moscow State University / St. Petersburg: NP-Print, 2024, pp. 533–542. ISSN 2312-2129. http://dx.doi.org/10.18688/aa2414-7-42
Publication Article language russian
Bibliography
  • Alpatova I.; Talochkin L.; Tamruchi N.; Semenova L. (eds). Drugoe iskusstvo: Moskva 1956–1988 (Other Art: Moscow 1956–1988). Moscow, Galart Publ., 2005. 431 p. (in Russian).
  • Bahtsetzis S. Geschichte der Installation. Situative Erfahrungsgestaltung in der Kunst der Moderne. Berlin, Technische Universität Berlin Publ., 2006. 313 p. (in German).
  • Bakshtein I. Come and See. On the Early Works of Irina Nakhova. Irina Nakhova. Works 1973–2004. Salzburg, Internationale Sommerakademie für Bildende Kunst Salzburg Publ., Moscow, NCCA Moscow Publ., 2004, pp. 42–44 (in Russian).
  • Bishop C. Installation Art: A Critical History. London, Routledge Publ., 2005. 144 p.
  • Bobrinskaia E. A. Chuzhie? Neofitsial’noe iskusstvo: mify, strategii, kontseptsii (Strangers? Nonconformist Art: Myths, Strategies, Concepts). Moscow, Sh. P. Breus Publ., 2012. 496 p. (in Russian).
  • De Oliveira N.; Oxley N.; Petry M.; Archer M. Installation Art. London, Thames & Hudson Publ., 1994. 208 p.
  • De Oliveira N.; Oxley N.; Petry M. Installation Art in the New Millennium: The Empire of the Senses. London, Thames & Hudson Publ., 2003. 208 p.
  • Erofeev A. The Origins of Russian Installation. Iskusstvo (Art). Available at: https://iskusstvo-info.ru/istoki-russkoj-installyatsii/ (accessed 29 August 2020).
  • Ferriani B.; Pugliese M. Ephemeral Monuments: History and Conservation of Installation Art. Los Angeles, Getty Conservation Institute Publ., 2013. 280 p.
  • Fried M. Art and Objecthood. Art and Objecthood. Essays and Reviews. Chicago and London, University of Chicago Press Publ., 1998, pp. 148–172.
  • Grigor’ev A. E.; Zhigalkin S. A. (eds). Kinetizm: gruppa “Dvizhenie” (Kinetic Art: “Dvizhenie” Art Group), 1962–1976. Moscow, Znak Publ., 2013. 268 p. (in Russian).
  • Hapgood S.; Kaprow A. Interview with Allan Kaprow. Neo-Dada: Redefining Art, 1958–1960. New York, American Federation of the Arts Publ., 1994, pp. 115–121.
  • Higgins D.; Higgins H. Intermedia. Leonardo, 2001, vol. 34, no. 1, pp. 49–54.
  • Hohlfeldt M. The Collective Oeuvre of the GRAV: the Labyrinth and Audience Participation. Critique d’art, 2013, no. 41, pp. 128–144.
  • Judd D. Specific Obiects. Donald Judd: Complete Writings 1959–1975. Halifax, The Press of the Nova Scotia College of Art and Design Publ., 1975, pp. 181–189.
  • Kabakov I. On The “Total” Installation. Bielefeld, Kerber Publ., 2008. 287 p.
  • Kaprow A. Assemblages, Environments and Happenings. Art in Theory 1900–2000: An Anthology of Changing Ideas. Oxford, Blackwell Publ., 1999, pp. 703–709.
  • Kasatkina E.; Orlova E. “Dvizhenie” Art Group in Action. Smena (Change), 1968, January, no. 1, pp. 16–17 (in Russian).
  • Koleichuk V. F. Kinetizm (Kinetic Art). Moscow, Galart Publ., 1994. 160 p. (in Russian).
  • Kulik I. Rooms. Irina Nakhova. Komnaty (Irina Nakhova. Rooms). Moscow, Moscow Museum of Contemporary Art Publ., 2011, pp. 6–17 (in Russian).
  • Makeeva S. O. Defining Installation Art. Dekorativnoe iskusstvo i predmetno-prostranstvennaia sreda. Vestnik MGKhPA (Decorative Art and Environment. Gerald of the MGHPA), 2020, no. 1, pp. 350–363 (in Russian).
  • Makeeva S. O. Installation Art in the USSR: Origin, Emergence, Terms. Iskusstvoznanie (Art Studies), 2022, no. 4, pp. 290–313 (in Russian).
  • Makeeva S. O. Reconstructing Paradise (1972–1975) by Komar and Melamid. The Emergence and Impact of the First Russian Installation. Iskusstvoznanie (Art Studies Magazine), 2023, no. 1, pp. 264–289 (in Russian).
  • Makeeva S. O. Rhetoric of Arts’ Boundaries in the 1960s and the Establishing of Postmedial Installation Art. Actual Problems of Theory and History of Art, 2020, vol. 10, pp. 555–565. DOI 10.18688/aa200-3-49 (in Russian).
  • Morris D. Anti-Show. APTART as Relational Art. Iskusstvoznanie (Art Studies Magazine), 2017, no. 2, pp. 216−241 (in Russian).
  • Obukhova S. Dvizhenie Group: Echoes of Avant-Garde. Controversial History of Kinetic Art in the Soviet Union. Available at: https://garagemca.org/ru/exhibition/i-the-other-trans-atlantic-kinetic-and-op-art-in-eastern-europe-and-latin-america-1950s-1970s-i/materials/sasha-obuhova-kollektiv-dvizhenie-eho-avangarda-protivorechivaya-istoriya-kineticheskogo-iskusstva-v-sssr (accessed 7 October 2020).
  • Petersen A. R. Installation Art between Image and Stage. Copenhagen, Museum Tusculanum Press Publ., 2015. 507 p.
  • Ran F. A History of Installation Art and the Development of New Art Forms: Technology and the Hermeneutics of Time and Space in Modern and Postmodern Art from Cubism to Installation. New York, Peter Lang Publishing Inc. Publ., 2009. 256 p.
  • Rebentisch J. Aesthetics of Installation Art. Berlin, Sternberg Press Publ., 2012. 296 p.
  • Reiss J. H. From Margin to Center: the Spaces of Installation Art. Cambridge, MA, MIT Press Publ., 1999. 181 p.
  • Restany P. The New Realists. Art in Theory 1900–2000: An Anthology of Changing Ideas. Oxford, Blackwell Publ., 1999, pp. 711–712.
  • Suderburg E. Introduction: On Installation and Site-Specificity. Space, Site, Intervention: Situating Installation Art. Minneapolis, University of Minnesota Press Publ., 2000, pp. 1–22.
  • Svetliakov K. A. Artistic Practices of Vitaly Komar and Alexander Melamid: From Production to Media. Actual Problems of Theory and History of Art, 2018, vol. 8, pp. 758–778. DOI 10.18688/aa188-10-75 (in Russian).
  • Svetliakov K. A. Komar i Melamid: sokrushiteli kanonov (Komar and Melamid: Canon-Breakers). Moscow, BREUS Publ., 2019. 168 p. (in Russian).
  • Tupitsyn M. The Raison D’Etre of Installation Art. Moscow Vanguard Art 1922–1992. London and New Haven, Yale University Press Publ., 2017, pp. 130–165.
  • Vanslov V. Not a New Art, but a Formal Experiment. Khudozhnik (Artist), 1966, no. 10, pp. 15–17 (in Russian).
  • Vorob’ev V. Kinetic Games of Futurologist Nussberg. Stereoskop (Stereoscope), 1999, no. 24, pp. 38–59 (in Russian).