Russian collectors (2): Malevich in the autumn of 2013 at the Stedelijk or how a potential special

Russian collectors (2): Malevich in the autumn of 2013 at the Stedelijk or how a potential special exhibition ex display kitchens of works never shown in the two collections Netherlands Malevich became a verkleutering 'the work of the artist. Plus correspondence with Bart Rutten (curator SM) on this blog and a response by Marga van Mechelen (modern art UvA) on the failing role of art criticism
"It is the moment that the Stedelijk in Amsterdam his collection [1] shows, ex display kitchens in association with the collections of Soviet museums, a time where it has worked. Desiring to Through ex display kitchens this cooperative is a situation of relative silence and scarce contacts is changed into a state of openness, information and intense collaboration that allows the life work of Malevich as a unit is shown. "For the first time this exhibition
The exhibition was in November 1988 in Petersburg (then called Leningrad) started, then traveled to Moscow and, finally, to see. Beginning of March to end of May 1989 in Amsterdam In November 1989 the Berlin Wall fell. So the exhibition fit into what may be called Zeitgeist. Therefore, the people in line. Were in Amsterdam They were looking at it in Stalinist Russia suppressed modernism ex display kitchens that the West had given his identity. During the cold war A Second Liberation. But also an art historical event in which the work of a new interpretation was provided. The 1989 catalog is still worthwhile. I note from the insightful ex display kitchens analysis of the Russian curator Sarabyanov (which ex display kitchens in my opinion should have been reprinted in full in the current catalog) the following quotation from a letter from the artist ex display kitchens to an ally Matiushin:
"The keys of Suprematism lead me to the discovery of what we have not yet become aware. My new painting is not just the earth. The earth is left behind, like a house that has been eaten away by termites. It dwells in man, in his mind, not the desire for space, but the urge "to snatch? Apart from the earth" '
Malevich fired his statements ex display kitchens as a machine gun off. The famous 010 exhibition in 1916 in Petrograd, he held that the material ex display kitchens world was transcended his ear, still trapped in three dimensions, for:
"Lift up your fatty bodies by centuries so that it is easier for you to keep up. Us I did the impossible overcome, with my breath I cleavable chasms in the world. To hang fish in a net on the horizon. We supremacists will provide a route for you. "
But Stalin was not Supr e matisme that victory ex display kitchens means, but i Supr matisme, that means suppressing. The audience in 1989 gazed at the exhibition to this dual reality.
Why now hold a limited Malevich exhibition in 2013? A good question. The reason and the focus could be the Khardziehv collection which also has been trapped (by strange wanderings and legal entanglements in Amsterdam that story is fascinating contributions by William Slavist Westeijn, who played a key role, and the president of the foundation Theo Bremer told in the catalog) and are unlocked for the first time with a beautiful catalog. There is a selection from this collection to see the current exhibition (which is reason enough to go to the exhibition at the Stedelijk), but the story of this collection and its quality was the main need, especially if you could supplement with works from the Greek Costakis collection which is housed in Thessaloniki, which many loans in the exhibition can be seen. That was also the opportunity for a better place. Maljevitsj in this environment of incredible innovation of the pre-revolutionary Russia And what remains ex display kitchens an exciting question. Elena Basner, former curator of the Russian
"It is quite unlikely that the" whole truth "will be on the Russian avant-garde ever obsolete: the years of the total ban on the subject of the extermination of any free or ideas or opinions whatsoever, of destruction of documented evidence and living witnesses of that time, have cruelly beaten a hole in history. And in addition, the nature of this process - the development of the Russian avant-garde - in itself complex and multifaceted; the forces that the energy of this movement determined were too diverse ... Futurism in Russia (in the broad sense in which it was understood in Russia) was a lively ex display kitchens fermentation, a mixture of merging late symbolic reminiscences, quasi-scientific theories, with desperation of the storming of the sky and creating new gods. It contained the most extr