| Titre | Boris Arvatov, théoricien du productivisme | |
|---|---|---|
| Auteur | Maria Zalambani | |
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Revue | Cahiers du monde russe |
| Numéro | volume 40, no 3, juillet-septembre 1999 | |
| Rubrique / Thématique | Articles |
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| Page | 415-446 | |
| Résumé anglais |
Maria Zalambani. Boris Arvatov, theoretician of productivism. Boris Arvatov is the most significant theorist of productivist art. The present article goes through the main stages of the evolution of his thought. Starting from his first theoretical formulations of a proletarian art (which resounds with echoes of Bogdanov's theory about Proletkurt), through his numerous contributions to the journals of the 1920s until the publication of his most significant works of 1926 and 1930, the author has taken into consideration the whole arvatovian corpus. She has studied its inner evolution in order to place it within the political and cultural debate of the period, concerning the genesis (and the necessity) of a productivist art. Arvatov's thought focuses on three main points: 1. work as a free and creative process; 2. identification of work, art and life; 3. the development of an art which is work and invades all human life, starting from time spent working, overflowing into free time and finally pervading private life. To carry out his plan, Arvatov puts his trusts in the rules of the scientific organization of work ( NOT) and creates the figure of the artist-engineer, supreme fusion of art and technique. Productivist art thus arises as an image and likeness of the working process in factories, perpetuates its norms and rules: vanguard art changes into a kind of perpetual working process. Source : Éditeur (via Persée) |
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| Article en ligne | http://www.persee.fr/web/revues/home/prescript/article/cmr_1252-6576_1999_num_40_3_1009 |
