DOCSLIB.ORG

Second Bi-Annual Conference of the European Network for Avant-Garde

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Second Bi-Annual Conference of the European Network for Avant-Garde High and Low Second bi-annual conferenceZweite zweijahrliche KonferenzDeuxieme conference of the European Networkdes Europaischen Netzwerkbiannuelle du Reseau europeen for Avant-Garde fur Studien zu Avantgardede recherche sur lsavant-garde and Modernism Studies und Moderne et le modernisme 9-11 September 2010 9.-11. September 2010 9-11 septembre 2010 Department of Art History, Institut fur Kunstgeschichte,Institut d’Histoire de I’Art, Adam Mickiewicz University,Adam-Mickiewicz-Universitat, Universite Adam Mickiewicz, Poznan, Poland Poznan, Polen Poznan, Pologne Futurism in East and Central Europe Session 7 (double session) room : 218 choir: Gunter Berghaus (University of Bristol) Part 1 Part 2 Irina Subotic Irina Genova (Professor Emeritus, (New Bulgarian University, University of Arts, Belgrade), Sofia The), Critical Interest Zenitism / Futurism: in the Hybrid Artistic Similarities and Differences Identity: Nicolay Diulgheroff and the Second Italian Marina Dmitrieva Futurism (Centre for East-Central European Studies, Leipzig) Marijan Dovic "A spectre is hunting Europe(Institute of Slovenian - the spectre of Futurism" Literature and Literary The Ukrainian PanFuturists Studies, SRC SASA, of the 1920s and Their Ljubljana),Anton Artistic Am bitions Podbevsek. Italian Futurism and the Slovenian Interior Bela TsipUria Avant-garde (Ilia State University) H2S04: The Futurist Emilia David Experience in Georgia (Universita di Torino), Aesthetic affinities and Ilona Fried political divergences (University Eotvds Lorand of between Italian and Budapest),M a rg it Gaspar, Romanian Futurism a Hungarian Writer and M arinetti �������������������������� Session 7 Belgrade [email protected] Futurism in East and Central Europe Zenitism / Futurism: Similarities and Differences Although rooted in different epochs, cultures, historical and Chair: Günter Berghaus political conditions, the paths of Futurism and Zenitism University of Bristol crossed on several levels. They had much in common, yet also [email protected] represented different aesthetic and political positions. Zenitism almost completely identied with its founder and ideologist, In the past 20 years, there has been an amazing upsurge of interest Ljubomir Micić (1895-1971) and his international revue for in Futurism in most countries formerly situated east of the Iron new art, Zenit (Zagreb-Belgrade, 1921-1926). It was exposed to Curtain. Although Russian Futurism was always well-known, the multiple inuences and doctrines, ranging from Expressionism multifaceted extensions of Futurism in the other Eastern countries and Dadaism to Futurism and Surrealism, Constructivism and were not much reported on in Italy and became nearly forgotten Socialist Realism. In its beginnings, Zenitism was close to the after 1945. However, since 1989 a wealth of material has been second generation of Italian Futurists and their machine cult, ������������������������������������������������������������������������������������������������������������Also in the ideas of dynamic movement and belief in progress were evident in domains of music, theatre, architecture and applied arts many new Zenitist manifestoes, poems, theatre pieces and in the typographic names are being brought to the surface, year after year. design of the review Zenit. The Futurist interest in merging the two spheres of art and life Zenitism was very receptive to industrial and mechanical meant that Futurist literature obtained a great deal of inspiration innovations, such as railways, machines, photographic cameras, from the rapidly changing social environment. In the theatre, and consequently experimented with photography, lm, industrial cooperation with well-known actors from the variety and music- design etc. Marinetti’s parole in libertà and dramatic sintesi hall circuit led to the invention of new dramatic and performative contributed to the programmatic renewal of poetic language. The genres of a distinctly popular mould. Conversely, various aspects inuence of these innovations, combined with Cubist elements of the “High Arts” were translated into the everyday sphere, and of a Realist nature, became complemented by short synthetic the second phase of Futurism largely stood under the sign of dramas and prose texts by Zenitist authors such as Albin Čebular, architecture, urbanism, interior design, fashion design, graphic Evgenije Dundek and Ljubomir Micić. design etc. Micić quickly overcame national boundaries and, like the In this