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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
thematic terms. They were nonetheless severed from it by the barrier created by the
conventialities of artistic language. The aesthetic reduction of the meanings of any of the
objects, even the most repulsive, within a given space of an artistic work was clearly
demonstrated by Boris Turetski. Following in the footsteps of Arman, he demonstrated
the relevant mechanism by using an extreme example — the contents of a slop pail.
Immediately calling to mind the objectified abstraction of Kandinski, the Rubbish Heap
did not, however, call into question the inexorable transforming power of the picture's
plane; on the contrary, it confirmed it.


Дизайн и поддержка -Сухарев