Suchergebnisse

"This volume focuses on the modernist and avant-garde engagement with workers' sport events that were organised or were planned to be organised in the cities of Central Europe and the USSR in the period of 1920-1932: Frankfurt am Main - Vienna - Moscow - Prague - Budapest - Berlin. This volume is of great use to students and scholars of the history of sport, art history and cultural history in interwar Europe and the Soviet Union"--

This article focuses on conceptual practices by Moroccan artist Abdelkader Lagtaâ, whose early 1970s work, created as a part of Polish conceptual milieus in Łódź and Warsaw, remains undocumented in art-historical scholarship. The author rediscovers Lagtaâ's practices as part of conceptual strategies in Eastern Europe and discusses his work in relation to Okwui Enwezor's article "Where, What, Who, When: A Few Notes on 'African' Conceptualism." The author argues that while Enwezor and, later, other scholars, including Olu Oguibe and Salah M. Hassan, critique the work by African conceptualists to and through conceptualist strategies prevalent in Africa and the West, Lagtaâ's work was almost entirely situated in the linguistic, performative, new media, and mail art experiments characteristic of Eastern Europe. While the work of conceptual artists from the African continent identified by Enwezor remained on the margins, outside of international and noninstitutional artistic circuits, Lagtaâ's work was an intrinsic part of the early 1970s collective experiments and transnational networks of artistic exchange between Eastern Europe and other geographical regions.

This study is dedicated in its major part to visual representations of footballers in Soviet Russia prior to World War II. It discusses the stylistic transformations that occurred in artistic praxis in Avant-garde and Socialist Realist art through the lens of football. Football served to represent modernity and new political agendas, and was clearly an intrinsic part of the cultural revolution connected to physical culture propaganda. This study analyses footballer motifs in works by Kasimir Malevich, El Lissitzky, Varvara Stepanova, Aleksandr Rodchenko and the October group, Gustav Klutsis, Dziga Vertov, Aleksandr Samokhvalov and Aleksandr Deineka. Its aim is to open up broader perspectives for future studies of football in Avant-garde art and Socialist Realism in other regions of Eastern Europe.