Search Results (22)

This essay examines the painting known as Portrait of Elizaveta Iakovleva, which has long been attributed to Kazimir Malevich, using close analysis of the painting materials and techniques, as well as newly discovered archival evidence. It reconstructs part of the work’s provenance, places it within Malevich’s late Leningrad circle, and explores Maria Dzhagupova’s and Elizaveta Iakovleva’s roles in relation to the artist. By comparing the portrait with Malevich’s late portraits and works by Dzhagupova, the study revisits authorship and sitter identity. It argues for a more nuanced understanding of the complex exchanges between Malevich and his students and situates the work more precisely within his late portrait practice and artistic milieu of the 1930s. Full article

The study reconsiders the architectural production associated with Russian Suprematism (which was speaking of “the supremacy of pure artistic sensation” rather than the veritable figurative depiction of real-life subjects) in the early Soviet period as a coherent and conceptually rigorous mode of speculative world-making rather than as a marginal or unrealized appendix to avant-garde art history and theory. By examining the architectural propositions articulated by Kazimir Malevich and then elaborated by his younger colleagues Lazar Khidekel, Ilya Chashnik, and Nikolai Suetin, the study advances the claim that Russian Suprematist architecture constituted an epistemic experiment aimed at redefining the very ontological premises of architecture. Far from functioning as a mere transposition of abstract pictorial language into three-dimensional form, Suprematist planits, architectons, and aerocentric projects operated as instruments for thinking spatiality beyond terrestrial gravity, anthropocentric utility, and historical typology. Situating these projects within the intellectual horizon of Russian cosmism and early aerospace thought, the article demonstrates how Suprematist architecture intersected with contemporary philosophical, scientific, and technological discourses that envisioned humanity’s active participation in the reorganization of cosmic space. The architectural imagination of Suprematism emerges here as inseparable from broader debates on excitation, non-objectivity, transformation of matter, and the reconfiguration of human corporeality. Through close analysis of formal strategies, pedagogical frameworks, and theoretical writings, the paper reveals the internal plurality of avant-garde Suprematist architectural inquiry, ranging from ecological proto-urbanism and hovering settlements to magnetic and cruciform spatial systems. Ultimately, the paper argues that the historical non-realization of these projects should not be interpreted as a failure but as an intrinsic feature of their speculative methodology. Suprematist architecture is thus redefined as an anticipatory practice whose unresolved propositions continue to resonate with contemporary discussions on space habitation, planetary design, ecological responsibility, and post-human architectural thought, challenging inherited assumptions about the scope and function of architecture as such. Full article

This article examines the influence of tradition, particularly Orthodox thought and icons, on the “Russian” and Soviet avant-garde. This field of research was systematically initiated in the 1990s and continues to this day, as evidenced, among others, by recent articles in the Arts Journal. The present article contributes to this field by broadening the perspective, which has overwhelmingly focused on art. The step towards architecture is taken with a case study on the famous Soviet architect Ivan Leonidov. The article positions him in the context of contemporary debates on icons led by theorists Evgeniy Trubetskoy, Pavel Florensky and Nikolay Tarabukin, but also in connection with the emergence of Suprematism, which was introduced by Kazimir Malevich and further developed by El Lissitzky. Leonidov’s geometric bodies, which dynamically “float” in space, prove to be relevant to “Russian”/Soviet aesthetic interpretations of icons and “Russian”/Soviet artistic forms of expression. Just as the icon aimed at bringing believers closer to God, or Suprematism sought to reveal to the masses a higher spiritual or scientific truth, Leonidov’s architecture offered a metaphysical spectacle for a corresponding universalist goal: the creation of a pan-humanist utopia. Full article

The article queries the conventional interpretation of Vladimir Tatlin’s oeuvre as rational and pragmatic by focusing on more “irrational” aspects such as the visionary and unfeasible Monument to the III International, Letatlin and other, parallel projects that were never constructed or, perhaps, were never meant to be constructed. While acknowledging Tatlin’s debt to Cézanne and Picasso and referring to Formalist critics Punin and Tarabukin and to his proximity to Constructivism, the article also emphasizes the common contemporary reception of Tatlin as an actor, a buffoon and even a Holy Fool. The article concludes with copious references to Tatlin’s support of Daniil Kharms and the OBERIU group of Absurdist writers and to his illustrations for the former’s “fairy-tale” Vo-pervykh i vo-vtorykh. Full article

