The practicalities of Oud

The Spangen municipal housing
project in Rotterdam, 1920-1923 

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Image: Construction site for Oud’s
Spangen municipal housing (1920)

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J.J.P. Oud, the pioneering Dutch modernist briefly associated with the journal and artistic movement De Stijl, is seldom mentioned alongside the other “great masters” of classical avant-garde architecture: Frank Lloyd Wright, Walter Gropius, Le Corbusier, and Ludwig Mies van der Rohe. Yet many of the themes that other modernist architects would only come to later — standardized mass housing, the industrialization of the building process, and the use of modern materials to create modern forms (apotheosized in the flat rooftop, hitherto unachievable) — Oud grasped already during the years of the First World War. The renowned Soviet architect Moisei Ginzburg later speculated  that this had something to do with Holland’s neutrality throughout the conflict, writing in his 1926 article “The international front of modern architecture” that

Holland, not having participated in the world war, found it possible during this time to carry out far more of their projects than other countries. In recent years, there have been erected not only many separate buildings, but also a whole range of new settlements. While the European architect dug trenches, the Dutchman [J.J.P.] Oud built 3,000 inexpensive apartments in Rotterdam.

The following are hi-resolution scans of plans, sketches, and photographs from Oud’s Spangen municipal housing project, begun in 1920 and completed in 1923, succeeded by the Jaffé translation of Oud’s 1918 essay “The monumental townscape,” originally published in De Stijl. Continue reading

We must construct the Soviet dirigible fleet without delay

The struggle for lighter-
than-air dominance 

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Image: “Let’s build a dirigible
fleet in the name of Lenin!”
Soviet agitprop poster (1928)

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From an advertisement to appear on the text of a candy-wrapper:

The dirigible

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The bourgeoisie come together
In order to separate us
But the Soviet dirigible
Flies along the border

Vladimir Maiakovskii
Moscow, 1923-1925

zeppelin zeppelin

Continue reading

Young Lukács

An interview & photo gallery

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Image: Georg Lukács seated in
the darkness of his library

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From an interview conducted by the New Left Review, translated 1971:

New Left Review: How do you judge today your writings of the twenties? What is their relationship to your present work?

Georg Lukács: In the twenties, Korsch, Gramsci, and I tried in our different ways to come to grips with the problem of social necessity and the mechanistic interpretation of it that was the heritage of the Second International. We inherited this problem, but none of us — not even Gramsci, who was perhaps the best of us — solved it. We all went wrong, and today it would be quite mistaken to try and revive the works of those times as if they were valid now. In the West, there is a tendency to erect them into “classics of heresy,” but we have no need for that today. The twenties are a past epoch; it is the philosophical problems of the sixties that should concern us. I am now working on an Ontology of Social Being which I hope will solve the problems that were posed quite falsely in my earlier work, particularly History and Class Consciousness. My new work centres on the question of the relationship between necessity and freedom, or as I express it, teleology and causality.

Georg.Lukács and Béla Balázs

Georg Lukács and Béla Balázs

Traditionally, philosophers have always built systems founded on one or the other of these two poles; they have either denied necessity or denied human freedom. My aim is to show the ontological interrelation of the two, and to reject the “either-or” standpoints with which philosophy has traditionally presented man. The concept of labor is the hinge of my analysis. For labor is not biologically determined. If a lion attacks an antelope, its behavior is determined by biological need and by that alone. But if primitive man is confronted with a heap of stones, he must choose between them, by judging which will be most adaptable to his use as a tool; he selects between alternatives. The notion of alternatives is basic to the meaning of human labor, which is thus always teleological — it sets an aim, which is the result of a choice. It thus expresses human freedom. But this freedom only exists by setting in motion objective physical forces, which obey the causal laws of the material universe.

