• Title/Summary/Keyword: Russian Constructivism

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A Study on the Costume of Arts in the Russian Constructivism - Focused on Tatlin, Rodchenko, Stepanova & Popova - (러시아 구성주의(Constructivism) 예술의상 연구 - Tatlin, Rodchenko, Stepanova와 Popova를 중심으로 -)

  • Park, Yoon-Jeong
    • The Research Journal of the Costume Culture
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    • v.18 no.3
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    • pp.550-558
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    • 2010
  • Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the "Art into Street" and the "Art in Industry" with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.

A Study on the Formativeness of Russian Constructivism in Modern Fashion (현대 패션에 나타난 러시아 구성주의의 조형성에 관한 연구)

  • Sohn, Ho-Young;Kan, Ho-Sup
    • Journal of the Korean Society of Costume
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    • v.61 no.10
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    • pp.1-15
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    • 2011
  • Constructivism is an avant-garde movement that began in 20th-century Russia, which rapidly turned into an industrial society. This was one of the most experimental art movements, that wanted to be at the center of social and political-ideological change as it pursued a unique style, which portrayed the true essence of art and humanity. Russian constructivism greatly influenced modern fashion and suggested a new artistic standard. First, the artistic elements of Russian constructivism include photo montages, geometrical structures, color abstraction, and an asymmetrical order, through which the ideals of the Russian Revolution were substantiated, idealized, and materialized into an artistic form. Second, the different forms of Russian constructivism have various artistic characteristics such as popularity, spatiality, structuralism, decorativeness, and mobility, which were then expressed in modern fashion elaborated below. This study intends to reconstruct the meaning of Russian formalism and reflect it on fashion; thereby reconsidering the characteristics and the meaning of Russian constructivism in the context of today's fashion. This will broaden the meaning of constructivism and suggest a new direction for modern fashion.

A Study on Space Design in Russian constructivism on early 20th Century (20세기 초 러시아 구성주의에서 나타나는 공간디자인에 관한 연구)

  • 김주연;강수미
    • Korean Institute of Interior Design Journal
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    • no.29
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    • pp.35-42
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    • 2001
  • As a part of Avant-Garde movement centered in Russia before and after the Revolution in 1917, Russian Constructivism was born as most experimental and avant-garde modernity artistic movement. Russian Constructivism played a significant part in relative to Avant-Garde in the beginning of twentieth century and has contributed to a series of artistic movement, it deserves a status befitting its contribution to modem abstract art. Noticing the fact that Constructivist approaches are being attempted in modern architecture with the new rise of Constructivist design theory and increased interest in Constructivism, this thesis explores the design elements characterizing Constructivism in art and architecture To be specific, it suggests the relation of Plastic paradigm in formalistic, elemental and technical aspects and categories into Plastic characteristics. Thereby, the thesis aims to categorize the elements in terms of contradicting two trends of pure plastic and scientific expressions, and to analyze comparatively the related Plastic trends represented in modern space design. The thesis recolonizes that attempts to break out from stereotypes of Constructivism to reinvent itself constantly have contributed to an unconventional forms and new aesthetic standards and have a great impact on idealistic forms in many genres.

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A Study on the Stage Costume of Russian Constructivism Theatre - In the Works of Meyerhold - (러시아 구성주의 연극의상에 관한 연구 - Meyerhold의 작품 속에 나타난 무대의상을 중심으로 -)

  • Woo, Joo-Hyoung
    • Fashion & Textile Research Journal
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    • v.6 no.2
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    • pp.153-162
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    • 2004
  • Influenced by Constructivism Art, Constructivism theatre projected the future with the help of participating artists and the development of new technologies. Therefore, this thesis studied the stage costumes in the plays of Meyerhold who represented Constructivism Play and showed its characteristics. The stage costumes in Meyerhold's plays followed the rules of Constructivism Play and showed several unique characteristics, such as the Bio-mechanic as a characteristic in his plays, functionality that facilitated the movement based on Taylorism, simple shapes, and easy cutting. Constructive artists saw the stage of constructive plays as a laboratory where they can display their designs, directly portraying future life forms through stage costumes and props. Stage costumes were no more a supporting tool that had described the play. Following the new concept of stage costumes, working costumes and stage costumes came to be regarded as the same. In turn, this led to new models and special costumes such as sportswear or specialized garments. Constructivism artists foresaw the future through the plays, with their fundamental basis for stage costumes shown in the later works of ordinary costumes.

Superimposition of Russian Constructivist Architectural Spaces Reflected in Modern Fashion Design (현대패션에 나타난 러시아구성주의 건축공간의 중첩연구)

  • Jin, Kyung-Ok
    • Journal of the Korean Society of Costume
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    • v.59 no.9
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    • pp.163-179
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    • 2009
  • The superimposition of the Russian constructivist architectural design is one of the notable transforming techniques of conventional design principles. The main objective of this paper is to analyse the superimposed space in the modern fashion design based on the techniques and characteristics of superimposition appeared in Russian constructivism architectural space. The artistic characteristics of the superimposed design in the modern fashion design can be determined by codes of dynamics, sense of space, rhythmical sense, communications and tension of the dress. Through this study, it was found that superimposition of the Russian constructivist architectural design in the modern fashion design has influenced the modern fashion design space in the forms of dynamics with directive sense, vitality through transparency, uniformity with geometric interpenetrates, intensive visual attraction created by duplicity, communication between human body and clothes, creation of transformative beauty and enhancement of structural volume on clothes.

