Avant-garde and modernist magazines

This index lists avant-garde and modernist periodicals, first issues of which appeared between 1890 and 1939. Besides serving as an engine of discovery, it is also made to help following bibliographic references to sources. A couple of technical notes.. The 'Online' column lists freely accessible digitized versions of each magazine; the abbreviations used for digital libraries are listed in the section below. The first column points to the wiki pages with more information about titles which in many cases also contain versions mirrored on Monoskop. Some columns are sortable. Information is sourced from a number of repositories and reference websites. The list is far from being exhaustive [1] [2], preference is given to periodicals accessible online. As with all sections on Monoskop this page is a work in progress and contributions are welcome.

You can download it here :

http://monoskop.org/Avant-garde_and_modernist_magazines#Index 

Barragán’s Ciudad del México

A collection of unpublished drawings preserved by the Barragán Foundation bear witness to Luis Barragán’s hopes and fears for the future development of Mexico City. Text by Federica Zanco.

http://www.domusweb.it/en/architecture/2007/01/03/barragan-s-ciudad-del-mexico.html

Paisaje de la Ciudad de Mexico

Juan O‘Gorman, Paisaje de la Ciudad de Mexico , 1947–49, tempera/masonite, 66 x120 cm (Collection of the Museo de Arte Moderno, Mexico City)

Obras de Plotino C. Rhodakanaty

Obras de Plotino C. Rhodakanaty. Edicion, Prolongo y notas de Carlo Illades, Recopilacion Maria Esther Reyes Duarte, UNAM, 1998

http://148.206.53.230/revistasuam/signoshistoricos/include/getdoc.php?id=164&article=11&mode=pdf

The Invention of “emotional architecture”

Extract from Reina Sofía Museum brochure of the exhibition:

Emotional Architecture: The Work as Strategy Mathias Goeritz (Danzig, now Gdansk, 1915) was educated in the turbulent Berlin of the inter-war period, in the midst of the rise of National Socialism. During the Second World War and the subsequent Cold War, Goeritz forged himself a multiple personality. He was first a philosopher and historian and afterwards a painter, a development which coincided with his period at the German Consulate in the Spanish protectorate of Morocco. From 1945 to 1948, Goeritz was feverishly active in Spain as a cultural promoter, and in 1949 he moved to Mexico, where he intensified his dual activity as an artist and agitator. It was there that he condensed his aesthetic principles under the notion of emotional architecture, which he was to apply not only to the construction of buildings but also to painting, sculpture, graphics and visual poetry. At a moment when figurative art and propaganda dominated the art scene in Mexico, emotional architecture became a device for confrontation, yet was well received by the politically more conservative architectural profession. The increased number of construction projects at that time meant that the potential for commissions was very great. The work manifesto of emotional architecture is the El Eco Experimental Museum which defines his later production. Here Goeritz gathers various media (painting, sculpture, furniture design and architecture) and works by artists like Germán Cueto, Henry Moore and Carlos Mérida, his own contributions being a monumental visual poem and the formidable transposable sculpture of a twisted geometric snake, transforming the open courtyard into a performance environment.

In Torres de Ciudad Satélite (Towers of Satellite City), the artist tests the limits of scale, artwork-viewer proximity, and even modes of viewing. Five reinforced cement prisms of colossal size foster the affective mobilization of the viewer and the aestheticization of the effect, turning the work into a national emblem of modernity. From then on, the use of a monumental scale and the synthetic language of geometries, associated with the idea of progress, identified Goeritz’s work as strategist and agitator. A constructor of spatialities where new relations and senses could be established, his art of mediations shakes the institutions that validate art, such as the museum and criticism (El Eco), artistic groups and the gallery (the group of Los Hartos), and history and believe systems (the snake and the pyramid or the cross and the star of David). Approaching his oeuvre obliges us to engage with a work implicated with cultural agency. The interest aroused today by the aspects of circulation and reception in relational, contextual and participative art contrasts with the development of that creative modality of artistic mediation, that aesthetic of commotion with which Goeritz experimented until his death in 1990.

Mount the Air

Mount the Air-Installation view, Kalfayan Galleries

  Photo credit: Paris Tavitian

Πλωτίνος Ροδοκανάκης

Τέο Ρόμβος, Πλωτίνος Ροδοκανάκης – Ένας Έλληνας Αναρχικός, Βιογραφία, Ηλέκτρα, Α΄ έκδοση 2005, Β΄ έκδοση 2008, σελ. 234

https://romvos.wordpress.com/βιβλία/plotinos-rodokanakis/

Alfred Jarry Archipelago

De Jarry on ne retient que le scandale d’Ubu Roi qui masque une œuvre complexe placée sous le signe de l’expérimentation radicale et le mélange des genres. En réunissant un ensemble exceptionnel d’artistes internationaux et inclassables, « Alfred Jarry Archipelago » démontre que tout un pan de l’art et de la performance actuels est traversé par cette puissance de transgression "jarryesque".

Poète, dramaturge et dessinateur, Alfred Jarry (1873-1907) pulvérise les frontières de l’ordre social, moral et esthétique du XIX ème siècle finissant. Retentissant comme un coup de tonnerre, le célèbre "Merdre !" de son Ubu Roi ouvre la voie aux développements de la modernité à venir.

