Politik Bir Eylem Olarak Sanat: 1920'lerdeki Rus Agit-Prop

Yıl 2020, Cilt: 13 Sayı: 25, 301 - 333, 30.06.2020

Gökçeçiçek Savaşır , Ece Güleç

https://doi.org/10.21602/sduarte.612574

Cited By: 1

Öz

19. yüzyılın ortalarında ortaya çıkan
mekanik yeniden üretim tekniklerindeki değişim, sanat eserinin ve sanatçının
tanımları ile sanatın toplumsal rolünü değiştirmiştir. Bu dönüşümler, 20. Yüzyıl
boyunca sürecek geniş kapsamlı bir sosyo-kültürel devrimi de tetiklemiştir.
Sanat, kitleleri yönlendirme aracına dönüşmüştür ve komünist ideoloji estetiği
siyasallaştırmıştır. 1920’lerin Rus Konstrüktivistleri sanatlarında, yeni bir
estetik dil ve siyasi propaganda oluşturmak için ajitasyon ve propaganda
tekniklerini (ajit-proplar) kullanmıştır. Bu çalışma, sanatı kente ve gündelik
hayata katmayı amaçlayan Rus avangardının siyasetin estetikleşmesinde bir araç
haline geldiğini savlamaktadır. Çalışmanın kapsamı, Bolşevik iktidar eliyle
oluşturulmuş ajit-proplar ile sınırlandırılmıştır. Literatürden yazılı ve
görsel kaynaklara başvuran çalışma, konuyu tarihsel-yorumlama araştırma
yöntemiyle ele almaktadır. Ajit-propları, estetik-siyaset ilişkisi, kentsel mekânda
ve gündelik hayatta estetik devrim çerçevesinde tartışmayı hedeflemektedir.

Anahtar Kelimeler

İktidar Stratejileri, Konstrüktivizm, Rus Agit-Prop Uygulamaları, Kentsel Mekan, Gündelik Yaşam

Art as a Political Act The Russian Agit-Props of the 1920s

Öz

Emerged in the mid-19th century, the
mechanical reproduction techniques changed the definitions of work of art,
artist, and the social role of art. These transformations triggered an
extensive socio-cultural revolution during the 20th century. Art turned out to
be an instrument for guiding the masses; and the communist ideology politicized
aesthetics. The Russian Constructivists of the 1920s utilized agitation and
propaganda techniques (agit-props) in their art for creating an aesthetic
language for the political propaganda. This study argues that the Russian
avant-garde aiming to bring art into everyday life and urban space became an
instrument for aestheticization of politics. The scope is limited to the agit-props
appropriated by the Bolshevik power. Dwelling on literary and visual
information from literature, it scrutinizes the topic with a historical
interpretation research method. It aims to discuss the agit-props within the
framework of aesthetics and politics,  aesthetic revolution in everyday life and
urban space. 

