scholarly journals Reading Ray: Avant-Garde and Transnationalism in Interwar Britain

2021 ◽  
Vol 16 (2) ◽  
pp. 216-241
Author(s):  
Matthias Somers ◽  
Sami Sjöberg
Keyword(s):  
Interwar Period ◽  
Arts And Crafts ◽  
Text And Image ◽  
Avant Garde ◽  
Modernist Studies ◽  
Modernist Project ◽  
Interwar Britain

The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period. Focusing on the specificities of the magazine form and on Ray's explicitly interartistic and transnational ethos, this article locates Ray within the spectrum of British ‘modernisms’, while interpreting its manifest effort to introduce various European avant-garde movements to a British audience as part of a strategy to establish an alternative modernist project grounded in the ideals of the moribund Arts and Crafts tradition.

scholarly journals FROM ŁÓDŹ TO LEIDEN – ON INTERNATIONAL CONNECTIONS OF THE POLISH INTERWAR AVANT-GARDE

Muzealnictwo ◽  
2018 ◽  
Vol 59 ◽  
pp. 203-210
Author(s):  
Michał Wenderski
Keyword(s):  
Interwar Period ◽  
Avant Garde ◽  
Art And Literature ◽  
Archival Documents ◽  
De Stijl

This article is dedicated to international connections between selected representatives of Polish and Western avant-gardes in art and literature of the interwar period. Both the nature and the scale of such relations have been exemplified by a number of artists from the “a.r.” group – Katarzyna Kobro, Władysław Strzemiński, Henryk Stażewski and Jan Brzękowski, as well as their relationships with the representatives of Dutch and Belgian formations, inter alia “De Stijl” group. The origin of those connections has been briefly presented, along with their nature, dynamics and an impact they made on artworks and theories of chosen artists. Their description is based on archival documents and publications, from which a picture of direct relationships between the leading artists of the European avant-garde emerges – some of them personal, some correspondence-based; they have also been presented in form of a diagram that illustrates the text.

Senghor, Léopold Sédar (1906–2001)

2018 ◽  
Author(s):  
Phyllis Taoua
Keyword(s):  
Interwar Period ◽  
Aime Cesaire ◽  
African Culture ◽  
Black African ◽  
Avant Garde ◽  
Philosophy Of Culture ◽  
African Spirituality ◽  
European Thought ◽  
Modern Era ◽  
Cultural Theorist

Léopold Sédar Senghor is one of the most influential African poets of the modern era. He also left his mark as a controversial cultural theorist and president of his native Senegal from 1960 until 1981. The poet and statesman participated with Aimé Césaire and Léon Gontran Damas in founding the négritude movement during the interwar period in Paris. Négritude was a cultural revolution that affirmed black African culture across geographical borders, combining a political vision of social justice for all peoples of African origin with an innovative poetic idiom. Senghor’s distinctive contribution to this avant-garde effort was a set of inter-related concepts with which he developed his theory of black African culture. The first was a notion of cross-cultural creativity entailing an interpenetration of African and European cultures. The second was a selective assimilation of certain aspects of French culture into an African conceptual framework. The third was an African version of socialism that integrated a community-centred ethics with a traditional African spirituality. Senghor believed that African culture had unique contributions to make to European thought, and worked to define a theory of culture based on dialogue, reciprocity and an inclusive humanism, which would pave the way for Africa’s integration into a civilization of the universal. His philosophy of culture is unsystematic; it appears as a collection of insights derived from various sources on the central theme of négritude.

Xul Solar (1887–1963)

2018 ◽  
Author(s):  
David Fernando Cortés Saavedra
Keyword(s):  
Latin American ◽  
Visual Arts ◽  
Buenos Aires ◽  
Italian Renaissance ◽  
American Modernism ◽  
Avant Garde ◽  
Long Period ◽  
Semiotic Systems ◽  
San Fernando ◽  
Modernist Project

Associated with the most important figures of the literary and artistic avant-garde of Buenos Aires, the Argentinean painter and polyglot Xul Solar was key in connecting European movements like Expressionism, Constructivism and Dadaism to Latin American modernism. He contributed to the modernist project via the convergence in his work of depurated (simplified) flat colorful figuration and a complex iconography of pre-Columbian and religious derivation. Xul Solar lived during his youth in San Fernando, Argentina, and was equally inclined towards music and the visual arts. During a long period of travel throughout Europe, he encountered several artistic movements—from the Italian Renaissance to die Brücke—and studied linguistics and theosophy. Enthralled by his experiences abroad, Xul Solar returned to Argentina in 1924, joining the artist group Martín Fierro and elaborating on projects begun in Europe such as the creation of his artificial language, Panlingua. His fascination with elaborate semiotic systems also led him to create the game PanChess. Xul Solar’s visual works varied throughout his career from geometric abstraction to schematic figuration, from fantastic paintings to symbolic portraits. Xul Solar remains one of the most influential Latin American artists of the modern period.

