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41° Илья и Кирилл Зданевич; Ilya & Kirill ZDANEVICH futurism avant-garde RUSSIAN

Title: "41°. Ilya and Kirill Zdanevich"

("41°. Илья и Кирилл Зданевич")

Author(s)/Editor(s): Ilya and Kirill Zdanevich (Илья и Кирилл Зданевич)

Language(s): English; Publisher: "Modernism Inc"

Place: San Francisco, USA; Year: 1991; Pages: 53

Cover: Cardboard; Sizes: 23 (W) x 30 (H) cm; Copies: Limited

Condition: New, Item's Code: XR-2636

ABOUT:

Very rare and unique, limited edition, 1991, illustrated, album-exhibition of Ilia and Kirill Zdanevich's works with high-gloss coated paper-stock throughout with color and b&w reproductions and an introductory essay by Le Gris.

[Exhibition Catalog] Ilya and Kirill Zdanevich: From Futurism to 41° [41 Degrees]. San Francisco: Modernism Inc., [1991]. First edition. Octavo. 53 pages. The exhibition catalogue represents a modest homage to Kirill and Ilya Zdanevich, whose great contributions in painting, poetry and typography are still felt. Featured artworks by Kirill M. ZDANEVICH [1892–1969]: “Thunder,” c. 1918/20, black India ink and pencil on paper, 11 9/16 x 9 7/32 inches “Muse Melpomene,” 1915, india ink on paper, 12 1/16 x 7 3/4 inches “Dardanelles,” c. 1918, black india ink & color pencil on paper, 7 1/4 x 9 5/8 inches.

"The Zdanevich brothers were at the very heart of the development of the 41° and the futurist movements in Russia. The 41° group was founded in 1919 by Ilya and Kirill Zdanevitch, Aleksei Kruchenykh and Igor Terentyev. Ilya wrote poetry and acted as a leader of the movement while his brother Kirill served as the official painter. The 41° group held numerous conferences on poetry and futurist painting, and produced the following manifesto in the only issue of their newspaper: “The company 41° unites the left-bank [avant-garde] futurism, and affirms zaum as the obligatory form of manifestation of art. The aim of 41° is to make use of great discoveries by its contributors and put the world on a new axis...” Zaum are the linguistic experiments in sound symbolism and language creation of Russian-Empire Futurist poets such as Velimir Khlebnikov and Alexsei Kruchenykh. Coined by Kruchenykh in 1913, the word zaum is made up of the Russian prefix за "beyond, behind" and noun ум "the mind, nous" and has been translated as "transreason", "transration" or "beyonsense." According to scholar Gerald Janecek, zaum can be defined as experimental poetic language characterized by indeterminacy in meaning."

"“41 °” was an avant-garde group of futurists formed in Tiflis in early 1918 by poets Alexei Kruchenykh, Ilya Zdanevich, artist Kirill Zdanevich and theater figure Igor Terentyev. The group existed until 1920, but despite the collapse, the books of its former participants continued to go under the former publishing brand 41°. From 1916 - 1921, group members of 41 ° wrote over 50 books. The leaders of the group were the author and ideologist of the “Vsyochestvo” theory Ilya Zcdanevich together with Terentyev and the creator of “Zaum” – Kruchonikh. The founder of the “Orchestral Painting”, Kiril Zdanevich, also joined the group. The group founds its own newspaper “41°”.

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41 градус. Илья и Кирилл Зданевич. Каталог выставки. Сан-Франциско. Modernism. 1991 г. 53 с. Картонная издательская обложка. На английском языке. Выставка проходила с 31 октября по 21 декабря 1991 года.

«41°» («Сорок первый градус») — авангардная группа футуристов, образованная в Тифлисе в начале 1918 года поэтами Алексеем Кручёных, Ильей Зданевичем, художником Кириллом Зданевичем и театральным деятелем Игорем Терентьевым. Группа просуществовала до 1920 года, после она распалась, но несмотря на это, книги её бывших участников продолжали выходить под прежней издательской маркой 41°

За 1916 – 1921 гг. компанией “41°” было выпущено свыше 50 книг и прочтено множество докладов – главным образом о футу-зау в Баку, Тифлисе, Батуме и др.