D’un tournant de siècle à l’autre, l’œuvre et les idées de Jarry semblent irriguer de nouveau la société et l’art contemporain. Abolissant les limites (des disciplines, de l’identité, du bon sens et du bon goût) tant dans sa vie que dans ses écrits, Jarry inaugure une approche inédite de la théâtralité, du langage et du corps pour explorer les rapports de domination, liés au pouvoir ou au savoir. « Alfred Jarry Archipelago » se présente comme une spéculation sur les résurgences de ces motifs dans les arts visuels, à la lisière du politique, du théâtre et de la littérature.

Dans son célèbre Gestes et Opinions du Docteur Faustroll, pataphysicien, Alfred Jarry dédie chaque chapitre à un écrivain ou un peintre de son temps. Convoquant la figure de Jarry comme commissaire posthume, « Alfred Jarry Archipelago » imagine quel paysage artistique composerait l’auteur aujourd’hui. Autour d’une exposition collective et d’un festival à la Ferme du Buisson, le projet se déploie dans d’autres lieux et d’autres formats - et se conclura par une importante publication par les différents partenaires.




William Anastasi / Julien Bismuth / Paul Chan / Marvin Gaye Chetwynd / Rainer Ganahl / Dora Garcia / Naotaka Hiro / Mike Kelley / Tala Madani / Nathaniel Mellors / Henrik Olesen


Curators: Keren Detton and Julie Pellegrin

October 18, 2015–February 14, 2016  

Centre d’art contemporain de la Ferme du Buisson

Allée de la Ferme – Noisiel, Marne-la-Vallée

http://www.lafermedubuisson.com

Plebeian Council

Plebeian Council, 2015

Wood, acrylic, plaster

25 x 20 x 20 cm

Theaters of Democracy

In October 1943, parliament met to debate the question of how the heavily bomb-damaged Palace of Westminster should be restored. With Winston Churchill's approval, they agreed to retain its adversarial rectangular pattern instead of changing to a semi-circular or horse-shoe design favoured by some legislative assemblies. Churchill insisted that the shape of the old Chamber was responsible for the two-party system, which is the essence of British parliamentary democracy. It was at this debate that he famously noted: 'we shape our buildings and afterwards our buildings shape us.'

Today a parliamentary commission is once again considering options for the urgent restoration of the Palace of Westminster. The scenarios include a proposal that MP’s decamp from the building for the 11 years of a £3.5 billion building project. If they remain in place, the project will be longer and costlier still.

At this crucial moment in the Houses of Parliament’s history, the Architecture Foundation is staging a special event at Westminster, at which panellists will address the question of whether the architecture of Pugin and Barry’s building remains fit for a twenty-first century democracy. In particular, they will ask how the imminent building works could enable a radical reinvention both of parliament’s built form and its democratic procedures.

Speakers include David Mulder and Max Cohen de Lara, of the Amsterdam-based XML Architects, whose research into the architecture of the world’s parliament buildings featured in the 2014 Venice Architecture Biennale and is soon to be published in the book “Parliament”. They will be joined by Pugin’s biographer, Rosemary Hill, who will talk about the debates that led to the establishment of the Palace of Westminster in its present form and by Michael Deacon, the parliamentary sketchwriter of The Daily Telegraph, who will offer an insider’s view of the building’s successes and failures.

http://www.architecturefoundation.org.uk/programme/2015/theatres-of-democracy

26 January

Attlee Suite, Portcullis House, London 

Ordre de la Grande Gidouille -Nomination de Boris Vian

Nomination de Boris Vian comme Promoteur Insigne de l'Ordre de la Grande Gidouille , le 22 Palotin 80 (11 mai 1953)

Swerve

One day of Lectures of Hilde Goes Ager

Talk

08.01.16

1. Asger Jorn – Thinking in Threes’, introduction into the thinking/writing of the Danish experimental artist Asger Jorn by Hilde de Bruijn.

2. Alfred Jarry and Asger Jorn: The Epicurean Influence as Social “Swerve” by Kostis Velonis

3. What Asger Jorn help me [un]learn.” Theses concerning the movements and modes of the artist in the symmetrified world of economics by Yannis Isidorou

Asger Jorn – Thinking in Threes’, introduction into the thinking/writing of the Danish experimental artist Asger Jorn by Hilde de Bruijn.

The lecture starts out with a description of some of his work. This part of the presentation serves to both contextualize Jorn in his own time frame, and to introduce many of the key elements in his way of thinking as his artistic output was always developed in direct dialogue with his theoretical point of view. In the second part of the lecture I will discuss the triolectic thinking method that Jorn developed.

Hilde de Bruijn is a curator in contemporary and modern art based in Amsterdam. She studied Art History at the Radboud University, Nijmegen, and took the Curatorial Training Programme at De Appel, Amsterdam (2000/2001). She was Head of Exhibitions of former SMART Projects Space, Amsterdam (2007-2010). She is currently a curator at the Cobra Museum of Modern Art, Amstelveen (NL) where she creates dialogues between the museum’ collection and contemporary art(ists).

