In 1920, the Czech avant-group Devětsil, led by Karel Teige, put forth a leftist program that embraced a multimedial and transnational approach to art and poetry. This vision was articulated through the group's homegrown -ism, “Poetism,” which incorporated principles of Constructivism and Dada. While Poetism's affinities with the former is well-documented, this article introduces more fully Devětsil's engagement with Dada, in print and through performance and dance. It also positions such manifestations not merely as a reflection of Dada tendencies occurring elsewhere, but also as a useful category for thinking in new ways about some of Devětsil's own artistic production and theoretical formulations as related to Poetism. Through a consideration of theoretical texts and artistic production, platformed in Czech avant-garde print, this article both adds to our understanding of the ways in which Poetism was conceived and enacted, and makes explicit Devětsil's intersections with a more global Dada construct.
{"title":"Devětsil and Dada: A Poetics of Play in the Interwar Czech Avant-Garde","authors":"M. Forbes","doi":"10.1162/artm_a_00270","DOIUrl":"https://doi.org/10.1162/artm_a_00270","url":null,"abstract":"In 1920, the Czech avant-group Devětsil, led by Karel Teige, put forth a leftist program that embraced a multimedial and transnational approach to art and poetry. This vision was articulated through the group's homegrown -ism, “Poetism,” which incorporated principles of Constructivism and Dada. While Poetism's affinities with the former is well-documented, this article introduces more fully Devětsil's engagement with Dada, in print and through performance and dance. It also positions such manifestations not merely as a reflection of Dada tendencies occurring elsewhere, but also as a useful category for thinking in new ways about some of Devětsil's own artistic production and theoretical formulations as related to Poetism. Through a consideration of theoretical texts and artistic production, platformed in Czech avant-garde print, this article both adds to our understanding of the ways in which Poetism was conceived and enacted, and makes explicit Devětsil's intersections with a more global Dada construct.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47410282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jugaad continues Iftikhar and Elizabeth Dadi's extended artistic investigation of informality in the Global South, which arguably constitutes the majority experience of this vast region. Development became a central problematic for Africa and Asia in the wake of political decolonization of the mid twentieth century, encompassing the ambition for formal planning of large-scale infrastructure and state intervention in human development. But this project was always incomplete and resonated in complex ways with the tenacious growth of informal living and working arrangements whose legacies can be traced back to the colonial era. Informality is amplified in contemporary globalization that is often understood as a process in which transnational brands and lifestyles replace their local analogs. But this view overlooks globalization's shadows—the largely invisible processes of labor, production, and consumption that transpire in the vast informality of the Global South. This is a realm of exploitation, but also one of immense productive capacities, in which branding and intellectual property regimes are constantly challenged by those who seek to fashion and animate a world from affordable materials and inventive rubrics.
{"title":"Bricolage Within the Imperial Divide: Introduction to Iftikhar Dadi and Elizabeth Dadi's Jugaad","authors":"A. Mufti","doi":"10.1162/artm_a_00272","DOIUrl":"https://doi.org/10.1162/artm_a_00272","url":null,"abstract":"Jugaad continues Iftikhar and Elizabeth Dadi's extended artistic investigation of informality in the Global South, which arguably constitutes the majority experience of this vast region. Development became a central problematic for Africa and Asia in the wake of political decolonization of the mid twentieth century, encompassing the ambition for formal planning of large-scale infrastructure and state intervention in human development. But this project was always incomplete and resonated in complex ways with the tenacious growth of informal living and working arrangements whose legacies can be traced back to the colonial era. Informality is amplified in contemporary globalization that is often understood as a process in which transnational brands and lifestyles replace their local analogs. But this view overlooks globalization's shadows—the largely invisible processes of labor, production, and consumption that transpire in the vast informality of the Global South. This is a realm of exploitation, but also one of immense productive capacities, in which branding and intellectual property regimes are constantly challenged by those who seek to fashion and animate a world from affordable materials and inventive rubrics.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47654080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
