On Things and Comrades
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HI INCUBANDO PROCESOS EN CLAVE DE _ Hábitat Inclusivo ECONOMIA SOCIAL Y SOLIDARIA. AUTORES: Propuesta del Programa Universitario en Incubación Social de la Universidad Nacional Lic. Anna Daga Lic. Santiago Errecalde de Quilmes Prof. Graciela Fernández Lic. Nancy Marchand Anna Daga, Graciela Fernández y Nancy El Programa Universitario de Incubación Social se propone Marchand son Directora, responsable vincular las funciones de docencia, investigación y extensión del Área de Proyectos y aistente técnica para el fortalecimiento de procesos de innovación sociotécnica y respectivamente del Programa Universitario de Incubación Social de valoración económica. Se propone la construcción de equipos (PUIS) de la Universidad Nacional de interdisciplinarios y multiactorales nucleados en Incubadoras Quilmes. Universitarias en Economía Social y Solidaria. El siguiente artículo busca presentar la propuesta del Programa Santiago Errecalde es Licenciado en Comunicación Social, docente- Universitario de Incubación Social en general y algunas de las investigador de la UNQ. Dirige la propuestas y desafíos de la Incubadora Universitaria en Incubadora Universitaria en Economía Social y Solidaria en Diseño y Economía Social y Solidaria de Diseño y Comunicación. Comunicación del Programa Universitario de Incubación Social. El Programa Universitario de Incubación Social en Economía Social y Solidaria (PUIS) (1) es una propuesta transversal, que se comienza a implementar en la CONTACTO: Universidad Nacional de Quilmes (UNQ) a partir del año 2013. El PUIS [email protected] [email protected] depende de la Secretaría de Extensión Universitaria en articulación con la [email protected] [email protected] Secretaría de Innovación y Transferencia Tecnológica, como propuesta para incubar procesos generadores de valor socio-económico e innovación social y Palabras Claves: tecnológica, en el marco del desarrollo estratégico del sector de la Economía Incubación Proceso Social y Solidaria (ESS). -
Politics and History of 20Th Century Europe Shifted Radically, Swinging Like a Pendulum in a Dramatic Cause and Effect Relationship
Politics and history of 20th Century Europe shifted radically, swinging like a pendulum in a dramatic cause and effect relationship. I explored the correlation between art movements and revolutions, focusing specifically on Russian Constructivism and the Russian Revolution in the 1920s, as well as the Punk movement in East Germany that instigated the Fall of the Berlin Wall. I am fascinated by the structural similarities of these movements, and their shared desire of egalitarianism, which progressed with the support of opposing political ideologies. I chose fashion design because it was at the forefront of both Constructivism and Punk, and because it is what I hope to pursue as a career. After designing a full collection in 2D, I wanted to challenge myself by bringing one of my garments to life. The top is a plaster cast cut in half and shaped with epoxy and a lace up mechanism so that it can be worn. A paste made of plaster and paper pulp serves to attach the pieces of metal and create a rough texture that produces the illusion of a concrete wall. For the skirt, I created 11 spheres of various sizes by layering and stitching together different shades of white, cream, off-white, grey, and beige colored fabrics, with barbed wire and hardware cloth, that I then stuffed with Polyfil. The piece is wearable, and meant to constrict one’s freedom of movement - just like the German Democratic Party constricted freedom of speech in East Germany. The bottom portion is meant to suffocate the body in a different approach, with huge, outlandish, forms like the ones admired by the Constructivists. -
"The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
"The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film. -
Manufactured Proletariat: Constructivism and the Stalinist Company Town
