Formalist critic Roman Jakobson noted that the Russians travelled toward the October Revolution 鈥榯hrough a realization of the violence of artistic form鈥 that in the West had culminated in Marcel Duchamp鈥檚 贵辞耻苍迟补颈苍,听executed in the same year. This talk explores this and other acknowledgements (by Hans Richter, Osip Brik, and Ilya Ehrenburg) of 鈥渄ada tactics鈥 in the Russian avant-garde with a goal to build a long, protracted bridge between the Dadaists and those Russian artists who visited or lived in Europe and聽 the聽US in the early 1920s. Natalia Goncharova, El Lissitzky, Mikhail Larionov, Ivan Puni, Sergei Sharshun, and Ilia Zdanevich joined various Dadaist factions, exhibited in Berlin鈥檚 Der Sturm gallery, and organized and participated in key Dadaist events. Also discussed are Lissitzky鈥檚 popularization in Germany of Malevich鈥檚 and his own nonobjectivity, and Vladimir Tatlin鈥檚聽Monument to the Third International that Berlin Dadaists labeled an epitome of antiart.
Dr. Margarita Tupitsyn is a聽Russian-born American scholar, curator and critic.聽聽Her books and exhibitions include聽Soviet Photograph聽(1996),听Malevich and Film听听(2002),听Against Kandinsky聽(2006),听Rodchenko and Popova: Defining Constructivism聽(2009), and聽Moscow Vanguard Art聽(2017). Recently she co-edited聽Anti-Shows: APTART 1982-84聽(2017) and edited聽Russian Dada,聽published by MIT Press in conjunction with a homonymous exhibition that Tupitsyn curated at Museum Reina Sofia, Madrid in 2018.
Organised by Dr Klara Kemp-Welch