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In Western art history the grid has been positioned as an emblem of modernism. In Russia, however, early constructivist artists saw the grid as both a formal and ideological device. After a period dominated by socialist realism, the grid was re-adopted in the 1960s and 1970s by some dissident modernist and conceptualist artists.

This essay argues that the grid can still be an effective device in radical art practices as long as it is not perceived as an escapist structure that does not address the topics of today. In her seminal essay ‘Grids’, the art historian Rosalind Krauss claimed that ‘the grid functions to declare the modernity of modern art’. ‘By “discovering” the grid’, Krauss continues, ‘cubism, de Stijl,, landed in a place that was out of reach of everything that went before. Which is to say, they landed in the present, and everything else was declared to be the past’. In the first part of this essay I should like to begin filling up the space of Krauss’s omission points which she placed after Malevich’s name, and thus unravel a trajectory of the function of the grid in twentieth-century Russian art. Rodchenko & V. Stepanova Archive, DACS 2009 Technically speaking, Malevich’s eidetic suprematism relied on the intersection of planes rather than lines (the main operative tool of the grid) and is less relevant to the genealogy of this emblematic modernist structure than Aleksandr Rodchenko’s and Liubov Popova’s constructivist paintings (figs.1 and 2) and their sculptural sequels called ‘spatial constructions’ (figs.3 and 4).

Rodchenko derived his painting grids from his radical and stylistically diverse architectural drawings made between 1919 and 1920 when briefly a member of the Zhivskul’ptarkh. While some drawings relied on planar compositions, expressed at the same time in his non-objective paintings, other proposed models of socialist urban spaces imitated the steel grids of skyscrapers. Post-Revolution economic hardship and political instability prevented Rodchenko and his Zhivskul’ptarkh colleagues from realising most of their architectural projects. The latter were further delayed by the architects’ commitment to study and adopt the principles of modernist painting that had shifted theoretical debates, continued in the newly formed Institute of Artistic Culture ( INKhUK), surrounding two-dimensional art.

In this context Rodchenko decided to introduce the grid into his last series of paintings, and identify the line as ‘the new’ and, more importantly, ‘the last form of the non-objective art’. In her paintings of the same period Popova similarly demonstrated architectural aspirations. Launched after the infamous 0.10 exhibition of 1915, and united under the title Painterly Architectonics, the paintings adapted Malevich’s pictorial vocabulary but added greater tangibility. The tension between the aggressively overlaid planes, each delineated with a hard edge, created a sense of ‘painterly realism’ of form and, together with a reference to architecture in the series title, indicated Popova’s urge to build rather than paint. (This predilection reveals her knowledge of Vladimir Tatlin’s pre-Revolutionary constructivist sculpture and her friendship and collaboration with Aleksandr Vesnin, a painter, designer and civil engineer and in the 1920s a major constructivist architect.) Popova most amply demonstrates her thinking of a painting as a structure rather than a surface in her subsequent and the last two-dimensional group of works called Space-Force Constructions. Here she renders the grid with impasto white and black lines, varying in width and criss-crossing the raw plywood surfaces.