From Political Theater in Yugoslav Socialism to Political Performance in Global Capitalism: The Case of Slovenian Mladinsko Theater

2016 ◽  
Vol 24 (1) ◽  
pp. 72-82
Author(s):  
Marko Juvan
Keyword(s):  
Interwar Period ◽  
Performing Arts ◽  
Identity Crisis ◽  
Global Capitalism ◽  
Political Theater ◽  
Nation State ◽  
Late Capitalism ◽  
Avant Garde ◽  
Political Performance ◽  
Dramatic Practice

Political theater is a trend that, during the avant-garde 1920s, emerged at the intersection of efforts to liberate artistic forms and oppressed groups in society. It was an influence on Slovenian theatrical artists at the Workers’ Stage (Delavski oder) already in the interwar period. A trend towards ‘political theater’, one of the tendencies of politicized performing arts in the period, flourished in Slovenia and other republics of the former Yugoslavia in the 1980s. Against the background of an identity crisis of the Yugoslav state and its ideology, political theater addressed great stories of History and the Revolution in a post-avant-garde manner. During the transition, political theater initially lost its edge but was reborn in the 21st century. As a post-dramatic practice associated with performance, it now parses its own politics. It is a forum for critiquing small, local stories that nonetheless evince the contradictions of a peripheral nation-state in the era of transnational late capitalism.

The reciprocity between art and architecture

2019 ◽  
Vol 6 (4) ◽  
pp. 112-116
Author(s):  
Hakan Saglam
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Contemporary Art ◽  
Modern Architecture ◽  
First Century ◽  
The Other ◽  
Arts And Crafts ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art And Architecture

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.

scholarly journals At school with the avant-garde: European architects and the modernist project in England

2018 ◽  
Vol 47 (4) ◽  
pp. 544-563 ◽  
Author(s):  
Ian Grosvenor ◽  
Angelo Van Gorp
Keyword(s):  
Avant Garde ◽  
Modernist Project

scholarly journals WORK OF NIKOLAI TSIVCHINSKII: CONTRIBUTION OF THE BOYCHUK SCHOOL TO THE ART OF KAZAKH TAPESTRY

2021 ◽  
pp. 103-118
Author(s):  
Sergali Suraganov ◽  
Zubaida Suraganova
Keyword(s):  
Arts And Crafts ◽  
Methodological Innovation ◽  
Avant Garde ◽  
New Information ◽  
Biographical Approach ◽  
Significant Phenomenon ◽  
History Of ◽  
The Republic ◽  
Life Path ◽  
Art School

The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviving Boychukists who were scattered to the four corners of the earth by fate, N. Tsivchinskii developed the versatile skills, artistic language, and tradition of the Boychuk school also became one of the brightest figures in the Kazakh decorative and applied arts. The life path and work of N. Tsivchinskii reflect the most critical and tragic chapters of the country development thoroughly, which is no longer on the map. The research methods used are biographical, source-based, and historical. The methodological innovation of the research is the use of the biographical approach along with the historical one in the framework of the “new comparative history” as an effective tool for studying the artistic heritage of Kazakhstan and Ukraine in the Soviet era. The scientific novelty of the study is determined by the introduction of new information about the artist, whose work was only mentioned in the context of the Boychuk school scholars’ activities, a significant part of whose followers were destroyed during the years of the Red Terror. Conclusions. The work of N. Tsivchinskii is considered in the context of the activity of the art school of M. Boychuk, where he became an arts and crafts master. In the 1930s, in Kazakhstan, N. Tsivchinskii continued the traditions of the Boychukists, became the founder of the first carpet cooperative craft society, which became a truly significant phenomenon in the history of the formation of professional decorative and applied art in the republic.

scholarly journals Le Corbusier y Charles Lasnon: De las maquetas blancas de los Salones de Otoño a los plan-reliefs del nuevo urbanismo

2015 ◽  
Author(s):  
Miguel Angel De la Cova Morillo
Keyword(s):  
Three Dimensional ◽  
Le Corbusier ◽  
Arts And Crafts ◽  
New Techniques ◽  
Avant Garde ◽  
The Arts ◽  
Palabras Clave ◽  
Scale Models ◽  
Siglo Xx ◽  
Made In