The teleology of labor is thus always co-ordinated with physical causality, and indeed the result of any individual’s labor is a moment of physical causality for the teleological orientation (Setzung) of any other individual. The belief in a teleology of nature was theology, and the belief in an immanent teleology of history was unfounded. But there is teleology in all human labor, inextricably inserted into the causality of the physical world. This position, which is the nucleus from which I am developing my present work, overcomes the classical antinomy of necessity and freedom. But I should emphasize that I am not trying to build an all-inclusive system. The title of my work — which is completed, but I am now revising the first chapters — is Zur Ontologie des Gesellschaftlichen Seins, not Ontologie des Gesellschaftlichen Seins. You will appreciate the difference. The task I am engaged on will need the collective work of many thinkers for its proper development. But I hope it will show the ontological bases for that socialism of everyday life of which I spoke. Continue reading

Moscow modernism

Color photographs from 1931

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Image: A modernist staircase in a
workers’ club in Moscow (1931)

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You know, this whole thing would have been much more of a fair fight and an interesting debate if any of these hysterics had actually bothered to read any Marx, Engels, Lenin, Luxemburg, Trotsky, etc. — figures in whose footsteps they claim to follow — rather than just regurgitate third-rate digest versions of these authors out of the Cliffite canon. If you’re really going to insist on being a “Leninist” today, it might help to have at least a passing familiarity with these authors’ writings, rather than desperately distort their work so as to confirm whatever it is you are doing already. Obviously, the famous revolutionaries from the history of Marxism mentioned above would find all the various grouplets of the Left today unrecognizable, bearing no relation whatsoever to the emancipatory project they either inaugurated or contributed toward. Yes, even the cryogenically-preserved consciousness of Trotsky himself (i.e., the Sparts).

My reaction to the latest hullabaloo — Muscovite worker taking a swig from a bottle while on break (1931)

My reaction to the latest hullabaloo — Muscovite worker taking a swig from a bottle while on break (1931)

That’s not the point, thankfully. While it may seem antiquarian in the Nietzschean sense, the reason for my “obsession with and curatorial affection for communism’s arcana and paraphernalia” is not some vain belief that this past, which they belong to, can be recreated or revived, but because they belong to a period when the Left actually mattered and played a significant role in world events. By comparison, the actually-existing Left of today — whether former advocates of a Living Marxism or self-declared members of “the (still-living) Left” — appears a rather shriveled, paltry thing. Sure, one could point out that there are X or Y number of doctrinally Marxist or avowedly leftist groups “still kicking,” slowly hemorrhaging its membership or amalgamating itself into the amorphous blob of “Left unity.” But what kind of “life” is that? If eking out some miserable, politically-irrelevant existence “carrying on the good fight” is what they call “living,” then I’m more than happy to admit to myself that I’m “dead.”

As things stand, I’m losing interest in satirizing or polemicizing against these intellectual pygmies. It’s just not worth the time or effort. Vintage Soviet alphabet-porn and ceramic Suprematist plateware are far more educational and spiritually uplifting (quite possibly even more revolutionary) than any of this nonsense.

Konstantin Mel'nikov, Rusakov workers' club (1931)

Mel’nikov, Rusakov club (1931) — Where my erstwhile opponents should go: Школа Коммунизма

So now for something completely different:

Here are a few select examples of Moscow modernism taken from the fantastic album “Life in Moscow, 1931: Color photos.” Highly recommended for anyone who reads this blog. Thanks also to The Constructivist Project, whose Facebook page I encourage you all to “like,” for bringing them to my attention. Enjoy! Continue reading

Soviet-era erotic alphabet book from 1931 [Советская эротическая азбука 1931 года]

 

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Image: This threesome brought
to you by the letter «А» (1931)

UPDATE: Apparently it was Giuliano Vivaldi behind the whole rumor that this collection was intended to “combat adult illiteracy,” as I put it here. He wrote: “I copied this from someone’s wall and added with a few exclamation marks that it was part of Stalin’s fight against illiteracy (joke intended). Since then my joke was cited as fact and traveled the internet.”

Consider me trolled! Still prefer to think of it having been conceived for that purpose.

Reproduced here are a bunch of scans from a fascinating erotic alphabet book printed in the Soviet Union circa 1931, made to combat adult illiteracy. By the sculptor and future People’s Artist of the USSR Sergei Merkurov [Сергей Меркуров], no less. For those of you who enjoyed my previous post on classic Soviet board-games from the 1920s, this should be right up your alley.

