Moscow House Photography

NXEL GROVE your powerful energy unfolds in the exhibition Revolution in Photography. The artist, one of the fathers of Soviet constructivism, passionately devoted to photography since 1924. Our duty is to experiment!, it proclaimed. Aleksandr Rodchenko (1891-1956) footprint has been sustained and far-reaching. Their graphic designs of the first quarter of the 20th century have served as inspiration (or copied, no more) by advertising, the music industry and the posters contemporary. As only a soviet could be vehement, Rodchenko absorbed the climate of metroplolitan change derived from the Russian revolution of 1917.

He painted, he did graphic design, he participated in the birth of constructivism, he tired of the classical technique (painting is dead, he said in 1921 after expose three oils with the primary colors: yellow, blue and red), he groped with the film, fell in the collage, and finally landed in photography. Aleksandr Rodchenko exposure: Revolution in Photography, which exhibits the Fotomuseum Winterthur in Switzerland, is a journey through the photographic work of Soviet artist. All parts are due to his proclamation: our duty is to experiment!. Enter the sample concept, organized in collaboration with the Moscow House of photography, allows to check with manners took Rodchenko camera, which he conceived as a natural projection of the human eye: your photos reconsidered the role and the role of the photographic art and left the door open so that come the idea of concept. The exhibition organizers insist the multifaceted artist how he managed that the photos would stop being an illustration of par reality become a half full of visual meaning. The idea of considering an engineer artist pleased Rodchenko. A manifesto was committed to build with each work and frequently accompanied the photos of long ideological texts or theory art.

Diagonals destabilised, Zenith plans and unexpected perspectives are almost constant. Perched at the top of the art derived from the Bolshevik Revolution (he designed the poster for the film the Battleship Potemkin and was commissioned to the National Pavilion at the world fair in Paris in 1925), was originally celebrated as artistic Manager of a new vision. Stalinism, the Suppression of the expressive freedoms and the instrumentalization of photography desenganaron him. He was accused of formalist and expelled from the Group of artists October, whose birth he had participated in 1928. At the beginning of the Decade of the 1940s he stopped taking photos. Abstract oil paintings he painted sporadically and life earned in silence as an official curator. The painters conceptualists of the sixties, especially Barbara Kruger, should be part of your language to the work of Rodchenko, who re-emerged on the covers of rock albums, among them those of Mike & The Mechanics and the second album by Franz Ferdinand.