Aleksandr Deineka (1899-1969) : an avant-garde for the proletariat
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- IV. 2. Articles in collective works and periodical publications
- IV. 3. Catalogues
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IV. Selected Bibliography IV. 1. Books AA. VV.
The Russian Avant-Garde: Representation and Interpretation. Saint Petersburg: State Russian Museum Palace Editions, 2001. ALPATOVA, I. (ed.). Drugoe iskusstvo. Moskva 1956–1988 [Another Art. Moscow 1956–1988]. Moscow: Galart & National Center for Contemporary Art, 2005.
AL’TMAN, N. “‘Futurism’ and Proletarian Art,” in Russian Art of the Avant-Garde: Theory and Criticism 1902–1934, ed. and trans. John E. Bowlt, rev. and enlarged ed. London: Thames and Hudson, 1988. ANDERSEN, T. (ed.). Art et Poésie Russes. 1900–1930 Textes Choisis. Paris: Centre Pompidou, 1979. BANKS, M. (ed.). The Aesthetic Arsenal: Socialist Realism Under Stalin. New York: The Institute for Contemporary Art, 1993. BENDAVID-VAL, L. (ed.). Propaganda and Dreams; Photographing the 1930s in the USSR and the US. Thalwil, Swit- zerland; New York: Stemmle Publishers GmbH, 1999. BOBRINSKAIA, E. Futurizm [Futurism]. Moscow, 2000. BODENSCHATZ, H. and C. POST (ed.). Städtebau im Schatten Stalins. Die internationale Suche nach der sozia- listischen Stadt in der Sowjetunion 1929–1935. Berlin: Braun, 2003 BOERSMA, L. S. 010. La dernière exposi- tion futuriste. Paris: Hazan, 1997. BOGORODSKII, F., Vospominaniya, Stati, Vystupleniya, Pisma [Memoirs, Articles, Speeches, Letters]. Moscow, 1987.
BONNELL, V. E. Iconography of Power. Soviet Political Posters under Lenin and Stalin. Berkeley, Los Angeles; London: University of California Press, 1997. BOUVARD, J. Le Métro de Moscou. La construction d’un mythe soviétique. Paris: Ed. du Sextant, 2005. BOWLT, John E. (ed. and trans.). Rus- sian Art of the Avant-Garde: Theory and Criticism 1902–1934. London: Thames & Hudson, 1988, rev. and enlarged ed. _______ and O. MATICH (ed.). Laboratory of Dreams. The Russian Avant-Garde Fundación Juan March and Cultural Experiment. Stanford: Stanford University Press, 1999. BOWN, M. C. Socialist Realist Painting. New Haven; London: Yale University Press, 1998. _______ and B. TAYLOR (ed.). Art of the Soviets: Painting, Sculpture and Archi- tecture in a One-Party State, 1917–1992. Manchester; New York: Manchester University Press, 1993. BRION-GUERRY, L. L’Année 1913. Les forms estétiques de l’ouvre d’art à la veille de la première guerre mondiale. Paris: Éditions Klincksieck, 1971, 2 vols. BUCK-MORSS, S. Dreamworld and Catastrophe. The Passing of Mass Utopia in East and West. Cambridge, MA: The MIT Press, 2002. CHEGODAEVA, M. A., Dva lika vremeni (1939: Odin god stalinskoi epokhi) [Two Faces of Time (1939: One Year of Stalin’s Era]. Moscow: Agraf, 2000. COSTAKIS, G. A Russian Life in Art. New York: George Braziller, 1994. COLTON, T. J. Moscow: Governing The Socialist Metropolis. Cambridge, MA: Belknap Press, 1995 DE MAGISTRIS, A. città totalitaria. Milan: Città Studi Edizioni, 1995. _______ and I. KOROBINA (ed.). Ivan Leo- nidov 1902–1959, Milan: Electa, 2009. DEGOT, E. Russkoe iskusstvo XX veka [Russian Art of the 20th Century]. Moscow: Trilistnik, 2000. DOBRENKO, E. Stalinist Cinema and the Production of History: Museum of the Revolution. New Haven: Yale University Press; London: Edinburgh University Press, 2008. _______ and E. NAIMAN (ed.). The Land- scape of Stalinism: The Art and Ideol- ogy of Soviet Space. Seattle; London: University of Washington Press, 2003. DORONCHENKOV, I. Russian and Soviet Views of Modern Western Art: 1890s to mid-1930s. Berkeley; London: University of California Press, 2009. FAUCHEREAU, S. (ed.). Moscou 1900– 1930. Fribourg: Off ice du Livre, 1988; English ed. Moscou 1900–1930. New York: Rizzoli, 1988. FITZPATRICK, S. Everyday Stalinism. Ordinary Life in Extraordinary Times: Soviet Russia in the 1930s. New York; Oxford University Press, 2000. FÜLÖP-MILLER, R. Geist und Gesicht des Bolschewismus. Zurich; Leipzig; Vienna, 1926. GASSNER, H. and E. GILLEN. Zwischen Revolutionskunst und Sozialistichem Realismus. Dokumente und Kommen- tare: Kunstdebatten in der Sowjetunion von 1917-1934. Cologne: DuMont, 1979. GASTEV, A. Poeziia rabochego udara [Poetry of the Worker’s Blow]. Moscow: Sovetskii Pisatel’, 1964. _______ . “Über die Tendenzen der proletarischen Kultur, ” in Proletarische Kulturrevolution in Sowjetrussland 1917– 1921, ed. R. Lorenz. Munich: Deutscher Taschenbuch Verlag, 1969. GOLOMSTOCK, I. Totalitarian Art in the Soviet Union, the Third Reich, Fascist Italy and the People’s Republic of China. New York: Icon; London: Harvill, 1990. New York: Peter Mayer Publishers, 2011, 1st repr. GRAY, C. The Great Experiment: Rus- sian Art 1863–1922. New York: Harry N. Abrams, Inc., 1962; reed. as The Russian Experiment in Art: 1863–1922. London: Thames & Hudson, 2007. GRAZIOSI, A. L’URSS di Lenin e Stalin. Storia dell’Unione sovietica 1914–1945. Bologna: Il Mulino, 2007. GROYS, B. Die Erfindung Russlands. Mu- nich; Vienna: Carl Hanser Verlag, 1995. _______ . Gesammtkunstwerk Stalin: Die gespaltene Kultur in der Sowietunion. Munich: Carl Hanser Verlag, 1988. _______ . The Total Art of Stalinism: Avant- Garde, Aesthetic Dictatorship, and Be- yond, trans. Charles Rougle. Princeton: Princeton University Press, 1992. _______ . Obra de arte total Stalin, trans. Desiderio Navarro. Valencia: Pre-Textos, 2008.