Ц, Ш

Ц, Ш

As a friend points out, these images draw upon clear precedents in the phallic imagery of ancient Roman art. Throughout the ABC book one can find images of horny satyrs, indecent cupids, and flying disembodied cocks. Given Merkurov’s own fascination with ancient Greek and Roman art, this is hardly surprising. No doubt, all of these precedents were consciously invoked. Though it is admittedly somewhat interesting to see various dirty motifs cribbed from the style of Roman antiquity deployed for the purposes of a Soviet literacy campaign, which was itself such a distinctly modernizing project.

This should stand as definite challenge the false notion that the Soviet Union suppressed its citizens’ sexual desires, or was in the least conservative when it came to such matters. At least, not until Stalin achieved full control and instituted conservative policies. And, ironically, illustrated by the same man who’d later be commissioned by the Soviet government to sculpt a number of famous monuments to Stalin.

Ф, Ь

Ф, Ь

Anna Khachiyan‘s reaction is worthy of inclusion here:

Thanks for sharing this — it is fantastic! All my years of tumblr trolling, and I’ve never seen anything nearly as good. And so artfully done, too. Alas, if only they had this much sex in real life.

But I must ask: What ever happened to the letter «Ж» in these drawings? This would be a difficult letter to navigate, sexually, but imagine the erotic possibilities!

Anyway, without further delay, some acknowledgments:

All of these great images are reposted from the brilliant Russian Livejournal account Isle of Crimea [Остров Крым].

Needless to say, these are not safe for work. Enjoy. Continue reading

Lenin for children

A picture gallery

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Image: Detail from poster encouraging literacy:
“Lenin is dead; Leninism lives”
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From Krupskaia’s Reminiscences of Lenin

Lenin’s solicitude for the children was strikingly manifested during the famine that prevailed in 1919. The food situation became critical in May. At the second meeting of the Economic Commissium Ilyich raised the question of rendering relief in kind to the children of the workers.

Towards the end of May 1919 the situation got worse. There were lots of grain, thousands of tons of it, in the Ukraine, the Caucasus and in the East, but the civil war had cut off all communications, the central industrial districts were starving. The Commissariat of Education was swamped with complaints about there being nothing to feed the children with.

Lenin and Children, Young Guard

Lenin and Children, Young Guard (1924)

On May 14, 1919, the army of the North-Western Government launched an offensive against Petrograd. On May 15 General Rodzyaako had taken Gdov, the Estonian and Finnish White Guard troops started to advance, and fighting began at Koporskaya Bay. Ilyich was concerned about Petrograd. It was characteristic of him that at this very same time, on May 17, he put through a decree for children to be fed free of charge. This decree provided for the improvement of the food supply for children and the welfare of the working people, and ordered that such supplies should be issued free of charge to all children up to 14 irrespective of their parents’ ration class. The decree applied to the large industrial centres of sixteen non-agricultural gubernias. Continue reading

Family collectives and comradely communes: Three color illustrations from Modern Architecture (1930)

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IMAGE: Poster advertising the first exhibition
of the Soviet magazine Modern Architecture

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The following are extremely rare color prints from the legendary Soviet avant-garde architectural publication Modern Architecture [Современная архитектура], depicting communes for comrades [товарищеский коммуны] and collective housing units for families [семейные коллективы].

Incidentally, this would be the last issue of the journal before changing its name to Soviet Architecture [Советская архитектура] at the beginning of 1931.

Communal dwelling for comrades [товарищеская коммуна] № 17, Modern Architecture (1930)

Communal dwelling for comrades [товарищеская коммуна] № 17, Modern Architecture (1930)

While its covers often featured bold color schemes, the illustrations on the pages in between were nearly always black-and-white. This was so even with an issue entirely devoted to color and light in architecture, which included detailed graphs and optical charts measuring and explaining color spectra, but no color pieces. Continue reading

Cubo-futurist rendering of Trotsky, uncredited (probably Annenkov, 1922)

Trotskiana

1920s Trotsky memorabilia

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Back in 2008, Mansur Mirovalev wrote a piece for NBC News on a curious leftover from the late Cold War era:

The Soviet Union may be in the dustbin of history, but there’s one place the socialist utopia lives on: cyberspace.

And no, Mirovalev wasn’t talking about this blog, or Richard Seymour’s Lenin’s Tomb, Roland Boer’s Stalin’s Moustache, or Martin Gittins’ magnificent Kosmograd website.

