Vanguardia Rusa: El Vertigo del Futuro

The vanguard concept comes from the military term for an army advanced to break through. In the Russian-Soviet case, the vanguard housed different artistic currents, most supported in manifestos, theoretical approaches and debates that promoted art as a trigger key to transforming the world. This aspect is distinguished from other European avant because, since the triumph of the 1917 revolution, exercised its proposals from the inside of a revolutionary political regime.

Far from homogeneity, the artistic production of the Russian avant-garde is deeply diverse and extends to many disciplines ranging from painting to architecture, graphic design to cinema, including music, performing arts and photography. The protagonists of this episode in the history of art are producing some of the most important plastic mutations that crossed a large segment of reality that is of public space to the domestic sphere, which are currently recognized as fundamental yardsticks for knowledge and deployment of contemporary art.

The key to the Russian avant-garde is to overcome the artwork distanced towards an art involved with technology and the revolution in progress, without falling into the domain of instrumental reason or the dogmas of professional politicians. For example, photography and film arts as part of the system of technical reproducibility, are the best proof that technology can distinguish yourself from production-determinism and libertarian serve recreational purposes.

The exhibition Russian Vanguard. Vertigo future contains more than five hundred representative works of artistic movements that shaped the thinking of a time at which today nobody can be foreign. The works presented this show come from 32 museums and collections of the Russian Federation, France and England, and were made mostly between 1911 and 1934, an intense period in which it is first forged and then consolidated, with different effects , the October Revolution.

Within the time span that slogan this exhibition, the Soviet Union arise in circumstances that polarize the development of art and freedom of expression. The changes and proposals artistic turmoil of the vanguard had promoted were subjected and reduced to silence, drawing one of the darkest stages of the twentieth century. Its historical recovery has been one of the most important companies in recent decades.

The futuristic vanguard militants declared war on museums, are now in museums. The paradox is inevitable. The pioneering spirit experience the hospitality of a Mexican museum. Whatever the aesthetic experience or historical testimony, Russian avant-garde. The thrill of the future shows that perhaps the vanguard art and contemporary is more ubiquitous than some of its authors imagined.