DOCSLIB.ORG

Aksenov BOOK

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Other titles in the Södertörn Academic Studies series Lars Kleberg (Stockholm) is Professor emeritus of Russian at Södertörn University. He has published numerous Samuel Edquist, � �uriks fotspår: �m forntida svenska articles on Russian avant-garde theater, Russian and österledsfärder i modern historieskrivning, 2012. Polish literature. His book �tarfall: � �riptych has been translated into fi ve languages. In 2010 he published a Jonna Bornemark (ed.), �henomenology of �ros, 2012. literary biography of Anton Chekhov, �jechov och friheten Jonna Bornemark and Hans Ruin (eds.), �mbiguity of ([Chekhov and Freedom], Stockholm: Natur & Kultur). the �acred, forthcoming. Aleksei Semenenko (Stockholm) is Research fellow at Håkan Nilsson (ed.), �lacing �rt in the �ublic the Slavic Department of Stockholm University. He is the �ealm, 2012. author of �ussian �ranslations of �amlet and �iterary �anon �ormation (Stockholm University, 2007), �he Per Bolin, �etween �ational and �cademic �gendas, �exture of �ulture: �n �ntroduction to �uri �otman’s forthcoming. �emiotic �heory (Basingstoke: Palgrave Macmillan, 2012), and articles on Russian culture, translation and semiotics. Ларс Клеберг (Стокгольм) эмерит-профессор Седертoрнского университета, чьи многочисленные публикации посвящены театру русского авангарда и русской и польской литературе. Его книга Звездопад. Триптих была переведена на пять языков. В 2010 году вышла его биография А. П. Чехова �jechov och friheten [«Чехов и свобода»]. Алексей Семененко (Стокгольм) научный сотрудник Славянского института Стокгольмского университета, автор монографий �ussian �ranslations of �amlet and �iterary �anon �ormation и �he �exture of �ulture: �n �ntroduction to �uri �otman’s �emiotic �heory, а также работ по русской культуре, переводу и семиотике. Södertörns högskola [email protected] www.sh.se/publications Other titles in the Södertörn Academic Studies series Lars Kleberg (Stockholm) is Professor emeritus of Russian at Södertörn University. He has published numerous Samuel Edquist, � �uriks fotspår: �m forntida svenska articles on Russian avant-garde theater, Russian and österledsfärder i modern historieskrivning, 2012. Polish literature. His book �tarfall: � �riptych has been translated into fi ve languages. In 2010 he published a Jonna Bornemark (ed.), �henomenology of �ros, 2012. literary biography of Anton Chekhov, �jechov och friheten Jonna Bornemark and Hans Ruin (eds.), �mbiguity of ([Chekhov and Freedom], Stockholm: Natur & Kultur). the �acred, forthcoming. Aleksei Semenenko (Stockholm) is Research fellow at Håkan Nilsson (ed.), �lacing �rt in the �ublic the Slavic Department of Stockholm University. He is the �ealm, 2012. author of �ussian �ranslations of �amlet and �iterary �anon �ormation (Stockholm University, 2007), �he Per Bolin, �etween �ational and �cademic �gendas, �exture of �ulture: �n �ntroduction to �uri �otman’s forthcoming. �emiotic �heory (Basingstoke: Palgrave Macmillan, 2012), and articles on Russian culture, translation and semiotics. Ларс Клеберг (Стокгольм) эмерит-профессор Седертoрнского университета, чьи многочисленные публикации посвящены театру русского авангарда и русской и польской литературе. Его книга Звездопад. Триптих была переведена на пять языков. В 2010 году вышла его биография А. П. Чехова �jechov och friheten [«Чехов и свобода»]. Алексей Семененко (Стокгольм) научный сотрудник Славянского института Стокгольмского университета, автор монографий �ussian �ranslations of �amlet and �iterary �anon �ormation и �he �exture of �ulture: �n �ntroduction to �uri �otman’s �emiotic �heory, а также работ по русской культуре, переводу и семиотике. Södertörns högskola [email protected] www.sh.se/publications AKSENOV AND THE ENVIRONS АКСЕНОВ И ОКРЕСТНОСТИ Edited by Lars Kleberg & Aleksei Semenenko Södertörns högskola Huddinge Södertörns högskola 2012 Södertörn Academic Studies 52 ISSN 1650-433X ISBN 978-91-86069-54-4 © 2012 editorial matter Lars Kleberg and Aleksei Semenenko © 2012 individual contributors Cover design by Aleksei Semenenko Frontispiece: silhouette of Ivan Aksenov by S. Medvedevskii (1929) Distribution: Södertörns högskola, Biblioteket S-141 89 Huddinge Phone: + 46 (0)8 608 40 00 E-mail: [email protected] Contents Preface vii List of Illustrations viii Introduction 1 «Белые» и «темные» пятна биографии И. А. Аксенова 7 Наталья Адаскина Из истории хлебниковедения: О неизвестном докладе И. А. Аксенова 21 Александр Парнис [О Хлебникове] 55 Иван Аксенов Жизнетворчество Сусанны Map 77 Татьяна Никольская Аксенов – переводчик елизаветинцев 83 Михаил Мейлах Ivan Aksenov’s Novel The Pillars of Hercules 105 Lars Kleberg Vitrina and afisha 123 John Bowlt О поэзии и живописи: Иван Аксенов и Александра Экстер 133 Корнелия Ичин Иван Аксенов и окрестности. Заметки о восприятии Пикассо в