Координаты Тбилиси: 41°43′0′ с. ш. , 44°48′0′ в. д.
"Большинство великих светоносных городов - Мадрид, Неаполь, Константинополь, Пекин, Нью-Йорк - расположены на 41-ом градусе. Иисус провел в пустыне 40 дней; Заратустра - тоже; из 41-го дня они вышли окрепшими. 41 является символическим числом". Илья Зданевич.

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ADDITIONAL INFO

Kirill Zdanevich (1892-1969)

Georgian avantgarde artist, stage designer, one of the founders of the Georgian and Russian so called Cubo-Futurism, creator of “orchestral painting” that is the variety in visual art of Ilya Zdanevich’s “Vsyiochestvo” (everythingness) concept.

He was born in 1892 in Kojori, Georgia. Father by birth was Polish, mother, Gamreklidze, belonged to old Georgian noble family.

From 1900, after graduating Tbilisi gymnasium he studies at Fogel’s and Sklifosovsky’s classes of drawing and painting.

In 1911-1918 he continuous his studies at Petersburg Art Academy.

In 1912 he becomes a member of the Russian Artists group “Donkey’s Tail” (“Ослиннийхвост”) and participates in its so called Neo-primitivism exhibitions together with artists Mikhail Larionov, Natalya Goncharova, Vladimir Tatlin, Kazimir Malevich, etc.

In 1912 while spending his holidays in his homeland, in Tbilisi together with his brother, Ilya Zdanevich, and Mikhail Le Dantue he discovers the paintings of Niko Pirosmanishvili and starts collecting them. Later he presents these paintings to the Tbilisi State Museum of Art and writes a monograph on them.

In 1913 he participates in the exhibition “Mishen” (shooting butt) together with the Larionov group – Goncharova, Malevich, Shagal, Shevchenko and Le-Dantyus. It was at this exhibition that the brothers Zdanevich and Le- Dantue first displayed Niko Pirosmanishvili’s paintings. The exhibition was preceded by a dispute on “East, Nationality and West” where Ilya Zdanevich presented his concept of “Vsyiochestvo” for the first time.

In 1913 Kirill Zdanevich leaves for Paris and arranges an exhibition at Alexander Arkhipenko’s studio.

In 1914 he is summoned to serve in the World War I as an officer at the German front.

In 1917 he is demobilized and returns to Tbilisi which at this time becomes the center of the avant-garde experiments.

In 1917 his first one-man exhibition opens in Tbilisi – the first significant declaration of the leftist art in Georgia. Together with his brother, Ilya Zdanevich, he becomes one of the leaders of the so called leftist futurism. The “Futuristic Syndicate” is founded by brothers Zdanevich, poets Yuri Degen, Kolau Chernyavsky, Kara-Darvish, artists Lado Gudiashvili, Ziga Valishevsky, Igor Terentyev and Aleksei Kruchonikh who then fled from the revolutionary Russia and World War I to the independent Georgia. Their interest towards folklore and the primitive is obvious that closes them to the Moscow “Oslini Khvost”(Donkey’s Tail) .

In 1919 the syndicate closes and a new group – “41°” is established. The name of the group is chosen according to the geographical latitude of Tbilisi.

The leaders of the group “41°” are the author and ideologist of the “Vsyochestvo” theory Ilya Zcdanevich together with Terentyev and the creator of “Zaum” – Kruchonikh. The founder of the “Orchestral Painting”, Kiril Zdanevich, also joins the group. The group founds its own newspaper “41°”.

Zdanevich participates in the artistic evenings of the artistic cafés “Argonauts’ Boat” and “Fantastic Tavern” where the founders of “Futurvseuchbishche” (futureverythingstudies) gave lectures. Together with Lado Gudiashvili, Aleksey Petrokovsky, Iuri Degen and Ilya Zdanevich he participates in painting the “Fantastic Tavern”. It is in this period as well that he works over murals for café “Argonauts’ Boat” too together with Bazbeuk-Malikov, Gudiashvili, Kakabadze.

(In Tbilisi the “41°” exists until 1920. After, from 1921, when after annexation of Georgia by Soviet Russia, Ilya Zdanevich immigrates to France he keep the title “41°” for his publications).