session, seven experts will present some of their recent Italian Futurists, spread his messages internationally, as far as discoveries of Eastern and Central European artists belonging to the Americas and even Japan. In his mature phase (after 1922), the wider ambit of the Futurist movement and combine this with a the autonomous character of Zenitism became established, in discussion of aspects of their śuvre that relate to the overall theme particular by means of Balkanisms and the metaphorical gure of of the conference, “High and Low”. the “barbarian genius”. The idea behind this was a mixture of the “Futurist reconstruction of the universe” and the Zenitist project of “Barbarianism”. Both ideologies were founded on a critique of a decadent, conservative and agonizing Europe. Polemics about the origins of Zenitism and its Futurist connections continued until the late 1930s. Marinetti considered Zenitism to be “Yugoslav literary barbarian anti-European Futurism” and placed it somewhere between Purism and Surrealism, – something that Micić never accepted. Also politically, he never agreed with the political choices of Futurism. 35 Marina Dmitrieva Facts: More than ten young people were engaged in the group Centre for East-Central European Studies, Leipzig which named itself after a sulphuric acid, thus announcing that [email protected] they intended to destroy old-fashioned art just like that chemical; “A spectre is hunting Europe – the spectre of Futurism”: they published a couple of literary journals and newspapers, such The Ukrainian Pan-Futurists of the 1920s and Their Artistic as H2SO4, Literatura da Skhva, Memartskheneoba, Drouli; they Ambitions produced poetry and literary essays, and one of them produced graphic and stage designs; avant-garde aestheticism was in A paraphrase from Karl Marx’ Communist Manifesto was the important ingredient in their works. motto of the rst (and the only one) issue of A Semaphore Cultural inuence: Aesthetically, the group was inuenced by for the Future, a revue of the Ukrainian Pan-Futurists (1922). works and theoretical principles declared by Italian and Russian Nonetheless, this and many other publications of the Ukrainian Futurists, as well as other European and Russian avant-garde modernists of the early post-revolutionary time represent a movements. controversial interaction with the Italian Futurist movement in the Local cultural preconditions: H2SO4 was preceded by Eastern outskirts of Europe. Georgian Symbolism, which started around 1915/16 and, like in The movement of Pan-Futurism, founded by a small group France and Russia, served as a cultural background to Futurist of Ukrainian writers, saw itself as the only legitimate successor art. Georgian Symbolists were the rst to introduce Modernist of Italian Futurism, which in their eyes was already decadent aesthetics and philosophy to Georgia and to adopt avant-garde and passé. Leftist and radical, they perceived Pan-Futurism, like principles, such as aggressive opposition to Realistic literature. Communism, as “the end of all the Isms”. The multiple activities Although some Russian poets (Aleksey Kruchenykh, the group of the Ukrainian Pan-Futurists ranged from crude manifestos and 41°), escaped to Georgia to avoid the turmoil of revolution and public disputes to sophisticated theoretical essays, visual poetry civil war, a truly Futurist experience only appeared a few years and “poesolm”. In their publications, the Ukrainians responded later. The short period of the Democratic Republic of Georgia to Futurist events in Western and Central Europe and tried to (1918 - 1921, followed by Russian annexation and integration into create links between Futurism and Dada. the Soviet Union), possessed a free, open and vigorous cultural My paper will discuss the following issues: atmosphere that encouraged development towards a Modernist / • Which was the position of the Ukrainian Futurists in the avant-garde culture. network between Paris, Berlin, and Moscow? Postcolonial/colonial/totalitarian realities: Georgia became • How did their “destructive poetics” t into the constructive a Russian colony in 1801; the surge of interest in European programme of the Socialist state? Modernist culture in the late 1910s can be seen to represent an • What was different in their concept and behaviour in anti-colonial tendency. The repeated colonization of the country comparison to their Russian colleagues? and the totalitarian policy of the Soviet State, developed and • How did the Ukrainian Modernists cope with the dilemma implemented from the mid-1920s onwards, affected the cultural of high and low, the Ukrainian tradition of folk art and the situation all over the Soviet Socialist Republic of Georgia. cosmopolitan universalism? Modernist culture was announced as being hostile to Soviet interests, and avant-garde authors, including all H2SO4 members, were forced to renounce their cultural identity. All Modernist / Bela Tsipuria avant-garde activities were suspended. Ilia State University High & low in the culture