A Study on the Ideological Background of Revolutionary Russian Constructivism Architecture - An Architectural Substructure for a Collective Byt(Way of Life) - (혁명기 러시아 구축주의 건축의 이념적 배경에 관한 연구 - 집합적 byt (삶의 방식)의 건축적 하부구조 -)

  • Pyo, Gu-Yeon;Choi, Choon
    • Journal of the Architectural Institute of Korea
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    • v.36 no.12
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    • pp.141-150
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    • 2020
  • This study focuses on analyzing the texts from the revolutionary period of Russia. The study tried to clarify the principle of the avant-garde theses like O. Brik's 'artist-proletarian' theory, and W. Benjamin's 'politicization of art', etc. From the context of the avant-garde theories like classic Marxism, Futurism and Productivism, this study has shown that the Russian Constructivist ideology had its own way of dealing with byt(way of life). Constructivism built up its own manifestos on the social state of art and architecture, which were insisted as substructures of byt. This study finally suggests a new way of studying the Russian avant-garde architecture via the ideological viewpoint.

A Study on the Characteristics of Space Design in Isamu Noguchi's Works - Focused on Stage Sets and Environmental Design Works (이사무 노구치 작품에 나타난 공간디자인 특성연구 -무대디자인 및 환경디자인 작품을 중심으로 -)

  • 한민정;손광호
    • Korean Institute of Interior Design Journal
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    • no.27
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    • pp.120-127
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    • 2001
  • The purpose of this study is to examine the characteristics of space design of Isamu Noguchi's works barred on the stage sets and environmental designs. From the end of 19th century, space which was begun to be studied about in architects has continued to be researched by not only scientists but artists. Recently, space Is expressed in free and new forms due to diversity of societies and advancement of technology, As a result, space has become an essential part in art and is used in the titles of many art exhibitions. This study scrutinizes space in Isamu Noguchi's works. No other 20th century artist has as clear and progressive space conception as Noguchi's. His notion of modern art was modified through space in the tradition of cubism and Russian Constructivism and Bauhaus. Combined with his experience in the traditional Japanese houses and gardens, these influences led toward a broadened conception of sculpture as the creation of living space. These modernist's characteristics are found in his early expression of stage sets for choreographer Martha Graham, and they would lead to a wide range of design activities, from gardens and interiors to fountains and furniture. Isamu Noguchi had created a body of work that crossed the boundary between fine and applied art as a sculptor, and as an environmental designer.

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Collaborative Dispositions of Participatory Arts in Contemporary Practices -Based on Nicolas Bourriaud's Notion of Postproduction- (동시대 예술 형식의 상호성과 공유 가능성 -니콜라 부리오의 포스트프로덕션 개념을 중심으로-)

  • Baik, Youngju
    • The Journal of the Korea Contents Association
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    • v.18 no.6
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    • pp.88-101
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    • 2018
  • The collective narratives on global crisis such as the displaced, uneven distribution of resources, invasion of human rights is more than a recurring theme or polemics in the fields of contemporary arts. In the latest projects from Olafur Eliasson, Rirkrit Tiravanija and Ai WeiWei, art works are presented as performative 'platforms' for tackling these undiscriminating reality of human conditions. Here, 'the users' as driving forces of possible change, are postulated as prospective actors/players who lead and collaborate to defy the status-quo. Crossing over the on/off lines, the everyday-activities of exchanging, sharing and networking are strategically deployed and its meaning reconfigured within the context of post/production discourse. This historical, yet unsettling juncture between art and life, dystopian reality and utopian idealism has its formal-conceptual links to Russian Constructivism, Brechtian Learning-Play and Joseph Beuys' Social Sculpture. Based on Nicolas Bourriaud's notion of Postproduction, this paper aims to provide a diachronic analysis on collaborative dispositions of participatory arts practices.

A Study on the Costume Designs of Arts in the Italian & Russian Avant-Garde - Focused on Futurism and Constructivism - (이탈리아와 러시아 전위(Avant-Garde) 예술의상 디자인 연구 - 미래주의(Futurism)와 구성주의(Constructivism)를 중심으로 -)

  • Park, Yoon-Jeong
    • The Research Journal of the Costume Culture
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    • v.19 no.1
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    • pp.128-149
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    • 2011
  • This study dealing with the Italian futurist and Russian constructivist costume designs which aimed for new fashion design freed from the conventional meanings of fashion and explore the artistic purpose reflected within the designs expressed differently according to cultural and regional differences in order examine the early 20th century Avant-grade costume designs. The scope of this study is limited to the 1910s to the 1930s when the Italian futurism and the Russian constructivism were originated and were most active. This monograph focused on the works of the Italian futurists, Giacomo Balla who declared the 'Manifesto delle moda minile futurista', Fortunato Depero, and Thayaht who suggested a new direction for the futurist, and on the works of the Russian constructivists Alexander Rodchenko, Varvara Stepanova and Liubov Popova. As an one method of investigated, this paper is used materials of various sources to examine their features. Futurists costume designs expressed a radical conception of progress and their source of aesthetics was dynamism. The concept of 'power' which was the basis of the futurists was incorporated in the costumes while non-symmetrical cut-outs and bright and vivid colors completed the futurist costume designs. Moreover the Russian constructivists brought advances in the field of fabric and textile designs. What was particularly interesting about the Russian constructivist costumes was that the artists worked at the textile mills themselves, directly involved in the designs and manufacturing of fabric, developing an advancement in textile and a new understanding of costume. Furthermore, many Russian artists settled in Paris, actively participating in the fashion industry, and therefore, they have greatly contributed to the development of the early 20th century Avant-garde costume designs.