Pub Date : 2023-10-09DOI: 10.1163/25896377-00201001
Benedikt Hjartarson
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Pub Date : 2023-10-09DOI: 10.1163/25896377-bja10010
Rosita Mariella
Abstract In the field of visual arts, painter Tarsila do Amaral was a pioneer in her revindication of ‘peripheral’ areas, as well as in her opposition to an exclusive Eurocentric vision of the world. The article highlights how her contribution was crucial to an early approach to decolonization that used the notion of antropofagia to present the colonized in an act of ‘devouring’ the colonizer, assimilating certain aspects and discarding others to process and build new, independent identities. Considering her white, upper-class and cosmopolitan background, the article also explores the limits of her colonial-related art practices and the common trap of exoticism in the arts. Using the history of Tarsila do Amaral as a case study, this study will question how artists from ‘peripheral’ areas were making use of their access to native cultures in order to be part of the established European art scene and hegemonic discourse.
在视觉艺术领域，画家塔西拉·多·阿马拉尔(Tarsila do Amaral)在她对“外围”区域的重新阐释以及她对世界的独家欧洲中心视野的反对方面是先驱。这篇文章强调了她的贡献对早期的非殖民化方法是如何至关重要的，这种方法使用了人类同化的概念，以一种“吞噬”殖民者的行为来呈现被殖民者，同化某些方面，抛弃其他方面，以处理和建立新的、独立的身份。结合她的白人、上层阶级和世界性背景，本文也探讨了她与殖民相关的艺术实践的局限性和艺术中常见的异国情调陷阱。以Tarsila do Amaral的历史为例，本研究将质疑来自“边缘”地区的艺术家如何利用他们对本土文化的访问，以成为已建立的欧洲艺术场景和霸权话语的一部分。
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Pub Date : 2023-10-09DOI: 10.1163/25896377-bja10008
Juan Herrero-Senés
Abstract The objective of this article is to provide a reevaluation of Rosa Arciniega’s (1903–1999) literary work in Spain throughout the 1930s. While her work is currently labelled as ‘social literature’, the present study will argue that this label is reductive and does not take into account the complexities, contradictions and transformations of her work. As this article will show, Arciniega sought to represent and express modernity in its most varied facets by focusing on three different areas: social denunciation, renewal of literary expression, and an appeal to romantic sentimentality. This study seeks to shed light on Arciniega’s immersion in time and the consequent grim diagnosis of modernity which led her from left-wing radicalism to more conservative positions. Formal experimentation will be seen as a key part of her literary trajectory.
{"title":"Rosa Arciniega and the Transformations of Avant-Garde Fiction","authors":"Juan Herrero-Senés","doi":"10.1163/25896377-bja10008","DOIUrl":"https://doi.org/10.1163/25896377-bja10008","url":null,"abstract":"Abstract The objective of this article is to provide a reevaluation of Rosa Arciniega’s (1903–1999) literary work in Spain throughout the 1930s. While her work is currently labelled as ‘social literature’, the present study will argue that this label is reductive and does not take into account the complexities, contradictions and transformations of her work. As this article will show, Arciniega sought to represent and express modernity in its most varied facets by focusing on three different areas: social denunciation, renewal of literary expression, and an appeal to romantic sentimentality. This study seeks to shed light on Arciniega’s immersion in time and the consequent grim diagnosis of modernity which led her from left-wing radicalism to more conservative positions. Formal experimentation will be seen as a key part of her literary trajectory.","PeriodicalId":495709,"journal":{"name":"Journal of avant-garde studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-09DOI: 10.1163/25896377-bja10007
Xon De Ros
Abstract The exceptionality of the women artists who achieved recognition within the circles of the avant-garde in the first decades of the twentieth century involved a number of performative strategies to avoid the risk of being confined to the category of ‘women painters’. The case of María Blanchard, a Spanish painter integrated in the School of Paris, exemplifies the problematics faced by women working in the avant-garde. Her trajectory from synthetic Cubism to neo-Cubist figuration follows the pattern of many of her male contemporaries working under the sociopolitical and market pressures in the post-war period, but the simultaneous assimilation of and ironic distance from the prevailing aesthetic ideologies is a distinctive feature of her style shared by other women artists. As Cubism became mainstream and began to lose its subversive power, Blanchard’s interest in challenging conventional artistic discourses and hierarchies found expression in kitsch aesthetics.