России 147 Даниела Рицци Ivan Aksenov, Nikolai Berdiaev, Picasso, and the “Russian Soul” 161 Nicoletta Misler Аксенов, Эйзенштейн, или Кто был тенью отца Гамлета 173 Оксана Булгакова «Зрительная музыка Эйзенштейна». Заметки к Портрету художника И. А. Аксенова 195 Наташа Друбек Эйзенштейн – Аксенов – Эйзенштейн: как создаются биографии 209 Ирина Белобровцева Transcultural Dramaturgy: Aksenov, Eisenstein, the Elizabethans, and Mei Lanfang 221 Janne Risum «Романтический дискурс» Ивана Аксенова 231 Алексей Семененко Contributors 241 Preface The present book is the result of a symposium “Aksenov and the Environs” held in May 2008 at Krusenberg (Sweden). We thank the Foundation for Baltic and East European Studies, the Swedish Research Council, Vera Sagers stiftelse, and Riksbankens Jubileumsfond for generously sponsoring and supporting the event. Throughout the book, Ivan Aksenov’s works are cited by volume and page num- ber from I. A. Aksenov, Iz tvorcheskogo naslediia v dvukh tomakh, ed. by Natal’ia Adaskina (Moscow: RA, 2008). With the exception of internationally known names such as Meyerhold, Eisen- stein, and others, Russian names in the English chapters follow the Library of Congress transliteration system. vii List of Illustrations 1. Афиша вечера в память В. Хлебникова, 30 мая 1924 г. 45 2. The Pillars of Hercules on the title page of Francis Bacon’s Instauratio Magna (1620) 119 3. А. Экстер. Флоренция (1914) 137 4. А. Экстер. Иллюстрации к сборнику Неуважительные основания И. Аксенова (1916) 143–144 5. И. Аксенов. Гамлет и другие опыты… (1930) 235 viii Introduction If one were to imagine a collective photo in which the Russian artistic avant- garde of the 1910s and 1920s—poets, painters, actors, musicians, directors, crit- ics—is gathered together in a single, big picture, Ivan Aleksandrovich Aksenov (1884–1935) would surely be in it. Just as certain, however, is that he would be standing hidden behind someone else, in the shadows, or, although present, would not be seen at all. Ivan Aksenov, critic, poet, and translator, was a brilliant representative of the genre-crossing and internationalist spirit of Russian avant-garde art. For differ- ent reasons, however, his life and works have remained unknown outside a small circle of initiated readers. During the Soviet era he was soon marginalized be- cause of his a-ideological position. Later, specialized scholars have for various reasons skipped over him, mentioning only en passant that he was an original member of the multi-faceted Russian avant-garde movement. Aksenov published one of the first theoretical books on Picasso in the year of the 1917 revolutions, but for obvious external reasons it evoked hardly any re- sponse at the time. In the 1920s he was close to the Constructivists and worked in Vsevolod Meyerhold’s theater, also serving as the dean of its directors’ school. Aksenov’s analysis of the problems of mise-en-scène, more geometrical than ideological, influenced a new generation of directors headed by Sergei Eisen- stein. The last decade of his life he devoted to translations and essays on Elizabe- than drama. It is precisely the amazing many-sidedness of Aksenov’s person that, para- doxically enough, has allowed his work to go unobserved by most specialists both in Russia and abroad. Nobody seems to have been able to place him com- fortably in any one category. Art historians have at best paid attention to his art criticism, but they have neglected its relation to his literary work. Philologists have taken interest in his futurist poetry and even included it in anthologies, but without considering the rest of his literary work, i.e., the large body of literary criticism and the whole oeuvre of original translations. Film specialists have noted Aksenov as the author of the penetrating portrait of his ex-student Sergei Eisenstein but they have devoted hardly any interest to what the teacher actually might have taught the young director about the art of drama, the problems of mise en scène, composition, etc. The logical place to find a synthetic portrait of a personality like Ivan Aksenov’s would seem to be an encyclopedia. But in Liter- Introduction aturnaia entsiklopediia of the 1930s his name has no entry. He is also conspicu- ously absent from Teatral’naia entsiklopediia and the eight-volume Kratkaia literaturnaia entsiklopediia of the 1960s. Only in the supplement to the latter, which was published in 1978, was Tatyana Nikolskaya able to present him in a short article. In the meantime, Vladimir Markov had sketched the first portrait of Aksenov as a poet and critic in his pioneering Russian Futurism (1968). One had to wait, however, till the publication of the first volume of the post- perestroika biographical
Recommended publications
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils.
  • Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura

