The late 1950s works of Vladimir Slepyan, Boris Turetski and Yuri Ziotnikov are motivated by the wish to break radically not only with an individual manner in painting, but also with easel painting as such. Their creations are in fact a type of colour-and-rhythm composition, which act as signals upon the human organism centres, though they could equally come from any other means, technical ones included. They are not pictures, nor are they lists of drawings; rather they are plans of some possible plastic performances. They can perhaps be seen as an extreme point of radicalism in non-official art, which was just emerging. At the same time, they were the first attempts at resurrecting abstract art,which was long banned in the USSR and which all young artists of the period of the Thaw identified with the style of super-modern civilisation.
Painted and sculpture grew ever closer to everyday
life and were its continuation in
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