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Genoveva Tusell Garcia - One of the best experts on this subject based on the ideXlab platform.
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the exhibition Arte de america y espana 1963 the continuation of the spirit of the hispanoamerican biennials la exposicion Arte de america y espana 1963 continuadora del espiritu de las bienales hispanoamericanas
2015Co-Authors: Genoveva Tusell GarciaAbstract:After the long period of international isolation in which Spain was plunged after the civil war, the regime revealed in the fifties an openness attitude towards the outside world within culture as well as an unequivocal willingness of modernisation. In these years began to appear for the first time some signs of acceptance and even promotion of Avant-Garde Art within the official authorities, such as the Hispano-American Art Biennials, the Spanish representation in the Biennials of Venice, Sao Paolo and Alexandria, and a series of exhibitions outside our borders between 1959 and 1964. The exhibition Arte de America y Espana (Art of the Americas and Spain) was the culmination of the work carried out by the Ministerio de Asuntos Exteriores, at a time in what was termed the exhaustion of Informalism, a tendency that had been exploited insistently in the exhibitions sponsored by the regime. Tras el largo periodo de aislamiento internacional en que Espana se vio sumida tras el final de la guerra civil, en los anos cincuenta pudo observarse por pArte del regimen una apertura hacia el mundo exterior en el ambito cultural asi como una inequivoca voluntad de modernizacion. En estos anos comenzaron a aparecer por vez primera muestras de aceptacion e incluso de promocion del Arte de vanguardia dentro de las instancias oficiales como las Bienales Hispanoamericanas de Arte, la representacion espanola en las Bienales de Venecia, Sâo Paulo o Alejandria, o una serie de exposiciones que tuvieron lugar fuera de nuestras fronteras entre 1959 y 1964. La exposicion Arte de America y Espana significo el culmen de esta labor realizada por el Ministerio de Asuntos Exteriores, en un momento en que se asistia ya a lo que se denomino el agotamiento de un informalismo que habia sido utilizado insistentemente en las exposiciones patrocinadas por el regimen.
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the exhibition Arte de america y espana 1963 the continuation of the spirit of the hispanoamerican biennials
2015Co-Authors: Genoveva Tusell GarciaAbstract:espanolTras el largo periodo de aislamiento internacional en que Espana se vio sumida tras el final de la guerra civil, en los anos cincuenta pudo observarse por pArte del regimen una apertura hacia el mundo exterior en el ambito cultural asi como una inequivoca voluntad de modernizacion. En estos anos comenzaron a aparecer por vez primera muestras de aceptacion e incluso de promocion del Arte de vanguardia dentro de las instancias oficiales como las Bienales Hispanoamericanas de Arte, la representacion espanola en las Bienales de Venecia, Sâo Paulo o Alejandria, o una serie de exposiciones que tuvieron lugar fuera de nuestras fronteras entre 1959 y 1964. La exposicion Arte de America y Espana significo el culmen de esta labor realizada por el Ministerio de Asuntos Exteriores, en un momento en que se asistia ya a lo que se denomino el agotamiento de un informalismo que habia sido utilizado insistentemente en las exposiciones patrocinadas por el regimen. EnglishAfter the long period of international isolation in which Spain was plunged after the civil war, the regime revealed in the fifties an openness attitude towards the outside world within culture as well as an unequivocal willingness of modernisation. In these years began to appear for the first time some signs of acceptance and even promotion of Avant-Garde Art within the official authorities, such as the Hispano-American Art Biennials, the Spanish representation in the Biennials of Venice, Sao Paolo and Alexandria, and a series of exhibitions outside our borders between 1959 and 1964. The exhibition Arte de America y Espana (Art of the Americas and Spain) was the culmination of the work carried out by the Ministerio de Asuntos Exteriores, at a time in what was termed the exhaustion of Informalism, a tendency that had been exploited insistently in the exhibitions sponsored by the regime.
Bobinac Marijan - One of the best experts on this subject based on the ideXlab platform.
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D'Annunzio's “Fiume Exploit” Between Libertinism and Violence. On the Port of Love by Giovanni Comisso
2020Co-Authors: Bobinac MarijanAbstract:The centuries-old territorial dispute over the status of the city of Rijeka/ Fiume reached a new and dangerous climax with D’Annunzio’s “Fiume exploit” (1919–1920); the adventurous action, meant as a militant response to the so-called mutilated victory in World War One, receives its historical importance pArticularly in regards to two contradictory phenomena: militant nationalist extremism whose different practices were accepted by then emerging right-wing radical movements on the one hand and, on the other hand, Avant-Garde Art projects and new, unconventional lifestyles which were promoted and executed in Rijeka by many creative followers of the ‘soldier-poet’. The collection of short stories titled Il porte dell’amore (The Port of Love, 1924), written by Giovanni Comisso (1895–1969), one of D’Annunzio’s prominent adherents, stands out among contemporary literary representations of the ‘exploit’. The work features D’Annunzian Rijeka as a city of liberty and debauchery, neglecting most of the other important aspects of this historical event or referring to them indirectly, mostly through poetic images, sometimes also through grotesque humor. Dealing with subjects such as juvenile unconventionality, bravery and ferocity, Comisso’s stories focus on excessive sensuality as well as on emphatic loyalty to D’Annunzian ‘exploit’ and hence, of course, on the Italian imperial project
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D\u27Annunzio\u27s “Fiume Exploit” Between Libertinism and Violence. On the Port of Love by Giovanni Comisso
2020Co-Authors: Bobinac MarijanAbstract:The centuries-old territorial dispute over the status of the city of Rijeka/ Fiume reached a new and dangerous climax with D’Annunzio’s “Fiume exploit” (1919–1920); the adventurous action, meant as a militant response to the so-called mutilated victory in World War One, receives its historical importance pArticularly in regards to two contradictory phenomena: militant nationalist extremism whose different practices were accepted by then emerging right-wing radical movements on the one hand and, on the other hand, Avant-Garde Art projects and new, unconventional lifestyles which were promoted and executed in Rijeka by many creative followers of the ‘soldier-poet’. The collection of short stories titled Il porte dell’amore (The Port of Love, 1924), written by Giovanni Comisso (1895–1969), one of D’Annunzio’s prominent adherents, stands out among contemporary literary representations of the ‘exploit’. The work features D’Annunzian Rijeka as a city of liberty and debauchery, neglecting most of the other important aspects of this historical event or referring to them indirectly, mostly through poetic images, sometimes also through grotesque humor. Dealing with subjects such as juvenile unconventionality, bravery and ferocity, Comisso’s stories focus on excessive sensuality as well as on emphatic loyalty to D’Annunzian ‘exploit’ and hence, of course, on the Italian imperial project
Partha Mitter - One of the best experts on this subject based on the ideXlab platform.
