Europe has always considered to be at the heart of modernity and industrialisation.
Between 1917-1925, revolutionary design in Russia took place due to revoluationary social change and radical advances reflecting in art and design practice.
On November 7th 1917 (before standardised world time, they considered this event to have occured in October), Bolsevihks (revolutionary armed workers) led by Lenin in St. Petersbeurg laid force upon the winter palace (Government). The Tzar has been overthrown, and the workers seize control of the state, having attacked in the Aurora battleship.
Lenin takes Russia under people's control to make a communist Government- the birth of the USSR, lasting between 1917-1989.
The country, in communist rule was now, "ruled by the people"- a state of which was later paralleled to George Orwell's 'Animal Farm' in which "all animals are equal, but some are more equal than others..."
"Peace, Bread, and Love" was Lenin's statement- a feeling of togetherness and unity, from the land workers to all.
'
'October' ('Ten Days That Shook The World') was a film directed by Sergei Einstein in 1927, commissioned by the Government to celebrate ten years since the revolution- the film is crammed with symbolism; the child curled up on the chair- symbolic of the re-birth of society, the the smashing of the wine bottles by the workers showing an abolishment to grandeur and unadulterated decadance, and religious references (but no name a few symbols!) related to the classical ideas of the old regime- that the king was "put there by God"- and this idea was, throughout modernism as a whole, being replaced by more scientific idealogolies. The Bolsevihks revolutionary ideal was to make people more, and not less equal.
Much of Russian imagery at this time, pre-progression, was still classical, but began to make a steady movement into socialist realism, and then, later, onto expressionism in modernity. At this time, 60% of Russians were illiterate, therefore, pictures had to be clear, symbolic and bold to translate to the masses. Most communication through the classes was depicted through imagery.
One of the most distinct symbols of the communist movement was the colour red, used vastly throughout their imagery and aesthetic portrayal. This colour was chosen by the Bolshevihks as a symbol of "the blood of the workers"- slave workers whose work resulted in martydom and dieing in the hands of the opressors.
1917-mid 1920's was a time of intense artistic expressionism within Russia. This was the first time that workers and the lower classes were depicted in a positive way through art- a real movement and time of change promoting equality throughout the state.
However, from the late 1920's onwards, Lenin, the Bolsevihk leader dies, and Stalin takes over the state, creating a communist dictatorship. Stalin's ideas are incredibly opposing Lenin's with classical views and and almost totalitarian "big brother" rule (once again, symbolised through a novel by George Orwell, '1984'). He abolishes avante-garde design and expressionism, and art and design became very backwards- looking and propaganda-fuelled- detahced once more from modernism. His new ideal was limited and determined by politics and uniformity. Not realistic- self-promotion and glorifying of himself, and the leaders of the state.
Art, although disaproved of by Stalin in it's modernist form was still progressive- there was no private art market in Russia at this time, art was still reasonably considered as a "status symbol". Artists were only comissioned to create "socialist realism" (as aforementioned)- Lenin embraced this socialism, but Stalin did not- this created a change in the way art developed and grew post-revolution.
A new aesthetic was created for a new world- geometric, rational, and pure. Very expressionate and modern, in reflection to industrialisation of Europe and the hope of the new state rule.
The modernist movement in Russia seemed to happen "over night". Russia moves away from third-world peasantry to revolutionary avante-garde status, and one of the greatest powers in the world.
Art was still very symbolic at this time, communicating to the mass illiterate (as the vast majority still were). The "people's aesthetic" is visual culture- understood by everyone, and tied into the philosophy of modernism. Deeply political- speaking of the new, modern world. Educating, developing and informing the public also.
The red wedge symbolised communism, invading the (circle of) the white army, "taking over the government". Experimental avante-garde design- leaders "paving the way" for others to follow, like cultural pioneers. The red wedge was not only symbolic in colour, but also shape, the Bolsevihk army (spear head) smashing through the old reigme).
This design by Rodchenko was comissioned in a utilitarian project to promote the new society with the advertisement of public libraries and book stores. The promotion of self-educating and literacy.
