{"title":"强调摄影的社会功能:两次世界大战期间捷克斯洛伐克的苏联摄影展览","authors":"Fedora Parkmann","doi":"10.1080/03087298.2022.2069814","DOIUrl":null,"url":null,"abstract":"Several large-scale photographic exhibitions featuring substantial participation from the USSR were organised in Czechoslovakia in the 1930s. Despite the number of local and foreign actors they involved, and the critical response they triggered, they have raised limited scholarly interest so far. To shed light on the conditions under which these events were planned and realised, it is necessary to turn to exhibition catalogues, archives of the organisers and press reviews. Based on this data set, this article questions the part these displays played in propagating Soviet photographic discourses and aesthetic models in Czechoslovakia. New evidence from the archives of the Soviet All-Union Society for Cultural Ties Abroad (Vsesojuznoe obščestvo kul’turnoj svjazi s zagraničej [VOKS]) suggests that the Marxist critic Lubomír Linhart was the most committed mediator of Soviet photography and promoter of its documentary and utilitarian approach. By orchestrating the Soviet participation in the two exhibitions of social photography in 1933 and 1934, the International Exhibition of Photography in 1936 and in several unrealised projects, Linhart and other supporters of the USSR had succeeded, by the late 1930s, in asserting the photographer’s social function in Czechoslovakia, in close relation to the Soviet discourse on functional and politically committed photography.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"139 - 161"},"PeriodicalIF":0.3000,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Asserting Photography’s Social Function: Exhibitions of Soviet Photography in Interwar Czechoslovakia\",\"authors\":\"Fedora Parkmann\",\"doi\":\"10.1080/03087298.2022.2069814\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Several large-scale photographic exhibitions featuring substantial participation from the USSR were organised in Czechoslovakia in the 1930s. Despite the number of local and foreign actors they involved, and the critical response they triggered, they have raised limited scholarly interest so far. To shed light on the conditions under which these events were planned and realised, it is necessary to turn to exhibition catalogues, archives of the organisers and press reviews. Based on this data set, this article questions the part these displays played in propagating Soviet photographic discourses and aesthetic models in Czechoslovakia. New evidence from the archives of the Soviet All-Union Society for Cultural Ties Abroad (Vsesojuznoe obščestvo kul’turnoj svjazi s zagraničej [VOKS]) suggests that the Marxist critic Lubomír Linhart was the most committed mediator of Soviet photography and promoter of its documentary and utilitarian approach. By orchestrating the Soviet participation in the two exhibitions of social photography in 1933 and 1934, the International Exhibition of Photography in 1936 and in several unrealised projects, Linhart and other supporters of the USSR had succeeded, by the late 1930s, in asserting the photographer’s social function in Czechoslovakia, in close relation to the Soviet discourse on functional and politically committed photography.\",\"PeriodicalId\":13024,\"journal\":{\"name\":\"History of Photography\",\"volume\":\"45 1\",\"pages\":\"139 - 161\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2021-04-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"History of Photography\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/03087298.2022.2069814\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"History of Photography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/03087298.2022.2069814","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 1
摘要
20世纪30年代,捷克斯洛伐克组织了几次大型摄影展,其中有大量来自苏联的参与。尽管有许多本地和外国的参与者参与其中,并引发了批评性的反应,但迄今为止,它们引起的学术兴趣有限。为了阐明这些活动的策划和实现的条件,有必要转向展览目录,组织者的档案和媒体评论。基于这些数据集,本文质疑这些展览在捷克斯洛伐克传播苏联摄影话语和美学模式方面所起的作用。来自苏联全苏海外文化联系协会档案的新证据(Vsesojuznoe obščestvo kul’turnoj svjazi s zagrani ej [VOKS])表明,马克思主义评论家Lubomír林哈特是苏联摄影最坚定的调解人,也是其纪实和功利主义方法的促进者。通过组织苏联参加1933年和1934年的两次社会摄影展,1936年的国际摄影展以及几个未实现的项目,林哈特和苏联的其他支持者在20世纪30年代末成功地断言了摄影师在捷克斯洛伐克的社会功能,这与苏联关于功能性和政治承诺摄影的话语密切相关。
Asserting Photography’s Social Function: Exhibitions of Soviet Photography in Interwar Czechoslovakia
Several large-scale photographic exhibitions featuring substantial participation from the USSR were organised in Czechoslovakia in the 1930s. Despite the number of local and foreign actors they involved, and the critical response they triggered, they have raised limited scholarly interest so far. To shed light on the conditions under which these events were planned and realised, it is necessary to turn to exhibition catalogues, archives of the organisers and press reviews. Based on this data set, this article questions the part these displays played in propagating Soviet photographic discourses and aesthetic models in Czechoslovakia. New evidence from the archives of the Soviet All-Union Society for Cultural Ties Abroad (Vsesojuznoe obščestvo kul’turnoj svjazi s zagraničej [VOKS]) suggests that the Marxist critic Lubomír Linhart was the most committed mediator of Soviet photography and promoter of its documentary and utilitarian approach. By orchestrating the Soviet participation in the two exhibitions of social photography in 1933 and 1934, the International Exhibition of Photography in 1936 and in several unrealised projects, Linhart and other supporters of the USSR had succeeded, by the late 1930s, in asserting the photographer’s social function in Czechoslovakia, in close relation to the Soviet discourse on functional and politically committed photography.
期刊介绍:
History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.