From Miró to Barceló

Total Page:16

File Type:pdf, Size:1020Kb

From Miró to Barceló GLOSSARY OF ARTISTIC MOVEMENTS TEAM CATALOGUE INFORMATION Synthetic Cubism Informal Art Centre Pompidou De Miró a Barceló. Un siglo de arte OPENING HOURS After Analytical Cubism (up to 1912), artists such as The expression “Informal Art” was coined by critic español / From Miró to Barceló. A 9.30 a.m. to 8.00 p.m., every day Pablo Picasso, Georges Braque or Juan Gris entered Michel Tapié in his publication Un Art Autre [Art of CURATOR Century of Spanish Art Ticket offices close at 7:30 p.m. a new phase with Synthetic Cubism (up to around Another Kind] in 1952. It designated the abstract, Brigitte Leal, Deputy Director of the Edited by Brigitte Leal The museum is closed on Tuesdays 1919): they reintroduced readable signs to the gestural and spontaneous pictorial techniques that Musée National d’Art Moderne Co-published by the Public Agency for (except holidays and days before From Miró to Barceló canvas - elements of everyday life, papers and glued dominated European art from 1945 to 1960, and the Management of the Casa Natal of holidays), 1 January and objects - thus making Cubism evolve towards an included Tachisme, Matter painting or Lyrical ASSISTED BY Pablo Ruiz Picasso and Other Museum 25 December A Century of Spanish Art aesthetic thinking based on the various levels of abstraction. Its American equivalent was known as Alice Fleury, Heritage Curator Intern and Cultural Facilities and Centre reference to reality. Abstract Expressionism. Laura Diez, Intern Pompidou 240 p., 132 ill. PRICES 12 March 2020 – 1 November 2021 COLLECTION MANAGER Entry to permanent exhibitions: Purism El Paso Design: Xavi Rubiras Aurélie Sahuqué €7, concessions: €4 Purism was an aesthetic doctrine developed by The El Paso group, founded in Madrid in 1957 and Entry to temporary exhibitions: architect Le Corbusier and painter Amédée Ozenfant dissolved in 1960, united critics and artists (such as REGISTRARS €4, concessions: €2.50 Cubism, surrealism, figuration and abstraction; painting, sculpture, in the journal L’Esprit Nouveau, between 1920 and Saura or Millares) in the call to support contemporary Mélissa Étave ALONGSIDE THE Entry to permanent and temporary 1925. Stemming from a criticism of the complex art in Spain. They fought for the creation of a Xavier Isaïa EXHIBITION exhibitions: film and video; in the history of 20th and 21st century art, not a single abstractions of Cubism, Purism advocated for a distribution network, which barely existed in this Pierre Paucton €9, concessions: €5.50 period or field has not been led by Spanish artists. Pablo Picasso, return to order, emphasizing the machine, simple highly conservative era, in particular by signing David Rouge forms and the geometry which must guide the manifestos and organising exhibitions. Discover all our activities (tours, Joan Miró, Salvador Dalí or Luis Buñuel advocated for new ways of workshops, events…) on our website: composition of artworks. ART RESTAURATION CONTACT centrepompidou-malaga.eu seeing and creating that remain strong influences today. This Abstract Expressionism Astrid Lorenzen Pasaje doctor Carrillo Casaux, s/n Surrealism Abstract Expressionism, theorised by Clement Sophie Spalek [Muelle Uno, Puerto de Malaga) chronological pathway through a century of Spanish art reveals how This subversive movement emerged in 1924 at the Greenberg, brought together New York-based artists GUIDED TOURS T. [+34) 951 926 200 the current generation of artists has kept alive the spirit of the initiative of the poet and author André Breton. in the 1940s whose common point was to freely MEDIATION The mediation team offers you guided [email protected] Through plays on language, collective drawings, express their personal lyricism through gesture and Delphine Coffin tours to discover a selection of works [email protected] avant-garde with extraordinary energy. Their predecessors lived wanderings or travel, the surrealist artists explored colour, with no regard for representation. A variety of Célia Crétien from the collection, in an active and through troubling times, Parisian exile, the war, and ostracism which the potentialities of dreams and the sub-conscious to tendencies stemmed from this group, in particular Laura Samoilovich sensitive way. produce works of disturbing strangeness which Jackson Pollock’s and Willem de Kooning’s Action © Juan Gris, VEGAP, Málaga 2020 fuelled a repertoire of moving, radical and even sacrilegious images. attempted to reconcile art and life. painting. Individuals © Salvador Dalí, Fundació Gala - Once freedom restored, their heirs, such as Miquel Barceló, Cristina Centre Pompidou Málaga Included in the price of the ticket. Salvador Dalí, VEGAP, Málaga, 2020 © Sucesión Pablo Picasso. Málaga Pompidou Centre Iglesias, and La Ribot, among others, keep on surprising us by Magic realism Narrative Figuration Inscription on the same day at the COLLECTION MANAGER VEGAP, Madrid, 2020 This post-expressionist visual movement was defined Narrative Figuration was an activist pictorial reception. 