Load more

Recommended publications
  • The T Ransrational Poetry of Russian Futurism Gerald J Ara,Tek
    The T ransrational Poetry of Russian Futurism E Gerald J ara,tek ' 1996 SAN DIEGO STATE UNIVERSilY PRESS Calexico Mexicali Tijuana San Diego Copyright © 1996 by San Diego State University Press First published in 1996 by San Diego State University Press, San Diego State University, 5500 Campanile Drive, San Diego, California 92182-8141 http:/fwww-rohan.sdsu.edu/ dept/ press/ All rights reserved. -', Except for brief passages quoted in a review, no part of thisb ook m b ay e reproduced in an form, by photostat, microfilm, xerography r y , o any other means, or incorporated into any information retrieval system, electronic or mechanical, withoutthe written permission of thecop yright owners. Set in Book Antiqua Design by Harry Polkinhorn, Bill Nericcio and Lorenzo Antonio Nericcio ISBN 1-879691-41-8 Thanks to Christine Taylor for editorial production assistance 9 8 7 6 5 4 3 2 1 Acknowledgements Research for this book was supported in large part by grants in 1983, 1986, and 1989 from the International Research & Ex­ changes Board (IREX), with funds provided by the National En­ dowment for the Humanities, the United States Information Agency, and the US Department of State, which administers the Russian, Eurasian, and East European Research Program (Title VIII). In addition, I would like to express my gratitude to the fol­ lowing institutions and their staffs for aid essential in complet­ ing this project: the Fulbright-Bayes Senior Scholar Research Program for further support for the trips in 1983 and 1989, the American Council of Learned Societies for further support for the trip in 1986, the Russian Academy of Sciences, and the Brit­ ish Library; iri Moscow: to the Russian State Library, the Rus­ sian State Archive of Literature and Art, the Gorky Institute of World Literature, the State Literary Museum, and the Mayakovsky Museum; in St.
    [Show full text]
  • 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.
    [Show full text]
  • Cubo-Futurism
    Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu­ larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh­ kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus­ sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet.
    [Show full text]
  • The Poet Takes Himself Apart on Stage: Vladimir Mayakovsky's
    The Poet Takes Himself Apart on Stage: Vladimir Mayakovsky’s Poetic Personae in Vladimir Mayakovsky: Tragediia and Misteriia-buff By Jasmine Trinks Senior Honors Thesis Department of Germanic & Slavic Languages and Literatures University of North Carolina at Chapel Hill March 2015 Approved: ____________________________ Kevin Reese, Thesis Advisor Radislav Lapushin, Reader CONTENTS INTRODUCTION………………………………………………1 CHAPTER I: Mayakovsky’s Superfluous Sacrifice: The Poetic Persona in Vladimir Mayakovsky: Tragediia………………….....4 CHAPTER II: The Poet-Prophet Confronts the Collective: The Poetic Persona in Two Versions of Misteriia-buff………………25 CONCLUSION…………………………………………………47 BIBLIOGRAPHY………………………………………………50 ii INTRODUCTION In his biography of Vladimir Mayakovsky, Edward J. Brown describes the poet’s body of work as a “regular alternation of lyric with political or historical themes,” noting that Mayakovsky’s long lyric poems, like Человек [Man, 1916] and Про это [About That, 1923] are followed by the propagandistic Мистерия-буфф [Mystery-Bouffe, 1918] and Владимир Ильич Ленин [Vladimir Il’ich Lenin, 1924], respectively (Brown 109). While Brown’s assessment of Mayakovsky’s work is correct in general, it does not allow for adequate consideration of the development of his poetic persona over the course of his career, which is difficult to pinpoint, due in part to the complex interplay of the lyrical and historical in his poetry. In order to investigate the problem of Mayakovsky’s ever-changing and contradictory poetic persona, I have chosen to examine two of his plays: Владимир Маяковский: Трагедия [Vladimir Mayakovsky: A Tragedy, 1913] and both the 1918 and 1921 versions of Mystery- Bouffe. My decision to focus on Mayakovsky's plays arose from my desire to examine what I termed the “spectacle-ization” of the poet’s ego—that is, the representation of the poetic persona in a physical form alive and on stage.