{"title":"Avant-Garde and Kitsch in María Blanchard’s Neo-Cubism","authors":"Xon De Ros","doi":"10.1163/25896377-bja10007","DOIUrl":"https://doi.org/10.1163/25896377-bja10007","url":null,"abstract":"Abstract The exceptionality of the women artists who achieved recognition within the circles of the avant-garde in the first decades of the twentieth century involved a number of performative strategies to avoid the risk of being confined to the category of ‘women painters’. The case of María Blanchard, a Spanish painter integrated in the School of Paris, exemplifies the problematics faced by women working in the avant-garde. Her trajectory from synthetic Cubism to neo-Cubist figuration follows the pattern of many of her male contemporaries working under the sociopolitical and market pressures in the post-war period, but the simultaneous assimilation of and ironic distance from the prevailing aesthetic ideologies is a distinctive feature of her style shared by other women artists. As Cubism became mainstream and began to lose its subversive power, Blanchard’s interest in challenging conventional artistic discourses and hierarchies found expression in kitsch aesthetics.","PeriodicalId":495709,"journal":{"name":"Journal of avant-garde studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-09DOI: 10.1163/25896377-bja10006
Iris Pearson
Abstract This essay proposes that Valeria Luiselli’s Los ingrávidos rethinks modes of critical reading in the twenty-first century, arguing that the writer trains her reader in a mode of reading which anticipates Rita Felski’s opposition to critique, relishing acceptance and deference over suspicion and interrogation. By focusing on Luiselli’s intervention into readerly practice in this way, the essay moves beyond stringent national and historicist frameworks which often risk obscuring that novelist’s experimental forms and avant-garde project.
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Pub Date : 2023-10-09DOI: 10.1163/25896377-00201002
Christina Bezari, Juanita Vélez Olivera
{"title":"Las Vanguardistas: Women and the Avant-Garde in Ibero-America","authors":"Christina Bezari, Juanita Vélez Olivera","doi":"10.1163/25896377-00201002","DOIUrl":"https://doi.org/10.1163/25896377-00201002","url":null,"abstract":"","PeriodicalId":495709,"journal":{"name":"Journal of avant-garde studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-09DOI: 10.1163/25896377-bja10009
Claudia Chantaca
Abstract This article analyzes Raquel Jodorowsky’s idea of poetry as revelation and examines the ludic aspects of her work, which functioned as a form of resistance to the canon. By focusing on her works Ajy Tojen [ The Creator of Light ] (1964) and Cuentos para cerebros detenidos [ Tales for Detained Brains ] (1974), this study highlights her relation to Latin American neovanguardias and explores her idea of the artist as a self-constructive individual. It also addresses her notion of Ajy Tojen , a mystical understanding of the poet as a person with the power to dissolve worn forms in order to seek a primordial expression and contribute to cosmic regeneration. Through an examination of her short stories, this study will show how she used different ludic strategies to desacralize literary and extra-literary genres.
摘要本文分析了拉克尔·佐多洛夫斯基的诗歌启示思想，并探讨了其作品中作为一种对经典的反抗形式的滑稽方面。通过关注她的作品Ajy Tojen(《光的创造者》，1964)和Cuentos para cerebrodetenidos(《被拘禁的大脑的故事》，1974)，本研究突出了她与拉丁美洲新守护者的关系，并探讨了她作为一个自我建构个体的艺术家的想法。它还阐述了她对Ajy Tojen的概念，这是一种对诗人的神秘理解，诗人有能力溶解磨损的形式，以寻求原始的表达，并为宇宙再生做出贡献。通过对她的短篇小说的研究，本研究将展示她如何使用不同的幽默策略来去除文学和非文学类型的神圣化。
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Pub Date : 2023-10-09DOI: 10.1163/25896377-bja10005
Louise Kane
Abstract This article explores the periodical contributions of the Mexican-Jewish writer and editor Anita Brenner (1905–1974). It argues that Brenner’s periodical contributions—primarily relating to art criticism and published in diverse outlets such as The Nation , Mexican Folkways , the Brooklyn Daily Eagle , and Mademoiselle —decenter ideas of Mexico as a site of peripheral avant-gardism and reveal how Brenner was a pioneer of a transnational and, in some ways, distinctly female avant-garde network.
{"title":"A Mexican Renascence","authors":"Louise Kane","doi":"10.1163/25896377-bja10005","DOIUrl":"https://doi.org/10.1163/25896377-bja10005","url":null,"abstract":"Abstract This article explores the periodical contributions of the Mexican-Jewish writer and editor Anita Brenner (1905–1974). It argues that Brenner’s periodical contributions—primarily relating to art criticism and published in diverse outlets such as The Nation , Mexican Folkways , the Brooklyn Daily Eagle , and Mademoiselle —decenter ideas of Mexico as a site of peripheral avant-gardism and reveal how Brenner was a pioneer of a transnational and, in some ways, distinctly female avant-garde network.","PeriodicalId":495709,"journal":{"name":"Journal of avant-garde studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135147110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-08DOI: 10.1163/25896377-bja10004
Adrian Pelc
Abstract The paper attempts to establish a dialogue between advertising, the Yugoslav avant-garde and a theoretical discourse on the “death” of the avant-garde. In a first step, the trope of the avant-garde dying through its techniques being appropriated by advertising is briefly scrutinized. In a second step, the article demonstrates that the axes of exchange between Yugoslav avant-garde movements (Zenitism, Hypnism, Dadaism) and early advertising were multifold and irreducible to a simple matrix of originality and bad appropriation. Finally, the results of the analysis are considered from the perspective of “peripheral modernism” and their consequences for the grand death-discourse are scrutinized.
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