    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.
  • Modernist Aesthetics and the Artificial Light of Paris: 1900 to 1939

    Modernist Aesthetics and the Artificial Light of Paris: 1900 to 1939

    Modernist Aesthetics and the Artificial Light of Paris: 1900 to 1939 Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Emma Elizabeth Reddy (MA Cantab) School of English University of Leicester February 2017 2 ABSTRACT Modernist Aesthetics and the Artificial Light of Paris: 1900 to 1939 Emma Elizabeth Reddy In this project the fields of modernist studies and science converge on the topic of lighting. My research illuminates a previously neglected area of modernism: the impact of artificial lighting on American modernist literature written in Paris between 1900 and 1939. Throughout that period, Paris maintained its position as an artistic centre and emerged as a stage for innovative public lighting. For many, the streets of Paris provided the first demonstration of electricity’s potential. Indeed, my research has shown that Paris was both the location of international expositions promoting electric light, as well as a city whose world-class experiments in lighting and public lighting displays were widely admired. Therefore, I have selected texts with a deep connection to Paris. While significant scholarship exists in relation to Parisian artificial lighting in fine art, a thorough assessment of the impact of lighting on the modern movement is absent from recent critical analysis. As such, this thesis seeks to account for literary modernism in relation to developments in public and private lighting. My research analyses a comprehensive range of evocations of gas and electric light to better understand the relationship between artificial light and modernist literary aesthetics. This work is illuminating for what it reveals about the place of light in the modern imagination, its unique symbolic and metaphorical richness, as well as the modern subject’s adaptability to technological change more broadly.
  • Futurism's Photography

