By Anja Schlotman-Bakkenes
Книга по созданию изделий из бисера.
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Iv. Russian posters were bluntly instrumental in use, non–site specific, ephemeral. ” Even the more avant-gardist posters were nominally proletarian in theme and were 20 vision and communism Figure 11. Anonymous, Untitled, 1940s–1950s, black–and–white photograph. [Ne boltai! Collection] Figure 12. Viktor Koretsky, Untitled, 1940s–1950s, black-and-white photograph. [Ne boltai! Collection] i n t r u s i v e, i n t r a n s i g e n t, i n v i s i b l e 21 i ntended to take any number of forms and sizes, to be rescaled, repurposed, and printed in different formats; in the 1930s journals appeared dedicated solely to reviews, reproduction, and analysis of posters: Produktsiia izobrazitel’nykh iskusstv [Art Production] (begun in 1932) and Figure 13.
What relation do pleasure, beauty, 42 vision and communism profundity, and other traditional aesthetic concepts bear to the task of liberation? By capturing revolution within images, within existing regimes of the image, wouldn’t representation actually prevent the new from taking place, entrapping art within the logic of bourgeois capitalism and imperialism, which is only capable of rendering emotion in acts of social and sexual violence? The contradiction between the new intimate experience and the increasing reliance on technological media was evident in the discourse surrounding the mass festival, the first distinctly Soviet art form, where new identities emerged into visibility while escaping the logic of mediation and control.
In the 1920s a Russian theologian asserted that a pictorial structure’s task was not duplication of the world, but rather “a certain Figure 10. Viktor Koretsky, Freedom spiritual arousal (пробуждение), for All African Nations! ), ca. 1970s, a jolt that rouses one’s attention black-and-white photograph. ” 6 Soviet images tai! Collection] rendered this arousal revolutionary. One need only think of how the earliest posters mounted in Moscow by the Bolsheviks during the Civil War were themselves “windows” (okna ROSTA [Russian Telegraph Agency]), large stenciled posters illustrating party policy or economic news placed over abandoned shop fronts beginning in 1919.