1966年，非洲和散居地艺术的多媒体庆典被称为世界艺术节（Premier Festival Mondial des Arts Nègres），吸引了国际观众来到最近独立的国家塞内加尔。随着表演和展览在达喀尔各地举行，政治家、艺术家和知识分子考虑艺术和文化在治愈一个被殖民主义、世界大战和东西方集团之间日益紧张的世界方面可以发挥什么作用。在《艺术与和平》一书中，艺术节组委会主席Alioune Diop将艺术作为雄心勃勃的世界和平项目的重要工具。对于当代读者来说，他的话预示了当今关于全球化对艺术影响的辩论，并揭示了本世纪中期黑人、天主教和联合国教科文组织的世界主义愿景之间研究不足的联系。
{"title":"Art and Peace (1966)","authors":"A. Diop","doi":"10.1162/artm_a_00275","DOIUrl":"https://doi.org/10.1162/artm_a_00275","url":null,"abstract":"In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47811600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
1966年，非洲和散居地艺术的多媒体庆典被称为世界艺术节（Premier Festival Mondial des Arts Nègres），吸引了国际观众来到最近独立的国家塞内加尔。随着表演和展览在达喀尔各地举行，政治家、艺术家和知识分子考虑艺术和文化在治愈一个被殖民主义、世界大战和东西方集团之间日益紧张的世界方面可以发挥什么作用。在《艺术与和平》一书中，艺术节组委会主席Alioune Diop将艺术作为雄心勃勃的世界和平项目的重要工具。对于当代读者来说，他的话预示着当今关于全球化对艺术影响的辩论，并揭示了本世纪中期黑人、天主教和联合国教科文组织的世界主义愿景之间研究不足的联系。
{"title":"Introduction to Alioune Diop's “Art and Peace” (1966)","authors":"Lauren Taylor","doi":"10.1162/artm_a_00274","DOIUrl":"https://doi.org/10.1162/artm_a_00274","url":null,"abstract":"In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46876130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes the collective basis of the establishment of the Socialist Realist model of production for the fine arts in Romania in the early 1950s. It discusses the unstudied case of the “artists' collectives” (of production) together with other collective forms, such as the collective studios and the guiding commissions. This is an archive-based study of cultural institutionalism of socialist regimes, based on the analysis of under-explored archival sources such as those of the Romanian Artists' Union (UAP) or the Artistic Fund (FP). Focusing on two specific case studies, those of the artists' collectives “Progressive art” and “Th. Aman”, both founded in 1951, it provides more context to the establishment of the socialist model in Romania. The article finds the state assumed definition of art considered the artist as a simple executioner, and the “artists' collectives” participated in eradicating the individuality of the artist, one of the goals of the new socialist model.
{"title":"The Role of Artists' Collectives in Producing State Socialist Art in 1950s Romania the Bottom-Up, Pragmatic Professionalization of State Commissions","authors":"Caterina Preda","doi":"10.1162/artm_a_00271","DOIUrl":"https://doi.org/10.1162/artm_a_00271","url":null,"abstract":"This article analyzes the collective basis of the establishment of the Socialist Realist model of production for the fine arts in Romania in the early 1950s. It discusses the unstudied case of the “artists' collectives” (of production) together with other collective forms, such as the collective studios and the guiding commissions. This is an archive-based study of cultural institutionalism of socialist regimes, based on the analysis of under-explored archival sources such as those of the Romanian Artists' Union (UAP) or the Artistic Fund (FP). Focusing on two specific case studies, those of the artists' collectives “Progressive art” and “Th. Aman”, both founded in 1951, it provides more context to the establishment of the socialist model in Romania. The article finds the state assumed definition of art considered the artist as a simple executioner, and the “artists' collectives” participated in eradicating the individuality of the artist, one of the goals of the new socialist model.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41477670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1007/978-1-4614-3858-8_100570
I. Dadi, E. Dadi
{"title":"Jugaad","authors":"I. Dadi, E. Dadi","doi":"10.1007/978-1-4614-3858-8_100570","DOIUrl":"https://doi.org/10.1007/978-1-4614-3858-8_100570","url":null,"abstract":"","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43372222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On June 6, 1963, after living in Paris for several months, Argentine artist Marta Minujin performed her first happening, The Destruction, at the Impasse Ronsin, the now legendary abode of many mode...
