Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)

Ikonotheka ◽  
2017 ◽  
Vol 26 ◽  
pp. 137-166
Author(s):  
Iwona Luba
Keyword(s):  
Modern Art ◽  
Foreign Affairs ◽  
State Agency ◽  
Central Bureau ◽  
Public Attention ◽  
Art Exhibitions ◽  
Strong Response ◽  
The West ◽  
Avant Garde ◽  
History Of

From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).

The Avant-Garde of System-Cybernetic Governmentality

2016 ◽  
Author(s):  
Eglė Rindzevičiūtė
Keyword(s):  
Market Economy ◽  
Systems Approach ◽  
Free Market ◽  
Self Regulation ◽  
Free Market Economy ◽  
The West ◽  
Avant Garde ◽  
History Of ◽  
Soviet Russia ◽  
Complex Question

This epilogue addresses the complex question of the link between system-cybernetic governmentality and the neoliberal transformation of post-Soviet Russia. Although the system-cybernetic governmentality and economic neoliberalism did not share institutional origins, they were linked during the post-Soviet transformation as a result of historical momentum: the members of the Soviet systems approach community were best positioned to conduct the transfer of the models of the market economy from the West at a time when neoliberal ideas on the free market economy were gaining popularity. However, this should not mean that the pre-1980 history of system-cybernetic governmentality should be tainted as neoliberal; rather, this reveals the extent to which scientific governance can be appropriated by different economic and political regimes. If anything, the pre-1980 history of system-cybernetic governmentality is a history of a rather liberal governmental technology, underscoring the conditions of autonomy, self-regulation, and government at a distance.

The Postcolonial Avant-Garde and the Claim to Futurity: Edwar al-Kharrat’s Ethics of Tentative Innovation

2018 ◽  
pp. 147-163
Author(s):  
Adam Spanos
Keyword(s):  
Social Change ◽  
Historical Time ◽  
The West ◽  
Avant Garde ◽  
History Of ◽  
Cultural Expressions

This chapter delinks the avant-garde from the contingent cultural expressions of imperialism prevalent at the time of its emergence in Europe and speculates on the possibility of an avant-garde not aggrandized by foreign domination. Like his Surrealist counterparts in the West, Egyptian writer Edwar al-Kharrat aimed to produce total social change by means of obscure rather than didactic references. He did so not to shock his compatriots out of bourgeois complacency, however, but to stimulate them to more autonomous thinking about the history of their subjection to neocolonial and dictatorial forms of authority. Al-Kharrat arranged a literary mosaic comprising scenes of transhistorical suffering without causal narrative, leaving readers to produce a representation of historical time adequate to understanding them. Al-Kharrat’s work suggests the terms of an avant-garde relying on humility rather than egoism for its effect, and mobilizing anachronism rather than

The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions

Ikonotheka ◽  
2017 ◽  
Vol 26 ◽  
pp. 63-94
Author(s):  
Karolina Zychowicz
Keyword(s):  
19Th Century ◽  
Critical Realism ◽  
Cultural Exchange ◽  
Folk Art ◽  
Eastern Bloc ◽  
Central Bureau ◽  
Local Version ◽  
Art Exhibitions ◽  
Foreign Countries ◽  
History Of

The documentation of the Committee for Cultural Cooperation with Foreign Countries, which was an offi cial agency active in the years 1950–1956, is currently deposited at the Central Archives of Modern Records in Warsaw and constitutes an invaluable source for any Polish scholar interested in the history of exhibitions. It contains large amounts of interesting data which make it possible to ascertain the character of Polish exhibitionorganising activity in the fi rst half of the 1950s. In the six years of its existence the Committee organised ca. one hundred exhibitions. The essay concerns exhibitions hosted in the main building of the Central Bureau of Art Exhibitions, i.e. the Zachęta. Foreign exhibitions prepared by the Committee were intended to justify the state’s cultural strategy based on promoting the aesthetics of Socialist Realism, which programmatically referred to 19th-century Realism and its historical traditions. Exhibitions of art produced in the countries of the Eastern bloc presented the local version of Social Realism plus 19th-century painting that could be described as “Critical Realism”. Bringing to Poland exhibitions of folk art from the “brotherly” countries of the Eastern bloc was an important element of the Committee’s policy, as in the years 1949–1956 attempts were made to use folk art in the process of remodelling the country in the Socialist spirit. The Committee for Cultural Cooperation with Foreign Countries was established in 1950 in order to centralise, expand and politicise artistic exchange. On the whole, however, the idea to centralise all of the cultural exchange with foreign countries turned out to be a utopia. In 1955, just as the so-called thaw was beginning, the Ministry of Culture and Art offered the proposal to decentralise the exchange and to dissolve the Committee.

