In 1924, the self-taught artist Iurii Nikolaevich Rozhkov created a series of photomontages inspired by Vladimir Maiakovskii’s poem “To the Workers of Kursk” and the geological discovery of the Kursk Magnetic Anamoly (KMA). Rozhkov’s series for Maiakovskii’s ode to labor is both an example of the political propaganda of the reconstruction period of the NEP era and a polemical answer to all those who relentlessly attacked Maiakovskii and criticized avant-garde art as alien to the masses. The article introduces Rozhkov’s less-known photomontage series as a new model of the avant-garde photopoetry book, which offers a sequential reading of Maiakovskii’s poem and functions as a cinematic dispositive of the early Soviet agitprop apparatus (dispositif). Aleksandar Bošković argues that the photopoem itself converts into an idiosyncratic avant-garde de-mountable memorial to the working class: a dynamic cine-dispositive through which the the early agitprop apparatus is realized in lived experience, reproduced, and transformed, thus delineating its shift towards the new dispositif of the late 1920s — socialist realism