Маргарита Мастеркова-Тупицына - Эрик Булатов

of a line at the centre there is a white dot — the “geometric
point” that for Kandisnky signified “the ultimate and most singular
combination of silence and speech.”11 With this picture Bulatov’s
painterly discourse attained the “writing degree zero” point
that Sartre and Barthes had described as l’écriture blanche or
“a colourless writing, freed from all bondage to a pre-ordained
state of language”. Chances are that Bulatov has arrived at the
point where he started in 1966: he has overcome the seductive
power of “the unmediated clarity of non-representational art.”12
1 Rosalind E. Krauss, “Grids”, in The Originality of the Avant-Garde and Other
Modernist Myths, Cambridge, MA: The MIT Press, 1985, 9.
2 Ibid.
3 Ibid.
4 I introduced the term to identify those Soviet artists who, since the 1950s, refused to
work in the style of socialist realism. See “Avant-Garde and Kitsch”, in Margarita Tupitsyn,
Margins of Soviet Art: Socialist Realism to the Present, Milan: Giancarlo Politi Editore,
1989, 23–57.
5 Paul Wood, «Introduction: The Avant-Garde and Modernism» in Paul Wood (ed.), The Challenge
of the Avant-Garde, London: Yale University Press, 1999, 15.
6 This installation was realized in the exhibition Malevich and Film, curated by Margarita
Tupitsyn, Fundação Centro Cultural de Belém, Lisbon, 17 May–18 August 2002.
7 Benjamin H.D. Buchloh, Neo-Avantgarde and Culture Industry: Essays on European
and American Art from 1955 to 1975, Cambridge, MA: The MIT Press, 2000, 260.
Buchloh uses this expression in his discussion of the European neo-avant-garde, which,
according to him, prohibited “historical memory as much as discursive memory […] in order
to position and expose the new type of autonomous visuality.” Ibid, 262.
8 The Challenge of the Avant-Garde, 24.
9 Norman Bryson, “The Gaze in the Expanded Field,” in Hal Foster (ed.), Vision and
Visuality, Seattle: Bay Press, 1988, 92.
10 “Eric Bulatov and Oleg Vassilyev: A conversation with Margarita and Victor
Tupitsyn”, in Eric Bulatov and Oleg Vassilyev, New York: Phyllis Kind Gallery, 1991, 5.
11 Vasily Kandinsky, “Point and Line to Plane”, in Kandinsky: Complete Writings on Art,
New York: Da Capo Press, 1994, 538.
12 Rosalind Krauss, “Early Images Coming Through: Pollock’s Black Paintings”, in
Abstraction, Gesture, Ecriture, Zurich: Scalo, 1999, 23.

Маргарита Тупицына
Эрик Булатов
Margarita Tupitsyn
Erik Bulatov
Издатели:
Александр Иванов
Михаил Котомин
Перевод на русский:
Виктор Агамов-Тупицын
Редактор английской версии:
Анна Асланян
Выпускающий редактор:
Анастасия Бурьяк
Дизайн и верстка:
ABCdesign
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