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ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ МЕЖДУНАРОДНАЯ ПАНОРАМА Фисун Гюнер Вортицизм: Видение городского апокалипсиса Действительно ли вортицизм (от vortex – вихрь), это малоизвестное британское авангар- дное течение, просуществовавшее совсем недолго во втором десятилетии ХХ века, заслу- жил масштабную выставку «Вортицисты: Манифест современного мира», проводившуюся в лондонской галерее Тейт Бритэйн с 14 июня по 4 сентября 2011 года? В самом деле, вор- тицизм был наиболее ранним из всех радикальных художественных течений в Великобри- тании, но после Первой мировой войны ему уже не придавали особого значения, и на целые десятилетия он оказался почти забытым. Лишь в начале 1950-х годов английский художе- ственный критик Херберт Рид в своем фундаментальном труде «Современное британское искусство» впервые отдал должное радикализму в искусстве Британии. Публикация этой книги подтолкнула галерею Тейт к проведению в 1956 году выставки, посвященной в ос- новном одному из участников этого течения – Уиндхэму Льюису. Неуживчивый и раздра- жительный Льюис был представлен как лидер движения (как, впрочем, и в книге Рида). В ре- зультате возник интерес и к нему, и к авангардным кругам. 3 о даже тогда это течение вряд ли фест современного мира». Значитель- стайн, так и не подписали Манифест Джейкоб ЭПСТАЙН Нбыло замечено за пределами Лон- ную часть экспозиции составили архив- вортицизма, а Эпстайн так и вовсе дис- Буровая машина 1913–1915 дона. На международной арене его ные материалы: письма, документы, фо- танцировался от движения. (Реконструкция, участникам трудно было соперничать с тографии, тексты. Из художественных Кроме перечисленного, надо отме- 1973) популярностью их современников- произведений удалось собрать лишь тить и еще один парадокс. Это течение Синтетическая смола, металл, дерево европейцев, представлявших кубизм, те, которые были показаны на двух считают исключительно британским. Музеи и галерея искусств, экспрессионизм, футуризм или группу выставках, проведенных «вортициста- Однако его главный теоретик и публи- Бирмингем «Синий всадник». ми» в краткий период их деятельности: катор Эзра Паунд был, как известно, Как это объяснить? Было ли это первая состоялась в лондонской гале- американцем (как и Эпстайн), а Льюис 3 Jacob EPSTEIN Rock Drill. 1913-1915 связано с качеством самих произведе- рее Доре (1915), вторая в нью-йоркском родился в Канаде и провел значитель- (reconstructed 1973) ний? Можно утверждать – полагаю, Пенгвин-клубе (1917). Последнюю выс- ную часть своей юности в Европе, где Polyester resin, metal вполне оправданно, – что такое прене- тавку организовал состоятельный и попал под влияние модернизма. Блес- Birminghamand wood Museums брежение едва ли было связано с усто- влиятельный американский коллек- тящий Годье-Бжеска, три работы кото- and Art Gallery явшимся мнением, будто британское ционер Джон Куинн, приятель теоре- рого составили самую эффектную часть © The estate of Sir Jacob Epstein искусство изначально консервативно и тика вортицизма, поэта Эзры Паунда. экспозиции в галерее Тейт, был, как уже Photography замкнуто в себе. Такое отношение к не- Следует также напомнить, что отмечено, французом. © Birmingham му действительно во многом превали- один из самых талантливых представи- Изначально, в 1913 году, группа City Art Gallery ровало на протяжении всего ХХ века, телей этого течения, рано проявивший задумывалась как «Кубистический арт- в том числе среди самих британцев, и, себя французский скульптор Анри центр» (сменив вскоре свое название несомненно, влияло на многих интел- Годье-Бжеска, погиб на фронте бук- на «Мятежный арт-центр») и противо- лектуалов, готовых искать передовое ис- вально за несколько дней до открытия поставляла себя другому лондонскому кусство и передовые идеи не у себя на первой выставки. Кроме того, издава- объединению авангардистов – группе родине, а на континенте. емый «вортицистами» журнал BLAST! «Блумсбери». Но прежде будущие «вор- На поставленный вопрос можно («Шквал»), замеченный в авангардных тицисты» работали бок о бок с художни- дать несколько ответов. Прежде всего, кругах благодаря своему эксперимен- ками этой группы в мастерской «Оме- следует сказать, что многие произведе- тальному дизайну и загадочным тек- га», где разрабатывали дизайн мебели ния группы «вортицистов» не пережи- стам, приближающимся, скорее, к кон- для состоятельных клиентов. После то- ли Первую мировую войну, и, следова- кретной поэзии, перестал выходить го как один из «блумсберийцев», худо- тельно, ключевых работ, по которым после двух номеров из-за отсутствия жественный критик Роджер Фрай, ута- можно серьезно судить об этом течении, денег. Наконец, двое самых одаренных ил от них заказ для проводимой газетой сохранилось крайне мало. Подтверди- художников этой группы, пережившие Daily Mail выставки «Идеальный дом», ла это и выставка «Вортицисты: Мани- войну Дэвид Бомберг и Джейкоб Эп- Льюис воспользовался этим предлогом, ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ / THE TRETYAKOV GALLERY / #3’2011 101 THE TRETYAKOV GALLERY INTERNATIONAL PANORAMA INTERNATIONAL PANORAMA Fisun Güner Visions of Urban Apocalypse Did Vorticism, that little-known British avant-garde movement that existed so briefly in the second decade of the 20th century, really deserve the major exhibition “The Vorticists: Manifesto for a Modern World” (June 14 to September 4) at Londonʼs Tate Britain? Despite being Britainʼs first truly radical artistic move- ment, it was, after all, held in such little regard after the World War I that it was all but forgotten for decades until the early 1950s. That was when the English art critic Herbert Read pub- lished his seminal survey “Contemporary British Art”, a book that championed the radicalism of British art. It was a publica- tion that also gave the impetus for the Tate Galleryʼs 1956 exhi- bition “Wyndham Lewis and Vorticism”, placing the difficult and irascible Lewis at the helm of the movement – as Read had done – and exciting some interest in avant-garde circles. ut even then the movement hardly which to base a genuine assessment. “Vorti- Bmade much of an impact outside Lon- cism: Manifesto for a Modern World” don. And compared to its European coun- acknowledged this, and a considerable part terparts – Cubism, Expressionism, Futur- of its display was concerned with ephemera: ism, “Der Blaue Reiter” – all of which letters, documents, photographs, and texts. flourished at the same time, it barely regis- There is simply very little to place on the tered at all on the international stage. walls. What does survive comes from the Why was this? Does it reflect the qual- only two exhibitions the movement had ed after just two issues, due to lack of money display at Tate Britain was, as mentioned, robin letter denouncing Fry for misappropri- Having spent some time in avant- ity of the work itself? One can, I think justi- during its brief lifetime: one in London’s if not will. Finally, two of its most talented Дэвид БОМБЕРГ French. ation by keeping the commission a secret (the garde circles in Europe, Lewis was already fiably, argue that the neglect had more than Doré Gallery in 1915, the other in New artists who did survive the war, David Грязевая ванна. 