GROYS, B. and M. HAGEMEISTER, Die
Neue Menschheit. Biopolitische Utopien in Russland zu Beginn des 20. Jahrhun- derts. Fráncfort: Suhrkamp, 2005. GROYS, B. and A. HANSEN-LÖVE (ed.). Am Nullpunkt. Positionen der russi- schen Avantgarde. Frankfurt: Suhrkamp, 2005. _______ and M. HOLLEIN (ed.). Dream Factory Communism: The Visual Cul- ture of the Stalin Era. Frankfurt: Schirn Kunsthalle; Ostfildern-Ruit: Hatje Cantz, 2003. GRÜBEL, R. Russischer Konstruktivismus. Künstlerische Konzeptionen, literarische Theorie und kultureller Kontext . Wiesbaden: Otto Harrassowitz, 1981. HELLEBUST, R. Flesh to Metal: Soviet Literature & the Alchemy of Revolution. Ithaca and London: Cornell University Press, 2003. HELLER, S. Iron Fists: Branding the 20th-Century Totalitarian State. London and New York: Phaidon Press, 2010. IGNATOVICH, B. Fotografii 1927–1963 [Photography 1927–1963]. Moscow, 2002. INGOLD, F. P. Der grosse Bruch. Russland im Epochenjahr 1913. Munich: C. H. Beck, 2000. _______ . Literatur und Aviatik. Europä- ische Flugdichtung 1909 bis 1927. Basel; Suttgart: Birkhäuser, 1978. KEMENOV, V. The USSR Academy of Arts: Sculpture, Painting, Graphic Arts, Stage Design, Decorative Arts. Leningrad: Aurora Art Publishers, 1982. KHAN-MAGOMEDOV, S., Vkhutemas 1920–1930. Moscow: Ladya, 1995. French ed.: Vkhutemas. Moscu 1920– 1930. Paris: Editions du Regard, 1990, 2 vols. KIAER, C. and E. NAIMAN (ed.). Everyday Life in Early Soviet Russia: Taking the Revolution Inside. Bloomington, IN: Indiana University Press, 2006. KING, D. Roter Stern über Russland, Eine visuelle geschichte der Sowjetunion von 1917 bis zum Tode Stalins. Essen: Mehring Verlag, 2010, 1st repr. KOMFUT, “Komfut Program Declaration,” in Russian Art of the Avant-Garde: The- ory and Criticism 1902–1934, ed. and trans. John E. Bowlt, rev. and enlarged ed. London: Thames and Hudson, 1988. KOSTIN, V., OST. Leningrad: Khudozhnik RSFSR, 1976. KOTKIN, S. Magnetic Mountain: Stalinism as a Civilization. Berkeley, LA; London: University of California Press, 1995. KOVTUN, Y. F. Sangesi: die russische Avantgarde. Chlebnikow und seine Maler. Zurich: Stemmle, 1993. LAFONT, M. Soviet Posters: The Sergo Grigorian Collection. Munich; Berlin; London; New York: Prestel Verlag, 2007. LAHUSEN, T. and E. DOBRENKO (ed.). Socialist Realism without Shores. Durham; London: Duke University Press, 1997.
LAVRENTIEV, A. Alexander Rodchenko: Photography 1924–1954. Cologne: Könemann Verlagsgesellschaft, 1995. LEWIN, M. The Making of the Soviet System: Essays on the Social History of Interwar Russia. London: Routledge, 1985. LORENZ, R. (ed.). Proletarische Kultur- revolution in Sowjetrussland 1917–1921. Munich: Deutscher Taschenbuch Verlag, 1969. MALEVICH, K. Suprematismus. Die gegenstandslose Welt. Cologne: DuMont, 1962. _______ . The Non-Objective World: The Manifesto of Suprematism. New York: Dover Publications, 2003. _______ . Escritos de Malevich. Madrid: Síntesis, 2008. MANDELSTAM, O. E. Carta sobre poesía rusa y otros ensayos. Barcelona: Verde- halago, 2010. MARCUCCI, L. Il commissario di ferro di Stalin. Biografia politica di Lazar M. Kaganovic. Turin: Einaudi, 1997. MATSA, I. (ed.). Sovetskoe iskusstvo za 15 let. Materialy i dokumentasiia [15 Years of Soviet Art: Materials and Documentation]. Moscow; Leningrad: Ogiz-Izogiz, 1933. MAYAKOVSKY, V. V. In Poshchechina obshchestvennomu vkusu [A Slap in the Face of Public Taste] . Moscow, 1912. MICHELSON, A. (ed.). Kino-Eye: The Writings of Dziga Vertov. Berkeley, LA; London: University of California Press, 1984. MOY NAHAN, B. The Russian Century: A Photojournalistic History of Russia in the Twentieth Century. London: Random House, 1994. NAKOV, A. (ed.). Escritos. Kazimir Malévich. Madrid: Síntesis, 2007. NAVARRO, D. et al. El pensamiento cul- tural ruso, 1972–2008. Havana: Centro Teórico Cultural Criterios, 2009, 2 vols. NEUTATZ, D. Die Moskauer Metro. Von den ersten Plänen bis zur Grossbaustelle des Stalinismus (1897–1935). Cologne, Weimar, Vienna: Böhlau, 2001. PAPERNY, V. Architecture in the Age of Stalin: Culture Two. Cambridge; New York: Cambridge University Press, 2002. PROFFER, E. and C. R. (ed.). Guro, Brik, Mayakovsky. The Ardis Anthology of Russian Futurism. Ann Arbor, MI: Ardis, 1980. RAKHILLO, I., Serebriannyi pereulok. Roman. Povesti. Rasskazi [The Silver Alley: Novel, Tales, Short Stories]. Moscow, 1978. RASMUSSEN, M. B. and J. WAMBERG (ed.).
