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НАШЕ ЖИТТЯ • Грудень 2024 15 famous artists were teaching at the Institute, among them Ka - zimir Malevich, Viktor Palmov, Oleksandr Bohomazov, Mykhailo Boichuk, and Lev Kramarenko. In 1925, Tatlin was a perfect can - didate to join the staff. He was Ukrainian, and he spoke Ukraini - an – which was obligatory under the Bolshevik government’s pol - icy of Ukrainization. Tatlin taught a multidisciplinary class that combined sculpture, film, and photography. Tatlin had been inspired by Leonardo da Vinci’s Ornithop - ter and had worked on abstract ideas about a personal, hu - man-powered flying machine since the early 1920s, but it was only after moving to Kyiv and finding a stork with a damaged wing, which he took to his stu - dio for care, that he began to focus on his major artwork, Le - tatlin (an amalgam of his name and the Ukrainian verb letat’ , or “they fly”). The stork lived in Tatlin’s loft and inspired his early designs. The first versions consisted of a body basket for the human operator engineered of willow branches and bent wood with wings spanning al - most 10 meters (33 feet) across, sheathed with parachute silk. The bird-shaped machine was held together with steel ca - bles, leather, and whalebone; custom-made metal bearings ensured efficient movement. Letatlin was constructed as a glider but with wings that could achieve three kinds of move- ments that resembled those of a bird, and Tatlin hoped it would enable future humans to move around freely in the air. Tatlin: Kyiv will fill a major gap in current art history on Tatlin’s work in the late 1920s. Despite periods of obscurity after 1940, Tatlin has been celebrated as the first conceptual artist of the 20th century, and his legacy has endured, yet his Ukrainian identity remains under-recognized. This exhibition and the accompanying bilingual catalogue will restore Tatlin’s rightful Ukrainian context and reclaim his identity, underscoring his signifi - cance as an artist and as a symbol of Ukrainian cultural heritage. Volodymyr Tatlin, Collage for The Diplomatic Pouch (Сумка дипкур’єра) film by Oleksandr Dovzhenko, 1920s. Volodymyr Tatlin, Female Nude Body 1, 1920s. Courtesy of the Adamovskiy Foundation. Tatlin playing the bandura at an exhibition of handicraft arts in Berlin, 1914.
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