Kirill Zdanevich is one of the founders of the so called avant-garde book in Georgia. Together with the zaum poets the books created by him are discussed as “Futurist Books” what is rather tentative.

He starts his radical, so called Kubo-Futurist (Korney Chukovsky’s term overtly revealed in 1913), experiments in book design and typography in 1917. Collaborating with the zaum poets he creates the entire outlook, format, text drawings of their books and often works on the text calligraphy as well. His graphic and lithographic experiments are the visual parallels to the zaum experimental poetry – maximum transformation of an object, significance of surface and texture, maximum plasticity of the image shape as not of a ”denoter” but as “denoted” in itself , making a free use of any means and devices, artistic methods or directions for this purpose (see the text by Sergey Kruchonikh and Eli Eganbiuri (Ilya Zdanevich) in the catalog of Kiril Zdanevich exhibition in Tbilisi in 1917). That is why he freely joins into the graphic expression of a figural verse and creates calligraphic compositions.

In 1921-1923 he works in Constantinople and Paris.

After the annexation of Georgia by the Soviets he hopelessly awaits visa for France from his brother, but receives it only in the 1960es (see his correspondence with his brother in the Regis Geiro publication).

In 1922-36 he begins to work as a stage designer and especially as a costume designer at the Opera House, Marjanishvili and Rustaveli theatres. The costume design is an independent and one of the most significant branches in his graphic art since 1914, but the works of 1922 turned into the real “Costume Theatre”.

In 1926-30 he leaves for Moscow and works at the theatres “Modern Slapstick”, “Publishing House” and “Music Hall”. Until 1933 he works at the Agricultural National Commissariat and as he himself ironically writes to his brother, takes active part in building the USSR by painting agricultural pavilions and creating huge panels with the method of photomontage.

All this lasted until the repression period begins in the Soviet Union and almost the entire Agricultural Commissariat gets arrested. Some of its members were shot as “people’s enemies” and counter-revolutionaries. By this time Igor Terentev is already arrested too and exiled to Karelia (see the correspondence to brother).

At the end of the 1930es he returns to Tbilisi, and in 1941-43 works as a circus stage designer. In 1943 he is in Moscow working over the murals for café “National”.

From 1930s the creative activities of Zdanevich changes according to the political situation but despite, in 1948-57 he is arrested and sent to Mordovia where he serves his sentence at Dubrava camp during 10 years. Only in 1957 he returns to Tbilisi.

In 1964 he finally receives French visa and leaves for Paris for several months. After too long interval of 34 years he meets his brother Ilya Zdanevich.

lia Mikhailovich Zdanevich (Georgian: ილია ზდანევიჩი, Russian: Илья́ Миха́йлович Здане́вич) (April 21, 1894 – December 25, 1975), known as Iliazd (Georgian: ილიაზდ), was a Georgian and French writer and artist, and an active participant in such avant-garde movements as Russian Futurism and Dada.

He was born in Tbilisi to a Polish father, Michał Zdaniewicz, who taught French in a gymnasium and a Georgian mother, Valentina Gamkrelidze, who was a pianist and student of Tchaikovsky. (His older brother Kiril also became a well-known artist.) He studied in the Faculty of Law of Saint Petersburg State University. In 1912 he and his brother, along with their friend Mikhail Le-Dantyu, became enthusiastic about the Tbilisi painter Niko Pirosmanashvili; Ilya's article about him, "Khudozhnik-samorodok" ("A natural-born artist"), his first publication, appeared in the February 13, 1913, issue of Zakavkazskaia Rech'. Later in 1913 he published a monograph Natalia Goncharova, Mikhail Larionov under the pseudonym Eli Eganbyuri (Russian: Эли Эганбюри). In June 1914 the journal Vostok published his article "Niko Pirosmanashvili," in which he mythologized the biography of the older artist, linking him with the Silver Age and the Russian avant-garde. He became involved with the new Futurist movement, participating in their discussions and writing about them and Marinetti in the Russian press, and was drawn to other avant-garde movements as well, such as Zaum and dadaism.