Totalitarian Art and Modernity. Aarhus: Aarhus University Press, 2010. RIBALTA, J. (ed.). The Worker Photog- raphy Movement (1926 – 1939): Essays and Documents. Madrid: TF Editores; MNCARS, 2011. SEVERIUKHIN, D. and O. LEIKIND. Zolotoi vek: Khudozhestvennykh ob”edinenii v Rossii i SSSR (1820–1932): Spravochnik [The Golden Age: Artistic Associations in Russian and the USSR, 1820-1932. Reference Book]. Saint Petersburg: Izdatel’stvo Chernysheva, 1992.
SHADOVA, L. Suche und Experiment. Aus der Geschichte der russischen und sowjetischen Kunst zwischen 1910- 1930. Dresden: VEB Verlag der Kunst, 1978.
SHUNKOVA, E. V. (ed .). Masterskaia monumental’noi zhivopisi pri Akademii arkhitektury SSSR: 1935–1948 [The Studio of Monumental Painting]. Moscow: Sovetskii Khudozhnik, 1978 . STEPANIAN, N. Iskusstvo Rossii XX veka: Vzgliad iz 90-Kh [Art of the 20th Century]. Moscow: EKSMO Press, 1999. SWANSON, V. G. Soviet Impressionism. Woodbridge: Antique Collectors’ Club, 2001. TARABUKIN, N. Opyt teorii zhivopisi [Study of the Theory of Painting], Moscow: Vserossiysky Proletkul’t, 1923. Fundación Juan March 422 _______ . “From the Easel to the Machine,” in Modern Art and Modernism: A Critical Anthology, ed. Francis Frascina and Charles Harrison, trans. Christina Lodder. London: Thames & Hudson; New York: Harper & Row, 1982. The State Russian Museum: Painting and Sculpture. Leningrad: Sovetski Khudozhnik, 1968. TIETZE, R. V. (ed.) . Meyerhold Theaterar- beit 1917–1930. Munich: Reihe Hanser, 1974. TODOROV, T. The Totalitarian Experience, trans. Teresa Lavender Fagan. Chicago: University of Chicago Press - Seagull Books, 2011. TROTSKI, L. Literature and Revolution. Ann Arbor: University of Michigan Press, 2000.
VAKAR, I. A. and T. N. MIKHIENKO (ed.). Malevich o sebe, sovremenniki o Maleviche [Malevich about Himself, Contemporaries about Malevich]. 2 vols. Moscow: RA, 2004. Vystavki sovetskogo izobrazitel’nogo iskusstva 1917-1958 gg. v SSSR i za granitsei: spravochnik [Exhibitions of Soviet Fine Art 1917-1958 in the USSR and Abroad: Reference Book]. 5 vols. Moscow, 1965 –1981.