    [Show full text]
  • Ukrainian Futurism: Re-Appropriating the Imperial Legacy
    Ukrainian Futurism: Re-Appropriating the Imperial Legacy Oleh S. Ilnytzkyj Abstract: This article surveys the research on Ukrainian Futurism that appeared just before and after Ukrainian independence (1991), and offers critical annotations of these publications. It deals with the literary as well as the visual arts, with works that appeared in Ukraine and in the West. The literature review is preceded by a short outline of Ukrainian Futurism and its fate in scholarship from the 1930s. Much of what has been written on Ukrainian Futurism has appeared in the context of more general ‘avant-garde’ and even ‘modernist’ debates. This paper respects these perspec- tives but foregrounds Futurism. The author shows that one of the central issues of the new research has been the delineation of a ‘Ukrainian’ movement on the basis of cultural capital that is generally still called ‘Russian’. The research discussed here highlights the multi-national character of avant-garde practices in the Russian and Soviet Empires, offers a suggestion on how imperial cultural processes should be conceptualized and questions the appropriateness of current ‘Russian’ terminology. Keywords: Ukrainian Futurism, Cubo-Futurism, Russian Futurism, Avant-garde, Mykhail’ Semenko, David Burliuk, Nova generatsiia, imperial culture, culture and empire, Ukraine, Russia. Don’t mistake them for Russians: Kazimir Malevich, El Lissitsky, Alexander Rodchenko, Alexander Ar- chipenko and Alexandra Exter were actually born, or identifi ed themselves as, Ukrainian.1 Ukrainian Futurism was the last literary avant-garde movement in the Soviet Union to succumb to pressures of the Communist Party, that is, to disband under duress as an organized and distinct group.
    [Show full text]
  • Primitivism in Russian Futurist Book Design 1910–14
    Primitivism in Russian Futurist Book Design 1910–14 In the introduction to his book “Primitivism” in 20th ponents in 1913), Russian artists such as Mikhail Jared Ash Century Art, William Rubin notes the relative paucity of Larionov, Natalia Goncharova, Kazimir Malevich, and scholarly works devoted to “primitivism—the interest of Olga Rozanova espoused the fundamental aesthetic prin- modern artists in tribal art and culture, as revealed in ciples and theories, set the priorities, and developed the their thought and work.”1 While considerable attention courage to abandon naturalism in art in favor of free cre- has been paid to primitivism in early-twentieth-century ation, pure expression, and, ultimately, abstraction. French and German art in the time since Rubin’s 1984 The present work focuses on the illustrated publication, Western awareness of a parallel trend in book as the ideal framework in which to examine primi- Russia remains relatively limited to scholars and special- tivism in Russia. Through this medium, artists and writ- ists. Yet, the primary characteristics that Russian artists’ ers of the emerging avant-garde achieved one of the recognized and revered in primitive art forms played as most original responses to, and modern adaptations of, profound a role in shaping the path of modern art and primitivism, and realized the primary goals and aesthetic literature in Russia as they did in the artistic expressions credos set forth in their statements and group mani- of Western Europe. “Primitive” and “primitivism,” as festos. These artists drew on a wide range of primitive they are used in this text, are defined as art or an art art forms from their own country: Old Russian illumin- style that reveals a primacy and purity of expression.
    [Show full text]
  • The Emergence of Electro-Acoustic Music: the Role of Futurism, Fascism, and Dadaism by Rob Maher
    The Emergence of Electro-Acoustic Music: The Role of Futurism, Fascism, and Dadaism by Rob Maher University of Illinois Urbana-Champaign Music 321 Fall 1986 INTRODUCTION The social upheaval of the first half of the 20th century changed the way life and intellect was perceived. Global industrialization, global communication, and global wars have strained the boundaries of fantasy and reality for billions of human beings, yet the personality characteristics of humans are believed to have changed little, if at all. It is revealing to view the human being as an unchanged entity placed in a new context, full of new perils and new possibilities. In this paper, the development of electro-acoustic music in light of the Futurist, fascist, and Dadaist movements will be examined. Since the interpretation of music and musical ideas requires an examination of the link between the musician and his audience, it is quite reasonable to consider the effect of external influences on the musician. Like any means of artistic expression, electro-acoustic music has evolved under the influence of tradition, politics, and society. As with the development of electro-acoustic music itself, the three movements considered here did not develop spontaneously in isolation. However, for the purposes of this examination, the roles of Futurism, fascism, and Dadaism in shaping the emergence of electro-acoustic music are considered in separate sections. The interaction and conflict between these influences is discussed in a concluding essay. An important caveat is needed to complete this introduction: in electro-acoustic music, the medium and the message it carries are quite distinct.