    Futurism's Photography

    Futurism’s Photography: From fotodinamismo to fotomontaggio Sarah Carey University of California, Los Angeles The critical discourse on photography and Italian Futurism has proven to be very limited in its scope. Giovanni Lista, one of the few critics to adequately analyze the topic, has produced several works of note: Futurismo e fotografia (1979), I futuristi e la fotografia (1985), Cinema e foto- grafia futurista (2001), Futurism & Photography (2001), and most recently Il futurismo nella fotografia (2009).1 What is striking about these titles, however, is that only one actually refers to “Futurist photography” — or “fotografia futurista.” In fact, given the other (though few) scholarly studies of Futurism and photography, there seems to have been some hesitancy to qualify it as such (with some exceptions).2 So, why has there been this sense of distacco? And why only now might we only really be able to conceive of it as its own genre? This unusual trend in scholarly discourse, it seems, mimics closely Futurism’s own rocky relationship with photography, which ranged from an initial outright distrust to a later, rather cautious acceptance that only came about on account of one critical stipulation: that Futurist photography was neither an art nor a formal and autonomous aesthetic category — it was, instead, an ideological weapon. The Futurists were only able to utilize photography towards this end, and only with the further qualification that only certain photographic forms would be acceptable for this purpose: the portrait and photo-montage. It is, in fact, the very legacy of Futurism’s appropriation of these sub-genres that allows us to begin to think critically about Futurist photography per se.
  • The Train and the Cosmos: Visionary Modernity

    The Train and the Cosmos: Visionary Modernity

    The Train and the Cosmos: Visionary Modernity Matilde Marcolli 2015 • Mythopoesis: the capacity of the human mind to spontaneously generate symbols, myths, metaphors, ::: • Psychology (especially C.G. Jung) showed that the human mind (especially the uncon- scious) continuously generates a complex lan- guage of symbols and mythology (archetypes) • Religion: any form of belief that involves the supernatural • Mythopoesis does not require Religion: it can be symbolic, metaphoric, lyrical, visionary, without any reference to anything supernatural • Visionary Modernity has its roots in the Anarcho-Socialist mythology of Progress (late 19th early 20th century) and is the best known example of non-religious mythopoesis 1 Part 1: Futurist Trains 2 Trains as powerful symbol of Modernity: • the world suddenly becomes connected at a global scale, like never before • trains collectively drive humankind into the new modern epoch • connected to another powerful symbol: electricity • importance of the train symbolism in the anarcho-socialist philosophy of late 19th and early 20th century (Italian and Russian Futurism avant garde) 3 Rozanova, Composition with Train, 1910 4 Russolo, Dynamism of a Train, 1912 5 From a popular Italian song: Francesco Guccini \La Locomotiva" ... sembrava il treno anch'esso un mito di progesso lanciato sopra i continenti; e la locomotiva sembrava fosse un mostro strano che l'uomo dominava con il pensiero e con la mano: ruggendo si lasciava indietro distanze che sembravano infinite; sembrava avesse dentro un potere tremendo, la stessa forza della dinamite... ...the train itself looked like a myth of progress, launched over the continents; and the locomo- tive looked like a strange monster, that man could tame with thought and with the hand: roaring it would leave behind seemingly enor- mous distances; it seemed to contain an enor- mous might, the power of dynamite itself..
  • Caffeina E Vodka Italia E Russia: Futurismi a Confronto Claudia Salaris

    Caffeina E Vodka Italia E Russia: Futurismi a Confronto Claudia Salaris

    Caffeina e vodka Italia e Russia: futurismi a confronto Claudia Salaris Il viaggio di Marinetti in Russia Negli anni eroici del futurismo il fondatore Filippo Tommaso Marinetti era noto con il soprannome di “Caffeina d’Europa” per l’energia con cui diffondeva la religione del futuro da un paese all’altro. Uno dei suoi viaggi memorabili è quello in Russia all’inizio del 1914 1. Invitato a tenere un ciclo di conferenze a Mosca e a Pietroburgo, Il poeta ha accettato con entusiasmo, pensando a un patto d’unità d’azione con i fratelli orientali. Infatti nella terra degli zar il futurismo è nato con caratteristiche proprie,ma è sempre un parente stretto del movimento marinettiano. Nelle realizzazioni dell’avanguardia russa non sono pochi gli echi delle teorie e invenzioni del futurismo marinettiano. Ma, al contrario degli italiani che formano una specie di partito d’artisti omogeneo, i russi sono sparsi in diversi gruppi. Nel 1910 è uscita a Pietroburgo l’antologia Il vivaio dei giudici , a cui hanno collaborato, tra gli altri, i fratelli David e Nikolaj Burljuk, Elena Guro, Vasilij Kamenskij, Viktor Chlebnikov. A costoro presto si sono uniti Vladimir Majakovskij, Benedikt Livshich, Alexandr Kruchënych e alla fine del 1912 il gruppo, che intanto ha assunto il nome di Gileja, pubblica il volume Schiaffo al gusto corrente , che nel titolo rivela la matrice marinettiana, ricalcando il “disprezzo del pubblico” promulgato dal poeta italiano. Il libro collettivo contiene un editoriale-manifesto in cui i gilejani, rifiutando il passato e le accademie, esortano i giovani a “gettare Pushkin, Dostoevskij, Tolstoj, ecc.
  • Music, Noise, and Abstraction