86'rH ACSA ANNUAL MEETING AND TECHNOLOGY CONFERENCE 655 Manufactured Proletariat: Constructivism and the Stalinist Company Town GREG CASTILLO University of California, Berkeley A procession of clashing architectural styles documents the "From the Constructivists to the World."' El Lissitzky, who USSR's attempt to devise the environment for a socialist helped found Switzerland's Constructivist architectural asso- "new man." Of these, Constructivism is conventionally seen ciation (but declined to join its Soviet equivalent), declared as an emblem of the Great Utopia, a vision of this project the factory "the crucible of socialization for the urban popu- predating its totalitarian metamorphosis. But, for areputation lation" and "the university for the new Socialist man."J as the antithesis of "Stalinist" architecture, Constructivism's Constructivists venerated machine environments for their timing is problematic, to say the least. Constructivism came ordained capacity to transform human nature. Aleksandr into its own during the First Five-Year Plan (1928-32), an era Vesnin praisedengineering's invention of "objects of genius" that witnessed the rise of Stalin's "cult of personality" and his and called for artists to create devices equal in the "potential campaigns to collectivize agriculture and industrialize at energy of their psycho-physiological influence on the con- breakneck speed. This period, marked by the emergence of sciousness of the indi~idual."~The factory was considered the Stalinist state, corresponds to the building of the most potent specimen of the "social condenser" - building Constructivism's canonic monuments.' types that, while fulfilling basic social needs, instilled social- In servicing the First Five-Year Plan, Constructivist archi- ist modes of behavior and thought. -
Qt0m64w57q.Pdf
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Ideologies of Pure Abstraction Permalink https://escholarship.org/uc/item/0m64w57q Author Kim, Amy Chun Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Ideologies of Pure Abstraction By Amy Chun Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, Chair Professor Todd Olson Professor Robert Kaufman Spring 2015 Ideologies of Pure Abstraction © 2015 Amy Chun Kim Abstract Ideologies of Pure Abstraction by Amy Chun Kim Doctor of Philosophy in History of Art University of California, Berkeley Professor Whitney Davis, Chair This dissertation presents a history of the development of abstract art in the 1920s and 1930s, the period of its expansion and consolidation as an identifiable movement and practice of art. I argue that the emergence of the category of abstract art in the 1920s is grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of abstract art as a movement emerged out of the Parisian reception of a new Soviet art practice that contained a political impetus that was subsequently obscured as this moment passed. The occultation of this historical context laid the groundwork for the postwar “multiplication” of the meanings of abstraction, and the later tendency to associate its early programmatic aspirations with a more apolitical mysticism. Abstraction has a long and varied history as both a conceptual-aesthetic practice and as an ideal. -
ETD Template
The Anniversaries of the October Revolution, 1918-1927: Politics and Imagery by Susan M. Corbesero B.A., Pennsylvania State University, 1985 M.A., University of Pittsburgh, 1988 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Susan Marie Corbesero It was defended on November 18, 2005 and approved by William J. Chase Seymour Drescher Helena Goscilo Gregor Thum William J. Chase Dissertation Director ii The Anniversary of the October Revolution, 1918-1927: Politics and Imagery Susan M. Corbesero, PhD University of Pittsburgh, 2005 This dissertation explores the politics and imagery in the anniversary celebrations of the October Revolution in Moscow and Leningrad from 1918 to 1927. Central to Bolshevik efforts to take political and symbolic control of society, these early celebrations not only provided a vehicle for agitation on behalf of the Soviet regime, but also reflected changing popular and official perceptions of the meanings and goals of October. This study argues that politicians, cultural producers, and the urban public contributed to the design and meaning of the political anniversaries, engendering a negotiation of culture between the new Soviet state and its participants. Like the Revolution they sought to commemorate, the October celebrations unleashed and were shaped by both constructive and destructive forces. A combination of variable party and administrative controls, harsh economic realities, competing cultural strategies, and limitations of the existing mass media also influenced the Bolshevik commemorative projects. -
