Rodchenko, Red & Revolution: the Russian Revival

Illustration for the magazine "Young Guard", 1924. Photo credit: Rodchenko and Stepanova Archives (Moscow, Russia)

In the midst of the failure of capitalism, ideals of social justice have become fashionable again. Rodchenko and Popova: Defining Constructivism, a new Tate Modern exhibition, revisits pure, uncorrupted socialism through the Russian Revolution.

"Of course we can never compare different contexts", says curator of the exhibition Margarita Tupitsyn referring to today's economic crisis and the Twenties in Russia.

There is a similarity with today's scenario and the Great Depression though: "I almost feel we are living through the Thirties, it's spooky," Tupitsyn adds, "When suddenly the government switches from a completely uncontrolled capitalistic system, to one of control and penetration, it's easy to see the parallels with the New Economic Policy in Russia."

Rodchenko and Popova were key figures of the avant-garde artistic movement that accompanied the October Revolution in 1917. They were socially involved artists, dedicating their work to creating a new world.

They believed art could be integral part of the revolution: helping to build a new society and reorganizing everyday life according to Bolshevik ideals of social justice.

Popova's sketches for proletarian furniture and decorations of the Mossovet (the Moscow City Council) or her dress designs for plays are only one example of creating art not for art's sake but for social utility. Many of the illustrations and mock-ups for magazines covers comprise collages of red-and-black graphics and photographic cutouts.

Rodchenko followed a parallel path, designing an aircraft hangar with a blend of communist symbols and abstract forms or producing advertising posters for cookies manufacturer Red October.

The exhibition, shown in twelve rooms, begins with their first works, which are mainly abstract paintings, then focuses on dual-purpose art: propaganda posters, magazine covers, fabric designs and theatre sets.

Walking through the second half of the room, the illustrations, book covers and posters Rodchenko and Popova created are still so contemporary, so hip, that their contribution to today's graphic design is unmistakable.

Are we then finally showing an interest in Russian culture? Browsing London events listings it seems so: from theatre plays, new restaurants to photography exhibitions, Russia is ubiquitous.

Advertising poster for Red October cookies. Photo credit: Tate Modern

Tupitsyn however thinks differently: "I think there is never an actual artistic interest in Russia; I think there are simply varying circumstances forcing Russian art to be exhibited in the west. From 1980 onwards, there was the Cold War and you had to exhibit Russian art. But the art world wouldn't take it seriously as it was more a political statement rather than artistic enterprise. No serious gallery or museum in America was interested in Russian art."

Tupitsyn believes that today's focus on Russian culture simply results from the Soviet nation's increasing economic power.

"Now it is just about the money. Russians themselves can fund their Russian exhibitions," she says, referring to last year's Rodchenko photographic exhibition at the Hayward Gallery, which was financed by oligarch Roman Abramovich.

"If you have money, you can fund your own show and you can exhibit anything. I think there is interest stemming from the fact that there is money for that particular show. Now it is a financial mechanism, before it was political."

Despite the increasing number of exhibitions showcasing Russia, Tupitsyn is unexcited: "Before, you really felt that if you could find a place for an exhibition it was a big achievement. Now it seems that anyone can put on a show, no one is checking artists` credentials. Sadly, the Russian art world has come down to simply finances."