WARD, A. (ed.). Power to the People: Early Soviet Propaganda Posters in The Israel Museum, Jerusalem. Jerusalem: The Israel Museum, 2007. WHITE, S. The Bolshevik Poster. New Haven and London: Yale University Press, 1988. WOLF, E. ‘USSR in Construction’: From Avant-Garde to Socialist Realist Practice (PhD Diss.). Ann Arbor: University of Michigan, 1999. ZERNOVA, E. S. Vospominaniia monu- mentalista [Memoirs of a Monumental- ist]. Moscow: Sovetskii khudozhnik, 1985. Zhivopis’ 1920–1930. Russkoe Iskusstvo XV-XX vekov [Painting, 1920–1930. Rus- sian Art of the 15th to 20th Centuries]. Moscow: Sov. khudozhnik, 1989.
ALEXANDER, S. “Mural Painting in America,” New Masses, vol. 14, no. 9 (February 26, 1934). _______ . “Joe Jones,” New Masses, vol. 15, no. 9 (May 28, 1934). ALPATOV, M. V. “Problema sinteza v arkhitekture renessansa. Stantsy Ra- faelia” [The Problem of Synthesis in Renaissance Architecture. Raphael’s Stanze], Akademiia Arkhitektury, no. 1–2 (1934): 19 –22.
_______ . “Problema sinteza v iskusstve Barokko” [The Problem of Synthesis in Baroque Art] , Akademiia Arkhitektury, no. 6 (1936): 3–11. ARVATOV, B., “Utopie oder Wissen- schaft,” Kunst und Produktion (Munich, 1972). BÖHMIG, M. “Die Zeit im Raum: Chleb- nikov und die ‘Philosophie des Hyper- space’,“ Wiener Slawistischer Alma- nach, no. 38 (1986). BOSSI, L. “The ‘New Man’: Degeneracy and Regeneration,” in The 1930s: The Making of “The New Man” [exh. cat., National Gallery of Canada, Ottawa]. Ottawa: Editions Gallimard, 2008, 37–42. BRODSKII, L. “Osveshchenie stantsii metro” [Station Lighting in the Metro- politan]
, Arkhitektura SSSR 9 (1938): 11–17.
DE MAGISTRIS, A. “Mosca, la metro- politana rossa,” Casabella LXIV, no. 679 (2000): 8–29. _______ . “La metropolitana di Mosca. Un laboratorio del realismo socialista,” Urbanistica 100 (1990): 23–36. DEGOT, E. “Le Réalisme idéaliste. Une autre avant-garde russe,” in L’idéalisme soviétique: peinture et cinéma 1925– 1939 [exh. cat., Musée de l’Art wallon, Liège]. Brussels; Moscow, 2005, 10–19. Edinyi soiuz moskovskikh khudozhnikov [General Union of Moscow Artists], Tvorchestvo, no. 3 (1940): 2–3. FAVORSKII, V. “O kompozitsii” [On Com- position], Iskusstvo, no. 1–2 (1933): 3. GREENBERG, C. “Avant-Garde and Kitsch,” Partisan Review (Fall 1939): 34–49. HIELSCHER, K. “Futurismus und Kul- turmontage,” Alternative, no. 122–23 (1978). IAKOVLEV, V. “Krasnaia Armiia v borbe s nemetsko-faschistskimi zakhvatchikami [The Red Army in Battle against the German Fascist Invaders], Trud
(February 26, 1943). INGOLD, F. P. “Der Autor im Flug. Dae- dalus und Ikarus,” in Der Autor am Werk. Munich: Hanser, 1992. K. V. [
sic], “Zapad glazami sovetskogo khudozhnika” [The West through the Eyes of a Soviet Artist], Komsomolskaia pravda (December 16 ,1935). KAGANOVICH, L. M. “Pobeda metropol- itana-pobeda sotsializma” [The Victory of the Metropolitan is the Victory of Socialism], Izvestiia, no. 117 (1935); Metrostroi, no. 5/6: 4–9. KATAEV, I. “Lebedinoe ozero” [Swan Lake], Let [Flight] (Moscow, 1923): 20. KEMP, W. (ed.). Der Betrachter ist im Bild. Berlin: Reimer, 1992. Khudozhniki RSFSR za 15 let [Artists of the RSFSR for 15 Years], Kinogazeta (June 4, 1933). KOLLI, N. and S. KRAVETS (ed.). Arkhi- tektura moskovskogo metro [The Architecture of the Moscow Metropoli- tan]. Moscow: Izd-vo Vsesoiuznoi akademii arkkhitektury, 1936. KOSTIN, V. “Khudozhniki i sovremennost’ (Zametki o vystavke v Akademii Khudozhestv SSSR)” [Artists of Modernity. Notes on the Exhibition at the Academy of Arts of the USSR], Iskusstvo, no. 3 (1957): 37–38. LAFRANCONI, M. “Le Réalisme socia- liste. Pour une histoire de l’art en Union Soviétique,” Perspective, no. 3 (2006): 479–83.
