#kruchenykh

[del-absurdo]

Pomada. Mikhail Larionov, 1913.

Written by Aleksei Kruchenykh.

[alwaysalwaysalwaysthesea]

Valia Zdanevich, collage by Aleksei Kruchenykh, 1923.

(source: MoMA)

[opticandmasturbation]

Aleksei Yeliseyevich Kruchyonykh (9 February 1886 – 17 June 1968), also romanized Kruchenykh due to confusion about ⟨ё⟩, was a Russian poet, artist, and theorist, perhaps one of the most radical poets of Russian Futurism, a movement that included Vladimir Mayakovsky, David Burliuk and others He is also known for his Declaration of the Word as Such (1913): "The worn-out, violated word "lily" is devoid of all expression. Therefore I call the lily éuy – and original purity is restored

[opticandmasturbation]

KRUCHENYKH, Aleksei (1886-1968) and KHLEBNIKOV, Velimir (1885-1922), and GONCHAROVA, Natalia (1881-1962; illustrator) Mirskontsa. [Worldbackwards] Moscow [G.L. Kuzmin and S.D. Dolinskyi, 1912]

Aleksej Kručënych – Velimir Chlebnikov – Natal'ja Gončarova (illustrator), Mirskontsa, [G.L. Kuzmin and S.D. Dolinskyi, Москва́, 1912], Edition of 220 [Christie’s, London]

[yellow-yarrow]

director's commentary for this post (lmao) because I like yapping

the reason why I choose these artworks is not just because they looked good, I thought it was interesting how they treat colors, light and rot

Damien Hirst's Black Sun is made of many dead flies, people have said that this artwork smells gross up close. Its theme is obviously death and disgust (like most of his works), he has also said the flies represent people, and quotes Hobbes saying that people's life without a government is bad and tragic (which I HEAVILY disagree with)

Hirst sells his works for millions of dollars, it's highly commercialized, some have accused him of money laundering and such. Insert the Wompty-Dompty Dom Centre thought:

Problem It's Wednesday evening and something heinously exciting is under way. People have gathered beneath the billowing roof of an oddly shaped trophy building, sipping wine and exchanging opinions. 29-year-old wunder-twins Guy and Keith Joost are the stars of the show, with their bomber jackets and white sneakers -- head curators of this art exhibition. It's the wompty-dom-di-dommiest event of the year and all the cool kids have RSVP’d. Where are you, if you are not there? Solution You're at home, stupid cop, not with the art crowd. You hate them, everyone hates them, even they hate themselves. It's nauseating -- an industry built on sprezzatura and sparkling wine. And, let’s be honest, tax evasion schemes. The Wompty Dompty Dom Centre is the heart of this unholy symbiosis of esthetics and tax optimization, and now that you've internalized it – you can have a piece too!

personally, for me, it invokes disgust both on an aesthetic level (dead flies) and in a conceptual level (rich guy using death to make millions). Tieing this into black being the color of money in Elysium, and the end of the world.

Malevich's Black square is a painting without an object, it doesn't represent the material world, it is independent of it. but at the same time, black is the density of matter in the white empty space.

He said this about this art: "[Black Square is meant to evoke] the experience of pure non-objectivity in the white emptiness of a liberated nothing." "It is from zero, in zero, that the true movement of being begins." (x) ‘In the year 1913, trying desperately to free art from the dead weight of the real world, I took refuge in the form of the square.’ (x)

Important context for this work (like many other black paintings) is that it was made around the time of the world wars, and the russian revolution. Black paintings express the trauma of the world wars, and in this case the revolutionary approach to art too.

quoting from the article I linked:

Malevich had been collaborating with the musician Mikhail Matyushin and the poet Aleksei Kruchenykh on a manifesto which called for the rejection of rational thought. They wanted to overturn the established systems and hierarchies of Western society. Together with poet Velimier Khlebnikov they staged Victory over the Sun, where the characters aimed to abolish reason by capturing the sun and destroying time. The libretto used Kruchenykh’s zaum – a new language of sounds that had no meaning. This sparked something in Malevich.

Similar things apply to White on white. The Moma website describes it better than I would:

[Malevich] "wanted White on White to create a sense of floating and transcendence. White, Malevich believed, was the color of infinity and signified a realm of higher feeling, a utopian world of pure form that was attainable only through nonobjective art. Indeed, he named his theory of art Suprematism to signify “the supremacy of pure feeling or perception in the pictorial arts”; and pure perception, he wrote, demanded that a picture’s forms “have nothing in common with nature.” In 1918, soon after the Russian Revolution, the connotations of this sense of liberation were not only aesthetic but also social and political. Malevich expressed his exhilaration in a manifesto one year later: “I have overcome the lining of the colored sky. . . . Swim in the white free abyss, infinity is before you.”