    [Show full text]
  • Ukrainian Futurism: a New Anthology of Writings by Mykhail' Semenko
    Oleh S. Ilnytzkyj Ukrainian Futurism: A New Anthology of Writings by Mykhail’ Semenko Mikhail’ Semenko i ukrainskii panfuturizm: Manifesty. Mistifikatsii. Stat’i. Lirika. Viziopoeziia [Mykhail’ Semenko & Ukrainian PanFuturism: Manifestos, Mystifications, Essays, Lyric Poetry, Visiopoetry] Sost., per. s ukrain., stat’i, komment. i bibliografiia A. V. Beloy i A. A. Rossomakhina [Selected, edited, translated, commented, bibliography and essays by Anna Belaya and Andrey Rossomakhin]. Sankt-Peterburg: Izdatel’stvo Evropeiskogo universiteta v Sankt-Peterburge, 2016. (AVANT-GARDE; vyp. 9). 400 + [16] pp., 8pp. facsimile inserts, 100 B/W illustrations and 45 in colour. ISBN 978-5-94380-203-4. RUB 360,00; US$ 21,00; € 19,10 EUR; £ 14,00. This anthology provides a compelling and comprehensive overview of the Ukrain- ian Futurist movement, centering on its founder and enduring leader, Mykhail’ Semenko, while also embracing other significant figures, who either supported or resisted Futurism in Ukraine. A variety of seminal literary, critical and polemical texts (all amply annotated), introductory and explanatory essays, illustrations, bibliographies, and facsimile reproductions stretch the boundaries of the anthol- ogy as a genre, but the result is a very useful, revealing and engaging publication that borders on a mini encyclopedia of the movement and Ukrainian culture of the 1920s. Directed squarely at the “Russian (rossiiskogo) reader”, this is the first attempt ever to present Ukrainian literary Futurism within this market as an inde- pendent national phenomenon. Aesthetically, the book makes an excellent first impression. The design and layout by Alexandr Iurii Khodot is a worthy tribute to the care and experimenta- tion that characterized not only Ukrainian Futurist publications, but the Euro- pean avant-garde as a whole.
    [Show full text]
  • Mikhail Matiushin and Kazimir Malevich
    Experiment /3ICcnepHMeHT 6 (2000), 12-15 CHARLOTI'E DOUGLAS MIKHAIL MATIUSHIN AND KAZIMIR MALEVICH The friendship of Mikhail Matiushin and Kazimir Malevich is one of the most crucial relationships for the history of Russian art, perhaps one can even say in the history of Modernism, or even go so far as to declare in the history of Western art as a whole. It led to the first Cubo-Futurist performance piece-Victory Over the Sun-in 1913, and, in general, their correspondence during this period is the best, and really the only, record we have of the mysterious process that led to the appearance of the Black Square and Malevich' s revolutionary geometric Suprematism. In spite of the fact that they were very different kinds of men, different in their personalities and stylistic approaches to art, their friendship conti.Q.ued for 22 years, until Matiushin's death in 1934, and, as far as we know, in mutual respect, without major, or even minor, upsets. For Malevich, Matiushin was a significant link with the Western art world; after all he had spent time in France, had even seen the Universal Exposition in Paris in 1900, and he and those around him kept up with progressive art events abroad, something extremely important for Malevich, who wished to see himself participating in contemporary art on a global scale, but who was not to go abroad until1927. The two artists first met late in 1912, when they became associated through a Moscow-Petersburg alliance of the Donkey's Tail group, to.which Malevich belonged, and the Union of Youth, which Matiushin had helped to organize.
    [Show full text]
  • Art Bibliographies Futurism in Italy and Russia, Vorticism in Britain
    Art Bibliographies: Futurism in Italy and Russia, Vorticism in Britain ! Art Bibliographies: Futurism in Italy and Russia, Vorticism in Britain! ! Art Bibliographies: Futurism! in Italy and Russia! (Art Bibliographies: Vorticism! separaely listed below)! ! Berghaus, Gunter. Futurism and politics: between anarchist rebellion and fascist !! !reaction, 1909-1944, Providence, RI; Oxford: Berghahn Books, 1996.! Chessa, Luciano. Luigi Russolo, futurist: noise, visual arts, and the occult, Berkeley; ! !London: University of California Press, ca. 2012.! Hulten, Pontus (ed.). Futurismo & futurismi (Exhibition, 1986), London: Thames and ! !Hudson, 1987.! Humphrey, Richard. Futurism, London: Tate Gallery Publishing, 1999. HL! Lawton, Anna and Herbert Eagle (eds. and translation). Russian futurism through its ! !manifestoes, 1912-1928, Ithaca; London: Cornell University Press, 1988.! Markov, Vladimir. Russian futurism: a history, London: MacGibbon & Kee, 1969.! Nash, J.M. Cubism, Futurism and Constructivism, London: Thames and Hudson, 1974.! Northern Arts. Futurismo, 1909-1919 (Exhibition, 1972-1973), Newcastle-upon-Tyne: ! !Northern Arts; Edinburgh: Scottish Arts Council, 1972.! Ottinger, Didier (ed.). Futurisme a Paris: une avant-garde explosive (Exhibition, !! !2008-2009), Paris: Editions du Centre Pompidou, ca. 2009.! Petrova, Yevgenia (ed). Russian futurism: and David Burliuk, "the father of Russian ! !futurism”, translated by Kenneth MacInnes, St Peterburg: Palace editions, !ca. 2000.! Poggi, Christine. Inventing futurism: the art and politics of artificial optimism, !! ! Princeton; Oxford: Princeton University Press, ca. 2009.! Poggi. In defiance of painting: cubism, futurism, and the invention of collage, New ! !Haven, Conn.; London: Yale University Press, ca. 1992.! Rye, Jane. Futurism, New York: Dutton, 1972.! Taylor, Joshua C. Futurism, New York: Museum of Modern Art, 1961.! Tisdall, Caroline and Angelo Bozzolla. Futurism, London: Thames and Hudson, ca.
