dreaming of one thing [subversive chronicle]

  i said endurance has its limits people are made of flesh and bone / i spoke about the stalinists and the method of executing the very best as traitors / who died screaming long live the party! / sifis said / the statement is only the beginning. then they will ask who are your friends. / then where do they live.    katerina gogou   i believe at heart that one must not be an accomplice to lies and compromise, the contemporary artist must scream out their revolt and make understood that we live in an unbearable, cruel, and…

Sergei Tret’iakov | Art in the Revolution and the Revolution in Art (Aesthetic Consumption and Production)

  Tret’iakov published the following essay in the Proletkul’t journal Gorn [The Forge] during a period of close collaboration with the mass organization’s Moscow group, where he held leading positions in both its theatrical and literary divisions. The text explores a variant of Lef production art that has been reconjugated using the theories of one of Proletkul’t’s founders, the scientist, author, and cultural theoretician Aleksandr Bogdanov. Even though Bogdanov had been forced from the political stage by the early 1920s and consequently could not be mentioned by name in Tret’iakov’s “Art in the Revolution,” the 1923 essay is nevertheless Bogdanovite…

Jean-Marc Lachaud, Olivier Neveux | Arts and Revolution. On Some Theoretical and Practical Elements

  It would be wrong to consider constructing a fully established aesthetic theory from a reading of the few pages that Karl Marx dedicates to artistic and literary creation. In L’Idéologie allemande, while countering an idealist approach, Marx affirms that a work of art needs to be analyzed in its context of production and reception. Nevertheless, in Grundrisse, while resisting a simplistic reflection theory, he stresses the unique character of artistic and literary products. Observing that his contemporaries can still be moved by the masterpieces of ancient Greek art, he also admits that they evidence “inequalities between the evolution of art in general…

Devin Fore | Soviet Factography: Production Art in an Information Age (Sergei Tret’iakov)

  If facts destroy theory, then all the better for theory. —Viktor Shklovsky, “In Defense of the Sociological Method,” 1927   Any discussion of factography first has to deal with the conspicuous strangeness of the word “factography” itself, an awkward and selfconsciously technicist term coined in Russia in the latter half of the 1920s to designate a certain aesthetic practice preoccupied with the inscription of facts. Those who are familiar with contemporaneous avant-garde movements in other countries and who may also be skeptical of the early Soviet zeal for linguistic invention will wonder if factography is not simply another word…