Novyi LEF

Novyi LEF was a Soviet literary-critical journal published in Moscow from 1927 to 1928 as a successor to LEF, the periodical associated with the Left Front of the Arts. The journal emerged from the conviction among members of the LEF group that Soviet cultural production had lost its revolutionary energy during the years of the New Economic Policy. Under the editorship of Vladimir Mayakovsky, Novyi LEF sought to renew avant-garde practice by connecting experimental artistic methods with the social and productive needs of the new Soviet society. The journal’s program rejected belletrism, autonomous aestheticism, and conventional realist representation. Instead, it promoted production-oriented constructivism, factography, and the concept of zhiznestroenie, often translated as “life-building.” These ideas treated culture not as an isolated realm of imaginative expression but as an active instrument for organizing and transforming everyday life. Novyi LEF favored material drawn from contemporary experience, including reportage, documentary writing, sketches, travel accounts, photography, film, and other forms that could register social reality without imposing a traditional artistic unity upon it. The periodical published poetry, literary criticism, theoretical essays, documentary experiments, and discussions of artistic technique. Its contributors included Mayakovsky, Nikolai Aseev, Semyon Kirsanov, Petr Neznamov, Osip Brik, Viktor Shklovsky, Nikolai Chuzhak, Alexander Rodchenko, and other members or associates of the Soviet avant-garde. Rodchenko designed many of the covers, reinforcing the journal’s constructivist visual identity. The publication also exposed works in progress, research plans, preliminary screenplays, and exchanges between aspiring writers and established editors. This practice was intended to demystify artistic production and invite readers into the processes of cultural making. Novyi LEF was also a site of polemic. Its writers argued against rival literary organizations, including the Russian Association of Proletarian Writers (RAPP) and the Pereval group, while defending the newspaper and related journalistic genres as particularly suitable forms for contemporary Soviet culture. Poetry retained an important role in the early issues, especially poetry directed toward current political and social life. Mayakovsky and other futurist poets used verse as a form of agitation and public intervention rather than as a retreat into private lyricism. The journal’s editorial direction changed in 1928. Disagreements between Mayakovsky and Sergei Tretyakov led Tretyakov to become chief editor in August. Tretyakov promoted a stronger emphasis on prose, essays, and what the group regarded as more advanced factographic forms. Mayakovsky subsequently withdrew from the journal and from the LEF movement, and several established contributors stopped appearing after the July 1928 issue. The final five issues contained more critical prose and fewer, ultimately no significant, poetic contributions. Issues 10 and 11 gave particular space to Nikolai Chuzhak’s elaboration of zhiznestroenie. The journal ceased publication after its short run in 1928. Its influence nevertheless extended beyond its immediate readership. Alfred H. Barr Jr., who later became the founding director of New York’s Museum of Modern Art, encountered members of the LEF circle during a 1928 visit to Moscow. Rodchenko’s Novyi LEF cover designs were later included in MoMA’s 2012–2013 exhibition The Shaping of New Visions: Photography, Film, Photobook. Novyi LEF remains an important document of Soviet constructivist publishing, avant-garde literary theory, and the effort to merge art, journalism, technology, and revolutionary social practice.

Novyi LEF was created in Moscow in 1927 as the successor to the earlier LEF journal and as a renewed platform for the LEF literary and artistic group. Its appearance reflected dissatisfaction among Soviet avant-garde writers and artists with what they viewed as the cultural consequences of the New Economic Policy. In the group’s interpretation, years of commercial and social stabilization had encouraged philistinism and weakened the revolutionary purpose of art. The new journal was intended to restore an active relationship between experimental form and Soviet social necessity. Vladimir Mayakovsky served as editor-in-chief during the first phase. The journal continued the LEF commitment to applying futurist and constructivist methods to public themes, but it placed particular emphasis on factography. Factography valued documentary materials and the unembellished particulars of contemporary life over inherited literary conventions. Reportage, newspaper writing, sketches, travel accounts, photography, film, and other journalistic or documentary forms were treated as possible foundations for a modern literature. The newspaper was imagined as a central cultural form because it could connect artistic production with the practical information and social activity of the Soviet present. Novyi LEF also promoted zhiznestroenie, or “life-building,” a theory that understood cultural work as a means of constructing everyday social reality. Rather than presenting the artist as an isolated creator, the journal emphasized production, process, collaboration, and the direct circulation of cultural techniques. Contributors sometimes published works before completion or described their research and compositional methods. Viktor Shklovsky’s discussion of War and Peace appeared as a research plan, while Mayakovsky published material related to the preliminary construction of a film screenplay. These experiments made the mechanics of cultural production visible to readers. Poetry was especially prominent in the early issues. Mayakovsky, Nikolai Aseev, Semyon Kirsanov, and Petr Neznamov contributed verse focused on contemporary life, public rhetoric, and revolutionary agitation. The journal also encouraged interaction with beginning poets. In several cases, submissions from aspiring writers were printed together with editorial comments, allowing the publication to function partly as a workshop and a forum for literary evaluation. The journal’s cultural program was polemical. Its contributors criticized rival organizations such as RAPP and Pereval and resisted the idea that literary legitimacy should be based on conventional realism or institutional literary doctrine. Novyi LEF’s editors instead argued that new social conditions required new forms and that literary value should be connected to the practical organization of modern life. A major internal change occurred in 1928. Editorial disagreements between Mayakovsky and Sergei Tretyakov culminated in Tretyakov’s assumption of the chief editorship in August. Tretyakov favored a stronger concentration on prose and on genres considered more directly useful to factographic cultural work. Mayakovsky left the journal and the wider LEF movement, and several familiar contributors ceased publishing in its pages after July. The final five issues show a clear shift toward essays and critical prose, with poetry largely absent. Nikolai Chuzhak used issues 10 and 11 to develop his account of zhiznestroenie as a form of factographic life-building. Novyi LEF ended its publication run in 1928. The collapse of the journal did not end the activities of all its participants. In 1929 Mayakovsky, Osip Brik, Nikolai Aseev, and Alexander Rodchenko helped form the short-lived Revolutionary Front of the Arts, or REF. Mayakovsky later joined RAPP in 1930. The journal’s historical importance lies less in commercial longevity than in its concentrated record of Soviet avant-garde attempts to redefine the relationship among literature, journalism, technology, design, and revolutionary politics. The publication also acquired an international afterlife through the circulation of its visual and theoretical innovations. Alfred H. Barr Jr. encountered members of the LEF circle during his 1928 visit to Moscow, and Rodchenko’s cover designs were later preserved and exhibited by the Museum of Modern Art. Novyi LEF is therefore studied both as a short-lived periodical and as a major artifact of constructivist publishing culture.