Index Figures in Bold Refer to the Biographies and / Or Illustrations A
Index Figures in bold refer to the biographies Kenneth Arrow 406 Beau 87 and / or illustrations H.C. Artmann 418, 481,481 Gottfried Bechtold 190, 221,356, 362, Boris Arvatov 61 362, 418, 498, 499, W.R. Ashby 328 499 a Michael Atiyah 255 Johannes R. Becker 58 Karl Abraham 522, 523, 528, 530- Carl Aub6ck 68 Konrad Becker 294, 364, 364 532 Augustine 209 Otto Beckmann 294, 357, 357, 546, Raimund Abraham 546, 574, 575, 574, Amadeo Avogadro 162 580 575 R. Axelrod 408 Richard Beer-Hoffmann 448 Antal Abt 241 Alfred Julius Ayer 456 Adolf Behne 67 Friedrich Achleitner 418, 481,481,483, Peter Behrens 66 484, 485, 488, 570 b L~szl6 Beke 504 J~nos Acz~l 251 Johannes Baader 59 Man6 Beke 245 Andor Adam 61 Baader-Meinhof group 577 GySrgy von B~k~sy 32, 122, 418, 431, Alfred Adler 66, 518, 521,521, Mihaly Babits 513 433, 433, 434 529, 533 G~bor Bachman 546, 559, 559, 560, John Bell 189, 212-217, 218 Bruno Adler 71 561 Therese Benedek 522 Raissa Adler 521 Ernst Bachrich 67 Tibor Benedek 522 Theodor W. Adorno 26, 142, 402, 447, Ron Baecker 343 Otto Benesch 473 478 Roger Bacon 185 Walter Benjamin 70, 476 Marc Adrian 106, 106, 142, 146, Alexander Bain 352 Gottfried Benn 589 148, 148, 355 BEla Bal&sz 66, 84, 338-341, 418, Max Bense 108 Robert Adrian X 363,363 444-447,446, 44 7, Jeremy Bentham 405 Endre Ady 442, 444 449-454, 513, 529 Vittorio Benussi 23-26, 24, 25, 29 August Aichhorn 521,524, 527, 528 Nandor Balasz 238 Sophie Benz 525 Howard Aiken 323 Alice B~lint 514, 515, 517-519, Bal&zs BeSthy 418, 504, 505, 504, Alciphon 166 521,521,522 505 Josef Albers 123 Mihaly Balint 513-516, 518, 522, (:tienne BEothy 55, 57, 69, 368, 384, David Albert 188 522 385, 384-386 Leon Battista Alberti 166, 354 Hugo Ball 525 Anna B~othy-Steiner 55, 384 Bernhard Alexander 521 Giacomo Balla 19,41 Gyula Benczur 71 Franz Gabriel Alexander 521,522 Richard Baltzer 242 Max Benirschke 38 J.W. -
„Lef“ and the Left Front of the Arts
Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................ -
Building the Revolution. Soviet Art and Architecture, 1915
Press Dossier ”la Caixa” Social Outreach Programmes discovers at CaixaForum Madrid the art and architecture from the 1920s and 30s Building the Revolution. Soviet Art and Architecture 1915-1935 The Soviet State that emerged from the 1917 Russian Revolution fostered a new visual language aimed at building a new society based on the socialist ideal. The decade and a half that followed the Revolution was a period of intense activity and innovation in the field of the arts, particularly amongst architects, marked by the use of pure geometric forms. The new State required new types of building, from commune houses, clubs and sports facilities for the victorious proletariat, factories and power stations in order to bring ambitious plans for industrialisation to fruition, and operations centres from which to implement State policy and to broadcast propaganda, as well as such outstanding monuments as Lenin’s Mausoleum. Building the Revolution. Soviet Art and Architecture 1915-1935 illustrates one of the most exceptional periods in the history of architecture and the visual arts, one that is reflected in the engagement of such constructivist artists as Lyubov Popova and Alexander Rodchenko and and Russian architects like Konstantin Melnikov, Moisei Ginzburg and Alexander Vesnin, as well as the European architects Le Corbusier and Mendelsohn. The exhibition features some 230 works, including models, artworks (paintings and drawings) and photographs, featuring both vintage prints from the 1920s and 30s and contemporary images by the British photographer Richard Pare. Building the Revolution. Soviet Art and Architecture 1915-1935 , is organised by the Royal Academy of Arts of London in cooperation with ”la Caixa” Social Outreach Programmes and the SMCA-Costakis Collection of Thessaloniki. -
Title: Author: Publisher: Isbn10 | Asin: 2/1394
