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1 Avant-Garde and Avant-Gardes 1 Avant-garde and avant-gardes 2 ART INQUIRY3 RECHERCHES SUR LES ARTS Volume XIX (XXVIII) A v a n t - g a r d e a n d a v a n t - g a r d e s Ł ó d ź 2 0 1 7 4 ART INQUIRY Recherches sur les arts Volume XIX (XXVIII) Avant-garde and avant-gardes Łódzkie Towarzystwo Naukowe / Societas Scientiarum Lodziensis 90-505 Łódź, ul. M. Skłodowskiej-Curie 11, tel. (+48 42) 665 54 59 fax (+48 42) 665 54 64 Sales office (+48 42) 665 54 48, http://sklep.ltn.lodz.pl, www.ltn.lodz.pl, e-mail: [email protected] Editorial board of ŁTN: Krystyna Czyżewska, Edward Karasiński, Wanda M. Krajewska (Editor-in-Chief), Henryk C. Piekarski, Jan Szymczak Editorial board: Roy Ascott, Sean Cubitt, Bohdan Dziemidok, Erkki Huhtamo, Ryszard Hunger, Krystyna Juszyńska, Małgorzata Leyko, Robert C. Morgan, Wanda Nowakowska (chair), Ewelina Nurczyńska-Fidelska, Krystyna Wilkoszewska, Anna Zeidler-Janiszewska Editor-in-Chief: Grzegorz Sztabiński Editors: Andrzej Bartczak, Ryszard W. Kluszczyński, Krzysztof Stefański Editors of the volume: Grzegorz Sztabiński, Paulina Sztabińska Language Editors: Alina Kwiatkowska, Andrew Tomlinson Editorial Associate: Paulina Sztabińska Reviewer: Roman Kubicki Cover: Grzegorz Laszuk Graphic design: Tomasz Budziarek Edited with the financial support of the Strzemiński Academy of Arts in Łódź, and the Faculty of Philosophy and History, University of Łódź Indexed by SCOPUS, CEEOL, EBSCOhost, CEJSH, ERIH Plus, Index Copernicus, Ministry of Science and Higher Education, ProQuest, POL-index. Full- text articles are available online at www.ceeol.com, www.cejsh.icm.edu.pl, Index Copernicus, SCOPUS, EBSCOhost, ProQuest and www.ibuk.pl. Copyright by Łódzkie Towarzystwo Naukowe, Łódź 2017 ISSN 1641-9278 / e-ISSN 2451-0327 / DOI:10.26485/AI / DOI:10.26485/AI/2017/19 The journal is originally an electronic publication Wersja elektroniczna stanowi pierwotną wersję czasopisma Printed circulation: 100 copies 5 CONTENTS Introduction ........................................................................................................ 7 JOLANTA RUDZKA-HABISIAK Foreword .............................................................................................................. 9 PIOTR GRYGLEWSKI The Department of Art History at the University of Łódź and the research into the avant-garde movement .......................................................................... 13 IWONA LORENC Subversive artistic strategies of the avant-garde and the crisis of modern experience ............................................................................................................ 17 RYSZARD KLUSZCZYŃSKI Avant-garde against avant-garde ........................................................................ 33 ŁUKASZ GUZEK What the avant-garde stands for today .............................................................. 45 GRZEGORZ SZTABIŃSKI The avant-garde: art as theory ........................................................................... 57 SIDEY MYOO Las Meninas – Interpretation narratives throughout centuries ...................... 73 MARIA POPCZYK The spirituality of art after Kandinsky ............................................................. 89 MAJA PIOTROWSKA The avant-garde as a movement towards the present ...................................... 107 RAFAŁ CZEKAJ Adorno and practically useless art, or autonomy instead of avant-garde ............... 121 TOMASZ SZCZEPANEK Transit Monumental – The way of Independence. Aesthetics in the identity projects of late modernity ....................................... 131 MAGDALENA SAMBORSKA Fashion as the Other of art. The position of clothing design in the avant- -garde art and in the contemporary era ............................................................ 141 ANETA PAWŁOWSKA Avant-gardists and primitivism .......................................................................... 153 6 ALEKSANDRA ŁUKASZEWICZ-ALCARAZ Can we talk about contemporary avant-garde outside Western cultures? The case of contemporary art in the Republic of South Africa ..................... 171 EWA KUBIAK Anthropophagy as a concept of the Brazilian avant-garde at the end of the 1920s. Between history, myth and artistic conception ......................... 187 IRMINA GADOWSKA Interwar works by Izrael Lejzerowicz in the context of the “new art” milieu’s accomplishments in Łódź ........................................................................ 205 KONRAD CHMIELECKI The intermediality of the avant-garde or the avant-garde of intermediality? Is the avant-garde intermedial? .......................................................................... 221 LILIANNA BIESZCZAD Intermediality and performativity in the context of performance art ............ 