0.10 Exhibition

0.10 Exhibition
Фотография Ателье Буллы Unknown [1] · Public domain · source
Name	0.10 Exhibition
Year	1915
Location	Petrograd
Venue	Museum of the Second Art Society
Curated by	Kazimir Malevich
Notable artists	Kazimir Malevich, Vladimir Tatlin, Aleksandra Ekster, Ivan Kliun
Movement	Suprematism, Constructivism

0.10 Exhibition The 0.10 Exhibition was an avant-garde art show in Petrograd that advanced radical visual experiments and reconfigured early 20th-century artistic debates among figures tied to Russian Empire, Revolution of 1905, World War I, February Revolution (1917), October Revolution, Russian Civil War, Bolsheviks, Mensheviks. It catalyzed exchanges among artists associated with Kazimir Malevich, Vladimir Tatlin, Aleksandra Ekster, Nikolai Punin, Ilya Chashnik, blending trajectories tracing to Wassily Kandinsky, Pablo Picasso, Georges Braque, Fernand Léger. The exhibition shaped discussions intersecting with institutions such as the State Museum of Modern Western Art, Hermitage Museum, Russian Museum, Tretyakov Gallery.

Background and Concept

The show emerged from networks linking Supremus group, Union of Youth (Soyuz Molodyozhi), Museum of Artistic Culture, Jack of Diamonds (art group), Donkey’s Tail (art group), and debates among critics like Aleksandr Benois, Natalia Goncharova, Mikhail Larionov. It was framed by theoretical texts echoing Vladimir Mayakovsky, Velimir Khlebnikov, Aleksei Kruchyonykh and indebted to exhibitions like Salon d'Automne, Armory Show, Der Sturm, Blue Rider (Blaue Reiter). Curatorial aims referenced manifestos circulated by David Burliuk, Kazimir Malevich (Manifesto), Vladimir Tatlin (Wooden Counter-Reliefs) and dialogues with contemporaneous designers linked to Alexander Rodchenko, Lyubov Popova, Varvara Stepanova, El Lissitzky.

Key Artists and Works

Kazimir Malevich presented seminal works in dialogue with peers: his squares and compositions conversed with earlier projects by Wassily Kandinsky and formal experiments by Paul Cézanne, Henri Matisse, Georges Seurat. Vladimir Tatlin exhibited structures that paralleled engineering interests of Nikolai Zhukov and aesthetic projects of Antonio Sant'Elia, Umberto Boccioni, while Aleksandra Ekster’s stage and costume designs referenced collaborations with Sergei Diaghilev, Ballets Russes, Michel Fokine. Ivan Kliun and Ilya Chashnik showed geometric works in relation to typographic and avant-garde print practices by El Lissitzky, Aleksandr Rodchenko, Vladimir Mayakovsky (poet). Other participants and interlocutors included Nikolai Punin, Mstislav Dobuzhinsky, Konstantin Yuon, Boris Grigoriev, Mikhail Matiushin, Olga Rozanova, Natalia Goncharova, Mikhail Larionov, David Burliuk, Ilya Mashkov, Pyotr Konchalovsky, Zinaida Serebriakova, Vasily Kandinsky.

Venue and Curatorial Team

The exhibition was installed in Petrograd’s Museum of the Second Art Society and organized by a curatorial team led by Kazimir Malevich with logistical support from Nikolai Punin and administrative liaison to municipal bodies including connections to Petrograd Soviet, City Duma (Saint Petersburg). The installation strategies echoed staging principles developed at Ballets Russes productions and at galleries like Salon des Indépendants, Galerie Der Sturm, Guggenheim Museum (later institutional dialogues). Technical assistance and fabrication related to workshops linked with Vladimir Tatlin and designers associated with Moscow Museum of Art, Imperial Academy of Arts, People's Commissariat for Education in subsequent years. Critical mediation involved periodicals such as Mir Iskusstva, Zavety (magazine), Letopis (journal), Golos Iskusstva.

Reception and Impact

Contemporary responses ranged from praise in avant-garde circles connected to Supremus group and Union of Youth (Soyuz Molodyozhi) to harsh critiques from conservative critics like Alexandr Benois and cultural institutions including Imperial Academy of Arts. International artists and critics — including references to Pablo Picasso, Georges Braque, Wassily Kandinsky, Theo van Doesburg — noted the show in correspondence and periodicals, shaping transnational dialogues with De Stijl, Bauhaus, Futurism, Cubism. The exhibition prompted debates in journals tied to Vladimir Mayakovsky, Velimir Khlebnikov, and led to polemics involving figures such as Nikolai Punin and Mikhail Matiushin.

Legacy and Influence on Art Movements

0.10 contributed to trajectories that influenced Suprematism, Constructivism, De Stijl, Bauhaus, Futurism, Concrete Art, affecting practitioners like El Lissitzky, Alexander Rodchenko, Lyubov Popova, Varvara Stepanova, Aleksandr Vesnin, Vladimir Tatlin. Its conceptual rupture informed later institutional histories at the State Russian Museum, Tretyakov Gallery, State Hermitage Museum and fed into exhibition histories referenced by curators at Museum of Modern Art, Tate Modern, Centre Pompidou, Guggenheim Museum. The dialogues set there reverberated through publications and retrospectives featuring Kazimir Malevich, Vladimir Tatlin, El Lissitzky, Alexander Rodchenko, Lyubov Popova, and influenced pedagogy at Bauhaus, Vkhutemas, and modernist debates involving Wassily Kandinsky and Paul Klee.

Category:Art exhibitions