1929. Ivanovo Industrial Region is established, with Vladimir, Kostroma and Yaroslavl governorships as its constitutive parts. From that moment and until 1936 Ivanovo is the third proletarian capital and an experimental construction site. Ivanovo's Constructivism is both the architectural landscape and agittextile. Both are the main subject of Costume in Film. Malevich described his Suprematism as a "cosmic model" and dreamt of "planets for earthlings," who would live in space and only come down to Earth to contemplate its beauty. How has the history of Suprematism been shown in Soviet and Russian films: the history of its making, of its destruction, and its influence on contemporary artists?
The program's first film is Yakov Protazanov's Aelita. Sets and costumes of the first Soviet sci-fi were created by theater avant-garde designers: V. Simov, I. Rabonovich and A. Exter. Mars and its inhabitants are styled in a Constructivist fashion. In the unlikely event that the audience have never seen Aelita before, they will have to decide whether costumes in Solaris are as odd and impressive after Aelita.
The program's second film is The Shining Path (also known as Tanya) by Grigory Alexandrov (1940), in which the fall of Constructivism is a central subject. The factory manager bans agitational pictures on fabrics, and a weaver dances in a palace among crystal and mirrors: "The life is getting better, the life is
Igor Voloshin's Nirvana (2008) is a contemporary story about love, friendship, death, betrayal and forgiveness. Costumes were designed according to Malevich's theory of color and shape (Malevich subdivided Suprematism into "black, color and white"). Repin's art, according to Malevich, "was killing color with subject matter." The viewer will have to decided what "killed" what in Voloshin – or perhaps, helped survive?
Program curator Nadezhda Vasilieva will introduce Aelita and The Shining Path together with film historian Petr Bagrov, and Nirvana, with the director, Igor Voloshin.