These molding fruits made out of gemstones by Kathleen Ryan make me think of Damien Hirst's bedazzled Skull artwork, decadence, kitsch, death. The gemstones make the mold feel like it has value, importance, like it's almost sacred. The pale as a "sacred and terrible smell"

Rothko's paintings heavily empathize colors, paintings like these invite us to really experience those colors and be moved by them.

From the Disco Elysium artbook:

Eyes are direct, unmediated input to the brain. You like or dislike something before you have a chance to reason about it. It affects you emotionally without offering you a chance to throw up intellectual defenses first. Witnessing death and good art are materially equivalent experiences: they are visual information transmitted straight to the centers of emotion by way of the eye. This might explain why a person could tear up in the presence of a Rothko painting. If you’re a sensitive enough instrument, seeing his Orange, Red, Yellow in real life feels intense. It doesn’t work on a computer screen though, you’re just staring at some bright pixels imitating the appearance of the painting the same way seeing a dead person is different from seeing a picture of a dead person.

El Lissitzky was also an important figure in russian avant-garde, like Malevich. Well. I put this one in here cause it looked nice and because of the theme of light and the lack of (it's a gelatin silver photograph).

maybe this adds something to the discussion of the symbolism of colors and light in Elysium

[familyabolisher]

From A Slap In The Face Of Public Taste, David Burliuk, Alexander Kruchenykh, Vladmir Mayakovsky, and Victor Khlebnikov, 1917.

[majestativa]

And the obsessed fuses with his obsession, His malicious eyes glinting with virulent joy… Dr. Gross felt it too. The Earth swallowed him eventually.

Let’s not retell the tale, And tell me: Are your dreams as electric as mine? Mine constantly shape-shift. Will you start a fire with your fervor? You’re an enigma! Wreak havoc, And don’t you dare be sorry. Passion even when subtle, can roar like a wounded dragon. Carve your destiny. Vibrate with might. The Decembrists’ vehemence should pale before your hissing. Be the counter-wave. Be the promising breeze of the future. The legitimate part. Ablaze, your fervor everlasting. The Salvator Mundi is an overrated title, Be the Salvator Aeternus. Mourn Lux’ death, but properly. Keep your composure when facing the storm. Master Kruchenykh’s games, But recognize their obsoleteness! Understand Mayakovsky’s passion, But do not match it! Drown in Burliuk’s sobriety and esoteric silence, but come back stronger and flexible! Games, passion and death must nourish your spirit, but never expansively, for it will be irrevocably conquered, enthralled by an unfathomable allure bleeding you dry. Games: the restless mind’s pulsating wound. Passion: the most lethal weapon mortals can use. Do not sharpen it with your own soul. And Death, that glorious entity, Is neither the end nor the latter’s means, Death is the aim’s cursus Pointing at the heart of Man.

Medium | 29.03.22

[howieabel]

A Slap in the Face of Public Taste

To the readers of our New First Unexpected.

We alone was the face of our Time. Through us the horn of time blows in the art of the world.

The past is too tight. The Academy and Pushkin are less intelligible than hieroglyphics.

Throw Pushkin, Dostoevsky, Tolstoy, etc., etc. overboard from the Ship of Modernity.

He who does not forget his first love will not recognize his last.

Who, trustingly, would turn his last love toward Balmont’s perfumed lechery? Is this the reflection of today’s virile soul?

Who, faint-heartedly, would fear tearing from warrior Bryusov’s black tuxedo the paper armor-plate? Or does the dawn of unknown beauties shine from it?

Wash your hands which have touched the filthy slime of the books written by the countless Leonid Andreyevs.

All those Maxim Gorkys, Krupins, Bloks, Sologubs, Remizovs, Averchenkos, Chornys, Kuzmins, Bunins, etc. need only a dacha on the river. Such is the reward fate gives tailors.

From the heights of skyscrapers we gaze at their insignificance!...

We order that the poets’ rights be revered:

To enlarge the scope of the poet’s vocabulary with arbitrary and derivative words (Word-novelty).

To feel an insurmountable hatred for the language existing before their time.

To push with horror off their proud brow the Wreath of cheap fame that You have made from bathhouse switches.

