Kruchenykh himself described the new language as “wild paradise, fiery languages, blazing coal.” Khlebnikov, who contributed a prologue to the opera, called it the “language of the birds.” It’s no wonder members of the audience reacted as they did.
Robbed of familiar contextual cues and cozy linguistic references, it was as though they too had been stuck in a box and pronounced dead alongside the bourgeois sun.
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Passing through hanging Persian carpets, which dampen any external museum noises, visitors enter a darkened, contemplative space featuring text pieces and printed publications.
Founded in 2006, Slavs and Tatars—whose members asked to remain anonymous for this article, citing safety concerns and a desire to subsume its individuals to a collective spirit—dedicate its socio-historical explorations to Eurasia, an ambiguous region the artists define as "east of the former Berlin wall and west of the Great Wall of China." On view through Dec. Inside, the group's myriad textual offerings lie scattered atop benches on either side in an array of languages and scripts.
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Petersburg where audiences first reacted to the linguistic taunts from the Futurists.
The small room within Mo MA is an intimate and gently playful environment within the otherwise bustling museum setting, one more conducive to interacting with language experiments, as opposed to merely reacting to them.
One hundred years later, audiences are still trying to make sense of sense.