Robert Delaunay, Iliazd, fusain sur papier, 64,2 × 47,5 cm, Paris, 1922-1923, département Estampes et photographie, RESERVE DC-861 (A, 3)-FT 4, @labnf.bsky.social, via @gallicabnf.bsky.social
#drawing #Iliazd #dadaism #art www.instagram.com/p/DWrVOpICHZ...

John Malmstad | Department of Slavic Languages & Literatures

I saw this news just before leaving for Saint-Cyr-sur-Mer. I was first stunned by #Iliazd in Professor Malmstad's (then new) course on Silver Age and Avant-garde culture, but I credit him more broadly for teaching me to read poetry in his Symbolism seminar.
slavic.fas.harvard.edu/people/john-...

Since it was near closing time and no one else was present, we held an impromptu reading from Chapter 8 of #Iliazd 's _PhiloSophia_, depicting the moment Iliazd prepares to move from there to Pera. Igor Torbakov read the Russian in his beautiful, deep voice, and I read my translation.

People walking towards Café Minared past tables and chairs under a red umbrella. The café's maroon awning hangs over the entrance, where pomegranates and oranges are visible along with several signs. Masonry and arches are visible above the awning, and on the right a massive buttress rises at an angle to the base of a minaret.

Looking up from the entrance of Café Minared to the top of the minaret, up the sloping gray stone of the buttress and the minaret's initial stairwell to the round brick tower with its balcony surmounted by a conical roof under a blue sky with scattered clouds.

Inside the café's upper level different layers of stone and brick masonry are visible. There are now tables and benches for patrons, posters on the walls, and chandeliers hang from the ceiling.

After our Tsargrad workshop at SRII on Friday, we went to visit the shop under one of Hagia Sophia's minarets where Ilya Zdanevich #Iliazd found shelter for several months between 1920 and 1921. The attic space is now seating for a café.

I was very interested in the inventories of #Iliazd 's library included in the Fonds Iliazd @labnf.bsky.social . They turned out to be, understandably, limited lists of books from his library aimed at different booksellers--antiquarians, Africana studies--rather than an exhaustive list.

The pointlessness of the archive: An envelope addressed to #Iliazd sent in 1974 from a Van Vliet with a Vermont address has me thinking, impossibly, of this:
www.youtube.com/watch?v=NZFG...

Dime-a-dozen archival moments that make you wonder: On the back of the manuscript for #Iliazd 's _Rahel_ @labnf.bsky.social , there's a French note in his handwriting: "I'll be back in a few minutes. Here's the Bhagavad Gita." Is it for one of his teenage children?

Work in vain: Radically revising #Iliazd 's sonnet crown, down to its title, which I've changed to _Speechless Verdict_. This work is inspired--if not, for now, more directly fed--by seeing the three notebooks of drafts and the subsequent typescript @labnf.bsky.social .

#amtranslating again

A Nov. 1960 letter to #Iliazd , written in Russian, mostly about orthography, from an unidentified correspondent concerning a typescript of "Speechless Sentence" (1961): "Read it with pleasure. Its climate resonates mutatis mutandis with Pashka Valéry." @labnf.bsky.social

"A donkey? That's odd," the general's wife remarked. "Well anyway, nothing's odd, another of us may yet fall in love with a donkey," she noted, angrily watching the laughing young ladies. "It happened in mythology."

Dostoevsky, _The Idiot_

[more subtext for #Iliazd _dUnkee fərEnt_]

p.32 Stylized title for lidantiu in upper right corner: МАДОНН ВМЕЛНИ ЛИД АНТЮФАР АМ [stylized title]

ЛИД АНТЮФА РАМ [stylized title] p.33 заум verses--heavy pencil

Looking into Fonds #Iliazd @labnf.bsky.social . The cahier (fall '21-spring '22?) I saw yesterday devoted pages to a font for architectures of words, a font he seems to have conceived as particularly suited to zaum. Two [unused] stylized titles for _lidantIU fAram_ (1923) (from MY notebook).

Postcard with a canceled French stamp in the upper left corner on the picture side. The scene, "PARIS la Nuit--Bal Bullier," is appropriately dark, with light coming from a street lamp on the left, from the entryway of the Bal Bullier, with its arc of lights over the door and three lamps suspended over the arch. Some couples meeting or parting appear in the foreground, along with a gentleman who looks to be purchasing a paper, another top-hatted gentleman, and perhaps a policeman.

Went yesterday with my daughter to the Marché aux puces de la Porte de Vanves and she bought me this old postcard of Bal Bullier, site of artists' balls over many decades, including several organized by #Iliazd and the Union of Russian Artists.

