At the present time all art forms must define their positions at the front of the Socialist cultural revolution.
We are profoundly convinced that the spatial arts (architecture, painting, sculpture, graphics, the industrial arts, photography, cinematography, etc.) can escape their current crisis only when they are subordinated to the task of serving the concrete needs of the proletariat, the leaders of the peasantry, and the backward national groups.
In participating consciously in the proletariat’s ideological class struggle against hostile forces and in supporting the rapprochement of the peasantry and the nationalities with the proletariat, the spatial arts must serve the proletariat and the working masses in two interconnected fields:
in the field of ideological propaganda (by means of pictures, frescoes, printing, sculpture, photography, cinematography, etc.);
in the field of production and direct organization of the collective way of life (by means of architecture, the industrial arts, the designing of mass festivals,etc.).
For those artists who are fully aware of these principles, the following immediate tasks await:
1. The artist who belongs to the epoch of the proletarian dictatorship regards himself not as an isolated figure passively reflecting reality, but as an active fighter at the ideological front of the Proletarian Revolution; this is the front that, by its actions, is organizing mass psychology and is helping to design the new way of life. This orientation compels the proletarian artist to take stock of himself continually in order to stand with the revolutionary proletarian avant-garde at the same high ideological level.
2. He must submit to critical examination all formal and technical artistic achievements of the past. Of especial value to proletarian art are the achievements of the last decades, when the methods of the rational and constructive approaches to artistic creation, which had been lost by the artists of the petty bourgeoisie, were restored and developed considerably. It was at this time that artists began to penetrate the creation of dialectical and materialist methodology, of which artists had not been aware previously, and of the methods of mechanical and laboratory scientific technology; this has provided a great deal that can and must serve as material for the development of proletarian art. However, the fundamental task of the proletarian artist is not to make an eclectic collection of old devices for their own sake, but with their aid, and on new technological ground, to create new types and a new style of the spatial arts.
3. The ultimate orientation of the artist who would express the cultural interests of the revolutionary proletariat should be to propagate the world view of dialectical materialism by the maximum means of expression within the spatial arts, and to design materially the mass, collective forms of the new life. In the light of this, we reject the philistine realism of epigones; the realism of a stagnant, individualistic way of life; passively contemplative, static, naturalistic realism with its fruitless copying of reality, embellishing and canonizing the old way of life, sapping the energy and enervating the will of the culturally underdeveloped proletariat.
We recognize and will build proletarian realism that expresses the will of the active revolutionary class; a dynamic realism that reveals life in movement and in action and that discloses systematically the potentials of life; a realism that makes things, that rebuilds rationally the old way of life and that, in the very thick of the mass struggle and construction, exerts its influence through all its artistic means. But we simultaneously reject aesthetic, abstract industrialism and unadulterated technicism that passes itself off as revolutionary art. For art to affect life creatively, we emphasize that all means of expression and design must be utilized in order to organize the consciousness, will, and emotions of the proletariat and of the working masses with maximum force. To this end, the organic cooperation of all spatial art forms must be established.
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In issuing the present declaration, we disassociate ourselves from all existing art groups active in the field of the spatial arts. We are prepared to join forces with some of them as long as they acknowledge the basic principles of our platform in practical terms. We greet the idea of a federation of art societies and will support any serious organizational steps in this direction.
We are embarking at a time of transition for the development of the spatial arts in the USSR. With regard to the basic forces active in modern Soviet art, the natural process of artistic and ideological self-determination is being hampered by a number of unhealthy phenomena. We consider it our duty to declare that we reject the system of personal and group patronage and protection for individual artistic trends and individual artists. We support wholly the unrestricted, healthy competition of artistic directions and schools within the areas of technical competence, higher quality of artistic and ideological production and stylistic researches. But we reject unhealthy competition between artistic groups for commissions and patronage of influential individuals and institutions. We reject any claim by any one association of artists to ideological monopoly or exclusive representation of the artistic interests of the working and peasant masses. We reject the system that can allow an artificially created and privileged position (moral and material) for any one artistic group at the expense of other associations or groups; this is a radical contradiction of the Party’s and the government’s artistic policy. We reject speculation on ‘social commissions,’ which occurs beneath the mask of revolutionary theme and everyday realism, and which replaces any serious effort to formulate a revolutionary world view and world perception with a simplified interpretation of a hurriedly invented revolutionary subject. We are against the dictatorship of philistine elements in the Soviet spatial arts and for the cultural maturity, artistic craftsmanship, and ideological consistence of the new proletarian artists, who are quickly gaining strength and advancing to the fore. […]
The Declaration was originally published in Sovremennya arkhitektura (Contemporary Architecture) no. 3, March 1928.