1914 The group was originally conceived as letter, which was on display in the exhibition, acquainted with European Modernism at Холст, масло a little to do with an entrenched belief in the York’s Penguin Club in 1917 (the latter was Bomberg and Jacob Epstein, were never × “The Cubist Art Centre” in 1913 (shortly blusters with so much self-righteous indigna- first hand, with the ideas of Cubism, Futur- Галерея154,2 Тейт,224,2 Лондон innate conservatism and parochial nature of organised by the wealthy and influential signatories to its manifesto, and Epstein, for changing its name to “The Rebel Art Cen- tion that that you can’t help but find it funny). ism and Expressionism. Indeed, he was British art. This attitude had existed for American collector John Quinn, a friend of one, distanced himself from the movement. tre”) as a rival to that other London avant- Core members of what was soon to be- probably the first artist residing in Britain to much of the 20th century, not least among the poet and Vorticist theorist Ezra Pound). But beyond this, it must also be noted David BOMBERG garde set, the Bloomsbury group. Lewis had come the “Vorticists”, named by Pound – encounter Cubism at first hand; thus, his The Mud Bath. 1914 the British themselves – and it certainly Furthermore, one of its most talented that there is a paradox in calling the move- Oil on canvas worked alongside Bloomsbury member and after the image of a vortex, “that point in paintings had already appropriated Cubist × infected many of Britain’s intellectual elite members, the precocious French sculptor ment a wholly British one: Pound, as its Tate154.2 Gallery 224.2 cm art critic Roger Fry, taking part that year in his the cyclone where energy cuts into space motifs, marrying its strong structures – who were always the first to look to the con- Henri Gaudier-Brzeska died in the trench- chief theorist and publicist, was, of course, Omega Workshop, where artists designed and imparts form to it...” – promptly aban- soaring planes, jagged angles and interlock- tinent for forward-looking art and ideas, es just a few days before the Doré exhibi- American, as was Epstein, while Lewis was home furnishings for the moneyed classes. doned Fry and Britain’s most radical art ing forms – with the fluidity and movement rather than to home. tion opened. Meanwhile, its journal, born in Canada and spent much of his peri- But after Fry failed
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  • Ciclo De Miércoles El Modernismo Musical En

    Ciclo De Miércoles El Modernismo Musical En

    CICLO DE MIÉRCOLES EL MODERNISMO MUSICAL EN INGLATERRA Con motivo de la exposición Wyndham Lewis (1882-1957) febrero 2010 Portada: Wyndham Lewis Abstract Design (Dibujo para la portada de la partitura A Colour Symphony de Arthur Bliss, publicada en Londres y Nueva York en 1924) Pluma y tinta aguada sobre papel, 1924 CICLO DE MIÉRCOLES El modernismo musical en Inglaterra Con motivo de la exposición Wyndham Lewis (1882-1957) febrero 2010 Fundación Juan March Ciclo de miércoles: El modernismo musical en Inglaterra, con motivo de la exposición Wyndham Lewis (1882-1957): febrero 2010 [introducción y notas de Juan Manuel Viana]. -- Madrid: Fundación Juan March, 2010. 96 p.; 19 cm. (Ciclo de miércoles, ISSN: 1989-6549; febrero 2010) Notas al concierto: [I] “Lieder de F. Bridge, B. Britten y Lord Berners”, por Agustín Prunell-Friend y Chiky Martín; [II] “Obras para cuerdas, clarinete y piano de A. Goehr, H. Searle, B. Frankel, E. Lutyens, A. Bush y H. Wood, por la London Sinfonietta; [III] “Cuartetos de cuerda de B. Frankel, F. Bridge, H. Searle y B. Britten”, por el Cuarteto Bridge; [y IV] “Obras para piano de H. Searle, F. Bridge y Sir A. Bliss”, por Brenno Ambrosini; celebrados en la Fundación Juan March el 5, 10, 17 y 24 de febrero de 2010. También disponible en internet: http://www.march.es/musica/musica.asp 1. Música inglesa-S. XX.- 2. Programas de mano-S. XX.- 3. Fundación Juan March-Conciertos. Los textos contenidos en este programa pueden reproducirse libremente citando la procedencia. © Juan Manuel Viana © Fundación Juan March Departamento de Actividades Culturales ISSN: 1989-6549 ÍNDICE 4 Presentación 6 Introducción: Tierra de esperanza y gloria El pasado nunca muere Brisas continentales A propósito de Lewis 19 Viernes, 5 de febrero - Concierto inaugural Agustín Prunell-Friend, tenor y Chiky Martín, piano Lieder de F.