25 people maximum. inventing new approaches to painting, sculpture and space which Elena Robles García In English © Succession Antonio Saura / in 1925 by German critic Franz Roh, to designate movement that emerged in France in the 1960s, in Friday at 4:00 pm www.antoniosaura.org / A+V Agencia re-enchant the materials, rituals and myths of Spanish art. artists (such as De Chirico, Derain, Miró, Grosz and the context of a tense international climate and the CONSERVATION In Spanish de Creadores Visuales 2020 Dix, etc.) who refuted objective realism and preferred advent of the consumer society. Like the American Paula Coarasa Lobato Monday, Wednesday, Thursday, Friday, to create bridges between everyday reality, the artists of Pop Art, Narrative Figuration painters Elisa Quiles Faz Saturday and Sunday at 12:30 pm mundane, symbolism or surrealism. The movement placed contemporary society and its mass images at Monday, Thursday, Friday and Saturday developed in Germany after the First World War and the centre of their works. Contrary to Pop artists, ARCHITECTURE AND SCENOGRAPHY at 6:00 pm was more widely known as New Objectivity. however, their desire was to make art a tool of social Frade Arquitectos S. L. transformation. Groups Noucentisme CORPORATE IDENTITY From a group of 8 people. In Spanish, Noucentisme was an artistic and political movement Gloria Rueda Chaves English and French, by prior reservation: which emerged in Catalonia from 1906 to 1923, in [email protected] opposition to the radicalism and spontaneity of INSTALLATION Modernism, which had preceded it. Noucentisme UTE ICCI (Ingeniería Cultural y Cobra advocated for a return to order and refined production, Instalaciones) With the support of: drawing inspiration from classicism and Mediterranean culture. centrepompidou-malaga.eu The 1920s Surrealism The 1930s The Matterists Spanish artists of the École de Paris The Post-War Generation Following the Dada movement, the Surrealists, led by In the 1950s, Spanish art saw a renewal through the From the 1960s, the social and cultural barriers André Breton, came together as of 1919 to launch works of Antoni Tàpies, Antonio Saura, Manolo which had separated Spain from the rest of Europe new definitions of art, based on transgression, Millares and Eduardo Chillida. Raw language, torn began to dissolve and the country renewed with automatism, dreams and the uncanny. They drew on canvases, graffiti, tensions between abstraction and modernity after the fall of Franco’s regime in 1975. In the strategies of revolutionary activists to oppose figuration and explorations on matter are among the the final years of his career, Miró liberated his bourgeois culture, adding tracts, publications and features that characterise their works, inspired by technique, mirroring Jackson Pollock and the demonstrations to controversial exhibitions. The French Art Informel*. With the magazine Dau al Set, Abstract Expressionists*. Eduardo Arroyo, based in cohesion of the movement was fractured in groups which he co-founded in 1948, Tàpies was highly Paris since 1958, where he was involved with the unified in their aesthetic practices or political active in the opposition to the reactionary movement artists of Figuration Narrative*, embodied the spirit of combats. Rue Blomet, in the Montparnasse district, of the time. Saura adhered to the legacy of the the 1960s: the activist struggle, the uprooting, and a where Miró and Masson had a studio in 1923, was Expressionists and Guernica’s Picasso, with a critical, humorous interpretation of art history. He frequented by the writers Michel Leiris, Antonin painting that carries the tragedies of Spain. These returned to Spain after the fall of Franco. The artists Artaud, and Paul Éluard. In 1929, Salvador Dalí and artists, who explored the expressiveness of matter, who emerged in the 1970s and 1980s moved away Juan Gris, La Vue sur la baie [View of the Bay], juin 1921 Luis Buñuel, the authors of Un chien andalou, Pablo Picasso, Nature morte [Still Life], 29 janvier 1922 found support from Parisian galleries, such as from the formal preoccupations of previous Oil on canvas, 65 × 100 cm adhered to Surrealism, thus confirming its rooting in Oil on canvas, 73 × 92 cm Stadler for Saura and Tàpies, or Daniel Cordier for avant-gardists. Miquel Barceló, Juan Muñoz, José © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP psychoanalytical thinking. In 1930, the screening of © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist.