Resumen: El “mouleur” Charles Lasnon representa la convivencia que durante el primer tercio del siglo XX se dará entre las Artes y Oficios y las nuevas técnicas de representación vinculadas a la fotografía. Lasnon realizará para Le Corbusier una serie de maquetas que presentarán sus propuestas a escala doméstica y urbana, primera aproximación a una expresión tridimensional de sus teorías: los modelos 1:20 de los Salones de Otoño en 1922 y 1923, a camino entre el objet-type y la escultura de vanguardia, y las del “Urbanisme á trois dimensions” del Plan Obus y Nemours. Las maquetas de las Villas se establecerán como “manifiestos estéticos y arquitectónicos”. En ellas se ensayarán principios teóricos plásticos, previos incluso a una idea de construcción, indagaciones que abren la puerta a transferencias entre la representación a escala realizada en yeso y la arquitectura a realizar. Por otra parte, la vinculación de Lasnon con el Service Geographique de l’Armée le familiarizará con las nuevas técnicas de representación del territorio. Así, realizará los Carte-Relief de Argel coetáneamente a la ejecución de las maquetas de las propuestas urbanas argelinas de Le Corbusier, garantes no sólo del rigor geométrico de sus postulados: quedan en ellas registradas el paisaje original, cuya topografía se modela y manipula como si de un trabajo plástico se tratara. Utopías en busca de un lugar imaginado sobre un trozo de yeso. Abstract: Charles Lasnon, "mouleur",represents the coexistence between the Arts and Crafts and the new rendering techniques related to photography that took place in the first quarter of the twentieth century. Commissioned by Le Corbusier, Lasnon made in those years several models that represent his new proposals at a domestic and urban scale. That was the first approach to a three-dimensional expression of his theories –the scale models of 1:20 from "Salon d'Automne" in 1922 and 1923, which were halfway between objet-types and avant-garde sculptures, and the theories of "L'Urbanisme à trois dimensions" from Plan Obus and Nemours. The scale-models of "Villas" were established as “aesthetic and architectural manifestos”. They were used to test theoretical and plastic principles, formulated before the idea of construction. These tests resulted in "transfers" between plaster-craft scale models and the architecture to be built. Additionally, the links between Lasnon and the “Service Geographique de l’Armée” enabled him to be familiar with new techniques to represent landscape. Thus, Lasnon made the Carte-Reliefs d'Argel at the same time as Le Corbusier made the models for the urban proposals in Alger. These models not only guarantee the geometrical accuracy of his proposals, but also capture an original landscape whose topography is modeled as if it was a plastic craftwork. Utopias seeking an imaginary place on a plaster slice.  Palabras clave: maqueta; moulage; Charles Lasnon; urbanismo; plan-relief; Salón de Otoño. Keywords: model; "moulage", Charles Lasnon; urbanism; plan-relief; Salon d'Automne. DOI: http://dx.doi.org/10.4995/LC2015.2015.729

scholarly journals Über Dichter, Proletarier und Apachen

2019 ◽  
Author(s):  
Gérard Raulet
Keyword(s):  
Interwar Period ◽  
French Literature ◽  
Walter Benjamin ◽  
Social Criticism ◽  
The Novel ◽  
Social Worlds ◽  
Avant Garde ◽  
The Voice ◽  
Collective Dimension

It is somewhat surprising that Walter Benjamin, who has been very much involved with French literature, has shown so little interest in the most prestigious social novelists and in the great social romance cycles. Unlike Lukács, Benjamin evaluates the form of the novel negatively: the novel is not, or no longer, the modern epic. The contemporary novelist differs from the epic narrator in that he has lost the collective dimension. Instead of complaining about this loss, Benjamin accepts it and looks critically for authors and works that experiment new narrative means and at the same time explore new social worlds. But most novels to which Benjamin attributes experimental, or even avant-garde, value have met this challenge the least. They betray their breakthrough either by a purely private social criticism (Julien Green), by a kind of “infantile disease” of commitment (Malraux), or by a mere “cry of indignation” (Céline), which at least has the merit of reintroducing the voice of the Lumpenproletariat into the realm of the novel without mobilizing the “mimicry” of belonging to the proletariat. This essay is part of a larger project on Benjamin and the French intelligentsia of the interwar period.

scholarly journals Przekład w perspektywie awangardowości

2020 ◽  
Vol 26 (49) ◽  
pp. 83-100
Author(s):  
Bożena Tokarz
Keyword(s):  
Interwar Period ◽  
Fundamental Change ◽  
Polish Literature ◽  
Avant Garde

Translation in the Perspective of Avant-garde Avant-garde is a kind of precursor that precedes some fundamental change. Translation can provoke such a change in the host literature, presenting works that have the potential to make a turn in it, or it can become revolutionary in the art of translation. The avant-garde function of Polish literature in Slovenia is fuzzy. It is present in the minds of some authors although they do not exhibit it in an explicit way. Therefore, it is not possible to assign its translations an avant-garde role in the interwar period, which abounded with stormy transformations of European art and not only. The Polish historical avantgarde was unknown to the reader, and the poetry of one of the central poetic groups, the Krakow Avant-Garde, has remained so. The translations of avant-garde prose and drama of that time are late to fulfill such a function because they only appeared after the 1970s.

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