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Die an sich "nicht besonders originelle Idee von der "Kunst im Büro", konstatiert "The Week", wurde hier durch "hervorragendem Geschmack und der Erkenntnis, dass gute Kunst nicht unbedingt teuer sein muss" aufgewertet. Dann widmet sich die Autorin noch auf eher unorthodoxe Art dem Begriff der "deutschen Kunst": "Juden, Japaner, Chinesen und Russen, sie alle erhalten in der deutschen Kunst eine Aufenthaltsgenehmigung.
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The Russian weekly magazine The Week writes: "The Deutsche Bank Collection is famous in both banking and museum circles." The itself "not especially original idea of 'art at the office'," continues The Week, is here improved by "excellent taste and the recognition that good art doesn't have to be expensive." Then the author addresses the term "German art" in an unorthodox manner: "Jews, Japanese, Chinese and Russians, they all receive a residency permit in German art." "German art" thus becomes a historical phantom, continues The Week: "Whether the Russian public accepts these politically-correct manners is questionable, since political correctness is not in fashion in this country."
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Es waren somit nicht nur die rasanten Entwicklungen in Russland, sondern auch die Russen in Deutschland, wie Alexei Jawlensky, Marianne Werefkin und vor allem Wassily Kandinsky, die großes Aufsehen erregten.
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Even before this period was replaced in 1912 by his cubo-futurist phase (image), Malevich had the opportunity to show abroad for the first time in 1912, in the second exhibition of The Blue Rider in Munich. His Farmer's Head of 1911 stands for the frequent use of rustic and colorful, in other words typically Russian motifs. Thus, it was not only the rapid developments in Russia, but the Russians in Germany, as well, such as Alexei Javlensky, Marianne Werefkin, and above all Wassily Kandinsky that attracted enormous attention. In 1911, Kandinsky called the artist's group The Blue Rider into being, and with this he founded Modernism in Germany. Kandinsky also had close ties to Herwarth Walden and his exceptional gallery Der Sturm in Berlin. Although Walden exhibited a great number of Russian artists, as well, it hasn't been possible to establish Malevich's participation in any group exhibitions.
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Dennoch besitzt der Kandinsky Prize einen ganz unverwechselbaren Charakter. Auf die Frage, wie sich ihr zwischen Europa und Asien gelegenes Land entwickeln soll, antworten die Russen seit dem frühen 19. Jahrhundert, dass es seinen eigenen Weg gehen muss.
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Inside Russia, the Kandinsky Prize is compared to the Turner Prize. Yet it does have its own inimitable flavor. When they talk about how they'd like their country to develop, Russians, situated between Europe and Asia, have been saying since the early 19th century that Russia needs to go its own way. This also goes for its native art. In the throes of the Russian Revolution, the long-held humanist tradition of private collections largely came to a halt in the first quarter of the 20th century. This development was only to take a new and radical turn with the contemporary upheaval in Russian society. Since the dawn of the new millennium, a passion for art and collection is "in" again: suddenly, the adjectives "international" and "world-known" have catapulted a few select contemporary artists into the high-end of the domestic art market. Yet descriptions like "one of the few important artists on the Russian art scene" also suggest that these artists have previously played a minor role at best on the international market.