Brick building facade with some of the front entry ironwork in an Art Deco style visible at the right of the photo. There are two plaques. "Dans cet immeuble vécut jusqu'a la fin de sa vie (le 5 fév. 1937) le peintre André Favory" and "L'historien d'art et peintre franco-russe Alexandre Benois (1870-1960) Confondateur des Ballets Russe de Diaghilev a vécu ici de 1935 jusqu'a son déces en 1960"

Went to the dentist this week. Turns out Alexandre Benois had lived next door. Benois had been #Iliazd 's great opponent during the weeks after the February Revolution, when Benois proposed an official Arts Ministry, something Iliazd foresaw as a disaster for artistic freedom.

In Conversation with Chloé Vanderstraeten For artist Chloe Vanderstraeten, paper is not just for craft; it is a flexible, sensitive material capable of carrying anatomical and emotional weight.

The Bullier Centre CROUS (student residence and activities center) undergoing renovation. It sits on the site of Bal Bullier at the southern end of the Luxembourg gardens just north of the Observatory at the beginning of Boulevard Montparnasse. La Closerie des Lilas is just to the left oustide the frame.

Entrance to Bal Bullier c. 1930 from a postcard. Above the gate are reliefs of figures dancing, strolling in the gardens, couples sitting together.

The former site of Bal Bullier, where so many artists' balls, including many organized by #Iliazd and the Union of Russian Artists during the 1920s, were held.

Airmail letters (on that old light blue airmail onionskin) from Marcel Duchamp to Iliazd (including envelope) concerning Iliazd's work on Series C of La Boite-en-valise.

Pages from Iliazd's Poésie de mots inconnus anthology displayed in hinged frames along a gallery wall.

As I understand, the modest exhibition concerns primarily Poésie de mots inconnus (1949) and the 1958 Series C of Marcel #Duchamp 's La Boîte-en-valise, which was produced and assembled by #Iliazd, but it looks like there's much more.

Gallery installation: a white-walled room with four white girder columns and a light-colored hardwood floor. In the center is a printer's cabinet (?) in darker wood with flat drawers and colored labels, as well as a shallow glass display case on top. There are tables of a much more modern design set between the columns on three sides. Drawers have been removed from the cabinet and laid on top of the tables. Images are visible mounted on the walls in groupings that leave lots of white space. There are strips of lighting overhead, and a blurred figure passes through the gallery.

Drawers in the central cabinet pulled open to display their contents. What's plainly visible is Iliazd's design for a loom to produce jersey that holds its shape for Chanel in one, a graphed fabric design (perhaps for Sonia Delaunay?) and a page design announcing a drawing of Iliazde (sic) by Robert Delaunay in another, and in the extreme upper left, a glimpse of lidantIU fAram, Iliazd's final dra, in another.

One white wall of the installation featuring Iliazd's groundplan drawings of churches.

I received from François Mairé some photos by Jürgen Eheim of the TOUTITÉ exhibition at the Fondazione Antonio Dalle Nogare in Bolzano. #Iliazd

Well, Esther, who has lost her name among so many, shares something, it turns out, with the characters in #Iliazd 's _PhiloSophia_. I'm curious to learn why. #BleakHouse

Pour le remercier, Marcel Duchamp offrit à Iliazd, lors de sa venue à Paris durant l’été 1958, un Grand Verre, collotype sur celluloïd (colorié à la main). [exemplaire de la collection Ronny Van de Velde, Anvers] #Iliazd #MarcelDuchamp

Sonia Delaunay's highly geometric costume of "discs" in bright primary colors for dancer Lizica Codréanu.

Sonia Delaunay (1885-1979) La Danseuse aux disques: maquette de costume pour la Soirée à la Licorne 1923 Aquarelle et crayon graphite sur papier Dpt Arts du spectacle Réserve 8-MAQ-10097 Prov.: donation Sonia Delaunay, 1977 Lors de la soirée organisée par le poète Iliazd et le groupe Tcherez à la galerie La Licorne à Paris, le 29 avril 1923, la danseuse roumaine Lizica Codréanu improvise sur le Mouvement perpétuel de Francis Poulenc, vêtue de ce costume qui la contraint à se déplacer frontalement.

THANK YOU! THANK YOU! @labnf.bsky.social wins the prize for acknowledging #Iliazd 's (and Tcherez, his association of poets in Paris) role as instigator and organizer in the last years of Paris Dada. Sonia Delaunay's costume design for dancer Lizica Codréanu, who on other occasions danced to zaum.

