It is a known fact that throughout his life Pessoa was interested in and conversant with an array of esoteric currents and doctrines. Underpinning that interest was a marked tendency to a form of ...symbolic thinking encapsulated in the lines "... my thinking is condemned / To symbol and analogy" from a 1907 poem by the incipient heteronym Alexander Search, which recur in a fragment from 1932 of the dramatic poem Fausto. Pessoa's continued symbolic thinking, informed by copious readings mainly in Western Esotericism, allowed him to develop a creative hermeneutical approach to esoteric epistemologies. This essay will be concerned specifically with Pessoa's conception of the mystical significance of geometrical forms, arguing that they not only enriched the figurative expressiveness of his poetry but also played a crucial role in his formulation of a poetics of Sensationism. Pessoa's use of geometric imagery will be considered in the context of the fascination with sacred geometry and exploration of its aesthetic potential displayed by other modernists, like Yeats and Pound, and by avant-garde movements from the early XXth century which were also driven by analogous concerns, such as Futurism, Vorticism, Cubism, Expressionism and Suprematism.
About Catalan Surrealism Miralles i Bofarull, Francesc
Catalan historical review,
07/2010, Volume:
3
Journal Article
Peer reviewed
Open access
Catalan Surrealism has local roots, although it also has an international dimension. Even though doubts have been cast as
to whether some Surrealistic artists fully fit within the theoretical ...definition of Surrealism, the history of this artistic trend
could not be written without Salvador Dalí and Joan Miró, who extend beyond its boundaries. However, it is not fitting to
limit ourselves to these two artists, the most famous ones; rather we must also consider other artists like Leandre Cristòfol,
Esteban Francés and others discussed in this article.
The aim of these excerpts is to provide the professional public with a wide range of diary notes written in 1912–1925 by Karel Teige, a key figure of the Czech interwar artistic avant-garde. The ...collection focuses both on the ‘Prague’ writings, which reflect key historical moments during 1918 and 1919 from the personal perspective of the young, sensitive emerging intellectual, and on texts Teige wrote while vacationing in Neveklov that include his reflections on his own artistic activities, specifically in the field of the visual arts. He finds in these activities an expression not only of his artistic but also of his human existence, in spite of which he can often be seen to express a keen skepticism towards them. It is precisely this tension between the two attitudes that leads to the strongly reflective nature of the excerpts, as they gravitate more and more towards the fields of art criticism and art theory. The aspiring artist strives to formulate his dissatisfaction with his own work by drawing on concepts and insights from the contemporary and historical artistic context. Among other things, this tends to strengthen his theoretical knowledge, together with his ability to synthesize a wide range of cultural and artistic connections that are at the young Teige’s disposal. One might draw an apt comparison here to the young poet Šalda who entered the world of art criticism in the late 1880s and early 1890s — a move which may well have been, to use Šalda’s own expression, ‘per nefas’, but would result nonetheless in a truly essential model of art critique. Teige too found himself drawn in the late 1910s and early 1920s towards the field of art-critical reflection, and he too would come to formulate a unique model for the artistic avant-garde from the perspective of a theorist and organizer.
The aim of these excerpts is to provide the professional public with a wide range of diary notes written in 1912–1925 by Karel Teige, a key figure of the Czech interwar artistic avant-garde. The ...collection focuses both on the ‘Prague’ writings, which reflect key historical moments during 1918 and 1919 from the personal perspective of the young, sensitive emerging intellectual, and on texts Teige wrote while vacationing in Neveklov that include his reflections on his own artistic activities, specifically in the field of the visual arts. He finds in these activities an expression not only of his artistic but also of his human existence, in spite of which he can often be seen to express a keen skepticism towards them. It is precisely this tension between the two attitudes that leads to the strongly reflective nature of the excerpts, as they gravitate more and more towards the fields of art criticism and art theory. The aspiring artist strives to formulate his dissatisfaction with his own work by drawing on concepts and insights from the contemporary and historical artistic context. Among other things, this tends to strengthen his theoretical knowledge, together with his ability to synthesize a wide range of cultural and artistic connections that are at the young Teige’s disposal. One might draw an apt comparison here to the young poet Šalda who entered the world of art criticism in the late 1880s and early 1890s — a move which may well have been, to use Šalda’s own expression, ‘per nefas’, but would result nonetheless in a truly essential model of art critique. Teige too found himself drawn in the late 1910s and early 1920s towards the field of art-critical reflection, and he too would come to formulate a unique model for the artistic avant-garde from the perspective of a theorist and organizer.
