000			01738cam a2200217 4500500
005			20250121043532.0
041			_afre
042			_adc
100	1	0	_aPodzemskaia, Nadia _eauthor
245	0	0	_aThe notion of faktura in theories of the visual arts in Russia during the 1910s and 20s
260			_c2018.
500			_a23
520			_aThe highlighting of faktura by David Burljuk and Waldemar Matvejs (1912 – 1914) followed by Tatlin, Punin and Šklovskij made it possible to extract the materiality of the work and turn it into a value as such which, by antonomasia, became the notion of contemporary art. During the 1920s, the theoretical thinking that accompanied constructivist and productivist practices opted for a “technical” orientation and was based on a rather primitive vulgate of materialism. However, true terminological research was carried out within the context of the INXUK and the RAXN / GAXN, where the avant-garde concept of faktura, based on mixing together the space of the work and real space, was taken over in a critical way by the sculptor Vladimir Domogackij and the theoreticians Dmitrij Nedovič and Aleksandr Gabričevskij. They were interested in faktura as an imprint of the creator’s subjectivity, making this notion into a kind of “ Urform” of the aura of Walter Benjamin. Thus, the debate on faktura led to the essence of the work of art as such.
690			_ascience of art
690			_aartistic terminology
690			_aconstructivism
690			_amaterial
690			_a faktura
786	0		_nCommunications | o 103 | 2 | 2018-10-04 | p. 131-146 | 0588-8018
856	4	1	_uhttps://shs.cairn.info/journal-communications-2018-2-page-131?lang=en&redirect-ssocas=7080
999			_c460535 _d460535