    Music, Noise, and Abstraction

    BYVASIL y KAND INSKY' s OWN AC co u NT, his proto-abstract canvas ImpressionIII (Konzert) (19n; plate 13) was directly inspired by a performance of Arnold Schoenberg's first atonal works (the Second String Quartet, op. ro, and the Three Piano Pieces, op. n) at a concert in Munich on January 2, r9n, attended by Kandinsky and his Blaue Reiter compatriots (plate 6). The correspondence that Kandinsky launched with Schoenberg in the days following the concert makes it clear that both the painter and the composer saw direct parallels between the abandonment of tonality in music and the liberation from representation in visual art. 1 That both construed these artistic breakthroughs in spiritual terms is equally clear. Responding to the crisis of value prompted by scientific mate­ rialism, Kandinsky and Schoenberg affirmed an inner, spiritual realm that promised "ascent to a higher and better order," as Schoenberg would later put it. 2 Kandinsky looked to music, "the least material of the arts," as a means to "turn away from the soulless content of modern life, toward materials and environments that give a free hand to the nonmaterial strivings and searchings of the thirsty soul." "Schoenberg's music," he insisted, "leads us into a new realm, where musical experiences are no longer acoustic, but purely spiritua/."3 But what constitutes the "abstraction" of music in general and of atonal music in particular? And might this well-worn story obscure alternative conceptions of "abstraction" and other relationships between music and art in European modernism? Contrary to the self-presentations of Schoenberg and Kandinsky, there is nothing fundamental about the analogy between abstraction and atonality ­ which is why Paul Klee, Frantisek Kupka, Marsden Hartley, and many other early abstract painters could find inspiration in the eighteenth-century polyphony that consolidated the tonal system in the first place.
  • Futurism-Anthology.Pdf

    Futurism-Anthology.Pdf

    FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F.
  • Read Book Kazimir Malevich

    Read Book Kazimir Malevich

    KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House.
  • Carlo Carrà Metaphysical Spaces Curated by Ester Coen

    Carlo Carrà Metaphysical Spaces Curated by Ester Coen

    Carlo Carrà Metaphysical Spaces Curated by Ester Coen Blain|Southern 4 Hanover Square London W1S 1BP 8 July – 20 August 2016 Private View: 7 July, 6 – 8pm Carlo Carrà, Il Pino sul Mare, 1921 Private Collection ’Simplicity in tonal and linear relations - that is all that really concerns me now.’ Carlo Carrà in a letter to Ardengo Soffici, 1916 Blain|Southern presents an exhibition of paintings and drawings by Carlo Carrà, curated by Ester Coen. The Italian avant-garde artist is renowned for his integral role in both Futurist and Metaphysical painting. At the centre of the exhibition are Carrà’s paintings, many from public and private collections and rarely shown publicly. Shown in the UK for the first time Il Pino Sul Mare (1921) is a work that was considered so important by influential German art historian Wilhelm Worringer that he wrote to Carrà and described it as ‘my spiritual property’. A dozen other works, including Mio Figlio (1916) and Penelope (1917), comprise a group of Carrà’s key paintings that have not been presented together in over fifty years. Each is a significant work in its own right, and together they illuminate Carrà’s intellectual journey and artistic achievements. Typified by dream-like views and unexpected juxtapositions of elements, such as mannequins in eerie arcaded piazzas, the Metaphysical style of painting was led by Carrà and Giorgio de Chirico. Although their investigations initially developed independently from one another, their discourse began in 1917 when together they formally established the principles of Pittura Metafisica. The artists strived to connect with the soul by focussing on quotidian objects and the built environment.
  • (No) Queer Futurism: Prostitutes, Pink Poets, and Politics in Italy from 1913-1918

