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Fairground, cabaret, exhibition
Elza Adamowicz

parody of the formal group portrait. ADAMOWICZ 9781526131140 PRINT (4 col).indd 117 31/01/2019 16:06 118 dada bodies Beyond the game, however, group photographs, along with manifestos, were also means for avant-garde movements such as Dada and Constructivism to forge and/or assert their collective identity, merging the individual in the collective and reinforcing its esprit de corps. Being the work of Dadaists, the serried ranks of formal photographs give way in these fairground shots to playful elements, mock performance, a pastiche of the formal photo. One

in Dada bodies
Laura Moure Cecchini

.’  84 Rather the rationalists carefully chose the tradition they harked back to, and their choice vehemently excluded the seventeenth and eighteenth centuries. As they explained in their manifesto, ‘the new forms of architecture should receive their aesthetic value solely from necessity, and only after, through selection, will they obtain a style’; rationalist architecture thereby subsisted upon rationality, functionalism, logic, constructivism, respect of materials to fashion their style, whereas the Baroque, Beaux-Arts, and historicist

in Baroquemania
The reimagination of Baroque sculpture during Fascism
Laura Moure Cecchini

in the struggle that his sculptures seemed to thematise between materials and form. Whilst in Wildt's work such struggle concluded with the triumph of form, in Fontana's materials take over. For the critic Raffaello Giolli this was an extremely unusual aesthetic given the interwar public's interest in controlling form – classicism, Constructivism, even Wildt's ‘heroic abstractions’. Giolli, like Persico, therefore viewed Fontana through a vitalist lens: as the heir of Baroque sculptors concerned with art as an ‘excited passion, almost a physical orgasm, a touching

in Baroquemania
Octavian Esanu

Here, the situation ironically resembles the fate of the Vkhutemas – and other schools and programs of Soviet constructivism (Inkhuk, Unovis, Ginkhuk, Vkhutein) – and their own material base. The archives of these avant-garde institutions of the 1920s were purged during the rise of Stalinism in the 1930s. What was still sheltered in private collections (constructivist papers, drawings, photos, architectural models, and other archival material) began to resurface at disposal sites, and other unexpected locations, after the death of their keepers in the late 1950s and

in The postsocialist contemporary
Yulia Karpova

emphasised through a schematic outline of a deer. The body of porcelain depicts the animal body; thus, the ‘honesty’ of the material is embodied in the decoration’s subject. The objects produced in the early 1960s at the Leningrad Factory of Artistic Glass similarly demonstrate variations of contrast. Artistic glass of the Khrushchev era is often associated with simple transparent vessels, unornamented or with minimal geometric ornament. Boris Smirnov, a versatile artist and designer with experience of 1920s Constructivism, who joined the Leningrad Factory of Artistic

in Comradely objects
Bernard Vere

The Tradition of Constructivism, ed. Stephen Bann (London: Thames and Hudson, 1974), 55–6 (my italics). 172 The stadium has carried the day 20 See El Lissitzky and Hans Arp, The Isms of Art [1925], facs. rpt (Baden: Lars Müller and Fondation Jean Arp und Sophie Taeuber-Arp, 1990), xi (translation modified). 21 El Lissitzky, letter to Sophie Küppers, 1 July 1925 in El Lissitzky: Life, Letters, Texts, ed. Sophie Lissitzky-Küppers, trans. Helene Aldwinckle and Mary Whitall (London: Thames and Hudson, 1968), 64. 22 El Lissitzky, letter to Sophie Küppers, 9 July

in Sport and modernism in the visual arts in Europe, c. 1909–39
The Cenotaph Project
Sanja Perovic

Stories, C466/43.13 F5285 A, p. 265. 67 Norbert Lynton, Tatlin’s Tower: Monument to Revolution (New Haven, CT: Yale University Press, 2009) , p. 72. 68 Nikolai Punin, ‘Tatlin’s Tower’, trans. John Bowlt, in Stephen Bann (ed.), The Tradition of Constructivism (New York, NY: Viking Press, 1974), pp. 14–17 ; also, Nikolai Punin, ‘Pamyatnik III Internatsionala, 1920’, trans. Kestutis Paul Zygas, Oppositions , 10 (1977), 72–74 . 69

in Performance art and revolution
Chiara Barbieri

the trends in European architecture and of their resonance in Italy’. 57 After visiting it with Schawinsky, Walter Gropius gave enthusiastic feedback in a postcard to Luigi Figini and Gino Pollini and congratulated the architects on their design for the Sala dei Precursori (Pioneers’ Room). 58 In Rome, the Gropiuses had already visited the MRF whose ‘strongly Russian-influenced presentation’ had attracted Ise’s curiosity. 59 Indeed, the exhibition in Rome contained many references to Russian Constructivism

in Italian graphic design
Anna Dezeuze

abstraction and constructivism. However sensuous, their tactile appeal remains structured by architectural forms (in Oiticica’s work) and oppositions, between weight and lightness, or empty and full (in Clark’s practice). Finally, the ‘gentleness’ of borderline practices is closely related to their reversibility, to the fact that there is ‘nothing before, and nothing after’ them. Thus for example, in many of Kaprow’s works, products of an activity are left to disappear (erased by natural elements or dismantled by unknown strangers), or the activity involves reversing the

in Almost nothing
Open Access (free)
Tania Anne Woloshyn

Contemporary Art, 1992), pp. 6–18, at p. 8. See also Victor Margolin, The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917–1946 ( Chicago, Ill. : University of Chicago Press, 1997); Christina Kiaer, Imagine No Possessions: The Socialist Objects of Russian Constructivism ( Cambridge, Mass. : MIT Press, 2005); Sally Stein, ‘ The Composite Photographic Image and the Composition of

in Soaking up the rays