Abstract:
The main issue of this paper is to find the theoretical foundations of the presence of Machine in the works of Russian Avant-garde artists, or to provide an explanation for the Machine aesthetics; this will be carried out by tracing those foundations in the ideas of Karl Marx. During the 1917 revolution, Marx’s ideas were effective in opening Russian art’s doors toward the Machine. According to the hypothesis of this study, the Avant-garde artists chose different ways to express their ideology to be in step with the revolution; thus the application of the Machine and displaying its features, was one of the most prominent characteristics of their works. It was in the same direction that certain artistic schools such as Russian Futurism, Constructivism, and Productivism Emerged, and the presence of Machine elements was their common feature. These elements that somehow represented the era of giant automatic systems highly attracted Marx’s attention in writing his social philosophy. Thus, the Russian Avant-garde art’s structure, has its origin in Marx’s practical philosophy. The question is how these Russian Avant-garde artists, saw themselves along with the revolutionaries and in the same line with the workers. In this context, and considering the existing documents and evidences, it will be clear that one of the key components of the emergence of the Machine into the realm of art was the annihilation of the social contradictions intended
by Marx, namely, the contrast between the progress of science and the human welfare that should have been brought by it, and the difficult conditions which the masses were actually struggling with. The artists believed that in this manner, the Machine was no longer in the hands of Capitalists exclusively; instead, by fitting in the comprehensive realm of art, it could have belonged to the individuals. Breaking with tradition, and what Marx had recommended for raising the level of the proletariat’s consciousness are among other key components. According to Marx, this could accelerate criticizing the existing situation, by expanding creativity and the spirit of inquiry toward a dynamic critical culture. The last component is to display the nature and manner of production, after the revolution; it aims to create the construction flow, and to encourage the proletariat to strengthen their society and to progress it through industrial development.
Machine summary:
The unprecedented appearance of the machine age’s elements in artworks, along with the debates about technology and its manifestations in artists ideas, specially the Russian avant-gardes who seemed to be completely familiar with Marx’s philosophy due to their presence amidst revolution’s flame, all strengthens the hypothesis of the era’s thoughts influence on art.
Thus, in order to provide an explanation of the aesthetic components of Russian avant-garde art based on the era’s philosophy and thought, this article deals with Marx’s ideas in the field of technology and machinery to draw these components; accordingly, they primarily will be looked for in Marx’s exclusive ideas about machine, then in the iconoclastic attitude to develop what Marx calls the egress of proletariat from passiveness along with growing a critical spirit, And last, in the need to promote Communist society.
Machine and the Iconoclasm of Art Explaining the current situation in the period of capitalism that "its origin does not return to the development of technology, but lies in the development of the relations of productions" (Mackenzi, qtd In Heidegger, et al, 2015:228) and what will be there as utopia in the community under the rule of the proletariat, Marx recognized that the transition from the first to the second was possible merely by revolutionary forces and the transition of power through politic channels, and that it would the task of the proletariat to pave this way, by promoting their awareness and insight unto the current situation and the events that could take place15.