Montreal

Lazar Khidekel

Saidye Bronfman Centre

For young artists such as Lazar Khidekel, Kazimir Malevich’s doctrines were full of promise. The October Revolution provided the political framework for Constructivism’s utopian disengagement from mimesis: it was pulled into the orbit of Malevich’s Planits, ca. 1920, and Gustav Klutsis’ “flying cities”. As an architect, Khidekel created projects for floating cities and cities built on piles, the foundations (terra firma or water) and hypothetical constructions of which were designed to integrate nature’s organic and harmonious movements within their schema. While virtually ignored as an artist, Khidekel, long after he had left the Vitebsk of the ’20s far behind, continued to apply Malevich’s Suprematist notions to architectural projects in Russia.

Culled from the Claude and René Boulé collection in Paris by curator Antoine Blanchette, and comprising some 150 works on paper dating from 1920

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.