My Grandmother at Ciné Lumière - Institut Français · Royaume-Uni + intro by actor and writer Lasha Bakradze and piano accompaniment by John Sweeney

There's an #Iliazd component to this event later this week in London. Sorry I can't make it.

www.institut-francais.org.uk/cinema/my-gr...

FOR ONE ENTHRALLED TO FIERY COLLOQUY BY PROOFS IN DINING ROOMS AND ROSE NARCOTIC THE LAURELS POSED IN JEST ARE IDIOTIC AND STYLE THATS BOUND SHOULD NOT BECOME YOUR MEAT TOWARDS SUNRISE NIGHT TAKES OFF ITS WIDOWS WEEDS ITS NOT MY PLACE TO SUFFER GOLDEN SHACKLES I CHOSE THE PATH OF WORDS AND GAINED ITS BACKING TO LIVE BESIDE MY HEART DEPART MY HEAD AN AEROSTAT INFLATED WITH DELUSION MAY IT RISE UP ON MORNINGS HAZY RUSES AS IT GOES DRIFTING STRAIGHT AWAY FROM TRUTH MY TAINTED SELF SHOULD NOT SEE DISREPUTE BY LAYING BARE A SHORTCOMING SO NOVEL A PROMPT THAT LINGERS FOR A SLUGGISH MOVER

from #Iliazd, SPEECHLESS SENTENCE

«Le balet de la nvict.»
#Iliazd

Une eau-forte de Marie-Laure, pleine page, tirée sur un papier vergé d’une finesse extrême. On dirait presque du papier à cigarettes. #Iliazd #art #etching

«Lis donc, ami lecteur, ce livre immortel et connu de personne, en preuve du temps heureux où les ballets étaient écrits et dansés par les poètes.»
Iliazd au lecteur, 1953.
#Iliazd #typography #MarieLauredeNoailles

@labnf.bsky.social @iliazdproject.bsky.social

2019 materials related to Iliazd, including a program for Displacement and Display, postcards for Déplacements et déploiements, Les Carnets de l'Iliazd-Club no. 9, Actes du Colloque Ilia Zdanevitch Iliazd Paris 6 & 7 juin 2019, note from Iliazd-Club to members informing them of conference.

Revisiting #Iliazd events of 2019.

Retour à la raison (Return to Reason), 1923 Digital video, transferred from 35mm film, black-and-white,, silent, 2 min., 26 sec. Courtesy of WOMANRAY and CINENOVO Man Ray's first film premiered in Paris at the Soirée du coeur à barbe (Evening of the Bearded Heart), a Dada performance organized by the poet Tristan Tzara. According to the artist's autobiography, Tzara asked him to submit a film with only a day's notice. Not having one ready, he spliced together existing footage he had made earlier with film strips he developed that night. He sprinkled salt, pepper, tacks, and other objects directly onto the film and then exposed it to light (see the facsimiles in the nearby case). In this way, Man Ray applied his rayograph technique to a time-based format. Counter to the work's title, its imagery lacks reason or narrative logic.

Well, actually, the Soirée du coeur à barbe was organized by #Iliazd and Tcherez at Tzara's request. No theater, fearing costly scandals, would rent to Tzara. This evening's scandal killed Dada and gave birth to Surrealism. Thanks to fines and court costs, Tcherez died with Dada. @metmuseum.org

La numérisation du caractère Garamont Deberny & Peignot, gravé par Henri Parmentier, est très importante pour l’étude de la typographie de l’avant-garde française. J’en veux pour preuve l’usage brillant qu’en a fait Iliazd, Après nous le lettrisme, Imprimerie Union, Louis Barnier, 1947. #Iliazd

My Grandmother at Ciné Lumière - Institut Français · Royaume-Uni + intro by actor and writer Lasha Bakradze and piano accompaniment by John Sweeney

A friend notified me of an upcoming event in London that includes a tribute to #Iliazd and a performance of some of his zaum (here called "DADA") poetry.
www.institut-francais.org.uk/cinema/my-gr...

Page d'accueil - Musée Bibliothèque Pierre-André Benoît Fermeture annuelle du 1er au 31 janvier 2025 En ce moment Prochainement Découvrir Découvrir Fermeture annuelle du 6 au 31 janvier 2025 Compte tenu de travaux d’accessibilité, le musée sera partielleme...

And, although there is not yet any indication on its website, I understand that another #Iliazd exhibition will open in spring 2026 at Musée bibliothèque Pierre André Benoit.
www.museepab.fr