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The Jewish Museum features more than 280 exhibitions of the artist
For the first time in 35 years, the artist Lyubov Popova received a solo exhibition. The Jewish Museum and Tolerance Center became the avant-garde artist’s temporary home. More than 280 works by the artist and his contemporaries, many exhibitions are presented to the general public for the first time. The rich and varied legacy that Popova managed to leave during her short life was studied by an MK correspondent.
This year’s Moscow exhibition can rightly be called avant-garde. Recently, a number of exhibitions dedicated to this artistic movement have opened: an exhibition in “Zotov” on Meyerhold’s constructivist theater, “Girlfriends. On the occasion of the anniversary of Varvara Stepanova” in the Pushkin Museum, “We are healthy people” in the Music Museum. The Jewish Museum also took up the baton of the avant-garde, where the first monographic exhibition of the avant-garde artist Lyubov Popova was inaugurated after 35 years. A symbolic coincidence: the artist died at the age of 35… However, in such a short life, Popova managed to express herself clearly and leave a rich legacy. They managed to tell the big story of his busy life here in a relatively compact space, saturating every room with information. And there is something to admire, to be surprised by and to be inspired by.
There are two options for viewing the exhibition. The fact is that there are two types of salt here: ocher, dedicated to Popova’s biography, and white, to her work. You can go chronologically, studying his life and work during this period, or you can make two circles: one through life and the other through his creative legacy. We chose the first option.
Cozy biographical rooms, reminiscent of the walls of a house, tell the story of the artist’s life from his early years. For example, in the first room of “life” we find his family tree, childhood photographs and in the next room we learn about the works of his youth. They show the houses of the village, Krasnovidovo, native Lyubochka. It’s hard to believe that all this is also Popova’s work. We leave our father’s house and fly immediately to Europe…
“Watch” made of clothes. The fabric design was developed by Lyubov Popova. Photo by Marina Chechushkova
We land in France. Important: The special value of the exhibition is contextual materials: works of Popova’s friends and teachers, including Kazimir Malevich, Varvara Stepanova and many others. As well as personal documents, memoirs of contemporaries and memorable photographs that reveal the human qualities of Lyubochka (by the way, this is what the collector Georgy Kostaki affectionately called her, who made a huge contribution to the preservation of Popova’s legacy, although they did not know each other personally).
Funny memories are associated with Popova’s studies in Europe. In Paris, Popova studied with the creators of Cubism at the La Palette Academy. But the artist also had time to go out and have fun. Together with her friends Vera Mukhina and Isa Burmeister, Popova traveled around Europe. Not without adventures, of course. Vera Mukhina has a memory of how, during a trip to Italy, the girls walked a lot, but during the day they did not eat anything. We went to a restaurant and drank wine there. They went to sleep right on the street. And the next morning, when the future star of the sculpture woke up, he saw a couple of Englishmen “climbing over Lyuba’s legs.”
An important part of the exhibition is dedicated to Popova’s theatrical works. The “initiation” was the collaboration with Alexander Tairov as part of the creation of the opera “Romeo and Juliet”. The project was not realized, but the work became a creative laboratory, where Lyubochka found her scenographic language, which we see in the sketches. But other theater projects brought Popova fame. He took part in the creation of “The Generous Cuckold”, staged by Meyerhold, and created the scenography. By the way, serious disputes arose about the artist’s authorship, but this is still really his work. This was the first time such a structure was used on the stage of a theater: multi-level platforms, stairs, ramps and even sports equipment for the actors who actively interacted with the scenery during the action. Impressive! Not only the sets, but also the stage costumes, or more precisely, the overalls (production clothes) for the actors, also made by Popova.
Another work with Meyerhold is “The Earth Standing on End”, for which an overhead crane was moved to the stage, albeit not the original one, but a serious artistic modification. Although, unlike Il magnanimo cuckold, in this representation the interaction of the actors with the structure was less active and took place mainly on stage. But the scope of the idea is impressive. An interesting discovery of the artist was the bright slogans on the screen, mounted on the installation, which not only decorated the stage, but also added semantic accents.
