colleagues in Italy. The Russian Futurists were also disgusted with the Ego-Futurists, a rival Russian literary association who had been formed in 1911 by the poet Igor Severyanin. This time, the negative feelings went both ways: Severyanin disapproved of the attitudes of the Cubo-Futurists, whilst they dismissed the Ego-Futurists as being immature, tasteless impostors. End of Cubo-Futurism By the year 1915, Cubism and Futurism both began to become exhausted for the painters; nevertheless, in 1915, the first all-Russian Futurist exhibition, called 'Tramway V', opened on March 3; organised by Ivan Puni, Vladimir Tatlin's works became the main focus, and the exhibition led to a succés de scandale. In 1916, another notable Cubo-Futurist book was published: Universal War, by Aleksei Kruchenykh, perhaps in collaboration with his wife Olga Rozanova. Cubo-Futurism can be said to have ended with the 0,10 Exhibition of 1915–1916, also organised by Puni, and fuelled by the rivalry between Malevich and Tatlin; afterwards, most of the participants of Cubo-Futurism began to direct their energies to other styles of writing or painting, for example Malevich's new art movement Suprematism, which officially began at the 0,10 Exhibition, or with Constructivism. According to the Italian Futurist painter Gino Severini, who had met and heard first-hand accounts from the Russian Futurist painters Larionov, Puni and Kseniya Boguslavskaya, the movement finished in 1916, though, according to the Encyclopædia Britannica, the style continued to be in use until roughly 1919. Art For Cubo-Futurist artists, this movement represented a shift in stylistic values from a perception of painting as a reflection of their current reality into a portrayal of idealism through depictions of a perfect future defined by equality and an organised collective consciousness. One such example would be Kazimir Malevich’s 1912–13 The Knife Grinder (The Glittering Edge). The flickering of reflective metallic colours creates a dynamic representation of motion and energy, depicting the “mechanical vibration and dynamic rhythm” of modernisation through industrialisation and mechanical harmony. The knife grinder himself is central to the composition, camouflaged within the dense abstracted geometric shapes that surround and encompass him, invoking the idea that the man has fused into the mechanical perfection of a giant organised system. To Malevich and other artists of the Cubo-Futurist movement, works like this acted as a social metaphor highlighting the process of transformation, revolution, social rebuilding, and proletariat collectivism they wished to see in their society’s future. Complex abstracted geometric shapes and