1908 -1930 · Moscow, Petrograd and revolution of forms

Malevich, Filonov and the Russian avant-gardes bring out figure, city and machine in geometric rhythms, analytical visions and autonomous colors.

At the beginning of the 20th century, Russian artists assimilated French cubism and Italian futurism without limiting themselves to their imitation. In Moscow and Petrograd, exhibition, theater, poetry and manifesto became the places of collective experimentation. Malevich fragments peasants and machines before inventing suprematism. Pavel Filonov constructs his paintings cell after cell using an analytical method where figures, history and matter seem to grow from the inside. Other artists move this research cell after cell according to an analytical method where figures, history and matter seem to grow from the inside. Other artists move this research towards rayonism, constructivism, books or scenography. Other artists move this research towards rayonism, constructivism, books or scenography. War and revolution intensify this desire to create a new visual language, capable of expressing both modern speed, social transformation and expanded perception. The selection "Cubo-futurism and Russian avant-garde" notably compares Petrograd's Formula of the Proletariat and Flowers of Universal Flowering. His reading favors movement.

The Russian avant-garde does not choose between analysis and speed: it transforms each fragment into an active element of a new world.