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decentering modernism Art history and avant garde Art from the periphery
2008Co-Authors: Partha MitterAbstract:The “universalist” project of Art history continues to be constrained by Western epistemology, but the endemic acceptance of the Western modernist canon as self-evidently universal fails to adequately acknowledge the peripheral role of convention in Artistic production. Despite its radical agenda, the Western Avant-Garde does not take into account either the progressive heterogenization of Art or the creativity of Art practices from such peripheral regions as Asia, Africa, Latin America, and Australia. The limitations of the Western Avant-Garde stem from the monolithic, linear narrative of an Art history that refuses to accommodate difference. A new Art history that contextually examines non-Western modernism and engages with the socially constructed meaning of Artistic production will ultimately discredit the assumption that peripheral modernisms simply represent efforts to catch up with the ostensibly original Western Avant-Garde discourse.
Zhang Lansheng - One of the best experts on this subject based on the ideXlab platform.
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The Spirit of Individualism: Avant-Garde Art in Shanghai 1979-1989
2020Co-Authors: Zhang LanshengAbstract:This thesis is a study of Avant-Garde Art in Shanghai from 1979 to 1989 and the role that it played in contemporary Art in mainland China in the 1980s. The Artists and Art administrators discussed in this thesis, I argue, were at the forefront of the development of contemporary Art in China through Artistic experimentations and institutional engagement in Avant-Garde Art activities. Contemporary Chinese Art emerged in the international arena in the early 1990s and began to attract the attention of Art professionals and collectors. It went on to become a strong force globally in the first decade of the new millennium. Its emergence in this timeframe mirrors another Chinese phenomenon -- that of the revitalisation of Shanghai to lead China's economic development trajectory onto the world stage. These Chinese phenomena signify the 1980s, the decade following the end of the Cultural Revolution in 1976, through unprecedented political and economic reforms with their transforming impact on Art and culture, as being critical to the study of contemporary Art in China. Shanghai, with its semi-colonial, political, economic and cultural history, including the strong legacy of the early twentieth-century modernist Art movement, has played a vital role in China's modernisation and presents itself as a unique case in the evolution of contemporary Art in China. Art historians and critics, both in China and internationally in recent years, have been increasingly interested in exploring contemporary Chinese Art in the 1980s. From my observations and my research findings, Avant-Garde Art in Shanghai in the 1980s has nevertheless been neglected in the discourse and still lacks in-depth scholarly study. This thesis is intended to fill this lacuna in the narratives of China's contemporary Art history. It is based on empirical evidence from my personal experiences as a practising Artist in Shanghai during this period, my long-term friendship with key Artists and Art administrators and writers, and extensive new research I have undertaken. In this thesis, Shanghai Avant-Garde Art in the 1980s is examined through case studies of the Shanghai Art Museum and six Artists: Zhang Jianjun, Li Shan, Yu Youhan, Chen Zhen, Cai Guoqiang and Gu Wenda. I argue that the essence of Avant-Garde Art in Shanghai in the 1980s was the quality of individualism displayed by Artists who resisted the collectivist ethos in China in this period. These Artists also retained strong historical connections to the early twentieth-century modernist Art movement in Shanghai. I demonstrate in the thesis that these elements have been overlooked in the national and international discourse on contemporary Chinese Art and that this has resulted in inadequate representations of the Shanghai Avant-Garde Art in the decade of the 1980s in the Art historiography of contemporary China
Chloe Preece - One of the best experts on this subject based on the ideXlab platform.
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the branding of contemporary chinese Art and its politics unpacking the power discourses of the Art market
2014Co-Authors: Chloe PreeceAbstract:Purpose – The purpose of this paper is to examine the branding of the Cynical Realist and Political Pop contemporary Art movements in China. The trajectory this brand has taken over the past 25 years reveals some of the power discourses that operate within the international visual Arts market and how these are constructed, distributed and consumed. Design/methodology/approach – A review of Avant-Garde Art in China and its dissemination is undertaken through analysis of historical data and ethnographic data collected in Beijing, Shanghai and Hong Kong. Findings – The analysis exposes the ideological framework within which the Art market operates and how this affects the Art that is produced within it. In the case of Cynical Realism and Political Pop, the Art was framed and packaged by the Art world to reflect Western liberal political thinking in terms of personal expression thereby implicitly justifying Western democratic, capitalist values. Research limitations/implications – As an exploratory study, fin...
