Constructivism had developed its own genealogy of the key modernist emblems such as the grid, and the monochrome as well as theorized on the status of the everyday object in the field of aesthetics. This talk presents a case of the resuscitation and redefinition of the grid’s visual and theoretical formats through the work of artists associated with the Moscow conceptual circle in its past and current membership.
Margarita Tupitsyn is an independent curator, critic, and scholar and a leading authority on twentieth-century Soviet and Russian art. She has written numerous essays and books on Russian and Western art, including Against Kandinsky (Hatje Cantz, 2006), Verbal Photography: Ilya Kabakov, Boris Mikhailov and the Moscow Archive of New Art (co-authored with Victor Tupitsyn) (Museu de Serralves, 2004), Malevich and Film (Yale University Press, 2002), and Margins of Soviet Art: Socialist Realism to the Present (Giancarlo Politi Editore, 1989). In 1981 she mounted Russian New Wave (Contemporary Russian Art Center of America, New York), the first exhibition of Moscow Conceptualism held in the West, and in 1986 curated the exhibition Sots Art at the New Museum of Contemporary Art, New York. Dr Tupitsyn was among the curators of Montage and Modern Life (1992), The Great Utopia (1992), and Global Conceptualism: Points of Origin, 1950s–1980s (1999–2000). She has contributed articles to Artforum, Art in America, and Art Journal. Tupitsyn co-curated and edited the catalogue of Rodchenko & Popova: Defining Constructivism, held at the Tate Modern, London, in 2009.