The essay offers an expansive and multi-stratified investigation into the role of esoteric traditions within the development of Russian modernity, reframing occultism not as an eccentric deviation but as a foundational epistemological regime integral to Russia’s aesthetic, philosophical, and political evolution. By analyzing the arc from Petrine-era alchemical statecraft to the techno-theurgical aspirations of Russian Cosmism and the esoteric visual regimes of the avant-garde, this essay discloses the deep ontological entanglement between sacral knowledge and modernist radical experimentation. The work foregrounds figures such as Jacob Bruce, Wassily Kandinsky, and Kazimir Malevich, situating them within broader transnational currents of Hermeticism, Theosophy, and Rosicrucianism, while interrogating the role of occult infrastructures in both late-imperial and Soviet paradigms. Drawing on recent theoretical frameworks in the global history of esotericism and modernist studies, the long-read article elucidates the metaphysical substrata animating Russian Symbolism, Abstraction, Malevich’s non-Euclidian Suprematism and Moscow Conceptualism. This study contends that esotericism in Russia—far from marginal—served as a generative matrix for radical aesthetic innovation and ideological reconfiguration. It proposes a reconceptualization of Russian cultural history as a palimpsest of submerged sacral structures, where utopia and apocalypse, magic and technology, converge in a distinctively Russian cosmopoietic horizon. Ultimately, this essay reframes Russian and European occultism as an alternate technology of cognition and a performative semiotic universe shaping not only artistic modernism but also the very grammar of Russian historical imagination. Full article

This study investigates the in vitro biocompatibility, corrosion resistance, and adhesion strength of a gas abrasive-treated Ti6Al4V alloy, alongside microplasma-sprayed titanium and tantalum coatings. Employing a novel approach in selecting microplasma spray parameters, this study successfully engineers coatings with tailored porosity, roughness, and over 20% porosity with pore sizes up to 200 μm, aiming to enhance bone in-growth and implant integration. This study introduces an innovative methodology for quantifying surface roughness using laser electron microscopy and scanning electron microscopy, facilitating detailed morphological analysis of both the substrate and coatings. Extensive evaluations, including tests for in vitro biocompatibility, corrosion resistance, and adhesive strength, revealed that all three materials are biocompatible, with tantalum coatings exhibiting superior cell proliferation and osteogenic differentiation, as well as the highest corrosion resistance. Titanium coatings followed closely, demonstrating favorable osteogenic properties and enhanced roughness, which is crucial for cell behavior and attachment. These coatings also displayed superior tensile adhesive strengths (27.6 ± 0.9 MPa for Ti and 28.0 ± 4.9 MPa for Ta), surpassing the ISO 13179-1 standard and indicating a robust bond with the substrate. Our findings offer significant advancements in biomaterials for medical implants, introducing microplasma spraying as a versatile tool for customizing implant coatings, particularly emphasizing the superior performance of tantalum coatings in terms of biocompatibility, osteogenic potential, and corrosion resistance. This suggests that tantalum coatings are a promising alternative for enhancing the performance of metal implants, especially in applications demanding high biocompatibility and corrosion resistance. Full article

To ensure development sustainability, the linear economic approach is being transformed into a cyclical model. For the pulp and paper industry (PPI), which occupies a significant place in the Russian economy, the shift of circular principles to the field of bioeconomics is becoming more important. This requires the development of basic biotechnological approaches implemented in closed cycles (biorefining). The aim of this study was to develop the biotechnological foundations of the circular economic system of the pulp and paper industry. To achieve the goal, the factors for the implementation of the circular mechanism in the pulp and paper industry were established. The composition of pulp and paper waste was systematized, taking into account the places of their occurrence; the directions and forms of the biorefining of pulp and paper secondary renewable resources were determined; and the principal possibility of obtaining bioethanol, based on the whole complex of sugars from cellulose production wastes, is shown. A wide range of general scientific methods was involved (analysis, synthesis, classification, modeling, etc.). Statistical methods were used to process experimental results in the field of pulp and paper waste bioconversion. The biotechnologies involved included methods of destruction, detoxification, and conversion of useful resources into secondary raw materials and final products. From the standpoint of the environmental approach, there are serious efficiency imbalances in the pulp and paper industry, which justify the implementation of circular mechanisms for organizing economic systems. The overall efficiency is ensured by the use of renewable resources and obtaining environmental effects. Algorithms and parameters of green biotechnological regulations for pulp and paper industry waste recycling provide the possibility of microbiological production of a complex of products: biocomposites, bioplastics, medical products, fertilizers, feed additives, vitamin supplements, and bioenergy resources. A strategy for the efficient biochemical processing of pulp and paper waste into green ethanol was determined. The possibility of increasing the efficiency of alcoholic fermentation using various biocatalysts was experimentally confirmed. The technological features of this method, associated with the need for microaerobic fermentation modes, were determined. Full article

