Suchergebnisse

Avant-garde is a military term. It is an advanced detachment of the army, which is the first to face the enemy, the first to get into action, and which is more likely to die than others. The destinies of avant-garde movements at the turn of the 20th century are full of tragic episodes and biographies. How should we treat the historical heritage of the avant-garde of the 20th century? Should we be respectful toward its memory in the hope that the new avant-garde waves would be treated more carefully? Or should we search for the keys in the history of avant-garde to understand today's and tomorrow's problems of stylistic development of art?The selection of articles in the AVANT-GARDE section includes not only the materials on the history of architecture, but also articles on book graphics of the avant-garde (for its time) modern style, and still poorly studied episodes of the formation of the Siberian style and painting tradition. ; Авангард – термин военный. Это передовой отряд армии, который первым сталкивается с врагом, первым вступает в бой и чаще других подвергается смертельному риску. Судьбы авангардных течений рубежа XIX–XX веков насыщены трагичными эпизодами и биографиями. Как относиться к историческому наследию авангарда ХХ века? Отдать ему долг памяти в надежде, что новые волны авангарда встретят более бережное отношение? Или искать в истории авангарда ключи к пониманию сегодняшних и завтрашних проблем стилистического развития искусства?В подборку статей раздела АВАНГАРД вошли материалы не только по истории архитектуры, но и книжной графики авангардного (для своего времени) стиля модерн, и до сих пор малоизученные эпизоды формирования сибирского стиля и живописной традиции.

This book presents a historical panorama of the Polish avant-garde in Berlin from 19th century historical avant-garde until the recent art. Looking at specific artistic strategies and development of modernist paradigm both in the pre- and post-Second World War period from the perspective of the migration experience, this book offers a deep insight into mechanisms, relations and identity programmes of particular artists or groups. It also reveals the dynamics of eventual cultural exchange or alternative forms of artistic transformation and message that Polish artists imprinted in the Berlin's art scene. Whether historical avant-garde or the neo-avant-garde, the component of novelty inscribed in the term itself ceases to be a sheer, one-dimensional slogan and reveals a whole range of cultural projections that artist-migrants are both creators and the subject of. Here the notion of exoticism, wilderness, but also critical and ironical approach often constitute the perception of Polish art in the Berlin milieu.

The Pavilion of Yugoslavia at EXPO '58 in Brussels was an attempt to internationally showcase the specific brand of socialism developed in that country since its break from the Soviet bloc ten years prior. That goal was best achieved through the pavilion building, an inspired piece of modern architecture designed by the Croatian architect Vjenceslav Richter, which attracted much positive attention. In most other respects, the presentation was a relative disappointment, failing to engage the visitors in an attractive and well-rounded experience. This article provides an analysis of the conceptualization, development, and reception of the pavilion based on the abundant material from the Archive of Yugoslavia in Belgrade. It argues that Richter's avant-garde design resonated with the self-proclaimed avant-garde status of Yugoslav socialism, but that its complex connotations, when seen through the lens of the Cold War, were reduced to a mere index of Yugoslavia's break from the Soviet bloc.

The Field of the Avant-gardes.
Working on a sample of 50 artists selected on the basis of the consecration given by a certain number of competing institutions, this article sets out to distinguish the different tendencies of the avant-garde, to draw up an inventory of reception centres (art galleries, cultural centres, etc.), and to constitute the field of the cultural agents (gallery conservators, art critics, dealers, etc.), in short to map the terrain of artistic celebrity. By means of factorial analysis of correspondences it is possible to define the theoretical space of aesthetic, political and technical differences and bring to light the structure of the power relations among all the agents who help to produce the definition of the avant-garde. This brings out a first opposition between the pole of national success and the pole of international competition, and a second opposition between an avant-garde which has emerged in southern France and the Parisian avant-garde. It can also be seen that over the last ten years the relative demobilization of left-wing committed artists has modified the power relations to the advantage of the agents who hold the monopoly of the dominant definition of the avant-garde and the artists who have deployed strategies aimed at the international market.

In his 1974 work, Theory of the Avant-Garde, Peter Bürger developed a sociological argument that the practices of the historical avant-garde had emerged as a fusion of art and life, merging practices into a hybrid assault on autonomy that can be characterized as distinctly avant-garde. Refuting previous positions, Bürger argued that the avant-garde wasn't concerned with merely dismantling the classifications of art, but the institution of art in its entirety. This was dramatically opposed to Clement Greenberg's hegemonic theory of art practice, where the segregated medium was the sole attribute through which the avant-garde could advance. It was in opposition to this diffusion of art practice that Bürger's theory framed a radicalized lens through which the avant-garde could be reconceptualised: combatting the segregation of medium with a deliberate fusing of the structures of art and their political and social histories. This paper will look at the significant role fusion, as a strategy, plays in Bürger's seminal work and its reception. It is the recognition of fusion as an oppositional system in art production that not only distinguishes his approach from early incarnations of modernism, but has also seen the extension of his work into ongoing critical projects in art theory in America, which have radicalised fusion as a critical and creative practice.

"Avant‐garde" archaeology has emphasized the use of statistics and social‐scientific reconstruction, but has fallen into a state of partial confusion and error. Its failings involve a misunderstanding of the philosophy of science, the use of unvalidated generalizations and models of society to interpret archaeological data, a tendency to reach overly simple solutions for problems of site sampling, as well as a misunderstanding of the use of inferential statistics. Also, this school has often failed to consider the problems caused by data interdependence and has tended to mix unnecessarily descriptive analysis with explanatory interpretation. The above points are discussed and some solutions for current problems and errors are suggested.