When studying the history of the avant-garde movement during the interwar period, the Slovak avant-garde remains relatively unexplored and in need of further investigation. Omitted from international works and under-represented in its own country, this key moment in Slovak modernity has recently become a priority area of research at the Slovak Design Museum in Bratislava.  A key resource in this context has been the archives of Iva Mojžišová (1939–2014), an art historian who devoted much time and energy to studying, collecting and preserving materials relating the School of Design in Bratislava (ŠUR, Škola umeleckých remesiel).  The school, around which the Slovak avant-garde was structured, no longer exists, and it is thanks to Mojžišová that documentation related to many of the designers who worked there are now to be found in the Slovak Design Museum. Other archives have also recently been opened to researchers, such as that of Ladislav (László) Csáder (1909–1975), a graphic designer whose rich oeuvre has yet to be fully discovered. Images like the one we will study more closely here testify to the merit of granting him a place in the international avant-garde movement.
The second issue of the open access journal Art East Central is now out! It features a discussion on globalizing early modern central and eastern European art between Robyn Radway, Tomasz Grusiecki, Robert Born, Suzanna Ivanič, Ruth Sargent Noyes and Olenka Pevny, followed by an essay on the Romanian architect Ion Mincu (1852–1912) by Cosmin Minea. The issue also contains English translations of primary sources from interwar central Europe: four essays on modern architecture by the Hungarian architect and critic Virgil Bierbauer, translated by Barbara Dudás and introduced by Matthew Rampley and Nóra Veszprémi, and a collection of essays on women’s art by Austrian authors Hans Ankwicz-Kleehoven, Wolfgang Born and Liane Zimbler, translated by Acer Lewis and introduced by Christian Drobe. Finally, the issue features seven reviews of books on Ewa Partum’s artistic practice, Czech art history writing, German artistic heritage in Estonia, Red Army monuments in Poland, networks of modernity in central Europe, the east European Neo-avantgarde, and an exhibition of French books in Budapest in 1957.
Read the new issue here: arteastcentral.eu
In August 1934, the Austrian illustrated magazine Moderne Welt featured a bright cover of a couple in folk dress, which appeared to stand in full contradiction with the modernity emphasised in its title. Yet the cover perfectly illustrates a shift in modern Austrian culture towards what we might call ‘alpine modernity’. Representing a trend embracing the country’s alpine geography and folk traditions, it had begun to develop in the 1920s but gained special importance during the reactionary Dollfuss-Schuschnigg regime of the 1930s. With its peculiar mix of technological progress and rural life, Austria’s ‘alpine modernity’ reinvented the country as a tourist-friendly, German, Catholic country, whose most remarkable features were ‘cosiness’ (‘Gemütlichkeit‘), natural beauty, and the celebration of folk traditions and religious life. International tourist advertising aside, this image also circulated widely in the national press, and encouraged city dwellers, especially, to venture out and explore their home country. Thus, even though the folkloric naivety of the image appears to represent the very opposite of the modern world proclaimed in the magazine title, the two poles were not as far removed from one another as the cover may initially suggest. Moreover, the cover was designed by Carry Hauser (1895–1985), a painter, stage designer, printmaker, and writer, who was closely involved in efforts to rejuvenate Austrian culture after the First World War. Contextualising the Moderne Welt cover in relation to Hauser’s work as well as the magazine, this Artwork of the Month essay shows that Austrian modern culture maintained strong ties to rural culture throughout the interwar years and promoted it at home just as much as abroad.
We are pleased to announce that Professor Megan Brandow-Faller (City University of New York) and CRAACE research fellow Julia Secklehner have been awarded an events grant from the Botstiber Foundation for Creativity from Vienna to the World, an online project that includes lectures, a blog and an online exhibition. The project connects aspects of design and women’s history, pedagogy, migration history and cultural transfer to trace the achievements of migrant women designers who moved to the United States from Central Europe in the first half of the twentieth century.
Exoticism. It is said that exoticism is not a Czech trait; that we cling to our country like dough to a hole. Certainly this is true; but have you gentlemen never read Robinson Crusoe, The Last of the Mohicans, and Jules Verne, and have you not lived in Bohemia, and had friends like that, and is it a coincidence that one of them joined the Comedians, another perished in America, and a third was lost in the world as a sailor?
In the text Krakonošova Zahrada (The Giant Mountains’ garden), a description of his adventurous youth along the Úpa river in Northern Bohemia, Josef Čapek (1887–1945) cannot deny the provinciality of life in Czechoslovakia. The heroes in the books by Jules Verne (1828–1905) seemed much more thrilling, as well as the famous French novelist himself, who sailed the seas as an avid sailor. Unfortunately, Bohemia does not lie by the sea, a fact that only Shakespeare (1564–1616) could change in The Winter’s Tale (1609–1611). The play is set in Sicily, in a pastoral fantasy world called Bohemia, which lies by the sea.