LAVROV, V. “Arkhitektura moskovskogo metropolitana. Dve ocheredi metro” [The Architecture of the Moscow Metropolitan. Two Stretches of Railway], Arkhitektura SSSR, no. 9 (1938): 2–5. LEBEDEVA, I. V. “Zhivopis’ pervoi poloviny XX veka iz sobraniya Go- sudarstvennoi Tretiakovskoi galerei” [Painting of the First Half of the 20th Century from the Collection of the State Tretyakov Gallery], in Zhivopis’ pervoi poloviny XX veka. Gosudarstven- naia Tretiakovskaia Galereia. Katalog sobraniia. Seriia “Zhivopis’ XVIII-XX vekov”, tom 6, kniga pervaia (A-I) [Paint- ing from the First Half of the 20th Cen- tury. State Tretyakov Gallery. Catalogue of the Collection. Series “Painting of the 18th to 20th Centuries”, volume 6, book 1 (A-I)] Moscow, 2009, 7–14. MARCUCCI, L. “Un politico e la costru- zione del piano ,” in URSS anni ’30–’50. Paesaggi dell’utopia staliniana, ed. A. De Magistris. Milan: Mazzotta, 1997. MARTYNENKO, I. “ ‘Raum-Zeit’ in der Malerei und in der Filmkunst,” Kunst und Literatur, no. 6 (Berlin, 1969). NEUTATZ, D. “ Arbeiterschaft und Stalinismus am Beispiel der Moskauer Metro,” in Stalinismus vor dem Zweiten Weltkrieg. Neue Wege der Forschung, ed. Manfred Hildermeier. Munich: Oldenbourg, 1998. PINTO, S. “Quale modernità?” in S. PINTO (ed.), Galleria Nazionale d’Arte Moderna. Le collezioni. Il XX secolo. Milan: Electa, 2005, 13–45. PUNI, I. “Tvorchestvo zhizni” [Creation of Life], Iskusstvo kommuny, no. 5 (1919): 1. ROMANENKO, K. “Serving the Great Collective: USSR in Construction as a Cultural Barometer,” Zimmerli Journal, no. 3 (Rutgers, Fall 2005): 78–91. SHTERENBERG, D. “Die künstlerische Situation in Russland,” Das Kunstblatt, 1922.
_______ . “Brief aus Russland,” Das Kunst- blatt, no. 4 (1923). SURIS, B. “Einige Seiten aus dem künst- lerischen Leben Russlands im Jahre 1917,”
Iskusstvo, no. 4 (Moscow, 1972). TUGENKHOL‘D, Ia. “Zhivopis’ ” [Pain- ting], Pechat‘ i revoliutsiia, no. 7 (1927). VARSHAVSKII, L. “Portret sovremennika. Na chetyrekh vystavkakh” [Portrait of a Contemporary. At Four Exhibitions], Vecherniaia Moskva (August 8, 1933). VOL‘TER, A. “Nashi zadachi” [Our Task], Iskusstvo, no. 1–2 (1933): 6. Vruchenie diplomov khudozhnikami [Presentation of Diplomas to Artists], Vecherniaia Moskva (July 13, 1943). “Za luchshii metro v mire” [For the World’s Best Metropolitan Railway], Stroitel’stvo Moskvy 1 (1933): 12.
