In times of travel bans and with a tourism industry at standstill, one is forced to look for alternative ways of discovery. April’s Artwork of the Month relates to this issue: Columbus in der Slovakei is a cultural travel guide to Slovakia, written for a German-speaking audience yearning to ‘discover and to unearth, to carry back home unlosable treasures of joy’ (9). Almost six hundred pages strong and including over four hundred illustrations and photographs, the publication was instigated, arranged and designed by the Viennese writer, artist and publisher Leopold Wolfgang Rochowanski (1888-1961), and published in 1936 by the German-language publisher Eos in Bratislava. Though widely advertised in the Austrian and Prague German radio and press, including praise by Thomas Mann, it should be noted in advance that the commercial success of the publication was disastrous and almost led its publisher into financial ruin, not least due to the high price caused by the design specifications.
In the autumn of 2018, the Museum of Art in Olomouc staged the exhibition Years of Disarray 1908-1928: Avant-Gardes in Central Europe. It was subsequently staged at the International Centre in Cracow, the Bratislava City Art Gallery and finally the Janus Pannonius Museum in Pécs. It was an ambitious and imaginative exhibition, but initially no catalogue was available, only a short inexpensive guide. Now, after some delay, the full exhibition catalogue has been published, in handsome Czech and English-language editions. In its scale and scope – nearly 700 pages in length and with hundreds of images – the volume is not merely meant as an aid to the exhibition, but as a standard work of reference on central European modernism. In fact, although ostensibly based on the exhibition, it is only loosely connected to it; one loses sight of the original exhibition themes and structure due to the many essays on entirely unrelated topics. It therefore is best treated as standalone publication.
A detail camera shot examines rubber being mixed and moulded by heavy machinery. ‘Finished. You’re beautiful. Alas, it took me a while but you have been made properly.’ A young man sings as he is taking a rubber tyre off the machine. Walking through the factory yard and wheeling the tyre alongside, he carries on: ‘And now, off you go on your own, find your master and serve him well, I’m telling you.’ The camera focuses on the tyre with large lettering that reads Baťa and Superb. ‘It’s no easy task as every one of your masters entrusts his life to you,’ the young man warns. And as he starts running with the tyre over a field and down the road leading away from the factory, he cheers up.
This highly atmospheric photograph is an image of the nave of Prague’s St. Vitus cathedral, framed by an arch on the north aisle, the vantage point of the viewer. Bathed in the streaming sunlight is the south aisle, partially occluded by the nave columns. The photograph, taken some time in 1926 or 1927, is part of a portfolio of images of the cathedral which Josef Sudek persuaded the design and publishing co-operative Družstevní práce (Co-operative Works) to publish. Continue reading
2019’s first ‘Artwork of the Month’ focuses on one example of how a ‘nostalgic modernism’ could look in interwar Austria. What it also stands for upon closer analysis is the malleability of the photographic image in turbulent social and political times. Not least, it also helps to introduce a trend of photography in 1930s Central Europe, which seemed to stand in diametrical opposition to the avant-garde experiments of the time: Heimat photography (‘homeland photography’). As it will turn out, the classically composed The Mother could be many things and fit within a series of developments that continued from the fin de siècle to the Second World War.