Another creative milestone in Popova’s biography was the art of production. Simply put, the artist was drawing a texture, which he compared to the painting plane. A hundred years later, compositionally complex but expressive models are experiencing a revival: the embodiment of his sketches can be found in modern design. Today we would say that she was a designer of mass-produced clothing. His work went beyond the laboratory and entered the wardrobe of many Soviet women. The exhibition features a huge clock-like structure that attracts special attention. The “dial” was samples of natural silk fabrics made according to Popova’s sketches, and the “hands” were two empty silhouettes of clothes that, “ticking”, allow you to see how different fabrics appear directly on the clothes. By the way, elegant and unusual.
Interview between Time.news Editor and Art Expert Dr. Elena Mikhailova on the Solo Exhibition of Lyubov Popova
Time.news Editor (E): Welcome, Dr. Mikhailova! It’s a pleasure to have you with us today. The solo exhibition of Lyubov Popova at the Jewish Museum is creating quite a buzz in the art community. It’s been 35 years since her last solo presentation—what does this exhibition signify for both the artist and the avant-garde movement?
Dr. Elena Mikhailova (M): Thank you for having me! This exhibition is monumental, not just for Popova, but for the recognition of women in the avant-garde movement as a whole. It highlights a rich tapestry of her work, connecting her personal history with her artistic evolution. It’s an opportunity for the public to engage with her legacy and appreciate the depth of her contributions during her short life.
E: The exhibition features over 280 works, many of which are on public display for the first time. How has this expanded the narrative around Popova’s career?
M: Absolutely. Popova was not only a painter but also a key figure in theater and a pioneering constructivist. By presenting her works alongside contextual materials such as pieces from her contemporaries like Malevich and Stepanova, the exhibition underscores the collaborative spirit of the avant-garde. It allows visitors to see Popova in relation to her peers—creating a more comprehensive understanding of the artistic landscape of her time.
E: That’s fascinating! I understand the exhibition features two distinct viewing paths, one focusing on Popova’s life and another on her works. Which path do you think contributes more to understanding her as an artist?
M: Both paths have their merits, but I believe the biographical route is particularly enriching. It draws visitors into her personal journey, showcasing her family background and early influences. For instance, seeing her childhood photos and her early works from Krasnovidovo allows a deeper emotional connection to her story, highlighting how her experiences shaped her art.
E: I’ve read that there’s a cozy arrangement in the biographical rooms that reflects a home-like environment. How does this setup affect the viewer’s experience?
M: The intimate setting indeed adds a personal touch to the experience. It feels less like a conventional gallery and more like stepping into her world. It provides context that can often be lost in more sterile exhibition spaces. The familiar, domestic atmosphere invites emotional engagement, allowing visitors to connect with her on a human level.
E: The exhibition also showcases some of Popova’s theatrical works. Can you elaborate on her contributions to the theater and how they reflect her innovative spirit?
M: Certainly! Popova’s work in theater was groundbreaking. Her collaborations, especially with Meyerhold, exemplified her experimentation with space and structure. The sketches for “The Generous Cuckold,” for instance, illustrate her innovative use of multi-level platforms and dynamic scenery that interacted with performers. This was revolutionary at the time and showcased her ability to merge visual arts with performance in a way that emphasized movement and interaction.
E: There’s also a narrative about Popova’s life in Europe, filled with memorable anecdotes of her adventures with friends. How do these stories humanize her as an artist?
M: Anecdotes like those during her studies in Paris bring a sense of relatability to her. They show that beyond her artistic genius, she was a vibrant person living a full life, experiencing joys and struggles like anyone else. These stories help demystify the artist and allow viewers to see her as a pioneer who balanced her passion for art with the vibrant social life of an avant-garde group in Europe.
E: Lastly, what do you hope visitors take away from this impressive exhibition?
M: I hope visitors leave with a renewed appreciation for Lyubov Popova as not just an artist but as a critical voice in the avant-garde movement. Understanding her contributions and struggles will not only enrich their knowledge of art history but also inspire a greater recognition of women’s roles in shaping the narrative of modern art.
E: Thank you, Dr. Mikhailova, for your insights! The exhibition certainly sounds like a captivating exploration of Lyubov Popova’s extraordinary life and work.
M: Thank you for having me! It’s an exciting time to engage with such a vital aspect of art history.