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    Tytuł:
    Pismo "Formiści" i początki międzynarodowych kontaktów polskiej awangardy (1919-1921)
    The Periodical "Formiści" and the beginnings of the Polish avant-gardes international relations (1919-1921)
    Autorzy:
    Strożek, Przemysław
    Powiązania:
    https://bibliotekanauki.pl/articles/707087.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Formisci
    avant-garde
    Polska
    20th century
    Formiści
    awangarda
    Polska
    XX wiek
    Opis:
    This paper emphasises the importance of the periodical Formisci, published in 1919-1921, within the context of the early Polish avant-garde. The journal was the publishing body of a group of Kraków artists who in 1919 declared themselves Formists; its profile was established mainly by its editor, Tytus Czyewski. Over two years, only six issues were published, featuring theoretical statements by group members, Formist and futuristic poetry, and reproductions of Formist works. This is where the future publishers of futuristic fl yers, Czyewski, Bruno Jasienski, Stanisław Młodoeniec, and also the publishers of subsequent avant-garde periodicals Nowa Sztuka and Zwrotnica, Anatol Stern and Tadeusz Peiper, met. Formisci was also one of the fi rst cues for promoting new Polish art abroad and for establishing contacts with other avant-garde circles. Its pages also featured articles on the latest happenings in foreign art and literature, as well as the translations and works of artists belonging to the foreign avant-garde. One of the periodical’s priorities was accessing the international network of progressive ideas represented by European avant-garde magazines. As a result, the Formists were discussed by the Munich magazine Der Ararat, Madrid’s Ultra, and Belgrade’s Misao. Formisci became a platform for the exchange of progressive ideas developed in parallel across Europe, a vehicle facilitating the fl ow of information on the latest developments in the arts on an international scale, arguing the need for a revolution in Polish culture, and adapting it to the chan ges taking place after the First World War.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 71-86
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Gest etyczny Katarzyny Kobro
    Katarzyna Kobros ethical gesture
    Autorzy:
    Skalska, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/706985.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Kobro
    avant-garde
    sculpture
    20th century
    Polska
    awangarda
    rzeźba
    XX wiek
    Polska
    Opis:
    A conversation that took place in 1945 between Katarzyna Kobro (1898–1951) and the Director of the Museum of Art in Łódz, Marian Mi-nich, provides the inspiration for this text and also the axis of its narrative. At that time, the artist had donated several of her pre-war sculptures to the Museum’s collection. The concise remarks made during the meeting referred to the functionalist theory of sculpture and to refl ections on its exposition and reception. Each of these themes will be developed in the text. The purpose of the discussion is to arrive at an understanding of what the term „ethical moment”, which Kobro used at the end of her meeting with Minich, actually means. The question of ethics relates to the shape of human relationships, the latter infl uencing not just the artist’s biography, but also the fate of her sculptures, their display in the Neoplastic Room organized by Władysław Strzeminski. The issue of the maker’s intention, following Mieke Bal, abandoned in studies of artistic output, exists however in pronouncements regarding artistic theory and its ethics, related in Kobro’s case to the idea of functionalism, social utility and the human form of sculpture. Our analysis of Kobro’s nudes and abstract sculptures is thus an attempt to discover the essence of this art’s ethical dimension. The instruments of description are terms taken from Kobro’s theoretical writings and philosophical concepts. An important reference is Martin Heidegger’s lecture “Art and Space”, in which he introduces the concept of sculpture as a body occupying a place in space, spreading itself out in the world. The theory of the relationship between truth and art, sculpture and space, that is fundamental to the Heideggerian triad of building, dwelling, thinking, becomes an important reference in the analysis of Kobro’s concept, the opening of her sculptures to space, the creating of functionalist projects. It also allows us to come closer to understanding the essence of her work’s “ethical moment”, which she called for in her conversation with Minich.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 89-102
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Burzyć, mieszkać, produkować. Ideowe podstawy urbanistycznej teorii awangardy rosyjskiej lat 20. i 30. XX wieku w projekcie Socgorodu Nikołaja Milutina
    Demolishing, dwelling, producing. Ideological foundations of Russian avant -garde urban planning theories in the 1920s and 1930s in Nikolay Milyutin’s project of Socgorod
    Autorzy:
    Juszkiewicz, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/707073.pdf
    Data publikacji:
    2014
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Milyutin
    Sotsgorod
    theory of architecture
    theory of city planning
    avant-garde
    Russia
    20th century
    Milutin
    Socgorod
    teoria architektury
    teoria urbanistyki
    awangarda
    Rosja
    XX wiek
    Opis:
    The project of the socialist city devised by Nikolay Milyutin is presented in this article as the end point of Russian avant-garde urban planning in the 1920s and 1930s. Milyutin’s book Sotsgorod: The Problem of Building Socialist Cities, published in 1930, contains the main topics which the discussions and design practices of Russian urban planners centred on in those years. At the same time it was an attempt at a comprehensive formulation of the principles of designing contemporary forms of habitation, which according to Milyutin were to answer the needs and potential of a new revolutionary society. The essential demands that Milyutin formulated regarding required design practices that were in accordance with avant-garde ideas derived from ideological premises, related to a kind of structural formation of a settlement that effaced the differences between urban and rural areas and maximized its functionality. This meant having recourse to the concept of a linear city, with a functionally diverse system of building bands spaced along the main communication line. Like the avant-garde architects and planners, Milyutin argued that this would improve transport between the home and workplace, or areas with services or of recreation. The linear structure would also improve the condition of the dwellings, making them healthier to live in, and provide residents with equal access to all points of the settlement structure. Albeit less rigorously than members of the avant-garde, Milyutin also associated the nature of the linear socialist city with the project of anthropological revolution, on the strength of which, through dismantling of the family, the fundamental reconstruction of the social system was to take place. The functions fulfilled by the family were to be subjected to a strenuous process of socialization. However, Milyutin was more radical in terms of functionalization of the urban layout, choosing the process of continuous-flow manufacturing as a model of efficiency for the organization of the settlement, as well as emphasizing the need to recognize the temporary nature of new urban systems – both due to financial constraints (he advised putting up light wooden structures) and macroeconomic factors – related, for example, to the necessity of dismantling a city due to economic requirements (for example, the depletion of existing mineral deposits, or changes in the methods of production of certain goods).
    Źródło:
    Rocznik Historii Sztuki; 2014, 39; 143-155
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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