Diego Rivera and dialogue of two revolution cultures

The article is devoted to creative and political contacts of the Mexican muralist Diego Rivera (1886-1957) with the participants of the international art community, established in the Soviet Union in the second half of the 1920s. According to the remark of V. Kutejshchikova, Rivera became "the first protagonist of the dialogue of two revolutionary cultures" in relations between the USSR and Mexico [8, p. 40]. The international cultural policy of the USSR in the 1920s were aimed at the convergence with the outside world and the formation of loyal public opinion. A logical consequence of this tendency were Rivera's active ties with the Soviet artistic scene. The researchers notes the proximity of revolutionary destinies of Soviet Russia, and Mexico, and explains this by intention to overcome the "European centricity", describing the Soviet Union as a model of "alternative to Western modernity" [13, C. 54], and calling Mexican artistic practice a kind of "alternative to European modernism" [14, 15]. Diego Rivera comes to Moscow as an experienced professional and a prominent political figure. During his stay in the Soviet Union (November 1927 - may 1928) muralist led active creative and social activities: did a lot of sketching for future monumental projects, gave public lectures, interacted with journalists, met with colleagues, writers, visiting museums and theatres, participated in debates, has prepared for publication several articles [25, 32]. Special attention should be paid to the cooperation of Rivera with the Association "October", which consolidated the left wing forces in Soviet art. About a third of all the members who signed the Manifest in March 1928 were representatives of the international community, which was dissolved inside the Soviet artistic environment formed by the avant-garde project. Rivera spent in Russia several month, during this time he were plunged in the artistic debate about the fate of the new proletarian art, which was at that time at the turning point. The Mexican guest, being involved in the socio-political process, retained an independent position of the artist pursuing the interests of his art. Diego Rivera as a muralist and revolutionary strengthened the position of the international Association "October" in the question of collectivism in creative work and the overcoming of the easel art. His activity upheld the awakened interest in muralism and particular in professional techniques of fresco painting in the Soviet Union. The creativity of the Rivera also experienced a considerable influence of the Soviet visual and political reality of the late 1920s. In his American frescoes (U.S. and Mexico) there are new motifs and themes of the parade and procession, inspired by the Soviet life, history and art. Diego Rivera because of his experience and talent was the most active promoter of Mexican culture in the Soviet environment of the 1920s. A dialogue between two close revolutionary cultures had the potential of more opportunities for real cooperation, however, the political and cultural situation in the beginning of 1928 has led to the practical uselessness of artistic internationalism and pluralism. Cultural dialogue between Mexico and the USSR resumed only in the postwar years, and resulting in the second visit of the muralist to Moscow in 1955-1956.

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