Christina Lodder _ Lazar Khidekel and Suprematism

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to receive feedback and would like to offer you a review&nbsp;by Christina=
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Lodder just published in the Burlington Magazine.</SPAN></P>
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<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
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face=3DCalibri>Lazar Khidekel and Suprematism. <o:p></o:p></FONT></FONT></=
P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
=20
face=3DCalibri>Edited by Regina Khidekel. With contributions=20
by<o:p></o:p></FONT></FONT></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
=20
face=3DCalibri>Constantin Boym, Magdalena Dabrowski,<o:p></o:p></FONT></FO=
NT></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
=20
face=3DCalibri>Charlotte Douglas, Tatiana Goriacheva,=20
Irina<o:p></o:p></FONT></FONT></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
=20
face=3DCalibri>Karasik, Boris Kirikov, Margarita=20
Shtiglits<o:p></o:p></FONT></FONT></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
=20
face=3DCalibri>and Alla Rosenfeld. 224 pp. incl. 180 col.=20
ills.<o:p></o:p></FONT></FONT></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
=20
face=3DCalibri>(Prestel, Munich, London and New York,<o:p></o:p></FONT></F=
ONT></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
=20
face=3DCalibri>2014), =C2=A355. ISBN 978=E2=80=933=E2=80=937913=E2=80=9349=
68=E2=80=9388.<o:p></o:p></FONT></FONT></P>
<P style=3D"MARGIN: 0in 0in 0pt" class=3DMsoNoSpacing><FONT size=3D3><FONT=
=20
face=3DCalibri>Reviewed by CHRISTINA LODDER<o:p></o:p></FONT></FONT></P><o=
:p><FONT=20
size=3D3 face=3DCalibri>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>January 2017 =E2=80=A2 clix =E2=80=A2 the bu=
rlington magazine, UK=20
</FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt"=20
class=3DMsoNormal>&nbsp;</FONT></o:p></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>AS THE FIRST scholarly study of the innovati=
ve work of=20
the architect Lazar Markovich<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Khidekel (1904=E2=80=9386), this book is a=
 most welcome=20
addition to the literature on the<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Russian avant-garde. Khidekel is not well kn=
own, but=20
he played a vital role in applying<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>the spatial and formal principles of Suprema=
tism to=20
architecture. Indeed, his Workers=E2=80=99<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Club of 1926 was the first truly Suprematist=
=20
architectural design. The story of how it came<o:p></o:p></FONT></FONT></P=
>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>to be produced makes fascinating reading. Kh=
idekel was=20
a fifteen-year-old student<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>when he first came into contact with Kazimir=
 Malevich,=20
soon after the artist arrived in<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Vitebsk in November 1919 to teach at the cit=
y=E2=80=99s art=20
school. Subsequently, Khidekel<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>became one of Malevich=E2=80=99s most steadf=
ast followers and=20
a leading member of UNOVIS<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>(Utverditeli novogo iskusstva, =E2=80=98Cham=
pions of the New=20
Art=E2=80=99), the group that Malevich set up<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>in early 1920. It was dedicated to promoting=
=20
Suprematism, introducing its language of<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>coloured geometric forms against white groun=
ds into=20
all aspects of the everyday<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>environment, and incorporating its features=
 into all=20
areas of design, from ration cards to<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>posters, from textiles to buildings. The gro=
up shared=20
Malevich=E2=80=99s aspiration to reconfigure<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>the world as a Suprematist utopia and create=
 a=20
Suprematist architecture.<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Khidekel rapidly became one of Malevich=E2=
=80=99s most valued=20
disciples and assistants, a member<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>of UNOVIS=E2=80=99s creative committee and=
 responsible for=20
running the architectural and<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>technical department after El Lissitzky left=
 Vitebsk=20
in late 1920. From 1923 Khidekel<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>worked with Malevich at the State Institute=
 of=20
Artistic Culture (Gosudarstvenny Institut<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Khudozhestvennoy Kultury, or GINKhUK) in Pet=
rograd,=20
while studying architecture at<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>the city=E2=80=99s Institute of Civil Engine=
ering. Khidekel=E2=80=99s=20
design for the Workers=E2=80=99 Club of<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>1926 fused a Suprematist approach to form an=
d space=20
with pragmatic concerns for function,<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>materials and construction methods. While it=
s=20
asymmetrical massing and use of<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>cantilevering were reminiscent of Malevich=
=E2=80=99s own=20