title: author: publisher: isbn10 | asin: 2/1394 print isbn13: ebook isbn13: language: subject publication date: lcc: ddc: subject: Page i Bolshevik Festivals, 19171920 Page ii Studies on the History of Society and Culture Victoria E. Bonnell and Lynn Hunt, Editors 1. Politics, Culture, and Class in the French Re- volution, by Lynn Hunt 2. The People of Paris: An Essay in Popular Culture in the Eighteenth Century, by Daniel Roche 3. Pont-St-Pierre, 13981789: Lordship, Com- munity, and Capitalism in Early Modern France, by Jonathan Dewald 4. The Wedding of the Dead: Ritual, Poetics, and Popular Culture in Transylvania, by Gail Kligman 5. Students, Professors, and the State in Tsarist Russia, by Samuel D. Kassow 5/1394 6. The New Cultural History, edited by Lynn Hunt 7. Art Nouveau in Fin-de-Siècle France: Polit- ics, Psychology, and Style, by Debora L. Silverman 8. Histories of a Plague Year: The Social and the Imaginary in Baroque Florence, by Giulia Calvi 9. Culture of the Future: The Proletkult Move- ment in Revolutionary Russia, by Lynn Mally 10. Bread and Authority in Russia, 19141921, by Lars T. Lih 11. Territories of Grace: Cultural Change in the Seventeenth-Century Diocese of Grenoble, by Keith P. Luria 12. Publishing and Cultural Politics in Revolu- tionary Paris, 17891810, by Carla Hesse 6/1394 13. Limited Livelihoods: Gender and Class in Nineteenth-Century England, by Sonya O. Rose 14. Moral Communities: The Culture of Class Relations in the Russian Printing Industry 18671907, by Mark Steinberg 15. Bolshevik Festivals, 19171920, by James von Geldern Page iii Bolshevik Festivals, 19171920 James von Geldern UNIVERSITY OF CALIFORNIA PRESS Berkeley / Los Angeles / London Page iv University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. -
Constructivism (Art) 1 Constructivism (Art)
Constructivism (art) 1 Constructivism (art) Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism as an active philosophy lasted until about 1934, greatly effecting the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Some of its motifs have been reused sporadically since. Beginnings The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko during 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed during 1922.[1] Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited during 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Photograph of the first Constructivist Exhibition, 1921 Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new ohilosophy was established by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry directed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture during 1918. IZO, the Commissariat's artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune. -
Make Whichever You Find Work
54 | variant 41 | SPrin G 2011 Make Whichever You Find Work Anthony Iles & Marina Vishmidt ‘Art’s double character as both autonomous and fait Value is the capitalist category par excellence social is incessantly reproduced on the level of its – the category and lens through which every autonomy.’ – Theodor Adorno thing, every object and all social relations are viewed. Value, with its twin poles of use-value and ‘If you take hold of a samovar by its stubby legs, you exchange-value, is the core of the real abstraction can use it to pound nails, but that is not its primary that mediates all social relations through the function.’ – Viktor Shklovsky commodity. ‘[...] there is no use-value other than in the form of Introduction value in capitalist society, if value and capital constitute The recent uptake of the post-autonomist a forceful, totalising form of socialisation that shapes immaterial labour thesis draws cultural every aspect of life.’3 practitioners closer to the critical self-recognition In a society organised by the abstraction of of their own labour (waged and otherwise) as value, that is, a society in which profit is the alienated, as well its formal commonality with imperative for co-operation and production, the other kinds of affective labour at large.1 Art chief product not the commodity but the class finds itself in a new relation with abstract value, relation between capital and labour: this is why whether it’s the typical forms of contemporary it makes more sense to speak of capitalism as a work or financial mechanisms.