I have the free booklet in my pocket with all the rooms...
In summary:
Room 1: Painting 1917-18. Rodchenko explores textures, Popova's Painterly Architectonics use strong colours and jostling geometric shapes to get the energy of the architectonic into 2d work.
Room 2: Graphic works 1917-19. Demonstration of how quickly, contrary to widespread assumptions, R&P started looking at new roles for art; P does embroidery designs for an artisan co-op and some linocuts (exploring wide distribution of art), R designs an aircraft storehouse and does some designs for the Kafe Pittoresk.
Room 3: Paintings and graphic works 1919-21. Formation of INKhUK, reject 'composition' in favour of 'construction'. P uses paints on plywood or cardboard and uses wood dust to emphasise solid physicality, R explores the line as the sole element in a work of art.
Room 4: Paintings and graphic works 1920-21. Painting and graphic works 1920-21. Explorations of line, R abandons freehand work (old ideas rendered redundant by the compass and ruler).
Room 5: Kandinsky. Responses to him, move towards a rejection of his type of abstraction (ie abstracting from figurative) and his emphasis on psychology, subjectivity and symbol.
Architecture. P collaborates with Vesnin for mayday decorations, R works with some archs but ultimately both R&P frustrated and only really able to express ideas of arch through art works. P's first collab with Meirkhol'd (theatre) although cancelled due to ban on festivals during famine.
Room 6: Sculpture: objects in space. R makes freestanding sculptures or spatial constructions, configuration of geometric forms echoed in his arch ideas. P's studies for a construction in space outline move from 2d into production and theatre work.
Room 7: 5X5=25 Paintings. 2 part exhib in 1921 as fairwell to painting, was done with Stepanova, Vesnin and Exter... Includes R's triptych
pure red colour, pure yellow colour, pure blue colour (and a painting with 2 bisecting white lines that I really liked, sort of very early minimalism). Also lovely graphics for show catalogue.
Room 8: 5X5=25 Works on Paper. Intended to prove how art could play role in real world, works on paper or maquettes; R exhibits const designs for lamps and chandeliers, P designs for banners.
Room 9: advertising and graphic design. R goes into collab with futurist poet Mayakovsky to design ads for state-run industries (Maya justifies this somewhat uncommunist idea with 'it is necessary to employ all the weapons used by our enemies').
New everyday life. Campaign to transform domestic life; designs for furniture, clothing, household goods.
Political advertising and education. Propaganda and education posters inc work aimed at low literacy, history of Bolsheviks and clogan posters by P for
Earth in turmoil, a collab with Meirkhol'd.
Room 10: Textiles and costumes. P and Stepanova invited to contribute textile designs to first state cotton printing factory, R also designs fabric, but P's work genuinely reaches a mass public.
Theatre. 1921 P began teaching at state theatre workshops; most important
the magnanimous cuckold, farce which Meirkhol'd used to showcase biomechanics. R also works with Meir, a satire by Mayakovsky (looks quite interesting; about a guy who wakes up 50 years after being frozen in ice in a couless socialist utopia which he infects with music, alcohol and love).
Cinema. R works with Boris Barnet and Dziga Vertov.
Room 11: The female journalist. Film R worked on with Lev Kuleshov... Used as way of presenting ideas for urban living and int design. Ultimately admission that const ideas of reshaping space could only be realised on the stage and in cinema.
Room 12: worker's club. Reproduction of a design by R for a space that gives the proletariat books and chess ina a space for them so they can spend spare time productively.
Somewhere in there is also a load of photography by R and R's friends and a bit on the exhibition that was arranged immediately after P's death. I think I may actually have lost track of time and really spent more like 1hr 30 in there...
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