Anahtar Kelimeler

Power Strategies, Constructivism, Russian Agit-Props, Urban Space, Everyday Life

Kaynakça

• Benjamin, W. (1936). "The Work of Art in the Age of Mechanical Reproduction", In Illuminations, ed. H. Arendt, New York: Schocken Books.
• Clark, T. (1997). Art and Propaganda in the Twentieth Century: The Political Image in the Age of Mass Culture, New York: Harry N. Abrams.
• Concoran, S. (2010). "Introduction", In Dissensus on Politics and Aesthetics Jacques Rancière, ed. and trans. S. Concoran, New York: Continuum International Publishing Group, pp. 1-24.
• Erstad, L. (1996). The Storming of the Winter Palace: Bolshevik Agitation and Propaganda 1917-1928, Doctoral thesis, New York: New York University, Department of History.
• Mally, L. (2003). "Exporting Soviet Culture: The Case of Agitprop Theater", Slavie Review, Cambridge University Press, Vol. 62 Iss. 2, pp.324-342.
• Margolin, V. (1997). The Struggle for Utopia, Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946, Chicago and London: The University of Chicago Press.
• Rancière, J. (2004). The Politics of Aesthetics the Distribution of the Sensible, trans. G. Rockhill, Trans, New York: Continuum International Publishing Group.
• Rancière, J. (2010). Dissensus on Politics and Aesthetics, ed. and trans. S. Concoran, New York: Continuum International Publishing Group.
• Tehranchian, H. (1982). Agitprop theatre: Germany and the Soviet Union, Doctoral Thesis, New York: New York University, Faculty of the Graduate School of Arts and Sciences, Department of Performance Studies.
• The Russian Avant-Garde. Dreaming the Future through Art and Design Exhibition, (2019). [Exhibition notes, authors’ archive, February 10, 2019], Sabancı University Sakıp Sabancı Museum, İstanbul.
• Agitation, https://www.merriam-webster.com/dictionary/agitation, Date Accessed: 21.05.2019.
• Artun, A. (2015). "Formların Siyaseti ve Tatlin Kulesi", e-skop, https://www.e-skop.com/skopbulten/rus-avangardi-formlarin-siyaseti-ve-tatlin-kulesi/2748, Date Accessed: 21.05.2019.
• Brown, K. (2013). "Agitprop in Soviet Russia", Constructing the Past, Vol. 14, Iss. 1. https://digitalcommons.iwu.edu/cgi/viewcontent.cgi?article=1194&context=constructing.
• Groys, B. (2014). "On Art Activism", E-flux, https://www.e-flux.com/journal/56/60343/on-art-activism/, Date Accessed: 21.5.2019.
• Oranlı, İ. (2016). "Ranciére’de Siyasi Olanın ‘Estetik’ Boyutu: “Siyaset Üzerine On Tez” ve ‘Duyumsanır Olanın Paylaşımı’", MSGSÜ Sosyal Bilimler Dergisi, Vol. 14, Iss. 14, pp.108-116. http://dergipark.org.tr/msgsusbd/issue/46989/589768.
• Propaganda, https://www.merriam-webster.com/dictionary/propaganda, Date Accessed: 21.05.2019.
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• List of Figures
• Figure 1. Rodchenko, Design for a kiosk (Proekt kioska),1919, Black and colored ink on paper, 53.2 x 34.3 cm, The Pushkin State Museum of Fine Arts, Moscow. https://www.moma.org/interactives/exhibitions/1998/rodchenko/texts/new_cultural_jpg.html, Date Accessed: 21.05.2019.
• Figure 2. Punin, Tatlin with his assistant in front of the model on exhibition in Petrograd, Tatlin (protiv kubizma), 1920, Black and white photograph. https://monoskop.org/Vladimir_Tatlin, Date Accessed: 21.05.2019.
• Figure 3. Klutsis. Design for loudspeaker no.7 Exhibition, 1922, Pencil, ink and gouache on paper, 26.9 x 17.7 cm, Costakis Collection, Thessaloniki. https://artblart.com/tag/russian-artists/, Date Accessed: 21.05.2019.
• Figure 4. Klutsis. Design for loudspeaker no.5, 1922, Colored ink and pencil on paper, Greek State Museum of Contemporary Art Costakis Collection, Thessaloniki. https://astrofella.wordpress.com/2015/03/09/adventures-of-the-black-square-whitechapel-art-gallery/, Date Accessed: 21.09.2019.
• Figure 5. Rodchenko. Books (Please)! In all branches of knowledge, 1924. https://www.thetimes.co.uk/article/soviet-revolutionary-posters-lxgrhtvv5, Date Accessed: 21.05.2019.
• Figure 6. Blue Blouse performance at a Club of Karl Liebknecht, 1924, Black and white photograph. https://soviet-art.ru/soviet-agitprop-theater-blue-blouse/blue-blouse-at-a-club-of-karl-liebknecht-1924/, Date Accessed: 21.05.2019.
• Figure 7. Performance of the Blue Blouse actors in Moscow Park of Culture, 1929, Black and white photograph. https://soviet-art.ru/soviet-agitprop-theater-blue-blouse/performance-of-the-blue-blouse-actors-in-moscow-park-of-culture-1929/, Date Accessed: 21.05.2019.
• Figure 8. Reconstruction photo of The Storming of the Winter Palace by the insurgents, 1920, Black and white photograph. https://www.rbth.com/history/326637-fall-of-winter-palace-how-1917, Date Accessed: 21.05.2019.
• Figure 9. and Figure 10. Red Platform in the Storming of the Winter Palace, 1920, Black and white photograph. Von Geldern, J., (1993). Bolshevik festivals, 1917-1920. http://ark.cdlib.org/ark:/13030/ft467nb2w4/, Date Accessed: 21.05.2019.
• Figure 11. Spectators watching the performance The Mystery of Liberated Labour in front of the former Stock Exchange in Petrograd, 1920, Black and white photograph. Murray, N., (2018). Street art - collective, politicised: The new public spectacle. In Art for the Workers. https://doi.org/10.1163/9789004355682_007. Figure 12. Cinema car of agit-train ‘V. I. Lenin No. 1, 1918, Still from the film Conquerors of the Sun by Anna Baumgart. https://contemporarylynx.co.uk/tag/conquerors-of-the-sun-is-a-film-by-anna-baumgart, Date Accessed: 21.05.2019.
• Figure 13. Malevich, Drawing for agit-train, ca. 1920, Pencil on paper,State Museum of Contemporary Art Costakis Collection, Thessaloniki. [photography, authors’ archive, February 10, 2019], from The Russian Avant-garde. Dreaming the Future tThrough Art and Design Exhibition, Sabancı University Sakıp Sabancı Museum, İstanbul.
• Figure 14. Dziga Vertov, Kinonedelia No. 17, 1918, Still Courtesy of Danish Film Institute and Austrian Film Museum, Vienna. apparatusjournal.net/index.php/apparatus/article/view/2/75, Date Accessed: 21.05.2019.
• Figure 15. Lenin Agit-train No.1 Interior of Movie-theatre car, (n.d.), Black and white photograph. http://modvisart.blogspot.com/2006/03/kino-eyes-and-agit-trains.html, Date Accessed: 21.05.2019.
• Figure 16. Outdoor use of an Agit-train, (n.d.), Black and white photograph. https://oneartyminute.com/lexique-artistique/agit-prop, Date Accessed: 21.05.2019.
• Figure 17. Exhibition car on agit-train, (n.d.), Still from the film Conquerors of the Sun by Anna Baumgart. https://contemporarylynx.co.uk/anna-baumgart-and-her-historiography-art, Date Accessed: 21.05.2019.
• Figure 18. The famous agit-streamer Red Star with theatre on board, 1919-1921, Black and white photograph. https://www.culturematters.org.uk/index.php/culture/theory/item/2673-books-please-the-russian-revolution-arts-and-culture, Date Accessed: 21.05.2019.
• Figure 19. Saratov, Agit-prop steamer ‘The Red Star',1920, Black and white photograph. https://philipstanfield.com/2014/09/15/art-and-social-life-the-russian-revolution-and-the-creative-power-of-idealism-6/, Date Accessed: 21.05.2019.
• Figure 20. Agit-streamer with a theatre on board, (n.d.), Black and white photograph. https://burevestn1k.livejournal.com/10313.html, Date Accessed: 21.05.2019.