To stand on the rock of the word “we” amidst the sea of boos and outrage.

And if for the time being the filthy stigmas of your “common sense” and “good taste” are still present in our lines, these same lines for the first time already glimmer with the Summer Lightning of the New Coming Beauty of the Self-sufficient (self-centered) Word.

David Burliuk, Alexander Kruchenykh, Vladmir Mayakovsky, Victor Khlebnikov (1917)

[feminine-people-are-hot]

Tobacco smoke has consumed the air.

The room

is a chapter in Kruchenykh's inferno.

Remember -

beyond that window

in a frenzy

I first stroked your hands.

You sit here today

with an iron-clad heart.

Oone more day

you'll toss me out,

perhaps, cursing.

In the dim front hall my arm,

broken by trembling won't fit right away in my sleeve.

I'll run out,

throw my body into the street.

I'll rave,

wild,

lashed by despair.

Don't let it happen

my dear,

my darling,

let us part now.

hey reblog this with a piece of your favorite poem, please

[rerubenoving]

i still dont listen to music or read, i will preface -- couple weeks ago was amused by МБП's Daniil Kharms track off recent album -- the lyrics are in entirety borrowed from the 1928 children's poem "Samovar", and today caught in my recs Boulevard Depo*'s mv for "ДЫРБУЛЩИЩ" (pun on futurist Kruchenykh's exemplary zaum poem "Дыр бул щыл" and 'sheesh' adlib). giving precursory glance to latter's mother-album ФУТУРОАРХАИКА (FUTUROARCHAISM)'s Genius page -- Depo cites Budetlyane** clique (first russian futurist group, most of the names you're thinking of among members) as influence***. which again brings to my attention.. well, it all rolls out of my conviction that song lyrics in general and rap in particular are currently the straightforwardly dominant vessels of the abstract form of Poetry *winces*; but, more narrowly, the works of russian futurists having current-day relevance and influence in rusrap scene. i'd have to think and read before i could conjecture anything of substance. quite sure it's unfeasible for me to aim to make culturally-integrated observations, but i may consider compiling for myself a little annotated collection.

*little of his work im familiar with, but i've been impressed with his language. took a quick look at the lyrics of a few other tracks off the album, and im fond, and also think for full appreciation i need to have a google tab open and my friend who knows rusrap meta on call. eg -- ФЕОS is committed to interesting form, im compelled by sentiment i skim off; wouldn't know if it contributes anything new to the endodiscourse of the scene, but i find it hard to doubt that it is at least delivering its talking points with style and wit

**to point the point vaguely in the direction of home: incidentally, looking up Budetlyane, came across namesake rap track, which turned out to be half-authored by one of the core members of "Antihype" -- prolific 'postironic' musical collective -- alongside Слава КПСС -- whose entire body of work is insurmountable, but id like to have some chamber-musings about, he's most definitely shouted out futurists. and, fuck, everyone loves mayakovsky. pushkin and mayakovsky -- the grandfathers of russian rap

***and 'стихофазия', and im in love with the word -- may be 'speech in verse' neologism, may be portmanteau of verse and (a)(kata)phasia. when cited as influence for the album, alludes to latter derivation. afaict originates from a title to a collection of poems (1957-67), and this article im swiping a paragraph out of states the author did declare it an exploration of speech defects, in line with his, article alleges, greater preoccupation with 'nullification' of text.

[elencantodelveranoentuboca]

Pomade' by Aleksei Kruchenykh (1913).

[pangopinna]

I always found it weird that my first book about futurism called the guy on the right A. Mariengof( it doesn’t look like him at all) Glad to find a source that agrees with me.

Now I’m not sure if that’s Kruchenykh either.

[ribkamackerel]

Cover and spread from Pomada (Pomade), 1913, Alexei Kruchenykh, poetry, and Mikhail Larionov, lithography. Lithograph. Getty Research Institute, 88-B26240

[opticandmasturbation]

Igor Gerasimovich Terentiev (17 January 1892 in Pavlograd – 17 June 1937 in Butyrskaya prison, Moscow) was a poet, artist, stage director, and a representative of the avant-garde tradition. He is known for his Zaum poems, formulated by him during his tiflis period, and his theatrical experiments were an inspiration to the Oberiu collective. Some of his most famous plays include Inspector General, John Reed, and Natalya Tarpova

Terentiev was born in Pavlograd (now Ukraine) into the family of lieutenant Gerasim Lvovich Terentiev and Elizabeth von Derfelden, daughter of a resigned cavalry captain. He had a brother and two sisters: Vladimir (born 17/29 May 1894), Olga (born 28 April/11 May 1897) and Tatiana (born 18/31 May 1900).