The red font instantly links with the Bolsevihks, "shouting out" to gain public attention. Very similar to El Lissitziky image (above)- linking back to recognisable imagery with the wedge and circle geometric shapes. The red font instantly links with the Bolsevihk's "for the people" mentality. The woman also represents the working classes and equality of the genders. The woman stood for the rise of female designers at this time, and the emancipation of their role within society.
The photographic imagery was also very appropraite to the revolution. Photography was still a relatively new medium, and truthful in regards to portraying the world- again, moving away from the classic socialist idealolgy- once again, depicting modernism. Democratic, political, and social function. Radical, pre-Bauhaus design- Russia was extremely forward thinking.
In recent years, Rodchenko's design has been mimicked by band 'Franz Ferdinand' for their album cover art. As we can see, the image is still entirely relevant, modern, and bold- even by today's standars, eighty years on.
The medium of print also became incredibly popular at this time. Cheap, easy, developing new aesthetics and technology.
Another photographic montage piece of work from Rodchenko- bold, symbolic and clean. 100% Russian modernism.
This portait of artist and desinger, Rodchenko, shows him in a labourer/worker-like boiler suit which he has constructed to represent a relation to the Bolsevikhs- that artists were at no higher a place than workers- he, along with many other constructivists, had a very modern and democratic view.
New designers and artists (interdisciplinary constructervism) displayed exhibitional work which also was designed for function, largely building to "construct a new society". These included sculptural experiments in new aesthetic forms that could be used in the "real world" and with architectual system of constructive ideas- Rodchenko, the interdisciplinary designer was a huge part of this movement.
Tatlin's model of the monument to 'The Third International'.
Constructivism in it's most functional form, as well as aesthetic. Proposed as the monument to the revolution in an alliance of communist countries. Designed in the early 1920's, to be three times the size of the eiffel tower, created as a boast of the country's development and forward-thinking in design. Never infact built, but a real statement of utopian grandeur, originally designed to take form in lecture theatres, educational space, offices for the state (Politicians), communications and broadcasting towers.
Textiles, before the revolution, was considered very low down in the "rankings" of art and design- but with the communist state came equality and no higherarchy. Under constructivism, textiles, craft (etc) was given the same respect as photography, graphics, etc. Fabrics were no longer considered a pointless, yet aesthetically enhancing tool, but could aslo be seen as a political statement with bold, symbolic designs. The constructivism designs would even be worn in fashion and throughout design. Again, this was linked to women's rising and progression through design. Female fashion design, for the first time, was created for practicality, not the sexualising that, through history, it has always been. Almost like an early unisex design. (created around 1923). This was another example of removing prejudice and discrimination from the old regime in society.
After 1987 (approx) Eiffel Tower EXPO in France, Russia was the leader of modernism just thirty years on. The world fayre was an epxo in which countries would gather to "show of their culture".
(This 1925 Paris expo USSR pavillion was designed by Melnikov).
The image above shows a Russian gentlemen's club! Comparitive even by today's standards in this country, the architecture really is extraordinarily modernist and bold. Once more, this was architecture avaialable "for the people"- a creative spectacle for all to enjoy.
VkUTEMAS was a Russian progressive art school that pre-dated the Bauhuas (prospectus cover design, above, designed by El Lissitzky). The school was opened to train new constructivists in interdisciplinary design.
Unusually, in Britain, and the EU in general, we are taught, and learn a lot more about the Bauhaus, as oppossed to VkUTEMAS due to political standing. Britain is a capitalist country, as Germany is, where as Russia was, of course, communist at this time.
Much like Bauhuas was, due to political reasoning, VkUTEMAS was closed by Stalin as he believed the ideas and expression was far too radical for his classical ideals and preference for socialist realism.
Sadly, after this great movement and progression that came along with communism bought the aforementioned dictatorship of Stalin, and from his opression, the 20th century, for Russia, largely just produced social realism and propaganda within art and design- the progression was almost thrown back to where it started before the revolution, with the odd, slight exception in the 1960's, with designs that "slipped through the barrier".
Summary:
*Revolution= a new oppurtunity for art to progress.
*Constructivists desire to make art useful.
*Aim that art should help 'construct' a new society.
*Use of new techniques and abstract aesthetic.
*By the end of the 1920s artistic freedom curtalied.
*1934, Stalin decrees 'Social Realism' only.
No comments:
Post a Comment