However, they still took time to talk to me and answer my questions in time for my deadline. This was really helpful email because they seem to know a lot about Constructivism and understand who they are as a studio. I really appreciated the fact they asked when my deadline was and replied in time - the work they make is amazing and I'm a bigger fan for being so helpful.
1. The influence of Russian Constructivism on our own practice
The way Russian Constructivism influenced us is quite similar to the way in which we've been influenced by De Stijl and Bauhaus. These were all movements/schools that (each in their own way) tried to somehow come to a synthesis (fusion) of art and the everyday. In other words, their main goal was to transform society (as a whole) into a socialist 'Gesamtkunstwerk', a total artwork (in which all arts would be integrated). This is obviously a very ambitious and completely utopian undertaking – and one that is almost destined to fail.
But we have to say that this concept, of a socialist society in which all arts are synthesized, is extremely inspirational to us – and the tragic dimension (the fact that these utopian projects often fail) only makes these movements more interesting to us.
So yeah, we'd say that we regard our graphic design practice as an attempt to synthesize art and the everyday, and thus as an utopian, transformative activity (with an inherently tragic dimension).
And we have to thank Russian Constructivism, De Stijl and Bauhaus for poisoning us with these ideals.
A very concrete illustration of the way in which Constructivism influenced us would be the role that the 'kiosk' plays in our spatial work (see for example our recent installation in Fotomuseum Winterthur). We see a kiosk as a structure that symbolizes a synthesis of the arts: a place where architecture, printed matter and politics come together:
Our way of thinking about kiosks is certainly influenced by the great Constructivist kiosks, such as this one:
On another note – what is particularly interesting about Russian Constructivism is the fact that it consisted of many different (and even conflicting) camps. Productivism, Suprematism, Kubo-Futurism, LEF, agitprop, Zaum, etc. – all these groups proposed different models of how aesthetics and politics could/should be synthesized.
In that sense, Russian Constructivism offers quite a varied and nuanced landscape of ideas and ideals – it certainly wasn't a one-dimensional movement.
2. The influence of Russian Constructivism on contemporary graphic design
In our view, modern graphic design grew out of these early-modernist movements (Russian Constructivism, De Stijl, Bauhaus, Dada, Futurism, etc.) – and these early-modernist roots are still the motor of graphic design. This motor is always there, and is always driving graphic design forward.
So in that sense, we would say that every graphic designer is influenced by Russian Constructivism – whether he/she is aware of it or not.
On a more specific note – as teachers, we notice that lot of students seem quite interested in Russian Constructivism. Especially the whole concept of Productivism is quite popular, as it provides a possible model of so-called 'political design' or 'critical design' – something a lot of young designers/artists seem to be longing for (or struggling with) nowadays. Books like 'Imagine No Possessions: The Socialist Objects of Russian Constructivism' (Christina Kiaer, 2008) seem quite influential among these students.
3. Every era its own constructivism
One final note. As we're writing this, there are two random items sitting on our desks that just happen to be connected to Russian Constructivism. One is a book titled 'De Estetiese Teorie van Adorno en Benjamin: Een Inleiding' (Sunschrift 118), a book that was published in 1973 by the Marxist publishing house SUN, and was designed by Karel Martens. On the cover of the book is a painting by Malevich:
The other item is a French CD that was released in 2008 – it's a compilation of '80s new wave music, titled 'Des Jeunes Gens Modernes':
What's interesting is that the book cover offers a certain '70s, New Left-inspired perspective on Russian Constructivism, while the CD offers a contemporary vison of Russian Constructivism – but then filtered through a '80s, Post-Punk sensibility.
We think that's really interesting – the fact that every era offers another perspective on Russian Constructivism.
The '80s is of course a really interesting period, as a lot of the Post-Punk aesthetics (new wave, synth-pop, industrial music, etc.) referred quite openly to Russian Constructivism. A very early example is of course Kraftwerk's 'The Man-Machine', but you can also look at record sleeves designed by Neville Brody, Bazooka, Barney Bubbles, Malcolm Garrett, Jean-Paul Goude, Peter Saville, etc.
Especially in the UK, the '80s were an era in which pop-culture, post-punk (and gay) subcultures, Trotskyist politics and Constructivist aesthetics sort of merged, into a very interesting visual language. A very mainstream example would be The Communards:
...but we're also thinking of the work of David King, for the Anti-Nazi League:
Anyway – you get the idea. The '80s offered quite an interesting take on Russian Constructivism.
And it's fascinating to realize that it's now possible to refer to Russian Constructivism, as filtered through the lens of '80 post-punk subcultures. It's a very rich, multi-layered way of referring to the past, and we think it's a very exciting phenomenon.
An example (of contemporary graphic design that looks at Constructivism through an '80s filter) would be the French compilation album we already mentioned ('Des Jeunes Gens Modernes') – but maybe a better-known example is the debut album of Franz Ferdinand:
...or even more obvious, Franz Ferdinand's second album:
Okay, and that's it for now!
Hope you can work with this!
All the best,
Danny, Marieke and Erwin,
Experimental Jetset.
PS:
6. Is there anyone you would recommend me looking at for my dissertation research, such as contemporary designers using these Constructivist/Modernist techniques? As you’re already getting a mention!
As for artists – do look into Karina Bisch and Nicolas Chardon.
Maybe also Paulina Olowska.
Regarding graphic designers, you might find it interesting to check out Our Polite Society – look at the t-shirt Jens is wearing:
PPS:
Let us know if you receive this mail – we're always a bit paranoid about our mails getting lost in the spam folder.
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4 Jan (10 days ago)
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Hello!
Thank you so much for getting back to me.
This has to be my favourite email, which I never thought I'd say.
You really answered the questions well and have definitley helped me think about more ideas for the deadline.
Thank you again so much!
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