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Fast Forward: The Aesthetics and Ideology of Speed in Russian Avant-garde Culture, 1910-1930

By (author) Tim Harte

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Life in the modernist era not only moved, it sped. As automobiles, airplanes, and high-speed industrial machinery proliferated at the turn of the twentieth century, a fascination with speed influenced artists - from Moscow to Manhattan - working in a variety of media. Russian avant-garde literary, visual, and cinematic artists were among those striving to elevate the ordinary physical concept of speed into a source of inspiration and generate new possibilities for everyday existence. Although modernism arrived somewhat late in Russia, the increased tempo of life at the start of the twentieth century provided Russia's avant-garde artists with an infusion of creative dynamism and crucial momentum for revolutionary experimentation. In """"Fast Forward"""" Tim Harte presents a detailed examination of the images and concepts of speed that permeated Russian modernist poetry, visual arts, and cinema. His study illustrates how a wide variety of experimental artistic tendencies of the day - such as 'rayism' in poetry and painting, the effort to create a 'transrational' language (zaum') in verse, and movements seemingly as divergent as neo-primitivism and constructivism - all relied on notions of speed or dynamism to create at least part of their effects. """"Fast Forward"""" reveals how the Russian avant-garde's race to establish a new artistic and social reality over a twenty-year span reflected an ambitious metaphysical vision that corresponded closely to the nation's rapidly changing social parameters. The embrace of speed after the 1917 Revolution, however, paradoxically hastened the movement's demise. By the late 1920s, under a variety of historical pressures, avant-garde artistic forms morphed into those more compatible with the political agenda of the Russian state. Experimentation became politically suspect and abstractionism gave way to orthodox realism, ultimately ushering in the socialist realism and aesthetic conformism of the Stalin years.

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