Recommended publications
  • The Art Collection of Peter Watson (1908–1956)
    099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement.
    [Show full text]
  • Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
    Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1.
    [Show full text]
  • Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with Statements by the Artist
    Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with statements by the artist. The Museum of Modern Art, New York, in collaboration with the Minneapolis Institute of Art Author Museum of Modern Art (New York, N.Y.) Date 1956 Publisher Minneapolis Institute of Art Exhibition URL www.moma.org/calendar/exhibitions/3333 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art JULIO GONZALEZ JULIO GONZALEZ introduction by Andrew Carnduff Ritchie with statements by the artist The Museum of Modern Art New York in collaboration with The Minneapolis Institute of Art TRUSTEES OF THE MUSEUM OF MODERN ART John Hay W hitney, Chairman of theBoard;//enry A//en Aloe, 1st Vice-Chairman; Philip L. Goodwin, 2nd Vice-Chairman; William A. M. Burden, President; Mrs. David M. Levy, 1st Vice-President; Alfred IL Barr, Jr., Mrs. Bobert Woods Bliss, Stephen C. (dark, Balph F. Colin, Mrs. W. Murray Crane,* Bene ddfarnon court, Mrs. Edsel B. Ford, A. Conger Goodyear, Mrs. Simon Guggenheim,* Wallace K. Harrison, James W. Husted,* Mrs. Albert D. Lasker, Mrs. Henry B. Luce, Ranald II. Macdonald, Mrs. Samuel A. Marx, Mrs. G. Macculloch Miller, William S. Paley, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, Duncan Phillips,* Andrew CarndujJ Bitchie, David Bockefeller, Mrs. John D. Bockefeller, 3rd, Nelson A. Bockefeller, Beardsley Buml, Paul J. Sachs,* John L. Senior, Jr., James Thrall Soby, Edward M. M. Warburg, Monroe Wheeler * Honorary Trustee for Life TRUSTEES OF THE MINNEAPOLIS INSTITUTE OF ARTS Putnam D.
    [Show full text]
  • Alberto Giacometti: a Biography Sylvie Felber
    Alberto Giacometti: A Biography Sylvie Felber Alberto Giacometti is born on October 10, 1901, in the village of Borgonovo near Stampa, in the valley of Bregaglia, Switzerland. He is the eldest of four children in a family with an artistic background. His mother, Annetta Stampa, comes from a local landed family, and his father, Giovanni Giacometti, is one of the leading exponents of Swiss Post-Impressionist painting. The well-known Swiss painter Cuno Amiet becomes his godfather. In this milieu, Giacometti’s interest in art is nurtured from an early age: in 1915 he completes his first oil painting, in his father’s studio, and just a year later he models portrait busts of his brothers.1 Giacometti soon realizes that he wants to become an artist. In 1919 he leaves his Protestant boarding school in Schiers, near Chur, and moves to Geneva to study fine art. In 1922 he goes to Paris, then the center of the art world, where he studies life drawing, as well as sculpture under Antoine Bourdelle, at the renowned Académie de la Grande Chaumière. He also pays frequent visits to the Louvre to sketch. In 1925 Giacometti has his first exhibition, at the Salon des Tuileries, with two works: a torso and a head of his brother Diego. In the same year, Diego follows his elder brother to Paris. He will model for Alberto for the rest of his life, and from 1929 on also acts as his assistant. In December 1926, Giacometti moves into a new studio at 46, rue Hippolyte-Maindron. The studio is cramped and humble, but he will work there to the last.
