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Going beyond current readings of Concretism and Neoconcretism, this book shows how these movements were bred in the Brazilian circuit, after adapting international constructivism to the cultural conditions of the country. Thus, based on a systematic investigation in the archives of newspapers of that period, this book explores the premises through which Neoconcretism became organized and gained momentum in a series of debates between the avant-gardes of São Paulo and Rio de Janeiro--debates that focused on the visual arts and poetry as objects of intense aesthetic experimentation and prospective transformation. They offer a guide through what seems to be a maze of contradictory theories and purposes.Academic readers interested in Latin American and Brazilian art will learn about the contributions of Geraldo de Barros, Franz Weissmann, Ferreira Gullar, Lygia Clark, Luiz Sacilotto, Willys de Castro and Hélio Oiticica to Brazilian constructivism, and will realize that the seven chapters of this book inevitably question the canon of contemporary art. In fact, the contributions of these artists go beyond national borders, since Concretism and Neoconcretism created early versions of interdisciplinary and transdisciplinary art, participatory art, process art, visual poetry, performance, installation art, institutional critique, body art and environmental art, in some cases prior to the United States and Europe.
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Constructivism (Art) --- Concrete art --- History
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Seit einiger Zeit ist Brasiliens Neokonkretismus in Ausstellungen, Katalogen und Publikationen in Europa präsent. Die Autorin nimmt erstmals auf Deutsch umfassende Werkanalysen vor und stellt den Schlüsselcharakter der neokonkreten Praktiken dar. Die Kunst- und Lyrikproduktion der Bewegung führte, so die Autorin, zu einer Umwertung und Neuauslegung des konkret-konstruktivistischen Gedankenguts der europäischen Avantgarden des frühen 20. Jahrhunderts. Diese Umwertungen schufen in Brasilien erst die Voraussetzungen dafür, haptische und sensorielle Komponenten ästhetischen Erlebens zum zentralen Ausgangspunkt künstlerischer Praxis zu erheben, für welche die späteren Arbeiten der brasilianischen Avantgarde-Ikonen Lygia Clark und Hélio Oiticica bekannt sind. Die Arbeit ist ein wichtiger Beitrag dazu, moderne und zeitgenössische künstlerische Praktiken aus Brasilien zu dekolonisieren, denn die Analysen zeigen auf, dass haptisch und plurisensoriell erfahrbare Kunstwerke aus Brasilien eben nicht auf einer angenommenen genuin sensorisch-sensiblen Konstituierung des Menschen in Brasilien beruhen, sondern vielmehr auf einer eigenwilligen, lokalen Rezeption europäischer Avantgardepraktiken.
Constructivism (Art) --- Art, Brazilian. --- Concrete art. --- Brazil.
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Constructivism (Art) --- Exhibitions --- Popova, Li︠u︡bovʹ Sergeevna, --- Exhibitions.
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Artists --- Constructivism (Art) --- Congresses --- Tatlin, Vladimir Evgrafovich, --- Congresses.
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Georgii Krutikov epitomised the utopian ideal of the Russian Avant-garde. In 1928, while still a student at the Moscow Vkhutemas, the budding architect presented his visionary solution to the seemingly impending problem of unsustainable population growth; a flying city. Encapsulating the spirit of the times, Krutikov's soaring city caused a sensation, daring to re-imagine and re-make the world as an exercise in possibility; rationalized through data, realized in sketches and plans.Architectural historians and devotees of Russian modernism have cited the influence of Krutikovˇs ‘Flying City’. Yet, for decades, little was written about this remarkable project, its precocious author or his subsequent career. Calling down Krutikov's city from the clouds, eminent scholar S. O. Khan-Magomedov separates myth from fact to uncover a wealth of previously unseen visual and documentary material, affording insight into this truly revolutionary work, its fascinating creator and a varied later career that spanned influential membership of Nikolai Ladovskii’s rationalist Association of Urban Architects (ARU), his contributions to urban planning, his post-constructivist designs for the Moscow Metro and his passion for preserving Russia's architectural heritage.
Krutikov, Georgiĭ, --- Constructivism (Architecture) --- Constructivism (Art) --- Avant-garde (Aesthetics)
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The book is a comparative study of the constructivist avant-garde artists in Central Europe, the Hungarian MA group in exile in Vienna, the Blok group in Warsaw, and the Czech Devětsil association of artists in Prague. The author examines the similarities and significant differences among them. Contrary to often-repeated theses, the study reveals that the artists unremittingly sought new formulations for an initial set of formal and theoretical issues. It also demonstrates that they persistently believed that their works of art prefigured a future socialist society. The long-awaited socialist states that came into being after World War II betrayed the artists.
Constructivism (Art) --- Constructivisme (Art) --- Central Europe. --- Art, Modern --- Concrete art --- Painting, Abstract
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"The Soviet Union left behind a vast design heritage that is largely unknown in the West. Unlike Soviet-era architecture and graphic design, interior design from this period has not been thoroughly investigated. For the first time, this book offers a comprehensive survey of Soviet interior design from constructivism and the revolutionary avant-garde to late modernism. Based on extensive research and drawing on archives that were inaccessible until recently, Kristina Krasnyanskaya and Alexander Semenov document seven decades of interior design in the Soviet Union. They demonstrate that, while often discredited as monotonous, the work of designers, architects, and manufacturers behind the Iron Curtain, in fact, comprises a remarkable variety of original styles. The 1920s were marked by bold exploration and experimentation at state-run art and technical school Vkhutemas and by overlapping movements such as constructivism, rationalism, and suprematism. The 1930s brought Soviet art deco and Stalinist Empire style, which produced some of the Soviet Union's most iconic buildings. In the late 1950s, after Stalin's death, modernism emerged with functionalist furniture mass-produced to fit small apartments in housing developments. The 1960s marked the Golden Age of Soviet interior design, while most of the visionary work of a new generation of designers in the 1970s remained unrealized. With some four-hundred illustrations and a wealth of previously unpublished material, Soviet Design will become the definitive reference on the subject." --
Design --- Constructivism (Art) --- Modernism (Art) --- History --- Constructivisme (art) -- URSS --- Constructivisme --- Mouvement moderne --- Modernisme (art) -- URSS --- URSS
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