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Postponed Futures
  • Kasia Redzisz, Nikita Kadan, Mykola Ridnyi, Konstantin Akinsha:
    Roundtable discussion
Superwoman: ‘Work, Build and Don’t Whine'
  • Iwona Blazwick and Zelfira Tregulova:
    Roundtable Discussion
  • Dolya Gavanski, Phoebe Taplin, April de Angelis, Maria Shevstova:
    'Superwoman: The Changing Image And Role Of Women'
Unexpected Eisenstein
  • Rachel Morley:
    Russian Cinema before 1917
  • Ian Christie:
    Besides Eisenstein: Protazanov, Barnet and the new Soviet cinema of the 1920s
  • Ian Christie:
    Maxim and co: creating the new heroes and heroines of the 1930s
  • Phil Cavendish:
    Soviet Colour Film, 1929-1945: An Experiment Understood by Very Few
  • Jeremy Hicks:
    Meaningful Martyrdom — Death, Revolution and Victory from Lenin to the Reichstag, 1924–45
  • Emma Widdis:
    Film and the Making of the New Soviet Person: Bodies, Minds and Feelings
  • Ian Christie:
    Hopes and fears: the Soviet New Wave of the 1960s
  • Carmen Gray:
    Andrei Tarkovsky: The Citizen Poet and the State
  • Jeremy Hicks:
    Reusing War Footage in Russian and Soviet Films, 1945–2015
Peripheral Visions
  • Francis Morris:
    In conversation with Anthony D'Offay about Artist Rooms
  • Ekaterina Degot:
    In conversation with Olga Chernysheva
A Game in Hell. The Great War in Russia
  • John E. Bowlt:
    Introductory remarks
  • Elena Sudakova:
    'Forgotten Heroes of the Great War'
  • Christina Lodder:
    'A Painting Fit for Heroes: Kazimir Malevich's Reservist of the First Division'
  • Natalia Budanova:
    'Who Needs the Art Now?': Russian Women Artists Representing the Great War'
  • Valentina Parisi:
    'Russian Avant-Garde Circles and the Literary Response to the Great War'
Work and Play Behind the Iron Curtain
  • Alexandra Chiriac:
    Curator tour
  • Amber Jane Butchart:
    Soviet Fashion
The Shabolovka Tower Model
  • Tilly Blyth:
    Seminar Event: Science Museum
  • John Milner:
    Seminar event: Courtauld Institute of Art
  • Lutz Becker:
    Seminar Event: Independent Art Historian
  • Vladimir Shukhov:
    Seminar Event: Fosters and Partners
  • Xenia Vytuleva:
    Seminar Event: Columbia University
  • Henry Milner, Maker:
    Seminar Event
Kino/Film: Soviet Posters of the Silent Screen
  • Curators and Special Guests:
    Panel Discussion with Exhibition
  • Lutz Becker:
    Curator talks: Chess Fever and The Three Million Case
  • Lutz Becker:
    Curator talks: Man with a Movie Camera
  • Lutz Becker:
    Curator talks: October
  • Lutz Becker:
    Curator talks: Storm Over Asia and Turksib
  • Lutz Becker:
    Curator talks: The End of St Petersburg
  • Elena Sudakova:
    Soviet Posters of the Silent Screen
Utopia LTD
  • 'Inside the Rainbow' Performance:
    Directed by Irina Brown
  • Professor John Milner:
    Seminar: 'Re-Constructivism'
  • Willem Jan Renders:
    Seminar: 'After Lissitzky: Reconstructions at the Van Abbemuseum'
  • Christina Lodder:
    Seminar: 'Gustav Klucis: Transmitting Utopia'
  • Aleksandr Shklyaruk:
    Seminar: 'Klucis and the Materialisation of a Futurist Idea'
  • Dr. Maria Tsantsanoglou:
    Seminar: 'Tatlin's Legend'

Listen

Superwoman: ‘Work, Build and Don’t Whine'
Unexpected Eisenstein
Bolt
Seminar
Judith Mackrell : Seminar
A Game in Hell. The Great War in Russia

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Olga Rozanova

(1886-1918)

Born in Melenki, a town near Vladimir on 22 June 1886, Olga Rozanova came from a family of regional aristocrats. In her youth she was drawn to the dynamic new art scene that sought to reject traditional artistic values and moved to Moscow in an attempt to join the Stroganov School of Art. Whilst her application was rejected, by 1910 she was already renowned in many artistic and creative circles in Moscow and St Petersburg and exhibited with the Union of Youth in 1911. In 1913 she published an outspoken article for the group entitled “The Bases of the New Creation and the Reasons Why It Is Misunderstood.”

Like her contemporaries Rozanova was stylistically a Cubo-Futurist from the years 1913–14. She, more than any of her compatriots however was inspired by the Italian Cubo-Futurist ideals and style, as can be seen in her works Fire in the City and The City (both 1913–14). It was even said that the founder of Italian Cubo-Futurist art, Filippo Tommaso Marinetti, was particularly impressed with her works on his visit to Moscow in 1914.

Another creative who was to have a huge influence on Rozanova’s work and life was the poet Aleksei Kruchenykh, who would later become her husband. Kruchenykh was the founder of transrational or ‘zaum’ poetry; poems comprised of meaningless words and sounds in an attempt to reverse the rigidity of traditional poetic expression. This inspired Rozanova to write her own poetry and form collaborations with poets such as Viktor (Velimir) Khlebnikov and Kruchenykh to illustrate the works they produced. These collaborations gave birth to a new type of publication – ‘sopismo’ – in which the poetry and illustrations were integrated on the page. Under the instruction of Kazimir Malevich, Rozanova created her own distinctive style of transrational painting, seen in her works Pub (1914) and Workbox (1915).

The height of Rozanova’s creative career is marked by the production of her playing card series, in which she painted a number of her contemporaries with a collection of playing card signs and symbols. 1916 saw her brief alliance with the ideals and style of the Suprematists, however Rozanova was much more decorative than Malevich and she retained her own signature style. In 1917 Rozanova began a series of ‘colour paintings’ which took abstract art in a new dynamic direction. Her burgeoning artistic career was tragically cut short on 8 November 1918; she died suddenly of diphtheria , aged only 32.