Both artists felt strongly that ideology should form the lifeblood of their
work, and nothing shows this more than Rodchenko's design for a Workers'
Club, which he exhibited in the International Arts and Crafts Exhibition in
Paris in 1925. Tate Modern will have a reconstruction of the club, direct
from his designs. This was design with function that went beyond
utilitarianism: it was created to enable leisure, an essential tenet of
Lenin's revolutionary ideal. Labourers should use their free time outside of
work relaxing – but within a context that was productive, communal, and with
design at its centre. As such, there was to be a Lenin Corner of the club
with Constructivist magazines and a screen on which could be projected
signs. This was typical of the Constructivist movement's approach to art, as
they branched out to graphic design, theatre stage sets and posters. This
Workers' Club was a theatre of sorts, where each worker would play his part.