Russian Construtivismo

Russian Construtivismo was an aesthetic-political movement that began in the Russia apartir of 1914, as part of the context of the vanguard movements in the country and it is a term used even today. He denied a " pure " art, he/she tried to abolish the idea that the art is a special element of the human creation, separate from the daily world. She should serve social objectives, the construction of a socialist world. The term art construtivista was introduced for the first time by Malevich to describe the work of Rodchenko in 1917.
It was characterized, in a quite generic way, for the constant use of geometry, primary colors, fotomontagem and the typography without serifa.
Construtivismo had deep influence in the modern art and in the modern design and it is inserted in the context of the vanguards aesthetic Europeans of the beginning of the Century XX. Manifestations influênciadas is considered by Construtivismo the one Of Stijl, Bauhaus, Suprematismo (as well as great part of the Russian vanguard).
Of the point of view of the plastic arts, using a wider meaning of the word, the whole geometric abstract art of the period (decades of 1920, 30 and 40) it can be called construtivista grossly (what includes the artistic experiences in Bauhaus, Neoplasticismo and other similar movements). Social subject, politics and historical context (Russia, first thirty years of the century XX) “A constructive art that it doesn't decorate, but it organizes the life”–Lissitski, 1922 Until the appearance of the construtivismo, any movement in the evolution of the modern art had been an expression so inserted in a concrete revolutionary reality, or it had placed so explicitamente the social function of the art as a political subject. The construtivismo was an expression with Marxist ideologies and it was intimately linked to a revolutionary communist organism. In its pulp, the construtivismo had the conviction that the artist could contribute to supply the physical and intellectual needs of the society as a whole, linking directly with the production of machines, with the architectural engineering and with the graphic and photographic means of communication. The art becomes I orchestrate of social transformation, it participates in the reconstruction in the life way and of the “revolucionarização” of the conscience of the people, he/she wants to satisfy the material needs and to organize and to systematize the feelings of the revolutionary proletariat - eis the objective: not the political art, but the socialização of the art. Starting from 1915, Suprematismo of Malevitch and Construtivismo of Tatlin (1885-1953) they are the two great currents of the Russian art; both they interfere in the vast movement of the ideological and revolutionary vanguard, led by Maiakovski and officially sustained by the commissary for the government's of Lênin instruction, Lunacharsky. The “Realistic Manifesto”, written by Naum I Flatter and signed by its brother Antoine Pevsner, it defined the limits and possibilities of the clearly art-no figurative and it thwarted the metaphysical ideas of Malevitch. Considered the first construtivista, the “Realistic Manifesto” it was afixado in the walls of Moscow during the first he/she lifts of political revolution amid the civil war and he/she had, therefore, great repercussion. Starting from him, many manifestos of antagonistic, different currents, even so, that they also looked for that social subject, they were announced. With the appearance of NEP in 1921, the New Economic Politics of Lênin, the usefulness of the construtivismo became questioned seriously. It is soon after, with its death and the fall of Lunacharsky, the new bureaucracy stalinista reduced the art to an instrument of political propaganda and of cultural popularization. The vanguard was disapproven and repressed; the old academy, revalued. Starting from 1930 approximately, the painting, the architecture and the sculpture of the Soviet Union became similar in everything, except in the thematic, to the painting, to the sculpture and the official of the Italian fascism architecture and of the nazismo alemão.aa Dialogues and influences Observing the antecedents and preliminaries of the construtivismo now, it can be affirmed that, in synthesis, the initial experiences of the modern painting, verified in the period that is going from the first half of the century 19, with the romantismo and the realism, even Cézanne (1839-1906) and the cubism, in the beginning of the century 20, they proceed to the breakup of the system renascentista and they sketch new paradigms.
At the beginning, it is necessary to repair to the work of Cézanne, that, for the construtivismo, it has been meaning strategic because, Tarabukin says, it is " starting from Cézanne that the painter begins to throw all its attention on the structure material Real of the screen.” It can understand each other, in the case, such structure as the specific ordering of the materials Real of the painting, is worth to say, the color, the texture, the brushstroke and its organization. It is in the work of Cézanne, that, for besides the dimension representacional, the structure of the painting will win prominence, coming explicit and with determination, for its observer, as focus of attention incontornável.
Some progresses that the cubism introduces, in a new pictorial economy: purification in the processual way of its subjective extraction, present in Cézanne, to turn it, with relationship to its origin, impersonal and abstract such a module or machine engagement and radicalização of the processual dimension of the art. On the other hand, one of the basic characteristics of the century XX went the victory of to abstraction on the mimese, a victory based on the prestige that the reason and the science possessed at the beginning of the century. The new abstraction degree consisted of the introduction of the time in the science–and the cubism explored this new vision of a noticed reality in a dynamic and simultaneous way starting from several point of view.
The construtivistas learns with the Italian futurists a new form of diffusion of the thought, the manifesto, and they are used of him to expose its ideas and concepts. Besides, the aesthetics, the ideário and the futurist objects will be appropriate and transformed by the construtivismo. Trotski considers that " the futurism is a European phenomenon that wakes up interest because, among other reasons, he/she didn't close, unlike what he/she affirms the Russian formal school, in the limits of the art, but, since the beginning, he/she linked to the political and social events, above all in Italy ". Malevitch says that “THE cubism and the futurism, revolutionary artistic forms, were the prenúncios of the political and economic Revolution of 1917 ".
