The New Productivisms

Περίληψη

The New Productivisms Translated by Nuria Rodríguez Marcelo Expósito The Russian Soviet revolutionary art produced between the 1910s and 1930s continues to exert a powerful influence on many aspects of our cultural models today. But historically, references to it have tended to oscillate between fetishising its formal inventions and either exalting or denigrating its idealism, which has been portrayed as totally unattainable voluntarism within a more global chimera (the revolution, represented in the image and likeness of a mythological monster that – supposedly – always ends up devouring its children). Likewise, certain dominant visions of the Russian Soviet avant-gardes have tended to stifle its event dimension – the potency of its emergence as a singularity and a difference that should not be reconciled with the stable continuum of both the history of art and mass politics. There has, furthermore, been a tendency to overlook the strong impact of said event beyond its historical bounds, in the many experiences that undertook to explore the political nature of art in subsequent decades, driven by a desire to embrace processes of profound social change.

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