Helios Gómez (Seville 1905-Barcelona 1956), versatile artist and man of action, was, according to his biographer Úrsula Tjaden, “the best-known political graphic artist of the Spanish State” (27). ...His ink drawings, xylographs and posters were a reference point for the progressive forces of the inter-war period, combining avant-garde art, popular tradition, and political message. Exiled in Berlin in 1930 due to the dictatorship of Primo de Rivera, Helios publishes his portfolio entitled
Días de ira
. That same year, he abandoned his anarchist militancy and joined several communist organizations until finally being expelled in 1938 and returning to the libertarian ranks. This portfolio, therefore, appears at an ideological and aesthetic turning point in the life of the artist. In this article, we will examine how this transition (from anarchism to communism) is translated, in the case of Helios, into a more direct and explicit type of drawing, and into a new idea of the leading role of the artist in the processes of social change. Drawing on Jacques Rancière’s contrast between the “ignorant schoolmaster” and the “stultifying pedagogue”, we will explore how the aesthetic tension that characterizes the drawings in
Días de ira
responds, fundamentally, to the artist´s degree of confidence in the interpretative capacity of the popular classes.
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6.
Field Manoeuvres Grenfell, Michael; Hardy, Cheryl
Space and culture,
02/2003, Volume:
6, Issue:
1
Journal Article
Peer reviewed
This article offers an empirical study of the field of contemporary British art in the 1990s. It considers the nature of this field as an artistic avant-garde and discusses Bourdieu’s theory of art ...production. The Young British Artists are studied through three distinct levels of analyse derived from Bourdieu’s methodology and theory of practice. Issues of habitus and field structure are highlighted in order to examine the processes and operations of the artistic avant-garde. The article also briefly addresses the products of this field through issues of style and technique and offers some reflections on this sociological approach to art.
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Este artículo muestra ciertos nexos, eslabones perdidos, que conectan al arte mexicano de principios del siglo pasado con la llamada Generación del Medio Siglo. Se estudian probables vínculos desde ...el fenómeno de la relevancia de lo mínimo, la representación de lo aparentemente baladí y lo trivial. Si hubo, por un lado, descripciones desde lo panorámico, el diálogo como forma dominante, las vastas escenas de gesta revolucionaria y política: la gran novela de la Revolución Mexicana y las representaciones del conflicto armado y los murales, por otro aparecieron imágenes de lo pequeño, lo nimio, lo microscópico: cuentos sobre la grandeza de lo cotidiano, pinturas sobre los espacios más mínimos, un arte de escenas habituales en que la violencia o la generación de una patria no son los temas.
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La recherche porte sur l’écriture abondante de Hundertwasser et sa place dans le positionnement de cet acteur du renouveau artistique. On lui reconnaît une « œuvre-vie » singulière, puisque, visant à ...bouleverser la société, il a élargi son domaine, passant de la peinture à l’écologie, via l’architecture. Partant du contexte géohistorique, de l’arrière-plan pictural du début du XXème siècle, des théories des scientifiques et des « prophètes » allemands du XXème siècle ainsi que de l’émergence des mouvements écologistes, il s’agit d’étudier les nombreux poésies, récits, discours, manifestes, interventions dans les médias et commentaires, où Hundertwasser expose et développe ses convictions. L’objectif est de montrer que la dynamique créative de l’artiste s’enracine dans ses écrits.
The research focuses on the abundant writing of Hundertwasser and its place in the positioning of this actor of artistic renewal. He is recognized for his singular "work-life", since, aiming to upset society, he has expanded his field, from painting to ecology, via architecture. Starting from the geohistorical context, from the pictorial background of the beginning of the 20th century, the theories of 20th-century German scientists and "prophets" and the emergence of environmental movements, it is a question of studying the many poems, stories, speeches, manifestos, interventions in the media and comments, where Hundertwasser exposes and develops his convictions. The aim is to show that the creative dynamic of the artist is rooted in his writings.
Caos Creativo Romero Bonilla, Diego Germán
El artista : revista de investigaciones en música y artes plásticas,
2008
5
Journal Article
Open access
The theoretical scientist development of the 20st century brought different and
revolutionary ways to perceive the reality into the time and space, theory of relativity,
the uncertainty principle, ...chaos theory, among other theories this development
permits to the artists, since the avant-garde times, the art dynamic was rethinking
based in some elements like the chaos, random, and non lineal dynamics generating novel expressions like the complex and labyrinthine language, random music, Fluxus
happenings, and hypertextuality in front of the postmodernism. El desarrollo teórico científico del siglo XX trajo consigo diferentes y revolucionarias
maneras de percibir la realidad en el espacio y el tiempo, la teoría de la relatividad, el
principio de incertidumbre, la teoría del caos, entre otras. Tal desarrollo teórico dio pie
para que los artistas, desde la época de las vanguardias replantearan la dinámica del
arte basado en elementos como el caos, el azar y las dinámicas no lineales, generando
novedosas manifestaciones tales como el lenguaje complejo y laberíntico en la
literatura, la música aleatoria, los happenings Fluxus y la hipertextualidad de cara a la
posmodernidad.
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