Am Nullpunkt Positionen der russischen Avantgarde

This volume collects from representatives of the Russian avant-garde examples of their writings which concentrate on the then central theme of the zero point of social existence and artistic creation. If before the October Revolution in 1917 the idea of the zero point was still a utopian concept, the factual destruction of the old system nevertheless promised that the previously cherished idea of the construction of a new society would become a reality, as well as the creation of a totally new art not burdened by preconceptions. The Russian avant-garde was able in this unique historical situation not only to see the unambiguous confirmation of its theoretical framework and artistic intuitions but also perceived its sole chance to put these into practice. The thought of beginning anew at zero stood at the center of the debate among artists and writers of the avant-garde, as can be readily seen in the writings of Kazimir Malevich and Alexej Kruchonykh , which until the present day have either not been translated into German or are difficult of access. In addition, Nikolai Tarabukinâ??s famous essay, "Das letzte Bild. Von der Staffelei zur Maschineâ?? ('The Last Picture: from the Easel to the Machine'), which despite its eminent historical importance has never been translated into German, is here published. Moreover, texts from the Oberiu-Group are here published. (Oberiu is an abbreviation for Objedinenije realnowo iskusstwa, â??The Union of Real Artâ??). This group, among whose initiators Daniil Kharms belonged, is considered the last avant-garde artistic circle in Russia prior to the culture-political purge during Stalinism, a group which at the beginning of the 1930s became one of the purge victims. All the texts are accompanied by theoretical, historical and biographical commentary by the editors.