During World War I Zdanevich returned to the Caucasus as a newspaper correspondent, and from 1917 to 1919 he lived in Tbilisi, where he published several collections of poetry in the zaum style (Yanko Krul Albansky, Ostraf Paskhi, and Zga Yakaby). In 1918, he joined Aleksei Kruchenykh and others in the Futurist group "41°." Zdanevich in 1919 adopted the pseudonym Iliazd. He left Tiflis for Batumi, and in October 1920 left the country to investigate the new artistic currents of France. After a year spent in Constantinople acquiring a French visa, he arrived in Paris in October 1921, where together with other artists he organized the group Cherez ("Across"), whose aim was to bring Russian émigrés together with representatives of French culture. In 1923 he began his novel Parizhachi, about four couples who agree to dine together in the Bois de Boulogne; in the course of two and a half hours (each chapter has an exact time for a title, from 11.51 to 14.09) they all manage to betray each other, and the novel itself breaks all manner of orthographic, punctuational, and compositional rules. Zdanevich continued working on this "hyperformalist" novel (which he described as an opis', or "inventory") until 1926, but it was not published until 1994. His second novel, Voskhishchenie ("Rapture"), was published in a small edition in 1930 and was ignored at the time. Set in a mythical Georgia among mountaineers, on the surface a crime novel, it is actually a fictionalized history of the Russian avant-garde, full of allusions to world literature; it could be said to anticipate magic realism. The language of the novel is innovative and poetic, and the Slavist Milivoje Jovanović called it "undoubtedly the summit toward which the Russian avant-garde was striving." Zdanevich's 1923 poster for his and Tristan Tzara's Soirée du coeur à barbe [Evening of the bearded heart] is a widely known example of avant-garde typography and graphic design. During the last forty years of his life in Paris, Zdanevich was active in a variety of areas. He did analyses of church elevations, created fabrics for Chanel, and above all consecrated himself to the creation of artist's books with the collaboration of Picasso, Max Ernst, Miro, and others. His innovative typographic and design work has been exhibited at the New York Public Library, MOMA, in Montreal, in Tbilisi in 1989 in a joint exhibition with his brother Kiril, and in many other venues. Catalogs for many of these exhibitions exist and contain considerably more detailed information about his life and works. Ilia Zdanevich died on Christmas Day 1975 in Paris. He was buried at the Georgian emigre cemetery at Leuville-sur-Orge.

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Кири́лл Миха́йлович Здане́вич (1892, Коджори — 1969, Тбилиси) — грузинский советский художник, старший брат Ильи Зданевича. Испытал влияние кубофутуризма, основатель «оркестровой живописи» и «всёчества», участник группы «41°». Работал в театре, выступал как график и художник книги.
Илья́ Миха́йлович Здане́вич (псевд. Ильязд, Эли Эганбюри, 21 апреля 1894, Тифлис — 25 декабря 1975, Париж) — грузинский и французский писатель, теоретик русского авангарда и дада, издатель, художник.

32 pages Cover Abstract Composition artists Aslaablitchia black india ink book with text brother Ilya Centre Georges Pompidou collage composition by Ilya conference Cubism cubist Cubo-futurism Cubo-Futurist dated lower right Djordjadze Dunkey for Rent Easter Eyeland Eganebury Eluard everythingism futurist manifesto Georgian Republic Gudiashvili Igor Terentyev Iliazd illustrations by Picasso ILYA AND KIRILL Ilya Zdanevich Union inches 32 pages inches Illus inches initialled lower initialled lower right ink on paper Janecek Kamensky King of Albania Kirill Zdanevich Kruchenykh lettrisme Little Fantastic Cabaret lower right Illus Malevich Mayakovsky Mikhail Larionov Mikhail Ledentu Moscow Niko Pirosmanashvili orchestral painter painting paper image Paris composition pencil on paper Petersburg Petrograd Pirosmani poem poets Portrait poster-invitation published Record of Tenderness returns to Tiflis Russian avant-garde Russian futurism soiree Sonia Delaunay suprematism Tbilisi Tiflis Union of Cities visual watercolor on paper yAy yAy yAy Yu Record zaum zaum poetry Zdanevich family Zokhna, Russian FUTURISM & DADA Ilya and Kirill ZDANEVICH typography, painting, book design , avant-garde georgian art, Tiflis, Georgia,

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