experiments with architectural form =E2=80=93<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>his planits and architectons =E2=80=93 Khide=
kel=E2=80=99s design could=20
actually be built. Yet Khidekel also<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>explored architecture=E2=80=99s spatial pote=
ntial in sketches=20
for dramatically cantilevered, intersecting<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>and asymmetrically articulated rectilinear=
 structures,=20
which were intended to be<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>raised above the ground on supports, or to=
 inhabit=20
cosmic space, such as his designs for a<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>city on piers (1926=E2=80=9328) and an =E2=
=80=98Aero-city=E2=80=99 (1928).=20
These visions remained firmly confined<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>to the drawing board, especially after Khide=
kel was=20
forced publicly to recant his<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>previous attachment to Suprematism in 1934=
 and comply=20
with the stylistic dictates of Stalinism.<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>From then on his architecture conformed to=
 official=20
demands, although <o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>echoes of Suprematism sometimes remained. Th=
e school=20
on Gorokhovaya Street in what was<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>then Leningrad (1938), for instance, is in=
 a=20
Neo-classical idiom, although the site plan<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>recalls a Suprematist composition with geome=
trical=20
elements distributed along a single<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>axis. During the thaw in East=E2=80=93West=
 relations under=20
Krushchev, Khidekel was encouraged<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>to revisit his earlier experiments, producin=
g numerous=20
spatial paintings and innovative<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>designs, including a project for a museum de=
dicated to=20
the rocket scientist Konstantin<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Tsiolkovsky, who had been an inspiration for=
 UNOVIS=E2=80=99s=20
cosmic aspirations.<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>All this is documented in this superbly illu=
strated=20
and informative volume, which makes<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>full use of material preserved in the family=
 archive.=20
It is the first major monograph on<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Khidekel in English and provides a riveting=
 discussion=20
of the architect=E2=80=99s creative theory<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>and practice. The 115 large colour plates pr=
ovide a=20
visual history of his development from<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Cubo-Futurism and Suprematism (e.g. Yellow=
 Cross;=20
1923) to projects such as his design for<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>the stage at the Red Putilov Workers=E2=80=
=99 Club in=20
Petrograd/Leningrad (1924) and later works.<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>The book also includes a chronology of the=
 architect=E2=80=99s=20
life and various documents and<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>theoretical statements that he produced duri=
ng the=20
1920s.<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>The essays act as an illuminating complement=
 to this=20
visual material. Regina Khidekel<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>provides a general introduction, while Tatia=
na=20
Goriacheva discusses Khidekel=E2=80=99s work at<o:p></o:p></FONT></FONT></=
P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>UNOVIS, and Charlotte Douglas explores the=
 cosmic=20
dimension of Suprematist architecture.<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>Alla Rosenfeld, Boris Kirikov and Margarita=
 Shtiglits=20
examine Khidekel=E2=80=99s architectural<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>work of the 1920s and 1930s, including the=
 Club for=20
the Red Sportsman=E2=80=99s Stadium (1927)<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>and designs for the socialist town of Dubrov=
ka=20
(1931=E2=80=9333) =E2=80=93 sadly destroyed during the Second<o:p></o:p></=
FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>World War =E2=80=93 in which Suprematist for=
mal concerns were=20
combined with a Constructivist<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>approach to material and function. Finally,=
 Constantin=20
Boym and Magdalena Dabrowski<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>discuss Khidekel within international artist=
ic and=20
architectural contexts. This book is essential<o:p></o:p></FONT></FONT></P=
>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>reading for anyone wishing to gain a fuller=
=20
understanding of Malevich, UNOVIS, Suprematist<o:p></o:p></FONT></FONT></P=
>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>architecture and the achievements of the Rus=
sian=20
avant-garde.<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT face=3DCalibri>January 2017 =E2=80=A2 clix =E2=80=A2 the bu=
rlington magazine,=20
UK<o:p></o:p></FONT></FONT></P>
<P style=3D"TEXT-ALIGN: justify; MARGIN: 0in 0in 10pt" class=3DMsoNormal><=
FONT=20
size=3D3><FONT=20
face=3DCalibri>p.50<o:p></o:p></FONT></FONT></P></DIV></FONT></BODY></HTML=
>
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