Page 34 - Studio International - April 1971
P. 34

the prevailing anti-psychologism. It would be
                                                                                         valuable to know more about the
                                                                                         VKHUTEMAS introductory course, which
                                                                                         seems to have been broadly similar to that of
                                                                                         the Bauhaus, but the exhibition of the
                                                                                         OBMOKHU, the group of younger, radical
                                                                                         VKHUTEMAS students, which included the
                                                                                         Stenberg brothers, suggests that the main
                                                                                         point of interest, for the most talented students
                                                                                         at least, lay in the engineering problems of
                                                                                         cantilevering, tensile strength, etc. Eisenstein
                                                                                         was another who was interested in the psychology
                                                                                         and semantics of art, but he floundered about
                                                                                         hopelessly in a mélange of Freudianism,
                                                                                         Pavlovian behaviouristic psychology and bits
                                                                                         and pieces of linguistics and a heavily
                                                                                         Hegelianized version of Marxism.
                                                                                            Thus very few of the avant-garde artists of
                                                                                         the time were at all equipped even to begin to
                                                                                         wonder what the ideological role of art was. For
                                                                                          the most part this kind of concern fell to the
                                                                                          proletarian artists, who adopted very simple
                                                                                         schematic criteria for abstracting political
                                                                                          messages from works of art and trying to
                                                                                          pinpoint the class position of the artist, on the
                                                                                          assumption that class ideology could be inferred
                                                                                          from this mechanically. The net result of this
                                                                                          inability to think through the ideological role of
                                                                                          art was to open the way for the kind of
                                                                                          hyper-political de-politicization which I have
                                                                                          described above. Where artists were unwilling
                                                                                          to sacrifice the concept of art completely, the
                                                                                          result was a peculiar, striking and ultimately
                                                                                          tragic new grotesque. Consider, for instance,
                                                                                          Tatlin's tower, his production of Khlebnikov's
                                                                                          Zangezi and his Letatlin air-bicycle, designed
                                                                                          on the assumption that the masses would need
                                                                                          air-bicycles. Yet this grotesque, far from being
                                                                                          unsatisfactory, as Trotsky found it, is to my mind
                                                                                          sublime. It expresses more than anything else
                                                                                          the quest for the marvellous and the Utopian
                                                                                          in contradiction with the exigencies of the
                                                                                          practical and the utilitarian. In this respect, it is
                                                                                          like Mayakovsky's last poem, the unfinished
                                                                                          prologue to the second part of a poem on the
                                                                                          First Five-Year Plan:
                                                                                            `Shameful common-sense— I hope, I swear—
                                                                                            Will never come to me.'
                                                                                            Malevich's funeral took place in December
                                                                                          1934, according to the instructions he had given
                                                                                          his pupil, Suetin. He was laid in state in a white
                                                                                          coffin, with a black square above a green circle.
      ro Photograph taken during construction of house in   rz Vladimir Tatlin            Above his head hung his picture of the black
      Moscow designed by K. Melnikov, showing the   Letatlin, shown without fabric
      architect and his wife                    13 Kasimir Malevich lying in state in his home.   square. A memorial pillar in his late
        A. Akhtyrko                             Leningrad, 1935                           architectonic style stood at the foot of the
      Exercise in the Simplification of Forms                                             coffin. A poem was read. The coffin, with its
                                                                                          guard of honour, was driven to the railway
      of the psychic and semantic content of art.   living image of a NEP-man, with folded   station on an open truck with a black square on
      Unfortunately Lissitkzy himself was out of   handkerchief and spats ! —like the caricature   the radiator. Over his grave was placed a square
      Russia during most of the twenties and, though   villains in Kuleshov's Mr West in the Land of   of cement on which was painted a red square.
      he acted as a catalyst for the European   the Bolsheviks.) There was no tendency for the   Proletcult was dead. The peasant-singers were
      avant garde in general, he did not have much   visual arts akin to the OPOIAZ group in literary   dead. LEF was dead. Now Malevich was dead.
      effect in Russia itself. Indeed, his      studies, analysing the formal and semantic   At the Hayward Gallery, there is another white
      cosmopolitanism only made him suspect.    qualities of poetry. Kandinsky had tried to   coffin, in which is sealed the Lissitzky Proun
      (There is a photograph of Melnikov, the most   introduce, along with Vygotsky, a programme   room, forbidden by the Soviet regime. One
      talented of the ASNOVA formalist-constructivist   of studies along these lines while he was in the   day all the white coffins will re-open and the
     architects, standing outside his own house, the   INKHUK, but it came to nothing because of    phantoms will emerge to resume combat.
     154
   29   30   31   32   33   34   35   36   37   38   39