As a freelance curator her main activity a curatorial research into the writings of the Danish artist and thinker Asger Jorn together with contemporary artists and art historians. The research is reflected in the blog www.hildegoesasger.org. Within this framework public events took place at various venues Or Gallery, Berlin (2015); The Statens Museum, Copenhagen (2014); Nieuwe Vide, Haarlem (2014); Officin – Books, Papers and Prints, Copenhagen (2014); Casco, Office for Art, Design and Theory, Utrecht (2014); AGORA, 4th Athens Biennial (2013).

Recent publications: ‘Cobra and the Contemporary’, in: CoBrA. Una grande avanguardia europea (1948-1951), Skira Edditore, Rome, 2015; ‘Asger Jorn: The Secret of Art, in: Bocchicchio Luca and Valenti Paola (eds), Asger Jorn. Oltre la forma, Genova University Press, 2015; ‘From a Calculated Forgetting to the Reality of the Archive’ in: Tsivopoulos, Stefanos and De Bruijn, Hilde (eds), Stefanos Tsivopoulos: ARCHIVE CRISIS, Shaking up the Shelves of History: A Visual Essay on Media Images from the Recent Political Past of Greece, Jap Sam Books, 2015.

Alfred Jarry and Asger Jorn: The Epicurean Influence as Social “Swerve” by Kostis Velonis

I am trying to answer the question whether the swerve (κλιναμεν) in the way that Lucretius defines it, involving the deviation of atoms in the field of physics, contributes to a theory of free will. If so, it can be operated by implication to the terms of a theatrical (Alfred Jarry) and pictorial avant garde (Asger Jorn), and even through clear morphological facts?

Μovements that deviate from their expected precise recurrence, thus defining what we call contingency, constitute Alfred Jarry’s way of philosophizing, through Dr. Faustroll, as well as his nihilistic caricaturizing, through the cowardly and greedy King Ubu. Respectively, Asger Jorn’s commitment to ‘primitivism’ and also his theoretical contribution to the practice of arabesque seeks answers beyond the “experimental” context of his Zeitgeist. Both of them, through the parody of physics (pataphysics) make use of the deviant course (declinatio) which is the structural substance of freedom.

Kostis Velonis lives and works in Athens. He holds an MRes in Humanities and Cultural Studies from London Consortium (Birkbeck College, ICA, AA, Tate). He studied Arts Plastiques/ Esthétiques at Université Paris 8 (D.E.A). He earned his PhD from the Department of Architecture, N.T.U.A University of Athens. He taught on the subject of domesticity in relation to the avant garde movements as a Lecturer at the School of Architecture of the University of Thessaly (2008-2011).

Selected solo/group shows include (2015-2014): 2015: “Mount the Air”, Kalfayan Galleries, Athens, “This probably will not work”, Lothringer 13-Städtische Kunsthalle München, Μunich; “Super superstudio”, PAC, Milan; “Adventures of the Black Square: Abstract Art and Society 1915 –2015”, Whitechapel Gallery, London; “Au nom de le Corbusier”, Maison Spiteris, Athens, “Rims and Frontiers” Delphi Archaeological Museum, 2014: “ The Theater of the World”, Museo Tamayo, Mexico City; “This is Not My Beautiful House”, Kunsthalle Athena, “No Country for Young Men”, BOZAR, Brussels; “Direct Democracy” , MUMA, Melbourne , “The Future Lies Behind Us”, AD Gallery, Athens, “Tout Feu Tout Flamme”, Lefebvre & Fils, Paris

Forthcoming solo show: Casa Maauad, Mexico City, Mexico, 2016 (artist in residence).

What Asger Jorn help me [un]learn.” Theses concerning the movements and modes of the artist in the symmetrified world of economics by Yannis Isidorou

Yiannis Isidorou was born in Piraeus and he lives and works in Athens. In most of his work and practices as an artist, he is seeking a coherent commentary on the human potential for interpreting the world, and at the same time a critical investigation on the utopia for the world’s change, and the consequent dystopian realizations of these changes.

He is co-founder and editor of the Greek e-magazine happyfew.gr / danger.few, on politics, philosophy and art. Ηe was a founding member of intothepill, an artists’ collective with diverse activities and participations in international art projects and exhibitions. Since 2009 he works with artist Yiannis Grigoriadis through Salon de Vortex, an artistic co-operation for experiments and affiliations between artists, writers, theorists, technicians, workers, scientists and anyone else who can contribute to a thorough research on democracy, dominance and decay in the late capitalist European society. Since 2013 he is the artistic director of [ΦΡΜΚ], the biannual journal in print, on poetry poetics and visual arts.

Supported by DAAD Programme: Partnerships with Greek Institutions of Higher Education 2014 – 2016 / A Cooperation between the Academy of Fine Art Munich (ADBK) and the Athens School of Fine Arts (ASFA)

One day of lectures and Q&A in the framework of HILDE GOES AGER, a curatorial research into the thinking and writing of the experimental artist Asger Jorn (1914-1973).

http://circuitsandcurrents.info

http://www.hildegoesasger.org