243 PAULINA SZTABIŃSKA Digital performance and avant-garde artistic distinctions ............................... 257 ANETA PAWŁOWSKA, ANNA WENDORFF From sign to word in contemporary Polish “HTML literature”. Post-avant-garde heirs of modernist typography .................................................. 273 DOMINIKA ŁARIONOW Bauhaus – the school that became the avant-garde ......................................... 291 ALEKSANDRA SUMOROK The avant-garde roots of Polish design in the Socialist Realism period. A case study ........................................................................................................ 307 BŁAŻEJ CIARKOWSKI Designing utopia. Avant-garde architecture vs. processes of modernization ............................... 325 JAKUB PETRI Beyond a narrative. Functionless modernist heritage buildings and the aesthetic autonomy of the citizens ...................................................................................................... 339 Notes on contributors ........................................................................................ 349 7 INTRODUCTION AVANT-GARDE AND AVANT-GARDES The term “avant-garde” in the singular is usually employed in reference to the Great Avant-garde from the beginning of the twentieth century. The plural form draws attention to other innovatory artistic currents originating later in the twentieth century and still appearing today. This use of the term is sometimes regarded as too broad or even misguided, but it is still encountered so often that it cannot be ignored. In the Year of the Avant-garde we propose to explore this phenomenon and discuss its complexities. The term “avant-garde” did not actually appear in the manifestos and other theoretical texts from the early twentieth century, where the artists would rather use the phrase „new art”. It became popular and gained positive connotations only in the 1960s and 1970s, with the development of the theory of the avant-garde, and the writings of such classics as Theodor W. Adorno, Renato Poggioli, Peter Bürger, or Stefan Morawski. Looking from the current perspective, do the characteristics of the avant-garde distinguished by those scholars point to the historical character of this phenomenon, or can it be assumed that avant-garde is evolving with time? What is the status of such concepts as neo-avantgarde, arrière-garde etc.? Is post- modernism an opposite of the avant-garde, or is it rather a perverse fulfilment of its postulates? Authors usually emphasize the temporal aspect of the avant-garde, noting how it has been ahead of its time in its understanding of art. Does that mean that the spatial (geographical) contexts of vanguard undertakings should be viewed as less essential? Does the avant-garde inevitably assume a division into center and peripheries? Did New York steal the idea of the avant-garde? What role is played by the avant-garde in central and eastern Europe or in Latin America? What is the relation between avant-garde universalism and globali- zation? Does the concept of transculturality put an end to the idea of the avant- -garde? What roles are played by different art disciplines within the avant-garde project? Was the dominance of painting in the period of the first avant-garde only an artistic signum temporis? What have been the roles of architecture, industrial design and fashion in the formation of vanguard ideas? Is avant-garde intermedial? What is the nature of the relation between the avant-garde and virtual reality? We invite you to reflect on the avant-garde in the Year of the Avant-Garde. Grzegorz Sztabiński Paulina Sztabińska 8 WSTĘP AWANGARDA I AWANGARDY Słowo „awangarda” w liczbie pojedynczej odnoszone jest zwykle do Wielkiej Awan- gardy z początków XX wieku. Użycie go w liczbie mnogiej zwraca uwagę na inne nowatorskie zjawiska artystyczne, które pojawiały się w XX wieku i jakie występują obecnie. Czasami stosowanie go w drugi z wymienionych sposobów uważane jest za zbyt szerokie lub nawet błędne, jednak pojawia się na tyle często, że nie można go zlekceważyć. W Roku Awangardy proponujemy przyjrzenie się temu zjawisku i skomentowanie go. W manifestach i innych tekstach teoretycznych z początków XX wieku sło- wo „awangarda” nie występowało. Artyści używali raczej określenia „nowa sztu- ka”. Stało się ono popularne i uzyskało pozytywny sens w latach sześćdziesiątych i siedemdziesiątych XX wieku, gdy zaczęto rozwijać teorię awangardy, co zaowo- cowało klasycznymi koncepcjami T.W. Adorna, R. Poggiolego, P. Bürgera, S. Mo- rawskiego. Czy z dzisiejszej perspektywy cechy wskazywane w teoriach awangardy podkreślają historyczny charakter tego zjawiska, czy można przyjąć, że awangarda ewoluuje przekraczając granice czasowe? Jaki jest status pojęć takich jak neoawan- garda, ariergarda itp.? Czy postmodernizm
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