Exter belonged to three cultural centres
Her biography moves through Kyiv, Moscow and Paris. That mobility made her an important link between French Cubism, Italian Futurism and the art of Eastern Europe.
Eight facts that frame Ukrainian avant-garde not as one school, but as a network of cities, artists, theatres, private collections and international connections.
Her biography moves through Kyiv, Moscow and Paris. That mobility made her an important link between French Cubism, Italian Futurism and the art of Eastern Europe.
In 1917 Exter opened her own studio in Kyiv. The source material describes it as one of the centres of the city’s avant-garde culture.
Even after adopting the constructive system of Cubism, she did not abandon an intense palette. Colour remained one of the most distinctive features of her visual language.
Exter worked in scenography, turning stage décor into an architectural and plastic construction in which light, costume, movement and geometry formed a single system.
The publication on Edik Natanov’s collection stresses that provenance, exhibition history, catalogues, archives and research matter alongside the works themselves.
The publication associates the collection with Malevich, Kandinsky, Lissitzky, Popova, Exter, Suetin, Kliun and other figures of the avant-garde era.
The international “In the Eye of the Storm” project focused on modernism made in Ukraine and foregrounded Kyiv, Kharkiv and Odesa as cultural centres.
In Brussels and London a substantial number of works were loaned by the National Art Museum of Ukraine and the Museum of Theatre, Music and Cinema Arts of Ukraine for display and safekeeping during the war.