| Издательство |
Kovesdy gallery |
| Дата издания |
1987 |
| Количество страниц |
38 стр. |
| Бумага |
мелованная |
| Переплет |
мягкий |
| Цена |
450 руб. |
| Продавец |
uniqbook |
The Active Aesthetic: The Modern Movement in Hungary
It is becoming increasing clear that the history of modern art can no longer be reduced to a simple scheme that emphasizes the constant presence of a single cultural center (e.g. Paris)
and its hegemonic relationship to peripheries. In some contexts such as the development of Impressionism this scheme might function satisfactorily, but it has no validity if used as a universal explanation of European Modernism and the avant-garde. At the moment, of course, it is becoming fashionable to discover and delineate — retroactively — the importance of less obvious centers such as Florence, Tbilisi, and Zagreb1, but the equations of Paris with Impressionism, Milan with Futurism and Moscow with Constructivism can, probably, never be changed. What we must do, however, is to question and qualify the exclusivity of these equations and provide opportunities to accommodate contributions to mainstream movements by less familiar groups: we can and should speak of Polish Symbolism, Czech Cubism, British Futurism, Hungarian Constructivism and Texas Social Realism, etc., and a number of recent exhibitions and publications have drawn attention to this.2