  • London, Modernism, and 1914 (2010)

    London, Modernism, and 1914 (2010)

    Book Reviews ________ Michael J. K. Walsh (ed.), London, Modernism, and 1914 (Cambridge: Cambridge University Press, 2010), xx + 314 pp. £50.00 (hb). Wyndham Lewis’s centrality to the modernist counter- and sub-cultures of London in 1914 is unquestionable. As the editor of, and the primary contributor to, BLAST (1914-15), Lewis played a hugely significant role as one of the key organizational and creative metropolitan figures of the pre-First World War period. As he only half-exaggeratedly put the point in Blasting and Bombardiering (1937), ‘by August 1914 no newspaper was complete without news about “vorticism” [ sic ] and its arch-exponent Mr. Lewis’ ( BB 32). In this milieu Lewis befriended, antagonized, and entered into debate with some of the most advanced artists and cultural impresarios of his generation, including Jessica Dismorr, T. S. Eliot, Jacob Epstein, Ford Madox Hueffer [Ford], T. E. Hulme, Kate Lechmere, Ezra Pound, and Helen Saunders, among others. Michael J. K. Walsh’s edited book London, Modernism, and 1914 is, first and foremost, an exploration of the varied significances of England’s capital city in 1914 for modernism as a whole. However, the fact that the essays collected here again and again signal Lewis’s inseparability from this cultural ‘moment’ makes the book necessary reading for Lewisians (growing in number as they are) as much as for early twentieth-century generalists. Walsh’s collection is an important text that assembles essays by some of today’s best modernist and Lewis scholars: Richard Cork, Jonathan Shirland, Louise Blakeney Williams, Andrew Causey, David A. Wragg, Sara MacDougall, Pericles Lewis, Jonathan Black, Deborah Longworth ( née Parsons), Dominika Buchowska, and Alan Munton.
  • 'To Suffragettes. a Word of Advice…'. Blast, Gender and 'Art Under Attack'

    'To Suffragettes. a Word of Advice…'. Blast, Gender and 'Art Under Attack'

    ‘To Suffragettes. A Word of Advice…’. Blast, Gender and ‘Art under Attack’ Ana Gabriela Macedo Universidade do Minho Abstract: “Art under Attack” is the title of an exhibition that took place at Tate Britain in London (Oct. 2013- Jan. 2014). In this paper I will concentrate on an exemplary case of such an iconoclastic attack, which was indexed in this exhibition as political – I am referring to the attack of the suffragette Mary Richardson to Velázquez’s Rokeby Venus, in March 1914. My argument is that militant Suffragettes were in fact the first Guerilla Girls of the 20th century, largely anticipating the latter performative and anti-establishment gesture in the Museum and denouncing the institutional space of art as deeply gendered and discriminatory, and, moreover, reclaiming it as a public space of political citizenship, democratic intervention and anti-iconoclastic debate. This will be discussed in the context of and in a dialogue with the Vorticist aesthetics and the outbreak of World War I. In fact Blast 1, the shocking bright pink Vorticist magazine was published on the 20th June 1914, exactly three months after the Rokeby Venus’ attack, and roughly a month (exactly 33 days), before the first World War was declared through the invasion of Serbia (28 July 2014). Key-words: Suffragette; Gender; Avantgarde; Art; Guerilla Girls Resumo: “Art under Attack” é o título de uma exposição que teve lugar na Tate Britain em Londres (Out. 2013-Jan. 2014). O foco e ponto de partida do presente artigo é a análise de um caso exemplar de ataque iconoclasta, o qual foi identificado nesta exposição como sendo de índole política – trata-se concretamente do famoso ataque da sufragista Mary Richardson à não menos famosa pintura de Diego Velázquez, A Vénus ao espelho.