    (No) Queer Futurism: Prostitutes, Pink Poets, and Politics in Italy from 1913-1918

    (No) Queer Futurism: Prostitutes, Pink Poets, and Politics in Italy from 1913-1918 Emma Van Ness University of California, Los Angeles A Queer Futurism? This study intended to examine Futurist representations of historical prostitution within their urban environments of Paris, Milan, and Florence. It quickly became evident, however, that Futurists were by and large unconcerned with the material concerns of the prostitutes themselves, but very interested in what prostitutes could signify in an artistic and social context, building on the contributions of artists such as Baudelaire and Manet. These Parisians were among those who thrust the prostitute into the central discourse of literature and art in the nineteenth-century and in doing so signaled an important shift towards modernity. Half a century later, in Florence, while Dino Campana sings to the chimerical musica fanciulla esangue in his Canti orfici, Italo Tavolato, a homosexual journalist and critic from Trieste, speaks explicitly of prostitutes as inspirational figures, truly moral in their honest immorality. It was only through his rhetorical exaltation of prostitution that Tavolato could express his desire for an alternative to hetero-normative sexualities. His larger program against sexual morality is an important contribution in the early “deconstructive” phase of Futurism, one which mirrors what Claudia Salaris calls a “theory of androgyny,”1 associated at the time with writers such as Otto Weininger, Valentine de Saint-Point, and Marinetti himself, who was initially referred to by many as the “pink poet” because of “his ‘American’ methods, scandalizing and self- promoting.”2 Like Marinetti’s own fictional Futurist father, Marfarka, who gives birth to Garzurmah, the man-machine hybrid, Marinetti’s birthing of the movement was aided by his assumption of a hybrid personality.
  • Federico Luisetti, “A Futurist Art of the Past”, Ameriquests 12.1 (2015)

    Federico Luisetti, “A Futurist Art of the Past”, Ameriquests 12.1 (2015)

    Federico Luisetti, “A Futurist Art of the Past”, AmeriQuests 12.1 (2015) A Futurist Art of the Past: Anton Giulio Bragaglia’s Photodynamism Anton Giulio Bragaglia, Un gesto del capo1 Un gesto del capo (A gesture of the head) is a rare 1911 “Photodynamic” picture by Anton Giulio Bragaglia (1890-1960), the Rome-based photographer, director of experimental films, gallerist, theater director, and essayist who played a key role in the development of the Italian Avant- gardes. Initially postcard photographs mailed out to friends, Futurist Photodynamics consist of twenty or so medium size pictures of small gestures (greeting, nodding, bowing), acts of leisure, work, or movements (typing, smoking, a slap in the face), a small corpus that preceded and influenced the experimentations of European Avant-garde photography, such as Christian Schad’s Schadographs, Man Ray’s Rayographs, and Lazlo Moholy-Nagy’s Photograms. Thanks to historians of photography, in particular Giovanni Lista and Marta Braun, we are familiar with the circumstances that led to the birth of Photodynamism, which took on and transformed the principles proclaimed in the April 11, 1910 Manifesto tecnico della pittura futurista (Technical Manifesto of Futurist Painting) by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini, where the primacy of movement and the nature of “dynamic sensation” challenge the conventions of traditional visual arts: “The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be 1 (A Gesture of the Head), 1911. Gelatin silver print, 17.8 x 12.7 cm, Gilman Collection, The Metropolitan Museum of Art, New York].