Sergei Sigei and Aleksei Kruchenykh: Visual Poetry in the Russian Avant-Garde and Neo-Avant-Garde

Abstract

One of the characteristic features of the Russian Avant-garde is the close connection between painting and poetry. Futurist poets (Vladimir Maiakovskii, Aleksei Kruchenykh) were educated as artists, their books were illustrated by the famous painters of their time (Mikhail Larionov, Nataliia Goncharova). Some of the Futurists designed their own books and did all kinds of typographical experiments. One of the most productive writers, designers, editors and publishers of such books was Aleksei Kruchenykh (1886–1968), who only recently has been given honour where it is due. One of his admirers is the Neo-avant-garde poet-artist Sergei Sigei (1947–2014), who was the first to publish some of Kruchenykh’s hitherto unpublished works and in many respects repeated, changed, and further developed his forerunner’s experiments with typographical signs and book production. Some of Sigei’s unique handmade books are dedicated to Kruchenykh. Sigei, the leader of the group of the ‘transfurists’ (Ry Nikonova, Boris Konstriktor, A. Nik, Vladimir Erl’) may be considered the main representative of the Russian Neo-avant-garde.

Slavic and Eastern-European Visuality

“…Kruchenykh combined small and large letters, normal and boldface, both in his hand-written and in his printed books; Sigei did not only do what Kruchenykh did, but developed new letters, sometimes on the basis Remarkable in this respect is his book Sobukvy (Co-letters), for the greater part written in the 1970s, but printed only in 1996, in a small edition of 200 numbered copies. 18 In his afterword to the book 19 , Sigei (1996) writes that he fuses, intertwines letters for economic reasons, but also, and ultimately, for a new and better understanding of the poetical text: Remarkable in this respect is his book Sobukvy (Co-letters), for the greater part written in the 1970s, but printed only in 1996, in a small edition of 200 numbered copies. 18 In his afterword to the book 19 , Sigei (1996) writes that he fuses, intertwines letters for economic reasons, but also, and ultimately, for a new and better understanding of the poetical text: 'Shedevrez', pp.…”

“…18 In his afterword to the book 19 , Sigei (1996) writes that he fuses, intertwines letters for economic reasons, but also, and ultimately, for a new and better understanding of the poetical text: Remarkable in this respect is his book Sobukvy (Co-letters), for the greater part written in the 1970s, but printed only in 1996, in a small edition of 200 numbered copies. 18 In his afterword to the book 19 , Sigei (1996) writes that he fuses, intertwines letters for economic reasons, but also, and ultimately, for a new and better understanding of the poetical text: 'Shedevrez', pp. 36-37.…”

“…Arts 2022, 11, 98 Remarkable in this respect is his book Sobukvy (Co-letters), for the greater part written in the 1970s, but printed only in 1996, in a small edition of 200 numbered copies. 18 In his afterword to the book 19 , Sigei (1996) writes that he fuses, intertwines letters for economic reasons, but also, and ultimately, for a new and better understanding of the poetical text:…”