He entered the law department of Kharkov University and in 1912 exchanged into jurisprudential faculty of Moscow University which he graduated in 1914. In 1916 he got married and moved to Tbilisi to live with his wife. In 1918 Terentiev entered the futuristic group "41°" created by Ilya Zdanevich (K. Zdanevich, A. Kruchenykh and others). In 1922 Terentiev unsuccessfully tried to emigrate to reunite with his family. He travelled to Istanbul but at the time when he arrived visas for France, where his family resided, were not available, and he had to return.

In the summer of 1923 Terentiev moved to Petrograd. He worked in the Museum of Art Culture with Kazimir Malevich, Mikhail Matyushin and Pavel Filonov. Early in 1924 he engaged in directorial work at Krasniy Theatre for which he wrote and staged a play called "John Reed" (premiered 24 October 1924). He created experimental Theatre of the House of Press (Russian: Театр Дома Печати) in Shuvalovsky palace on Fontanka quay. Here Terentiev who considered himself Meyerhold's follower staged his own play "Bundle", opera "John Reed" (1926, composed by Vladimir Kashnitsky), Gogol's "The Inspector General", the play "Natalia Tarpova" (based on cognominal novel by S. Semenov).

In 1928 Terentiev was on tour with the Theatre of the House of Press in Moscow's Theatre of Meyerhold. The tour was a success. A. Lunacharsky proposed to move the Theatre to Moscow, but neither placement nor money were provided and the troupe broke up. Terentiev went to Ukraine. In Odessa he staged Afinogenov's "Crank", in Kharkov – "The Inspector General". He worked in Dnepropetrovsk in Gorkiy's Theatre of Russian Drama and developed Ukrainian Youth Theatre.

In 1931 in Dnepropetrovsk Terentiev was arrested. In accordance with 58th enactment(Propaganda inciting rebellion against the regime) he was sentenced to 5 years which he served by labour on Belomorkanal; was released preschedule in 1934. On his arrival in Moscow, Terentiev tried to find work in a theatre but failed. He started shooting the film about the events of the civil war in Kerch called "Rebellion of Stones" but the project was not finished. Terentiev was called into civilian recruitment on works on Moscow Canal. The construction site was visited by Maxim Gorky, Terentiev's brigade was photographed by A. Rodchenko.

In May 1937 Terentiev was rearrested. He was executed by a firing squad in Butyrskaya prison

[opticandmasturbation]

Vasily Kamensky, Aleksei Kruchenykh Collage from a book with eight collages (including cover, one with letterpress), four lithographs (three with collage additions), and lithographed manuscript text Dimensions page (irreg.): 9 1/16 x 13 1/2" (23 x 34.3 cm) Publisher Unidentified, Tiflis Printer Unidentified Edition 6 known examples Credit Gift of The Judith Rothschild Foundation Illustrated book 1918

Aleksej Kručënych – Vasilij Kamenskij, Untitled from 1918, (collage from a book with eight collages (including cover, one with letterpress), four lithographs (three with collage additions), and lithographed manuscript text), 1917, Edition of 6 known examples [MoMA, New York, NY]

[xenopoem]

LIBRETTO LUNAVERSITOL: NOTES TOWARDS A GLOTTOGENETIC PROCESS is a work by Andrew C. Wenaus written in patamathematical formulae and International Phonetic Alphabet and is accompanied by 18 biomorphic figures by iconoclastic multimedia artist Kenji Siratori. A xenopoetic musical score and work of optical poetry that looks to the Zaum experiments of Velemir Khlebnikov and Alexei Kruchenykh, the book speculates on a sudden emergence of a super-hybrid technical language autopoietically organizing itself into existence outside the experience, knowledge, or access of humans. In this sense, the book can be thought of as an extended analogue to or visualization of the ways autonomous informational processes optimize themselves in the black box of big data in ways that we cannot understand without undergoing similar emergent transformations ourselves. Steadfastly opposed to purity and essentialism, the book calls for the entirety of time and space and its attendant objects, processes, and concepts to parasitize literature and poetry. From this super-hybridity will ultimately emerge the song of Zaum, the language of the stars, the technical word as such, that is, universal emancipation.LIBRETTO LUNAVERSITOL is accompanied by a musical score by Wenaus and composer, soprano, and keyboardist Christina Marie Willatt, available on cassette and/or digitally.