The paper presents ground reasoning and results of experiments and modeling of heavy hollow ingot manufacturing using advanced electroslag technology. The requirements for ingots for huge diameter reactor pressure vessels include high density, homogeneity, and minimal segregation, which are very difficult to achieve by traditional casting. In the electroslag remelting process (ESR), hollow ingots form in between two copper water-cooled molds under effective heat removal. This improves the solidification pattern due to the shortening of a solidifying volume thickness more than twice compared with a solid ingot of the same diameter. The shallow liquid metal pool and narrow mushy zone at the ESR hollow ingot solidification assure their high metallurgical quality. Due to the dense and low segregation structure, ESR hollow ingots proved to be used for as-cast pipes and heavy wall billets for further forging. The results of a mathematical simulation within the range of simulated dimensions (the outer diameter up to 2900 mm, wall thickness up to 750 mm) also predict the favorable solidification pattern for thick-wall hollow ingots of big diameters. The analysis made and the modeling results provide a framework for scaling up the sizes of hollow ingots produced by ESR and widening their application for manufacturing heavy wall large diameter shells for nuclear and petrochemical industries. The higher reachable productivity of hollow ingot formation and lower capacity of power supply source than that for solid ingots of the same diameter and weight are also preconditions of their energy saving and cost-effective manufacturing. Full article

The demand for orthopedic implants is increasing, driven by a rising number of young patients seeking an active lifestyle post-surgery. This has led to changes in manufacturing requirements. Joint arthroplasty operations are on the rise globally, and recovery times are being reduced by customized endoprostheses that promote better integration. Implants are primarily made from metals and ceramics such as titanium, hydroxyapatite, zirconium, and tantalum. Manufacturing processes, including additive manufacturing and thermal plasma spraying, continue to evolve. These advancements enable the production of tailored porous implants with uniform surface coatings. Coatings made of biocompatible materials are crucial to prevent degradation and enhance biocompatibility, and their composition, porosity, and roughness are actively explored through biocompatibility testing. This review article focuses on the additive manufacturing of orthopedic implants and thermal plasma spraying of biocompatible coatings, discussing their challenges and benefits based on the authors’ experience with selective laser melting and microplasma spraying of metal-ceramic coatings. Full article

Serving as a conceptual introduction to the ARTS special issue, the article discusses the importance of archaic imagery and poetics of a major avant-garde actor who often symbolizes the main axis of Slavic radical modernism in its Avant-garde phase. Kazimir Malevich has widely explored religious archaic imagery in his oeuvre, engaging in a dialog with a historical tradition of representation. The article discusses Malevich’s iconic legacy, zooming in on the philosophy of Malevich’s suprematist imagery of peasants, Orthodox icons, and the ways of visualizing of an inner Hesychast prayer. In this context, the paper also analyzes Russian philosophy of language, imiaslavie and Hesychasm as it stemmed out from the creative perception of Byzantine philosophical lore developed by Gregory Palamas and several other thinkers. Full article

Modern conditions for real investment are generally associated with increasing uncertainty, which is even more relevant when evaluating innovative projects. Current innovation analysis methods using a linear model are outdated. At the same time, an open interactive model of the innovation process, formed due to digitalization, allows to connect to innovations at almost any stage of their life cycle. The aim of the study is to form a methodology for the economic analysis of innovative projects implemented in the context of an open innovation model. To achieve the goal, the study defines approaches to innovation projects differentiation. The approach to the analysis methods selection is based on the decision matrix. The developed decision matrix allows to determine the location of each project as its element and to select analysis methods, considering the project’s uncertainty characteristics. The logic of the analysis methods transformation under the influence of a changing uncertainty level determines the combination of the fuzzy-set approach and the concept of real options. The implementation of the project analysis algorithm leads to the choice of an appropriate method for evaluating effectiveness and ensures that the flexible risk response concept under conditions of improbable uncertainty is taken into account when implementing the option model. Full article