    [Show full text]
  • Kruchenykh Contra Gutenberg
    Kruchenykh contra Gutenberg Aleksei Kruchenykh (1886–1968) still retains the repu- too, Kruchenykh emerged as one of the most inventive tation given him in the 1920s by his Futurist colleagues and extreme members of the Russian avant-garde. Gerald Janecek and the general public as the “wild man of Russian liter- If Kruchenykh had consciously set out to dis- ature.”1 The main reason for this is his creation of the mantle (nowadays we might say “deconstruct”) the lega- most radical form of so-called transrational language cy of Johannes Gutenberg (c. 1397–1468), it is unlikely (zaum), which involved the production of poetry using that he could have done it more completely. Gutenberg's invented or distorted words of indeterminate meaning. legacy of linear movable type and mass-produced books His first and to this day most famous poem in trans- is such an innate part of modern Western culture that we rational language, “Dyr bul shchyl,” was published in are almost blind to its effects on our thought patterns March 1913, and remains the focal point of controversy and cultural assumptions. Yet these effects are arguably about the excesses (or achievements) of Russian Futurist profound. As Marshall McLuhan has speculated, “A child verbal experimentation. The poem and similar ones by in any Western milieu is surrounded by an abstract Kruchenykh and other zaumniks confront the boundary explicit visual technology of uniform time and uniform between meaning and meaninglessness and address the continuous space in which 'cause' is efficient and question of whether words can ever be totally meaning- sequential, and things move and happen on single less or abstract.
    [Show full text]
  • La Cucina Futurista: a Call to Culinary Revolution, an Artwork, Or the Death Throes of Futurism?
    Dublin Gastronomy Symposium 2016 – Food and Revolution La Cucina Futurista: A Call to Culinary Revolution, an Artwork, or the Death Throes of Futurism? Adrian Bregazzi The Manifesto of Futurist Cooking, Il Manifesto della a sinister note: the fascist obsession with nationalism and Cucina Futurista, was published in Turin’s Gazzetta del patriotism, the war to come.’ (David 1963, p.94) Popolo on 28th December 1930 (Berghaus 2006, pp.394- But firstly, we must have some historical contexts - we 399). This is perhaps best known for demanding the must look at Futurism and Italian Fascism. ‘abolition of pastasciutta, an absurd Italian gastronomic religion.’ (pastasciutta is dried pasta): Futurism [Pastasciutta] induces sluggishness, depression, inertia brought on by nostalgia, and neutralism. Incipient Futurism reviled Italy’s wallowing in the artistic and cultural glory of the country’s past (the likes of the Pastasciutta, 40% less nutritious than meat, fish or southern Renaissance; Boccaccio and Dante; the Roman pulses, ties today’s Italians with its tangled threads Empire); its ignoring the rapid technical advances of the to Penelope’s slow looms and to somnolent old early 20th-century (particularly developing material sailing ships in search of wind technologies, speed and new methods of transport, and The apologists for pastasciutta carry its leaden ball, developments in telephony, radio communication and its ruins, in their stomachs, like prisoners serving a film); and politically, it scorned what it saw as the country’s life sentence, or archaeologists. (ibid, pp.394-399) failure to develop since the Risorgimento (the 19th-century unification of Italy was completed in 1871).
    [Show full text]