He had something quite different in mind. Continue reading

Nikolai Suetin's crypto-Suprematist model for the 1937 Soviet Pavilion, featuring Iofan's Palace of the Soviets

Nikolai Suetin’s crypto-Suprematist model for the Paris 1937 Soviet Pavilion, featuring Iofan’s Palace of the Soviets

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IMAGE: Suetin’s model
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From the first chapter of Douglas Murphy‘s Architecture of Failure (if you haven’t checked this book out by now, you really should):

Industrial exhibitions of one kind or another had been held for at least half a century before 1851.  However, as the Great Exhibition would be the first that was international in any sense, and as it would also be an event on a scale that dwarfed any previous exhibition, then it is not unreasonable to think of it in terms of a ‘first of its kind.’  Moreover, it set in motion a massive cultural movement; the Great Exhibition is often said to be the birth of modern capitalist culture, both in terms of the promotion of ideologies of free trade and competitive display but also in the new ways in which objects were consumed, and how they were seen. Benjamin refers to how the exhibitions were ‘training schools in which the masses, barred from consuming, learned empathy with exchange value,’ while more recently Peter Sloterdijk would write that with the Great Exhibition, ‘a new aesthetic of immersion began its triumphal procession through modernity.’  The financial success of the Great Exhibition was swiftly emulated: both New York and Paris would hold their own exhibitions within the next five years, and there would be a great many others held throughout the century all over the world.  As time went on, the event would slowly metamorphose into what is now known as the ‘Expo’, a strange shadow counterpart to the events of so long ago, but one that still occurs, albeit fitfully, and with a strange, undead quality to it.  By the time the first half-century of exhibitions was over the crystalline behemoths of the early exhibitions had been replaced by the ‘pavilion’ format, whereby countries, firms and even movements would construct miniature ideological edifices to their own projected self-identities. The 1900 Paris exhibition was the first to truly embrace this format, and in future years one could encounter such seminal works of architecture such as Melnikov’s Soviet Pavilion and Le Corbusier’s Pavilion Esprit Nouveau (Paris 1925), Mies van der Rohe’s Barcelona Pavilion (Barcelona 1929), Le Corbusier & Iannis Xenakis’ Phillips Pavilion (Brussels 1958), or witness the desperately tragic face-off between Albert Speer and Boris Iofan (Paris 1937). Continue reading

Tea, anyone? Nikolai Suetin’s ceramic Suprematism, 1922-1928

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IMAGE: Nikolai Suetin,
Suprematist teasets
(Moscow, 1925-1926)
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Along with Il’ia Chashnik, Nikolai Suetin was Kazimir Malevich‘s most devoted disciple.  He first came under the great master’s tutelage during his studies at the Vitebsk School of Art in 1918, where he also trained with the renowned artist Jean Pougny.  Though a skilled painter, designer, and ceramicist in his own right, Suetin spent much of his time promoting Malevich’s body of work and keeping a photographic record of his life.  Unlike his mentor, Suetin never theorized his work in so self-conscious a fashion.  In 1924, however, he recorded a brief artistic creed in staccato verse, disavowing every attempt to systematize his work:

neither non-objectivity
nor object
what?
“X,” I reply
it signifies the sum of my painterly thought
in the world, and hence
the answer to the question
of modernity…
No system binds me, as I am unsystematic.
A reasonably logical premise can demonstrate any system, but I am alogical and therefore overcome the systems of cubism, futurism, and suprematism.”

ни беспредметность
ни предмет.
что?
я отвечаю X (икс)
это значит сумма моей живописной мысли
на мир и значит
ответ на вопрос осязания
современности «…»
Никакая система не связывает меня, ибо я бессистемен «…»
Разумно логической предпосылкой можно доказать всякую систему, но я алогичен и потому преодолеваю системы кубизма, футуризма и супрематизма «…»

While Suetin authored numerous remarkable works, perhaps his most striking pieces came in the form of Suprematist plateware commemorating the Bolshevik revolution in October 1917.  These were made over the course of the 1920s, especially from 1922-1928.  Included in this post are several very high-resolution photographs of these works.  Enjoy!

Nikolai Suetin’s Suprematist plateware