The article examines the correlation between the stylistic iconography of traditional Ukrainian embroideries and the experiments in modernist painting that led to the emergence of abstraction, Suprematism in particular. The focus is made on the artistic output of the embroidery workshops in the villages of Verbivka and Skoptsi, both located on the territory of present-day Ukraine, in the early 1910s. These studios, led by Natalia Davydova and Alexandra Exter, and Yevheniia Prybylska, respectively, engaged ‘leftist’ artists and local artisans to produce a new type of embroidery, relinquishing the mere stylization characteristic of other kustar studios in the Russian Empire. While scholars in Ukraine have undertaken extensive research to highlight the centrality of the Ukrainian context in progressive artists’ engagement with folk embroidery on the territory of the Russian Empire, internationally this phenomenon is still largely viewed under the generalized imperialist term of the ‘Russian avant-garde’. Using existing scholarship as the foundation, the present article seeks to redress this misconception. It also recognizes the long overdue need to situate the handicrafts revival movement in Ukraine within the broader framework of the engagement with vernacular culture by the nationally minded intelligentsia in East-Central Europe, while contrasting it with similar undertakings in Russia proper. Full article

Similar to the Russian historical avant-garde of the 1910s, which predicted the war and the social revolution of 1917, the late avant-garde of the 1920s anticipated the advent of the totalitarian terror and the Stalinist repressions of the 1930s. In figurative painting, this manifested itself in a specific visual “lexicon” and modality (bodily violence and the fragmented body, frustration, motifs of loss, death and general catastrophe), as well as in the expressive style (that inherited but not duplicated the models of European expressionism). In addition to proposing an analytical classification of semantics and poetics of the painting of the 1920s, the present article discusses the issue of the representation of political power in visual art and the presence of archaic roots in the corpus patiens (lat.) motifs. It examines artefacts made by eminent as well as little-known painters of the late avant-garde, including Kazimir Malevich, Alexander Tyshler, Kliment Redko, Georgy Rublev, Aleksandr Drevin, Boris Golopolosov and others. Full article

The article examines the paintings by Eduard Steinberg, a Soviet non-conformist painter from the 1950s to the 1980s from the standpoint of the plastics of his language. The author focuses on Steinberg’s polemical dialogues with the greatest names in Russian and European avant-garde art, including both common points and disagreements. By analyzing the painter’s texts through the prism of poetics of the invisible and the ontology of traces, the author observes Steinberg’s early art of the 1960s and 1970s as an attempt to create a symbolic language and attach an ideographic status to art. Through simultaneous use of two artistic strategies—mystical and religious symbolism, coupled with metageometry Steinberg arrives at optical formalism and spectator dialectics, vying to see the invisible and record the polysemantic nature of the symbolic sign. The article analyzes the influence Vladimir Veisberg and his “invisible painting” had on Steinberg, including the “white on white” style, as well as Giorgio Morandi’s still-life vision of metaphysical painting. The author believes that by relying on analogies and reminiscences, Steinberg refers his audience to his predecessors and joins them in an intertextual dialogue. A special place here belongs to Kazimir Malevich with his radicalism, his trend towards metasymbolism and the language of the basic forms—the circle, square and cross. All of these are close to Steinberg’s geometric plastics of the 1970s and 1980s. Staying true to the pure forms of Suprematism, Steinberg builds up an aesthetics of the geometric forms of his own, where abstract art comes together with the ontological progress towards God. The Countryside series (1985–1987) shows influence of Кazimir Malevich’s Peasant Cycle, some principles of icon painting and Neo-Primitivist art. Full article

The subject of this work is the monumental art of Jerzy Nowosielski (1923–2011), one of the most outstanding contemporary Polish painters, who combined modernity with the orthodox icon aesthetics. This work discusses the monumental realizations of Nowosielski, especially the architectural polychromes made by the artist in Catholic and Orthodox churches in Poland in the years 1950–1999. The aim of the inquiry is to present his work theoretically and place it in a broader artistic context. The research shows that Nowosielski’s monumental works results from a strongly defined artistic concept aimed at ‘mystagogy of space’. Nowosielski’s work is an original synthesis of the modernist avant-garde and traditional canons of religious art. The analysis of the problem was carried out in two areas: (1) analysis of the artist’s theoretical statements; (2) analysis of the artistic form with particular emphasis on the color aspect, based on the example of selected churches in Wesoła, Tychy, and Biały Bór. The work uses comparative references to the ideas of Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, and Le Corbusier. Full article