Constructivismism

Seems somewhat appropo in this current climate of "socialism" or (whatever buzzword you strap over it) to have Constructivism come to mind. This mechanically driven, anti-individual-pro-universalization school of thought arose from the chaotic aftermath of the first World War as a desperate response to, well, desperation. Careful, methodical, functional, centered; everything Europe (Russia, too) had not been for the last decade or longer. Its emphasis was the merging of art and industry, by which was meant day-to-day productivity and activity. It was stated in the declaration from the International Faction of Constructivists (published in De Stijl no. 4, 1922) that "art [is] a method of organization that applies to the whole of life" and should be used as "a tool of universal progress." Sounds simple, direct, right?

Artists, especially those involved in the more applied, design-y end of things know that it can't be that simple. Certainly it could not have been that simple to a world in transition after the war at the dawn of new century. But its principles, nonetheless could be usefully adapted (assimilated?) into a scaffolding or skeleton around which to structure one's approach in designing for a new and evolving culture. Our current situation here in 21st century America, to say nothing of the global cultural upheaval of which it is but one participant, clearly qualifies for this category; social design can make use of the universalized, semiotically direct approach of the avant garde in the first half of the 20th century.

By using mass means, anonymous structures already in place in our culture, one can find and customize their own niche, thus undermining (enriching?) the utopian limitations of Constructivist anti-individualism. I have stated in an earlier post that Kate Fowle seemed to be pointing this fact out as manifested in the social art creations of Harrell Fletcher. Our recent Skype-versation with Marc Horowitz also underscored this connection, this subversion, albeit in his clipped and quirky humour-laden way.

Signs and signals are important; their design should be left to those who know how to use them, and re-purpose them for the rapidly evolving contexts in which they are to serve their audiences. Make something new out of something the masses already recognize, easing their access, and allowing you to steer them in a new direction subtly.