• 2012

  Rodchenko cover designs are exhibited by MoMA

  [1]Novyi LEFen.wikipedia.org

  Novyi LEF cover works associated with Alexander Rodchenko are included in The Shaping of New Visions: Photography, Film, Photobook.

• 1928

  Tretyakov assumes chief editorship

  [1]Novyi LEFen.wikipedia.org

  Sergei Tretyakov takes editorial control after disagreements with Mayakovsky and moves the journal toward prose and critical essays.

• 1928

  Novyi LEF ceases publication

  [1]Novyi LEFen.wikipedia.org

  The journal ends after a short run whose final issues emphasized factographic theory and prose over poetry.

• 1927

  Novyi LEF is launched

  [1]Novyi LEFen.wikipedia.org

  The successor to LEF begins publication in Moscow under the editorship of Vladimir Mayakovsky and advances an avant-garde, constructivist, and factographic cultural program.

• 1927

  Factography becomes a central editorial principle

  [1]Novyi LEFen.wikipedia.org

  The journal promotes documentary and journalistic forms as ways to connect literature with the material conditions of Soviet modernity.

An avant-garde Soviet cultural journal positioned against belletrism and conventional literary aesthetics. Novyi LEF presented literature, journalism, photography, film, and design as practical instruments of revolutionary cultural production, emphasizing factography, constructivism, and the active transformation of everyday life.

• Literary-critical periodical · 1927

  Novyi LEF journal

  The journal’s principal publication was a Moscow-based literary and cultural periodical issued from 1927 to 1928. It combined avant-garde poetry, literary criticism, documentary writing, theoretical essays, film and photography discussion, and debates about the social function of art. Its editorial identity was reinforced by constructivist visual design, including covers created by Alexander Rodchenko.

• Editorial and literary method · 1927

  Factographic literature

  Novyi LEF promoted factography as a method based on documentary material and contemporary observation rather than conventional fictional unity or inherited aesthetic forms. Reportage, newspaper writing, sketches, travel accounts, and works shown in progress were valued as forms capable of connecting literary production to modern social life.

• 1928

  Shift from poetry toward prose and critical essaysStrategy

  Background

  After Mayakovsky and Sergei Tretyakov disagreed over the journal’s direction, Tretyakov became chief editor in August.

  Action taken

  Tretyakov increased the prominence of prose, essays, and theoretical treatments of factography and zhiznestroenie.

  Aftermath

  Mayakovsky left the journal, several established contributors stopped publishing in it, and the final issues contained markedly less poetry.

  Source

• 1927

  Adopt factography and production-oriented constructivismStrategy

  Background

  The LEF circle believed Soviet culture had become weakened by the perceived philistinism associated with the New Economic Policy and needed a renewed revolutionary direction.

  Action taken

  Novyi LEF made documentary approaches, production-oriented constructivism, and life-building central to its editorial program.

  Aftermath

  The journal became a major forum for debates about documentary literature, journalism, artistic process, and the social function of avant-garde culture.

  • Russian Association of Proletarian Writers (RAPP) — Novyi LEF contributors polemicized against RAPP’s competing literary and cultural positions.
  • Pereval — The journal also argued against the Pereval group in its defense of avant-garde and factographic methods.

  Source

1. 1Novyi LEFen.wikipedia.org
2. 2The Shaping of New Visions: Photography, Film, Photobookmoma.org
3. 3‘LEF’ journal reference entryfeb-web.ru