In his
irreverent, quirky and loving book, “Made in Russia: Unsung Icons of Soviet
Design,” (Rizzoli), editor Michael Idov brings in a team of heavyweight writers
and artists to explore Soviet life, art and kitsch. Together, they reminisce
and rediscover the hardscrabble, ineffable designs that helped to shape Soviet
life. They chose 50 of the most evocative icons to riff on.
Recalling one of the Soviet Union’s brightest moments, when Sputnik-1 orbited
the earth in 1957, Idov quotes Claire Booth Luce, who called the spider-like
orb “an inter-continental outer-space raspberry to a decade of American
pretensions that the American way of life was a gilt-edged guarantee of our
national superiority.”
Inevitably, Idov writes, Sputnik “jump-started a number of design trends.” He
also readily acknowledges that many Soviet designs were clumsy rip-offs of
Western inventions. Made in Russia manages to focus on the most inspirational
emblems, the best of a “crazed, Modernist pastiche,” Idov writes. “It jumbled
together wartime know-how, space-age aesthetics, accidental shabby chic, Slavic
motif and warped dreams of the West.”
Most of the items then, chosen by Idov and described by Bela Shayevich, are not
feats of Soviet engineering. More intriguingly, they are the flotsam and jetsam
of a dead society, from the ubiquitous 12-sided drinking glass to the
loot-revealing fishnet shopping bag.
“Unsung Icons” offers dueling memories. One of the most powerful images is that
of street soda dispensers with a single communal glass. Pathetic, intimate and
warm-hearted, the image does evoke some eerily simple life.
“The book started out as an antidote to nostalgia,” Idov said in a phone
interview. He found a recent tome by acclaimed Russian journalist Leonid
Parfyonov, called “Our Era,” “omnivorous in its nostalgia.”
Idov said he worried he had gone too far in the other direction. He decided to
balance the hipper, ironic tone with personal essays.
The essays are written by the likes of artist Vitaly Komar and Russian Jewish
émigré writer Gary Shteyngart. The result is a bit chaotic — the book is at
times a raw mix of essays, text, description and images — but packed with
emotional power.
Lara Vapnyar’s recollection of her school uniform — which awkwardly resembled a
blocky version of a French maid costume — conjures an archetypal scene of an
adolescent whose stirrings are stanched by a Soviet mother. The epic question:
At what point does a school uniform fit? For a daughter, when it fits her form.
For a mother, when it hides her growing daughter.
But the most visionary essay is written by Vitaly Komar, the pre-eminent
founder of the Sots Art movement. Not only does he deconstruct the hammer and
sickle, he recalls a limerick, what he calls an “infamous folk ditty of the
1960s.”
Here’s the hammer,
here’s the sickle
Our nation’s proud symbol
Forge your steel,
cut your hay
You’ll be buggered
either way.
All rights reserved by Rossiyskaya Gazeta.
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