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1 Makslas Vesture un Teorija

1 2024

1 Kāle S.

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Issues in Gustavs Klucis' Agitational Stand Research

100%

Kāle S.

Makslas Vesture un Teorija

2024

tom 28

82-97

In the history of world art, the name of Gustavs Klucis (1895–1938) has so far appeared in two contexts – photomontage and agitprop art. The designs for the five-year anniversary of the October Revolution of 1922 and for the Fourth Comintern – agitation stands numbering in the dozens – have received the most attention and have been so influential that since 1967 museums worldwide have regularly reconstructed these works, rediscovering them for each generation of artists, curators and scholars. Some admire the engineering of some of the structures, others are fascinated by their visionary qualities, but some questions about their realisation remain unanswered. While researching Latvian artists' groups in inter-war Soviet Russia, the author came across information that led her to trace untested assumptions. The aim of the publication is to shed light on certain contradictions and to make clarifications, without pretending to be a comprehensive analysis of Klucis’ agitational stands. The researchers have long referred to information on the realisation of Klucis’ agitational stands, created by art historian Larisa Oginskaya and later disseminated. The author went on a research trip to the George Costakis Collection at the Museum of Modern Art in Thessaloniki, which holds the largest collection of original designs for agitational stands. Although it has so far been attributed to Klucis, the authorship should be critically re-examined. The author worked with framed works and conflicting information from collections' catalogues, and was unable to access the corresponding originals in the Tretyakov Gallery. In order to confidently clarify the conclusions, the works would need to be re-framed, re-sized and checked for technique, as the English version uses the term 'ink' rather than 'Indian ink' and, for example, the gouache mentioned in the description is often not visually visible. Similarly, a chemical examination of all the collections would allow us to confirm or deny the assumption made in the publication that the drawings by the anonymous group were a collective effort. Or was it just an ideological collaboration? This needs to be clarified by further research, checking not only the authorship but also the date, which has so far been uncritically assumed to be 1922 and repeated.