«Мы новый мир построим!»* – история советского дизайна 1918 – 1991»
Международный Музей Дизайна (China Design Museum CDM) Китайской Академии Искусств, Ханчжоу, Китай.
При поддержке Министерства культуры России и
Министерства культуры Китая
Организатор: China Design Museum at China Academy of Art
Директор – Hang Jian
Куратор – Андрей Чернихов, Москва
Сокуратор – Zoe Zhang, Ханчжоу
Выставка подготовлена Архитектурным благотворительным фондом имени Якова Чернихова (ICIF).
Концепция дизайна: #Андрей_Чернихов, #Владимир_Кузьмин, #Zoe_Zhang.
Дизайн экспозиции: China Design Museum (CDM), MIG ARCHITECTS
Транспортная компания: Art Courier
Экспонаты предоставили:
СПГХПА им. А.Л. Штиглица, Санкт-Петербург;
Нижегородский государственный историко-архитектурный музей-заповедник, Нижний Новгород;
Нижегородский технический музей;
Музей речного флота завода «Красное Сормово», Нижний Новгород;
«Galeev Gallery»,
Галерея «Веллум»,
Heritage Gallery,
Galerie Alex Lachmann,
«#Книжная_галерея_Вольфсона»,
«Лавка старины»,
Студия Smirnovdesign,
Инженерный центр «I-Design»,
Модный дом Olaparle,
Мастерская Романа Королёва,
Лаврентьев Александр Николаевич,
Колейчук Анна Вячеславовна,
Романов Азат Рафилевич,
Усова Светлана Алексеевна,
Архитектурный фонд имени Якова Чернихова,
Андрей Чернихов,
Sergo Grigorian Collection.
Цифровые копии:
Музей архитектуры им. А.В. Щусева, Москва;
Центральный театральный музей им. А.А. Бахрушина, Москва;
ФГБУК «Российский национальный музей музыки», Москва;
Авторы статей каталога выставки:
#Андрей_Чернихов, куратор выставки, архитектор, президент Архитектурного благотворительного фонда имени Якова Чернихова.
#Александр_Лаврентьев, историк искусства, дизайнер-график, проректор по научной работе Московской государственной художественно-промышленной академии имени С. Г. Строганова.
#Николай_Васильев, историк архитектуры, кандидат искусствоведения, доцент Московского строительного университета.
#Алексей_Сазиков, кандидат искусствоведения, ведущий специалист отдела инноваций и издательских проектов Московской художественно-промышленной академии им. С.Г. Строганова.
Консультанты:
#Ольга_Дружинина – искусствовед, директор по развитию Московского музея дизайна;
#Евгений_Корягин – дизайнер;
#Юрий_Назаров – дизайнер, почетный президент Союза дизайнеров России, член-корреспондент Российской Академии Художеств;
#Азат_Романов - дизайнер, историк дизайна, коллекционер.
Концепция выставки:
Выставка посвящена трем основным периодам истории советского дизайна, которые, помимо идеологии и ценностей, объединяет невероятная устремленность в будущее, построение новой социальной модели совершенного общества и воспитание нового человека. Оригинальные идеи советских дизайнеров, архитекторов, конструкторов, художников, рожденные в парадигме построения общества Будущего, опережали свое время. При этом в силу недостаточного развития промышленности и культуры массового производства часто не могли быть реализованы. Главной особенностью дизайна в СССР на всех трех этапах развития была его «государственность», в отличие от «коммерческого характера» дизайна западных стран. Государство принимало непосредственное участие в становлении и формировании дизайна как отрасли. Советские дизайнеры стремились построить принципиально новый мир, где воедино соединялись наука и техника, искусство и фантазия. И что важно, советский дизайн оказался способным компенсировать недостаток эмпатии государства к собственным гражданам.
https://www.designspb.ru/news/expo/we_will_build_a_…
Concept.
It is proposed to build the exposition on the principles of presenting innovative and original ideas of Soviet design. Ideas, that the countries of Europe and the United States came to much later either independently or based on those, that were promulgated by Soviet Russia and the USSR, but did not find mass production and, what is more important, were not patented at the international level and became easy prey for other countries. In addition, USSR, did not sign almost a single international agreement in the field of copyright and patent science until the end of its existence, and was itself engaged in borrowing Western or Japanese technologies and inventions, processing them to fit the capabilities of its industry.
It should also be noted, that in the USSR, design was not used for promoting goods and products in the domestic market, unlike it was in the capitalist countries, and the industry was not adapted at all to the perception of design ideas. Copyright practically did not exist - the designer's products belonged to the state on behalf of factories, institutes, enterprises, etc.
All of these factors did not contribute to the fact, that the magnificent, original ideas and developments of Soviet designers became mass products within the country and abroad.
I would also like to express my approach, in general, to the exposition, which seems to me to be largely interactive. Used in the form of installation and animation, which would decipher and represent both ideas and the objects themselves. As well, as include animation and holography. The use of such technologies will greatly increase visual appeal and "receptivity" by viewers to the presented content. Today, very few people read long annotations to individual exhibits, not talking about longer sections of text. Some "exhibits" should literally become “operable”, so visitors can not only "touch them with their hands", but also (with the help of modern technologies) become the actual creators of something - music, graphic compositions, design - thus taking the place of an artist, composer, architect.
It is extremely important to show as many layouts and models as possible, from “Tektons” by Malevich and “Letatlin” by Tatlin to “ekranoplan” by Alekseev and design of spaceships. Considering the lack of time and organizational difficulties - most of the models are in Moscow and St. Petersburg in various private and public collections, it is advisable to make them in China, directing our efforts to obtain model drawings.
Another very important circumstance, concerning the term "design" is that already for a long time there is a stable tradition of understanding design, as the art of aestheticization of industrially manufactured products (giving mass production an attractive visual form). When we talk about Russia with its underdeveloped in the technological aspect industry, (both: before the revolution and first years after) we have a completely different picture compare to the developed capitalist countries. We should add to this the catastrophic situation in the country after the defeat in the First World War, Revolution and Civil War that followed. The consequence of this was a total reduction in the standard of living of the population, destruction of the economy and loss of management. The revival of the industry began only in the early 30s, moreover, with a pronounced militaristic bias.
Centralized government, a militarized industry, and the absence of a free market seemed to be insurmountable obstacles to the development of design in the USSR. However, in the early 60s it was these factors, taken together, that made it possible in the shortest possible time to create a theoretical and laboratory-experimental base for industrial design. Mass production was established, many cool samples were created. This period is rightfully considered the golden age of Soviet design, when many developments such as furniture, prefabricated constructors or remotely controlled elements of a private house preceded the products of IKEA and other Western companies.
For the first decade of the Soviet Power, it was extremely important to create a propaganda image of building first in the world socialist state of workers and peasants in the minds of the society. The proclamation and approval of new values, ideas and goals among the masses. That is why the festive decoration of the country's cities for the anniversaries of the revolution, agitation propaganda (agitation trains, agitation steamers and airplanes, banners, posters) can rightfully be considered as mass design. This should also be reflected in the exposition. Exhibition pavilions, newsstands, tribunes, pavilions of Soviet Russia and the USSR at international exhibitions and primarily at world EXPOs. A huge number of architects, artists, designers, poets, composers, filmmakers were involved in all this.
