Il primo ventennio del Novecento rappresenta per la Russia un periodo di straordinario fermento artistico e culturale intrapreso a Mosca all’interno dell’Accademia russa di scienze artistiche ...(RAChN), dal Laboratorio Coreologico attivo tra il 1923 e il 1929. Innovazioni teatrali furono sperimentate dalla Nuova Danza, la RAChN e dal linguaggio coreografico di artisti come K. Golejzovskij e G. Balanchine, fuggiti in Occidente dalla censura sovietica per elaborare le loro visioni sulla coreografia di massa, approdando alle utopie comunitarie, alla biomeccanica e alla notazione della danza. Stenogrammi grafici e registrazioni di movimenti partecipano alla rottura con i canoni tradizionali del balletto, portando il nudo in scena con O. Desmond, i congegni di N. Meyerhold e S. Eisenstein e la cibernetica sovietica di N. Bernštejn: schemi stereoscopici di traiettorie semplici pensati per la costruzione della macchina umana durante le ore di lavoro. La nuova scena rappresenta un campo di indagine che mostra il disallineamento dei circoli artistici russi, da un lato rispetto ai regimi autocratici ex-imperiali, dall’altro rispetto al nascente bolscevismo. In tal senso, la graficizzazione del balletto, la produzione scenografica, il costume di scena e il corpo manifestano una forma di divergenza, di eresia, intese come libera espressione dell’arte del movimento. A partire dal corpus grafico (notazionale, costumistico, scenografico) di lavori come Casse-Noisette (1919) di A. Gorsky, Le Tourbillon rouge (1924) di K. Goleizovsky, Aelita (1924) di J. Protazanov, Le Beau Joseph (1925) di K. Goleizovsky, per citarne alcuni, l’articolo ha come obiettivo quello di sviluppare una disamina sulla trascrizione grafica di alcune tra le rappresentazioni ballettistiche divenute veicolo di cultura agli albori del Novecento, spesso ponendosi in dichiarata opposizione con la stessa propaganda di regime.
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 article shows, first, how Sociology has approached the concepts of “hope” and “war” and how throughout the history of the discipline these terms have gone from being neglected to arousing ...considerable interest. Second, the paper analyzes how and why avant-garde artists understood the First World War as a motif of utopian hope to annihilate a civilization in crisis and to transform it through its aesthetic formalization. Third, the essay tries to find out whether that hope was preserved over time or, on the contrary, was soon dissolved as a result of the drama of the events. It is shown here that the savagery of the fighting dissolved all European values of modernity and progress, including artistic ones. In fact, theoretical and stylistic conceptions, aesthetic categories, ethical postulates, and artists’ aspirations for conscience to rule the world were blurred. For the artistic avant-garde, utopian promises of a better world broke down. Consequently, this obliges sociologists to pay more attention to both phenomena—that of the war and that of the avant-garde—and to seek a more objective and critical interpretation of modernity, calling for its actualization, and of Sociology itself.
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.
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.
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.
Field Manoeuvres Grenfell, Michael; Hardy, Cheryl
Space and culture,
02/2003, Letnik:
6, Številka:
1
Journal Article
Recenzirano
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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