Avant-gardes in the First Half of the Twentieth Century: New Perspectives

2005 ◽  
Vol 14 (3) ◽  
pp. 391-402
Author(s):  
NORBERT BANDIER
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Literary History ◽  
Cultural Policy ◽  
Modern Art ◽  
Theoretical Models ◽  
Avant Garde ◽  
Art And Literature ◽  
History Of ◽  
History Of Culture

The time has come for researchers into innovative movements in art and literature in the first half of the twentieth century to break free from traditional investigative frameworks. The works reviewed here belong to different disciplines – art history, literary history, literary criticism, history – but all show a shift of perspectives in the history of culture. They point to a reassessment of the theoretical models we use to understand modern art and literature. Those models are – in this case as they relate to the avant-garde – nuanced, refined, developed and sometimes even invalidated. Though some of these works are not wholly devoted to the European avant-gardes, they do deal with the international circulation of modern art in, to or from Europe, studied here in its lesser-known aspects. Moreover, they all to some extent examine the artist’s responsibility to the community, or the state’s responsibility to art. This theme of responsibility runs through all these works, either in its ethical dimension or as an aspect of the social function of art, especially when art has to confront an entertainment culture or is roped in as part of cultural policy.

scholarly journals Latar Belakang Pemikiran dan Kiprah Seyyed Hossein Nasr

2019 ◽  
Vol 10 (2) ◽  
pp. 132-146
Author(s):  
Titin Nurhidayati
Keyword(s):  
History Of Science ◽  
Modern Art ◽  
Modern Humans ◽  
The West ◽  
Islamic Studies ◽  
History Of ◽  
Islamic Society

Seyyed Hossein Nasr is one of the Muslims who has expertise in the field of Islamic studies that penetrates scientific barriers to explore Islam as an objective and honest study. His reputation as Professor in the study of the history of science and philosophy shows the depth and sharpness of his thinking. Seyyed Hossein Nasr gave many criticisms of the reality of modern humans today from various aspects. One focus of his criticism is the problem of the phenomenon of modern art which is developing rapidly to all parts of society, including Islamic society. Nasr is also one of the spokespersons of Islam in the West who has been persistent in voicing traditionalism ideas to fortify the flow of modernization that has damaged the joints of the noble traditions of society, especially Islam.

scholarly journals Serbian Literary Magazine and avant-garde music

Muzikologija ◽  
2005 ◽  
pp. 289-306 ◽  
Author(s):  
Aleksandar Vasic
Keyword(s):  
Music Composition ◽  
Modern Art ◽  
Arnold Schoenberg ◽  
The Other ◽  
Music Criticism ◽  
Modern Music ◽  
Avant Garde ◽  
Literary Magazine ◽  
Music Evaluation ◽  
History Of

One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.

scholarly journals The reception of Soviet music in the west: A history of sympathy and misunderstandings

Muzikologija ◽  
2012 ◽  
pp. 125-137
Author(s):  
Levon Hakobian
Keyword(s):  
Cold War ◽  
The West ◽  
Avant Garde ◽  
History Of ◽  
Soviet Music

In this concise survey, the evolution of Western attitudes to Soviet music is retraced: from a certain interest in the early Soviet avant-garde, through ?Cold War? attempts to keep alive the works banned under Stalin, to the support of the Soviet avant-garde of the ?60-70s and the recent vogue for Soviet music of a stylistically ?moderate? kind, which has never been popular among Russian connoisseurs. Side by side with manifestations of sympathy, some typical misunderstandings are pointed out.

scholarly journals History, Identity, Memory: Nikzad Nodjoumi’s Arzhang

2016 ◽  
Vol 70 (4) ◽  
Author(s):  
Layla S. Diba
Keyword(s):  
Case Studies ◽  
Modern Art ◽  
Avant Garde ◽  
Western Art ◽  
History Of

AbstractOne of the strategies available to scholars challenging the Western art-historical canon is the use of case studies of the careers of pioneering artists from the “periphery”. This essay will tell the story of a long forgotten chapter of the history of Iranian modern art which has only recently come to light. Just before the 1979 revolution, one of Iran’s young avant-garde painters, Nikzad Nodjoumi (b. 1941), was invited to provide a set of illustrations for a publication and translation of the Manichean text of the

scholarly journals «Indias Huancas» de Julia Codesido = «Indias Huancas» by Julia Codesido

2020 ◽  
pp. 221
Author(s):  
Giuliana Moyano-Chiang
Keyword(s):  
Cultural Diversity ◽  
Modern Art ◽  
Avant Garde ◽  
Art Collection ◽  
History Of ◽  
Las Mujeres

La obra Indias Huancas de Julia Codesido (1883-1979) forma parte de la colección de arte moderno del Centro Pompidou de París y es una obra que, al igual que muchas obras de artistas mujeres, actualmente no está expuesta al público. Este artículo analiza el trabajo de Codesido desde la perspectiva feminista y decolonial. Al mismo tiempo, la relectura de su obra propone una revisión de la iconografía representada a partir de la significación de sus elementos. Codesido fue una artista comprometida con las ideas de la vanguardia artística del Perú, su adhesión a la estética indigenista le permitió crear obras que alteraron los cánones academicistas, explorando nuevas formas de expresión. Mediante estas nuevas maneras de representación restituyó la presencia de las mujeres y su diversidad étnica y cultural en la historia del arte del Perú.AbstractThe work Indias Huancas by Julia Codesido (1883-1979) is part of the modern art collection of the Center Pompidou in Paris and is a work that, like many works by female artists, is currently not on public view. This article analyzes Codesido’s work from a feminist and decolonial perspective. At the same time, the re-reading of her work proposes a revision of the iconography represented from the significance of its elements. Codesido was an artist committed to the ideas of the artistic avant-garde of Peru, her adherence to the Indigenist aesthetics allowed her to create works that altered academic canons, exploring new forms of expression. Through these new forms of representation, she restored the presence of women and their ethnic and cultural diversity in the history of Peruvian art.

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