    [Show full text]
  • Michele Greet - Inventing Wilfredo Lam: the Parisian Avant-Garde's Primitivist Fixation
    Michele Greet - Inventing Wilfredo Lam: The Parisian Avant-Garde's Primitivist Fixation Back to Issue 5 Inventing Wifredo Lam: The Parisian Avant-Garde's Primitivist Fixation Michele Greet © 2003 "It is — or it should be — a well-known fact that a man hardly owes anything but his physical constitution to the race or races from which he has sprung." 1 This statement made by art critic Michel Leiris could not have been further from the truth when describing the social realities that Wifredo Lam experienced in France in the late 1930s. From the moment he arrived in Paris on May 1, 1938, with a letter of introduction to Pablo Picasso given to him by Manuel Hugué, prominent members of the Parisian avant-garde developed a fascination with Lam, not only with his work, but more specifically with how they perceived race to have shaped his art. 2 Two people in particular took an avid interest in Lam—Picasso and André Breton—each mythologizing him order to validate their own perceptions of non- western cultures. This study will examine interpretations of Lam and his work by Picasso, Breton and other members of the avant-garde, as well as Lam's response to the identity imposed upon him. ******* In 1931, the Colonial Exposition set the mood for a decade in which France asserted its hegemony – in the face of Nazi Germany, Stalinist Russia, and Fascist Italy – through a conspicuous display of control over its colonial holdings. The exposition portrayed the colonies as a pre-industrial lost arcadia, occupied by noble savages who were untouched by the industrial advances of the western world.
    [Show full text]
  • Alberto Giacometti and the Crisis of the Monument, 1935–45 A
    UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures.
    [Show full text]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Guia Didáctica Gargallo
    GARGALLO Guía didáctica GARGALLO Guía didáctica ¿QUIÉN ES GARGALLO? 2 Fíjate en todas estas imágenes: la mayoría de la gente nos hacemos fotos y las guar- damos como recuerdo, pero a los artistas como Pablo Gargallo les gusta también hacerse sus propios retratos. Un autorretrato no consiste en poner un ojo por aquí, o una ceja, una nariz o un labio por allí, sino en representarse como uno se siente en un momento determinado. Mirarse en un espejo y copiar con un lápiz lo que ves no es retratarse. Hay que describirse por dentro y por fuera: cómo vestimos, cómo somos, cómo nos sentimos. Si te fijas descubrirás que Gargallo se representaba con su nariz grande, su fle- quillo y sus ojos tristes. Así era como él se veía y quería que le vieran los demás.Eso sí, aunque siempre parece pensativo y serio, también podía ser muy alegre. De todas estas imágenes algunas son fotografías, otras están hechas con tinta sobre 3 papel y sólo una de ellas es una escultura, inspirada en uno de sus dibujos. ¿La ves? Debía de sentirse muy identificado para convertirlo en una obra de hierro, ¿no? Fijate en ella. ¿Por qué no buscas el dibujo que más se le parece? Después de ver cómo era, ¿te apetece viajar en el tiempo para descubrir a uno de los escultores más importantes del siglo XX? Pues allá vamos. GARGALLO Y MAELLA 4 5 Maella, víspera del día de Reyes de 1881. Son las cinco de la ma- ñana y hace mucho frío, pero en casa de la familia Gargallo todos están levantados para dar la bienvenida al pequeño Pablo, que acaba de nacer.
