In May 2017 a new art exhibition and concert venue opened in the Slovak town of Žilina. The result of a six-year restoration project that had been partly crowd-funded and also partly funded by the EU, the Slovak government and the town council, the building won a number of awards on the basis not only of the quality of the restoration but also for its mobilisation of grass-roots support and funding. Just around the corner from the Puppet Theatre and the substantial municipal theatre, the new centre provided a valuable addition to the cultural life of the provincial town, located some 200 kilometres northeast of Bratislava. The organisation that manages the centre, Truc Sphérique, also organises cultural events in the Stanica Žilina-Záriečie, in the town’s still operational railway station, and provides an instructive example of the productive regeneration of sites as cultural venues.
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 Heinrich 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.
Our December Artwork of the Month features a haunted castle: the castle of Hričov (Hricsó, Ricsó; today in Slovakia) as represented by the artist Ferdiš Duša (1888–1958). Born in Frýdlant nad Ostravicí in Moravia-Silesia, Duša undertook a number of study trips to Slovakia in the 1920s and 1930s, producing, amongst many other things, a series of wood engravings narrating a journey along the river Váh. In doing so, he drew on a pictorial and literary tradition that reached back to the early nineteenth century and encapsulated the multi-ethnic character of the region. His prints transferred the spectres of this past into the interwar period, a time defined by new national borders and the idea of modern, exclusive national identities.
In response to current broader reconsiderations about how art, design and architecture in the First Czechoslovak Republic should be represented, the East Slovak Gallery in Košice is currently exhibiting The Art of Subcarpathian Rus 1919-1938 – Czechoslovak Footprint, which showcases paintings, prints and sculptures from the First Republic’s easternmost region. Built on the premise that artistic life in Subcarpathian Ruthenia, as the region is dominantly referred to in English, proliferated under Czechoslovak administration after 1918, the exhibition, curated by Miroslav Kleban, ties the region’s cultural development to the modernization efforts of the First Republic’s eastern regions.
Framed by soft hills and picturesque huts, November’s Artwork of the Month transports us to the countryside of eastern Czechoslovakia in a painting by Anna Lesznai (1885-1967). Born and raised as the daughter of an ennobled Hungarian-Jewish family in Körtvélyes, then Upper Hungary, Anna Lesznai was one of the core female members of the Hungarian pre-war avant-garde. In the context of the Arts and Crafts revival at the turn of the twentieth century, which found enthusiastic reception in late-Habsburg Hungary, her craftwork gained much attention, alongside her poetry and fairy-tales for children. However, Lesznai also produced graphic designs, painted, taught at Dezső Orbán’s Atelier art school in Budapest in the 1930s and successfully participated in a number of exhibitions. Forced to emigrate after the rise of the Horthy regime because of her involvement in the Hungarian Republic of Councils in 1919, Lesznai lived between Vienna and the family estate in Körtvélyes (from 1920 Hrušov, Czechoslovakia; part of Slovakia since 1993). Based on an interest in folk art and peasant culture from the region, which she had begun to study in the early 1900s, Lesznai produced numerous watercolours in the 1920s and 30s which focused on life in the villages surrounding her estate and received enthusiastic reception when exhibited in Vienna.