Of that form, Cubism and Futurism they were known quickly and assimilated in Russia, where a group of artists, born of the combination of the two (desconstrução of the space and of the cubist and thematic of the city object, of the movement and of the futurist speed), it was denominated even of cubofuturistas.
Some authors separate Construtivismo of Produtivismo, doing a second phase of the first of this (starting from the superação of the composition for the construction and of the primacy of the utilitarismo), while others place the produtivismo as characteristic of the construtivismo.
The conceptions construtivistas and suprematistas coincide in many aspects, mainly in the fact of both they want to be materialistic and concrete. Even so the suprematismo, as well as Western Construtivismo, alleges the geometry as model contemplativo, of abstract language, starting from having presupposed idealists or mystics. In synthesis, he/she gives him, in this threshold, the superação of the dimension representacional of the art and the postulação of an object with value in itself, that is, whose connections are put in him own and not in some external instance. Malevich denominates this again in the pictorial realism. It is forged a new notion of realism there, entirely different from that frank one, derived of the naturalismo.
In the capitalist Occident, with possible exception of the dadaístas, that you/they work the reception of its works previously, the moment of the production be disentailed of the reception or of the consumption–unlike what it happens in Construtivismo. Authors O. Hahn and M. A. Prat gets to propose the breakup “of the apparent contradiction between dadaísmo and construtivismo.” Hahn saw in I Flatter and Pevsner the origin of the movement.
He/she identifies correntemente the construtivismo with succedaneums Westerners of same denomination: certain products of German Bauhaus and the Dutch neoplasticismo, for example. It is right that all these groups were unfolded, according to varied degrees, starting from echoes of the Russian construtivismo, but, to rigidity, them not very he/she has to do with the beginnings and objectives originals of the Russian construtivismo. They are authors solemnity-exiles as I Flatter and Pevsner, that diverge of the construtivismo, and, without forgetting of other, like Kandinski and Chagall, that construtivistas was never said - but, that, being emigrated Russian and having circulated in the artistic ways of then, they didn't operate to undo the confusion–that contributed, in several ways, so that if it established a contrafação of the movement, capable, in the case, of being conjugated to the capitalism. One should not also forget, in this imbróglio, the paper of the Cold War, that it seconded the operation, begun by the stalinismo, of apagamento of the origins and guidelines of the construtivismo. A retarded construtivismo originated in Rio de Janeiro and in São Paulo under the denomination of Concretismo, soon proceeded by Neo-concretismo, in the decade of 1950.
Movies “Para you, the movies is a show. For me, it is almost a middle of understanding the world.” –Maiakovski, 1922 THE speech construtivista, in highest, recognizes the movies as essential to its ideal (as industrial art, mechanics, anonymous, linked the society and the world Real - filming the existent things and destined to the masses) and it points at that time for the superação of the apprenticeship of the cinematography and of the ideological and aesthetic bad-use of the movies.
But the thought on the movies is late, same among intellectuals of the vanguard–many didn't consider it an art, just a technical apparel; other they saw it as inferior to the theater and the literature for just to reproduce images of the real world, and not to create them. The first ones, later, will support Vertov and Schub, while the seconds will give preference Eisenstein.
The futurism and the construtivismo, in Russia, appear in the movies at first timidly in films with traditional language, be in the insistence in mechanical objects or in the aesthetics of the sceneries and models. As soon as the semantics of the assembly passes for the first plan it is that can be spoken in movies construtivista and soon different abordagem strategies will appear with relationship to the paper of the movies and the film type demanded by the situation. For Dziga Vertov, “the future of the art cinematográfica is the denial of its present” (the old films romanceados and the given space the “intruders” as the music, the literature and the theater). Its movies, a so much futurist, has as object the movement of the things (more specifically, its rhythm) and she leans on in you/he/she refuses it of the psychological and in the exaltation of the machine. By means of the organization, of the construction of the material registered by the assembly–that should not manipulate the material, but to reveal it, to turn it readable, intelligible -, the movies (machine) it will develop heading for the cinematography (constructive vision of the world). With base in the films of Vertov, Gan will do of the movies, in its theoretical writings, the middle of expression construtivista par excellence–understanding the mechanism of the life and standing back of the art for half the representation of the Real (without actors' use, or without encenação).
Sergei Eisenstein will bring, already of the theater, the influence plástica/estética construtivista and its first two films, THE strike and THE encouraçado Potemkin (1924-5), they bring the marks of the constructions scenic construtivistas and of the demanded lineal plastic organization, for example, by Rodchenko. Even so, those are the most superficial aspects of its filiation to the problematic construtivista. Of its studies it will result its theory of the assembly that, in way different from the one of Vertov, it establishes the significant articulation in the movies (the “intervals” among the plans) as an understanding of the social function of the film. Thus, its two following films will found a new movies, called “intellectual.” Eisenstein presents, then, most of the lines of the construtivismo: besides the linearismo of its constructions and its original conception of the assembly, he works the paper and the sense of the objects, it integrates the writing into the image, it uses the architecture as social model and he/she answers vigorously to the notion of social indent.