    [Show full text]
  • * Kiki from Montparnasse for More Than Twenty Years, She Was the Muse of the Parisian Neighbourhood of Montparnasse. Alice Prin
    Blog Our blog will be a place used to tell you in detail all those museum's daily aspects, its internal functioning, its secrets, anecdotes and curiosities widely unknown about the building and our collections. How does people work in the museum when it is closed? What secrets lay behind the exemplars of our library? What do the “inhabitants” of our collections hide?... On this space the MACA completely opens its doors to everyone who wants to know us deeper. Welcome to the MACA! • Kiki de Montparnasse (Kiki from Montparnasse) | MACA's celebrities • Miró y el objeto (Miró and the object) | Publications • Derivas de la geometría (Geometry drifts) | Publications • Los patios de canicas (Marbles patios) | MACA's secrets • La Montserrat | MACA's celebrities • Una pasión privada (A private passion) | Publications • Estudiante en prácticas (Apprentice) | MACA's secrets • Arquitectura y arte (Architecture and art) | Publications • Nuestro público (Our public) | MACA's secrets • Gustavo Torner | MACA's celebrities • René Magritte y la Publicidad (René Magritte and Advertising) |MACA's celebrities * Kiki from Montparnasse For more than twenty years, she was the muse of the Parisian neighbourhood of Montparnasse. Alice Prin, who was commonly and widely called Kiki, posed for the best painters of the inter-war Europe and socialized with the most relevant artists of that period. Alice Ernestine Prin, Kiki, was born on the 2nd of October 1901 within a humble family from Châtillon-sur-Seine, a small city of Borgoña. Kiki visited Paris for the first time when she was thirteen and when she was fourteen her family send her to work in the capital.
    [Show full text]
  • Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)
    Jennifer Wild, “‘Are You Afraid of the Cinema?’” AmeriQuests (2015) ‘Are you Afraid of the Cinema?’: Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930) In December 1928, the prolific “editor of the Surrealists,” La Librairie José Corti, launched the deluxe, illustrated journal Du Cinéma: Revue de Critique et de Recherches Cinématographiques.1 Its first issue, indeed its very first page, opened with a questionnaire that asked, “Are you afraid of the cinema?” (Fig. 1, 2) The following paragraphs describing the questionnaire’s logic and critical aims were not penned by the journal’s founding editor in chief, Jean- George Auriol (son of George Auriol, the illustrator, typographer, and managing editor of the fin-de-siècle journal Le Chat Noir); rather, they were composed by André Delons, poet, critic, and member of the Parisian avant-garde group Le Grand Jeu. “This simple question is, by design, of a frankness and a weight made to unsettle you. I warn you that it has a double sense and that the only thing that occupies us is to know which you will choose,” he wrote.2 1. Cover, Du Cinéma, No. 1. Pictured: a still from Etudes Sur Paris (André Sauvage, 1928) 2. Questionnaire, “Are You Afraid of the Cinema?” Du Cinéma, No. 1. 1 Unless otherwise noted, all translations are my own. 2 André Delons, “Avez-Vous Peur du Cinéma?” Du Cinéma: Revue de Critique et de Recherches Cinématographiques, 1st Series, no.1, (December 1928), reprint edition, ed. Odette et Alain Virmaux (Paris: Pierre Lherminier Editeur, 1979), 3.
    [Show full text]
  • SYNC EVENT the Ethnographic Allegory of Unsere Afrikareise
    SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen Department of Media Studies Master’s Thesis 30 HE credits Cinema Studies Master’s Programme in Cinema Studies Spring 2016 Supervisor: Associate Professor Malin Wahlberg SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen ABSTRACT The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio- vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film. KEYWORDS Experimental Ethnography, Film Sound, Audio-Vision, Experimental Cinema, Documentary, Ethnographic Film CONTENTS INTRODUCTION 1 Demarcation 6 Survey of the field 7 Background 12 Disposition 15 I.
    [Show full text]
  • A Finding Aid to the José De Creeft Papers,1871-2004, Bulk 1910S-1980S, in the Archives of American Art
    A Finding Aid to the José de Creeft Papers,1871-2004, bulk 1910s-1980s, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund 13 May 2016 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, 1914-1979............................................................. 6 Series 2: Correspondence, 1910s-1980s................................................................. 7 Series 3: Diaries,
    [Show full text]