Музей Русского Авангарда / Russian Avant-garde museum

Миры Эль Лисицкого / Worlds of El Lissitzky: Allegra Garrone, Roberto Apostolo. Музей Русского Авангарда / Russian Avant-garde museum

Музей Русского Авангарда / Russian Avant-garde museum
г. Новосибирск
2013 г.

Музей Русского Авангарда

В большом городском парке около реки Обь есть место, где будет располагаться музей - красная отметина в белизне сибирского снега - центр изучения и анализа Конструктивизма, который оживит культурную и социальную жизнь города и придасть сильный импульс «арт-туризму».

Russian Avant-garde museum

The work of art as a planimetric basis, as a generator of chromatically defined spaces, shapes and volumes, which take on a new significance with three-dimensions space – sometimes already present or just subtended.

The red cube of El Lissistzky is present in many of his works, but here, in New Men of 1923, the implicit three-dimensional space is a priori declared and alone reveals his interpretation of reality. Through his painting, the artist has left us a pictorial message, which has implicitly determined the architecture that should contain this and others of his works that are recognisable to visitors.

In a great urban park full of trees, near the River Ob, an area has been secured; a space where the museum will be located; a red imprint in the white Siberian winter snow: a great world centre in Novosibirsk for the study and analyses of Constructivism, which will revitalise the cultural and social life of the city, besides giving strong impetus to the “tourism of art”.

There are four exhibition levels in the cube suspended in mid-air in the great central hall with the original works; and three other levels of which two are in the basement area where temporary exhibitions and services will be placed. Curved and straight lines immediately determine exhibition ramps and dividing walls, while the four limbs attuned by the artist in New Men become entrances or exits.

For this new way of conceiving the interior of the museum, the painting is already manifest in the flooring and interactive parts have been assumed, clear with new means of communication, on the life of the artist or the components of Suprematism, of Russian Constructivism, and on the original works of the artist. In the case where they are not available in the original form, they could be projected for didactic purposes on the same scale, with the possibility to study in depth the single parts of the work with the technology described above.


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