Rodchenko, a central figure of constructivist movement in Russia, implores the reader in his brief manifesto to kill painting as it can only serve as means of falsification. He synthesises the sentiment of the time, mainly, that photography can not only represent, but also capture the true essence of life.
Buchloh, in his thoughtful article for October magazines, contextualises the evolution of Russian avant garde as it reacts to Western European surrealism, first through original iteration of Faktura, where artists renounce to painting but create individualised works of art, through Factography, the second period that focuses on reproduction, access and mass dissemination. Photography becomes the tool to allow artists/social historians to create social movements. The surprising turn of events is the eventual incorporation of these techniques into emerging totalitarian regimes, which makes the entire project collapse.