A new book by our colleague Christian Drobe, Verdächtige Ambivalenz: Klassizismus in der Moderne 1920–1960 (Suspicious Ambivalence: Classicism in Modernism 1920–1960) has just been published by Arts and Science Weimar.
An article by CRAACE Principal Investigator Matthew Rampley, ‘Networks, Horizons, Centres and Hierarchies: On the Challenges of Writing on Modernism in Central Europe’ has been published in the journal Umění.
Nowadays, Židovská ulica (Jewish Street), wedged between Bratislava castle and the historic city centre, is only a meagre leftover of what it used to be. Forming one of the central locations of the city’s Jewish quarter, a large stretch of the street was destroyed in 1972 during the construction of the New Bridge (officially called ‘The Bridge of the Slovak National Uprising’), as was a large part of the Jewish quarter with it. Even though more recent years have seen efforts to resuscitate the Jewish heritage of the city, including the opening of the Museum of Jewish Culture in 1993, the destruction of the community’s built environment as late as the 1970s underlines a difficult, near erased heritage. With a focus on the painting Židovská Street III (1935–1936), this article seeks to redraw a connection between interwar Jewish life in the eastern part of Czechoslovakia (Slovakia and Subcarpathian Ruthenia) and a prominent representative of Slovak modernism: the Jewish-Hungarian-Slovak painter and graphic artist Imrich/Imre/Imro Weiner (later Weiner-Kráľ , 1901–1978). Ultimately, it argues that if we interpret Weiner-Kráľ s work in the light of his Jewish identity, we might also question traditional interpretations of Slovak modernism that have seen it primarily as an expression of national identity.
An article by CRAACE research fellow Julia Secklehner, ‘Unsettling Heimat and the Touristic Ideal: Tropes of the Uncanny in Lois Hechenblaikner’s Anti-Heimat Photography‘ has just been published in the journal Austrian Studies.
She was the perfect type of modern girl around 1930, a kind of vague thing between an adult girl and an underage boy, between physical culture and mental exhaustion, between gymnastics and black dance, between classical sculpture and the products of the modern art industry.
Taken from the book Ženy na rampě (Women on the ramp, 1934), this quote by the writer Maryna Fričová encapsulates the paradoxes of the ideal modern woman as she graced the covers of women’s magazines, featured in movies and presented the latest fashion in interwar Czechoslovakia. Projected on a wall at the entrance to the exhibition Civilizovaná žena: Ideál i paradox prvorepublikové vizuální kultury (Civilised Woman: Ideal and Paradox in the Visual Culture of the First Republic), curated by Martina Pachmanová and Kateřina Svatoňová at the Moravian Gallery in Brno, Fričová’s statement serves as an ideal starting point to an exhibition, which focuses on the Czech type of the modern woman – the ‘civilised woman’ – and her representation in interwar visual culture.