#Osip Brik
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jadwiga-abremovic · 2 months ago
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Vladimir Mayakovsky defending his friend, Sergei Eisenstein, from censorship over nonsense. From an account by Waclaw Solski.
Sergei Eisenstein is now widely considered one of the greatest filmmakers of all time. The Battleship Potemkin, the film that this scuffle was about, is now considered one of the best films of all time. Sergei Eisenstein was also queer. It's hard to put an exact modern label on the sexuality of someone who lived one hundred years ago, but I think "gay ace" is a good fit.
He had no interest in women. He had very little interest in sex. He got in trouble a few times for returning to the Soviet Union from western Europe with hand drawn homoerotic scenes from drag bars in his luggage.
Vladimir Mayakovsky was truly "The Poet of The Revolution." His commitment to the Bolshevik cause is not in doubt. His relationship with the state after the Revolution was complicated and full of struggles with censorship. After shooting himself in 1930, his poems have been used to sell everything from toothpaste to gulags. You're as likely to see old posters with his words promoting the benefits of exercise as you are modern ones justifying Russian actions in Ukraine.
Mayakovsky had a Ukranian mother. He survived solitary confinement in prison as a child. He was only educated to the fifth grade. He spoke Georgian better than Russian. He was not monogamous and never married. He shared the love of his life(Lilya Brik) with her husband( Osip Brik) , whom he also had an eccentric sort of love for. Eisenstein wasn't even the only queer artist he stood up for.
You needed a friend with good Bolshevik credentials to find a place to live as an artist in those days. He aided poet Sophia Parnok, AKA The Russian Sappho, in escaping the first Soviet Ukranian Famine by supplying her with a reference. The authorities at the time really hated her for her lesbian poetry and eccentric personality, but a reference like Mayakovsky was solid gold.
The bourgeoisie loves dressing its actions up in revolutionary costumes and then retrofitting historical figures into perfect puppets.
Don't believe them. It's not revolutionary to glorify the Czars and bully the Gays.
Be a Mayakovsky, not a Vatnik.
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greenbor · 2 months ago
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Lili diventa il sole intorno a cui ruota ogni suo pensiero. Non solo è la sua musa, ma lo aiuta concretamente trascrivendo le sue opere e occupandosi della diffusione tra gli editori. Durante un viaggio in Lettonia, paese d’origine della madre, fa di tutto perché alcuni lavori del suo Volodja vengano pubblicati. Tra una questione pratica e l’altra, però, si fa strada la gelosia. Sono lontani, inquieti e pieni di dubbi quando le lettere tardano: “Se non scriverai nulla di te io impazzirò” scrive lui. E lei: “Non tradirmi! Ho una terribile paura di questo”. Ogni volta che si trovano in città diverse – Riga, Londra, Berlino, Mosca, Soči – si ripetono l’amore e il terrore di perdersi: “io ti amo un milione di volte di più di tutti gli altri messi insieme.” Quando è Lili a essere via, Osip e Volodja si dicono che la vita senza di lei sembra senza senso: “Ogni mattina vado da Osja e gli dico: ‘Si sta male, fratello Gatto, senza Liska’ e Oska risponde: ‘Si sta male, fratello Cucciolo, senza la Micia’” scrive il poeta a Lili nel 1921.
Di Majakovskij e Lili Brik
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byneddiedingo · 11 months ago
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Valéry Inkijinoff in Storm Over Asia (Vsevolod Pudovkin, 1928)
Cast: Valéry Inkijinoff, I. Didintseff, Aleksandr Chistyakov, Victor Tsoppi, Fyodor Ivanov, V. Pro, Boris Barnet, Karl Gurniak, I. Inkizhinov, V. Belinskaya, Anel Sudakevich. Screenplay: Osip Brik, Ivan Novokshenov. Cinematography: Anatoli Golovnya. Art direction: M. Aronson, Sergei Kozlovsky.