Russian Avant-Garde 1908–19 22 [Leonard Hutton Galleries, New York]. New York: Leonard Hutton Galleries, 1971. Russian and Soviet Painting [The Metro- politan Museum of Art, New York; The Fine Arts Museums, San Francisco]. New York: The Metropolitan Museum of Art, 1977. URSS anni ’30-’50. Paesaggi dell’utopia staliniana [Accademia Albertina delle Belle Arti, 1997]. Milan: Edizioni Gabriele Mazzota, 1977. Les Realismes [Centre national d’art et de culture Georges Pompidou, Paris; Staatliche Kunsthalle, Berlin]. Paris: Centre Georges Pompidou, 1980. Art of the Avant-Garde in Russia: Selec- tions from the George Costakis Collec- tion. Margit Rowell and Angelica Zander Rudenstine [Solomon R. Guggenheim Museum, New York]. New York: The Solomon R. Guggenheim Foundation, 1981.
Vanguardia rusa: 1910–1930. Museo y Colección Ludwig [Fundación Juan March, Madrid]. Madrid: Fundación Juan March, 1985. Art into Life: Russian Constructivism 1914–1932 [Henry Art Gallery, Washing- ton, DC; Walker Art Center, Minnesota; State Tretyakov Gallery, Moscow]. New York: Rizzoli International Publications, 1990.
Theatre in Revolution: Russian Avant- Garde Stage Design 1913–1935 [The Fine Arts Museums of San Francisco, California Palace of the Legion of Honor; IBM Gallery of Science and Art, New York; The Armand Hammer Museum of Art and Cultural Center, Los Angeles]. San Francisco: The Fine Arts Museums of San Francisco; Moscow : Bakhrushin State Central Theater Museum, 1991, 1st repr. Arte de vanguardia rusa 1900–1935 [Sala de exposiciones, Auditorio de Galicia, Santiago de Compostela]. Santiago de Compostela: Auditorio de Galicia, 1992. L’Avant-Garde Russe. Chefs-d’oeuvre des Musées de Russie (1905–1925) [Musée des Beaux-Arts de Nantes]. Nantes: Ville de Nantes; Paris: Réunion des Musées Nationaux, 1993. Malevich. Colección del Museo Estatal Ruso, San Petersburgo [Fundación Juan Fundación Juan March
March, Madrid]. Madrid: Fundación Juan March, 1993. Una mirada sobre la vanguardia rusa (1910–1930), ed. Gonzalo de Diego [Centro de Exposiciones y Congresos, Zaragoza]. Zaragoza: Centro de Exposi- ciones y Congresos, 1993. Von Malewitsch bis Kabakov.Rus- sische Avantgarde im 20. Jahrhundert [Museum Ludwig, Cologne]. Munich: Prestel-Verlag, 1993. La vanguardia rusa 1905–1925 en las colecciones de los museos rusos [Centro Atlántico de Arte Moderno, Canarias]. Canarias: Centro Atlántico de Arte Moderno, 1994. Ludwig Museum in the Russian Museum, ed. Joseph Kiblitsky [State RussianMuseum, Saint Petersburg; Ludwig Stiftung für Kunst und Interna- tionale Verständigung, Aachen]. Saint Petersburg: Palace Editions, 1998. L’Home, l’aire, l ’espai. Malevitx i els Mestres Russos de l’Avantguarda [Casal Solleric, Centre d’exposicions i docu- mentació d’Art Contemporani, Palma]. Palma: Ambit Serveis Editorials, 1999. Sin Objeto. La vanguardia rusa en la colección del Museo Estatal de San Petersburgo [Centro Cultural Caixanova, Vigo]. Vigo: Caixanova, 2000. Der kühle Blick. Realismus der zwanzi- ger Jahre, ed. Wieland Schmied [Kunst- halle der Hypo-Kulturstiftung, Munich]. Munich: Prestel Verlag; Kunsthalle der Hypo-Kulturstiftung, 2001. Ródchenko. Geometrías [Fundación Juan March, Cuenca; Palma]. Madrid: Fundación Juan March, 2001. Skul’ptura pervoi poloviny XX veka. Gosudarstvennaia Tretiakovskaia Galereia. Katalog sobraniia. Seriia “Skul’ptura XVIII-XX vekov” [Sculpture of the First Half of the 20th century. State Tretyakov Gallery. Catalogue of the Collection. Series “Sculpture of the 18th to 20th Centuries”], vol. 2. Moscow, 2001. Nackt für Stalin. Körperbilder in der russischen Fotografie der 20er und 30er Jahre [Kommunale Galerie im Leinwandhaus, Frankfurt]. Frankfurt: Anabas-Verlag, 2003. 1900. Arte de vanguardia rusa 1935 [Auditorio de Galicia, Santiago de Compostela]. Santiago de Compostela: Auditorio de Galicia, Lobanova, 2004. Dos mujeres de vanguardia: Aleksandra Ékster y Liubóv Popova [Manuel Barbié Galeria de Arte, Barcelona]. Barcelona: Manuel Barbié Galeria de Arte, 2004. Liubov Popova [Fundación Juan March, Cuenca; Palma]. Madrid: Fundación Juan March, 2004. Una visión sobre el vanguardismo ruso (Errusiako abangoardien geneko ikuspe- gia) [Fundación Bilbao Bizkaia Kutxa, BBK, Bilbao]. Vizcaya: IKEDER, 2004. Mímesis. Realismos Modernos, 1918–1945, ed. Tomàs Llorens [Museo Thyssen-Bornemisza, Madrid; Funda- ción Caja Madrid]. Madrid: Fundación Colección Thyssen-Bornemisza, 2005. La Russie à l’Avant-Garde 1900–1935 [Palais des Beaux-Arts, Brussels]. Brussels: Europalia International; Fonds Mercator; Moscow: State Russian Museum and ROSIZO Exhibition Center, 2005. Gegen Kandinsky / Against Kandinsky [Musem Villa Stuck, Munich]. Munich: Museum Villa Stuck; Ostfildern: Hatje Cantz Verlag, 2006. Vanguardias rusas [Museo Thyssen Bornemisza, Madrid; Fundación Caja Madrid, Madrid]. Madrid: Museo Thyssen Bornemisza; Fundación Caja Madrid, 2006. La ilustración total. Arte conceptual de Moscú: 1960–1990 [Madrid: Fundación Juan March]. Ostfildern: Hatje Cantz Verlag; Madrid: Fundación Juan March, 2008. Orixes da vangarda rusa [Fundación Caixa Galicia, Ferrol]. A Corunna: Fundación Caixa Galicia, 2009. Zhivopis’ pervoi poloviny XX veka. Gosudarstvennaia Tretiakovskaia Gale- reia. Katalog sobraniia. Seriia “Zhivopis’ XVIII-XX vekov” [Painting from the First Half of the 20th Century. State Tretya- kov Gallery. Catalogue of the Collec- tion. Series “Painting of the 18th to 20th Centuries”], Moscow, 2009. El Cosmos de la vanguardia rusa. Arte y exploración espacial 1900–1930 [Fundación Botín, Santander]. Santander: Fundación Botín, 2010. Construir la revolución. Arte y arquitectura en Rusia, 1915–1935 [CaixaForum, Barcelona; CaixaForum, Madrid]. Barcelona; Fundación La Caixa; Madrid: Turner, 2011.
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