Polish Avant-Garde in Berlin  Open Access

by Małgorzata Stolarska-Fronia (Volume editor)
©2019, Edited Collection, 290 Pages
The Arts
Open Access

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This book presents a historical panorama of the Polish avant-garde in Berlin from 19th century historical avant-garde until the recent art. Looking at specific artistic strategies and development of modernist paradigm both in the pre- and post-Second World War period from the perspective of the migration experience, this book offers a deep insight into mechanisms, relations and identity programmes of particular artists or groups. It also reveals the dynamics of eventual cultural exchange or alternative forms of artistic transformation and message that Polish artists imprinted in the Berlin’s art scene. Whether historical avant-garde or the neo-avant-garde, the component of novelty inscribed in the term itself ceases to be a sheer, one-dimensional slogan and reveals a whole range of cultural projections that artist-migrants are both creators and the subject of. Here the notion of exoticism, wilderness, but also critical and ironical approach often constitute the perception of Polish art in the Berlin milieu.

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Contents
The Centenary of Polish Avant-Garde in Berlin
Berlin: The City of Migrants and the Avant-Garde
The Ecstatic Slav in Berlin: Stanisław Przybyszewski
“B” as in Berlin and BUNT
Cross-Border, International, Revolutionary
A Broken Network
Between Avant-Gardes
The Avant-Garde on the Other Side of the Wall
A Different Reality: The Neo-Avant-Garde of the 1990s
A Centenary of Polish Avant-Garde
Bibliography
Chapter I: Center and Peripheries? Mobility and Transfer of the Interwar Avant-Garde
Formists’ Relations with the Artistic Milieus of Munich and Berlin
Bibliography
The State Academy of Arts and Crafts in Wrocław and the Cross-Border Avant-Garde Network
The Exhibition Painter. Mentor. Magician. Otto Mueller and his Network in Wrocław in Current Research
The Connection to the International Avant-Garde: Die Brücke and BUNT
In a Network of Journals
The Eastern Jewry and the Avant-Garde
Epilogue
Bibliography
Artists from Poland in the International Milieu of Classical Berlin Avant-Garde
Berlin as a Station of the Polish Avant-Garde
Modernism and the Classical (Neo-)Avant-Garde
Categories of the City/Metropolis of Art and National Art: The Topoi of Polish Berlin and Berlin as the Capital of the United States of Europe
The Beginnings of the Polish Avant-Garde in Berlin and Die Aktion’s Milieu
Polish Contribution to Der Sturm’s Artistic Universum
Die Novembergruppe and the Utopia of the International of the Spirit
Entartete Kunst
Berlin’s Exterritoriality and the Present Echoes of the Classical Polish Avant-Garde
Bibliography
Chapter II: Transnational Avant-Garde and Migrating Identities
The Resurrection of J.D. Kirszenbaum
Introduction
Personal Path
My Return to Berlin
J.D. Kirszenbaum: The Painter3
General Introduction to His Life
Weimar, Germany
Berlin
Paris
The Holocaust
Returning to Life
A Turn to Abstraction
Epilogue
Bibliography
Art as Organization of Life: Katarzyna Kobro and El Lissitzky
Bibliography
Chapter III: The Feminine Avant-Garde
Berlin’s Left Bank? Eleonore Kalkowska in Women’s Artistic Networks of Weimar Berlin1
New Women’s Berlin
Charlottenburg/Wilmersdorf
“Der Kunstverein der Schwestern” [The Art Society of Sisters]45
Broken Paths, Diverging Roads
Bibliography
The Unsaid Presence: Discussing the Absence of the Female Artists on the Polnische Avantgarde 1930–1990 Exhibition
The History of the Polnische Avantgarde 1930–1990 Exhibition in Neuer Berliner Kunstverein in Berlin, 1992
Is the Women’s Claim to Be a Part of the History Legitimate? Introducing the Female Avant-Garde Polish Artists
Was Ewa Partum’s Claim for the Women to Be the Part of the History of Art Justified? Critical Strategies of Opposing the Dominating Discourses
Bibliography
An Atlas of Ewa Partum’s Artistic Practice: Resignifications in Ewa Partum’s Feminist Performances in West Berlin (1982–1989)
An Atlas/Horizontal Monograph
Partum’s Feminist Performances in Poland 1974–1981/Rhetoric of Disinterestedness
The Feminist Emigrant Body – Performances in West Berlin (1982–1989)
Bibliography
Chapter IV: Contemporary Art Between Poland and Germany
The 7th Berlin Biennale 2012
Anatomy Lessons, Christina Lammer, 2012
The First Congress of the Jewish Renaissance Movement, Yael Bartana, 2012
Draftsmen’s Congress, Paweł Althamer, 2012
Happy New Fear, Mario Lombardo, 2012
New World Summit, Jonas Staal, 2012
Self #governing, Marina Naprushkina, 2012
Institute for Human Activities, Renzo Martens, , 2012
Sinti and Roma Memorial, Timea Junghans, 2012
Berlin-Birkenau, Łukasz Surowiec, 2012
PM 2011, Teresa Margolles, 2011
Berlin Biennale Press Agency, Tomáš Rafa, 2012
Presence of the Members of the Occupy Social Movement During BB7, 2012
Contemporary Art Between “East” and “West”: Signs • Images • Codes
An Approach
“Polish Art” at the 57th Venice Biennale and documenta 14 in Kassel
The Venice Biennale
documenta Kassel
The “Learning/Forgetting” of Art: “Signs” – “Images” – “Codes”
Images
Codes
Signs
Signs • Images • Codes Between “East” and “West”
Bibliography
Foreign Relatives: How German Is Polish Post-War Expressionism1
Bibliography
About the Authors
Index of Names
Index of Geographical Names
Pages:
290
Year:
2019
ISBN (HARDBACK):
9783631780534 (Active)
ISBN (EPUB):
9783631814161 (Active)
ISBN (PDF):
9783631814154 (Active)
Open Access:
CC BY
Language:
English
Published:
Berlin, Bern, Bruxelles, New York, Oxford, Warszawa, Wien, 2019. 290 pp., 24 fig. col., 31 fig. b/w.

Małgorzata Stolarska-Fronia, PhD, is an art historian, curator and academic teacher. Her research interests include European avant-garde as a transcultural and transnational phenomenon. She initiated and organized several international conferences and published many articles devoted mainly to the art in Jewish culture.

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