The great silent Russian propaganda films depended heavily on two things the nascent Soviet Union had in abundance: faces and landscapes. This reliance on closeups and sweeping views of fields and plains sometimes resulted in a loss of narrative coherence, but put the emphasis on the people and resources that the Bolsheviks needed to exercise control over. Storm Over Asia is no exception, beginning with the windswept land and Asiatic faces of the Mongol peoples of eastern Russia, which at the time depicted in the film was still a vast battleground for the Bolsheviks and European forces. After establishing the location, the film focuses on Bair (Valéry Inkijinoff), a young hunter whose father sends him off to the bazaar to sell a silver fox pelt. In the vividly filmed bazaar, Bair is cheated by an unscrupulous European fur trader (Viktor Tsoppi), who might as well be wearing a label: bourgeois capitalist. Beaten by the henchmen for the trader, Bair escapes and joins a group of Soviet partisans fighting the occupiers. The occupation forces seem to be British, who were never a significant presence in this part of the Soviet Union, but the film is vague about such details. They manage to capture Bair, who is sent out with a soldier to be shot, but when they examine Bair's belongings they discover an ancient document indicating that he's a direct descendant of Genghis Khan. (The original title of the film, in Russian, was The Heir to Genghis Khan.) They find the wounded Bair, restore him to health, and set him up as the puppet ruler of a Mongolian state. In the end, Bair turns against the imperialists and the film concludes with a literal storm sweeping them away. It's a film full of great set-pieces, including a montage mockng the imperialists and their wives as they put on their finery and then are driven on a muddy road to meet the new Grand Lama. After an elaborate ceremony (actually filmed at a Tibetan Buddhist celebration) the lama turns out to be a small boy, not at all impressed with his visitors.   
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benmisim · 1 year ago
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“puşkin yaşamamış olsaydı, yevgeni onegin yine de yazılırdı” demiş osip brik. halt etmiş.
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iconophasm · 8 months ago
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Gustav Klutsis, "Postcard for the All-Union Spartakaida Sporting Event," 1928
Some Soviet Futurist artists like Osip Brik declared painting to be an obsolete art form due to photography, which led the early Soviet modern art movement to revolutionize photomontage as an art form. I love this one in particular it's very fun
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driftwork · 2 years ago
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one of steve's photos comes to mind. it is a print of one of rodchenko's photos of osip brik, it is an A P print, creased, marked, four or five decades old,  in a wooden frame on the bookshelves of the room in which i write this. it is standing balancing in the midst of all his things. brik is staring out at the world in that implacable and clear eyed in the way of an angel. not like benjamin’s angel. you ask yourself what was he looking at as rodchenko took the photograph,  perhaps it was at lilya or at the photographer. they lived through terrible times on the edges of the midnight of that century. does the photo remind you of what we have lost?  what might have been? a century later it continues...
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henk-heijmans · 2 years ago
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Osip Brik (writer), 1924 - by Alexander Rodchenko (1891 - 1956), Russian
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fabiansteinhauer · 2 years ago
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Norderney
Zwei am Strand , 1923. Sitzen da, als ob sie Flussgötter werden wollten, anders als die bisherigen Flussgötter. Das ist das Jahr, in dem Shklovskys Zoo oder Briefe, nicht über die Liebe entsteht, ein Buch, das auch als ein seltsames Spiegelvorbild zu Benjamins Spanischer Reise Moskauer Tagebuch lesbar ist.
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russkayaliteratura · 4 years ago
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Osip Brik, unpublished illustration by Alexander Rodchenko for the cover of the magazine LEF, 1924. Gouache on gelatin-silver print, 23.6 x 18 cm.
instagram.com/litrussa
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versuchtrial470 · 5 years ago
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camacio70: Debbie Harry; i12bent: Osip Brik, Jan. 16, 1888 – 1945: Russian avant garde writer and literary critic; celebnudes4u: Sissy Spacek
(via triptychon64)
Uncensored: triptych193.wordpress 
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bgrand · 7 years ago
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Alexander Rodchenko - Caricature Showing Osip Brik, variant of a cover for LEF Magazine 1924 - Gelatin-silver print - 24.2 x 17.9 cm - Private collection - © Rodchenko’s Archive - 2011, ProLitteris, Zurich
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facingthecurrent-blog · 8 years ago
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Our cultural creative work is now entirely purpose-oriented. We do not think up for ourselves any cultural work that does not pursue some definitive practical aim. The concepts of ‘pure science’, 'pure art’, and ‘self-valuable truths and beauties’ are foreign to us. We are practicians, - and in this lies the distinguishing feature of our cultural consciousness.
Osip Brik (1888-1945), ‘From Picture to Calico-Print’. Originally published in LEF, no. 6, Moscow, 1924. 
Written in constructivist-productivist Russian times, almost precisely a full century ago. Did we just go a clean 180, with the current general critique on (Dutch) neoliberal policy instrumentalising the arts into something ‘useful’? 
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kittoforos · 6 years ago
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last night i had a dream that i was chillin with osip brik
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sovietpostcards · 2 years ago
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Morning in the Mayakovsky-Briks apartment in Petersburg. Present: Vladimir Mayakovsky, Varvara Stepanova, Osip Beskin, Lilya Brik. Photo by Aleksandr Rodchenko (1926).
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gargantua · 8 years ago
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Osip e Lili Brik insieme a Vladimir Majakovskij
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youcannottakeitwithyou · 3 years ago
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Bona (Bona Tibertelli de Pisis) (Italian, Active in France, 1926-2000). Portrait of Osip Brik.
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