SEVED SPACE

The attractive force of one of the foremost symbols of Russian avant-garde 1910-20's Tatlin tower is well known. Proof of this is the increase in the number of spatial reconstructions of the towers and meticulous study of all available archive of graphic and textual materials.

Tatlin - Artist of Space, and desire to feel space of this artist is quite naturally. Everyone knows his kontrrelefy and angular kontrrelefy in which he posed and solved the problem of de-materialization of real materials (iron, wood, paper, glass, etc.). He is making these materials float in space against the law of gravity, making them thus in an ephemeral pictorial matter. This idea was generalized in his concept of "universal pictorial material."

Perhaps the newly discovered facts will help us better understand and feel the structure, space, materials, facilities, and the color of the tower Tatlin.

So, we will try to reconstruct the events leading to the creation of documentary stereophotography of the tower. Episode number 3 shooting tower in 1920 (we call it so). Photographer leisurely photographing the tower from the bottom point and slightly on the diagonal of the hall. Shutter is triggered and another film is ready. Suddenly suitable Tatlin and confronts the podium, then calling in the audience. Six people come and stand next to the Master. The photo for the memory. All animated, and the photographer have a professional problem. The whole group of people does not fit in the frame, or, rather, in a shot framework only heads are visible. The photographer begins to retreat back to the camera and moves to the side. Frame is found. Click the shutter, and another film is ready. Everyone leaves. Filming continued at another point in the room, it seems on the mezzanine.

After '74, I think, first realized the importance of the consequences arising from the episode number 3.I look at an unintentional and unique stereophoto of a tower of Tatlina deciphered and made by me in March, 1994 of two well-known documentary photographs dating from 1920 year. Before me, a magical world had opened preserved in 1920, randomly encrypted (encoded), but still saved for us the space of the tower and hall.

I invite you to look at the tower and its stereofragments, supplementing the knowledge of it with spatial sensations and experiences. I hope this sudden and retrospective stereosight at the Tatlin tower will help its studying and, possibly, creation of more accurate reconstructions.

B. Kolejchuk