{"title":"Marta Minujín's Destructive Intervention","authors":"Michaëla de Lacaze Mohrmann","doi":"10.1162/ARTM_A_00263","DOIUrl":"https://doi.org/10.1162/ARTM_A_00263","url":null,"abstract":"On June 6, 1963, after living in Paris for several months, Argentine artist Marta Minujin performed her first happening, The Destruction, at the Impasse Ronsin, the now legendary abode of many mode...","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64467693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Without an encounter with the unknown, creativity is impossible. In this encounter, there is no possibility for understanding anything, neither in terms of culture nor psychology. This is no dead end. Quite on the contrary: by finding your way out of the dead end, you can attain total freedom. Encounters with the unknown are extremely rare. The unknown is something you need to search out, overcoming the stereotypes of your thinking, the attitudes of your life and the dummies of your emotions. Our (creative) paths need to strike up against the unknown, no matter how thoroughly we build them and no matter which goal we pursue. The edges of my activity are always in some extreme, liminal state. My face is turned toward the unknown, while my masks address that which can be recognized by culture.
{"title":"Icons of Hell 7 Dictators, 700 Portraits, 7 Pages","authors":"V. Zakharov","doi":"10.1162/artm_a_00265","DOIUrl":"https://doi.org/10.1162/artm_a_00265","url":null,"abstract":"Without an encounter with the unknown, creativity is impossible. In this encounter, there is no possibility for understanding anything, neither in terms of culture nor psychology. This is no dead end. Quite on the contrary: by finding your way out of the dead end, you can attain total freedom. Encounters with the unknown are extremely rare. The unknown is something you need to search out, overcoming the stereotypes of your thinking, the attitudes of your life and the dummies of your emotions. Our (creative) paths need to strike up against the unknown, no matter how thoroughly we build them and no matter which goal we pursue. The edges of my activity are always in some extreme, liminal state. My face is turned toward the unknown, while my masks address that which can be recognized by culture.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/artm_a_00265","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64467235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A small yet influential strain of independent contemporary curatorial practice has emerged in Southeast Asia, which is performing (expanded) art historical functions. This mode of independent curating now constitutes an important base for exciting new research—making use of diverse archives as well as other methodologies—to study the often little-known histories of the region's modern arts, including its architecture, cinema, and photography. That such research is taking place in the context of independent contemporary curatorial practice is significant because it locates modern art history largely outside of large and state-funded institutions, including museums and universities, thus enabling the development and proliferation of art historical research in areas of Southeast Asia, including its mainland sub-regions, which have comparatively little funding and official infrastructure for the arts. This article explores the emerging practice of independent curating as (expanded) art history in Southeast Asia, through comparative discussion of three case studies: the Roung Kon Project in Phnom Penh, which researches histories of cinema in Cambodia; the Buddhist Archive of Photography in Luang Prabang, which researches histories of photography in Laos; and Spirit of Friendship in Ho Chi Minh City, which researches histories of artist groups in Vietnam.
{"title":"Curating as (Expanded) Art History in Southeast Asia: Recent Independent Projects in Ho Chi Minh City, Luang Prabang, and Phnom Penh","authors":"R. Nelson","doi":"10.1162/artm_a_00262","DOIUrl":"https://doi.org/10.1162/artm_a_00262","url":null,"abstract":"A small yet influential strain of independent contemporary curatorial practice has emerged in Southeast Asia, which is performing (expanded) art historical functions. This mode of independent curating now constitutes an important base for exciting new research—making use of diverse archives as well as other methodologies—to study the often little-known histories of the region's modern arts, including its architecture, cinema, and photography. That such research is taking place in the context of independent contemporary curatorial practice is significant because it locates modern art history largely outside of large and state-funded institutions, including museums and universities, thus enabling the development and proliferation of art historical research in areas of Southeast Asia, including its mainland sub-regions, which have comparatively little funding and official infrastructure for the arts. This article explores the emerging practice of independent curating as (expanded) art history in Southeast Asia, through comparative discussion of three case studies: the Roung Kon Project in Phnom Penh, which researches histories of cinema in Cambodia; the Buddhist Archive of Photography in Luang Prabang, which researches histories of photography in Laos; and Spirit of Friendship in Ho Chi Minh City, which researches histories of artist groups in Vietnam.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/artm_a_00262","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42495923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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