Authors:Paula Barreiro López et al. Abstract: In memoriam of Laura Ramírez Palacio, who passed away in April 2022. PubDate: Mon, 23 May 2022 07:32:22 PDT
Authors:Paula Barreiro López Abstract: This special issue has been conceived in the framework of the project Ré.Part. - Résistance(s) Partisane(s): Culture visuelle, imaginaires collectifs et mémoire révolutionnaire (Université Grenoble Alpes, ANR-15-IDEX-02) and the research project MoDe(s) – Decentralized Modernities: Art, Politics and Counterculture in the Transatlantic Axis during the Cold War (Universidad de Barcelona, HAR2017-82755-P). We are very thankful for the support of the Jean Monnet Excellence Centre IMAGO (École normale supérieure - Université Paris Sciences Lettres, co-funded by the Erasmus + Program of the European Union) and of the Laboratoire de Recherches Historiques Rhône Alpes. Many thanks to the editorial team of Artl@s Bulletin as well as Tobias Locker for the work done on the manuscripts. PubDate: Wed, 04 May 2022 08:41:52 PDT
Authors:Paula Barreiro López Abstract: Prenant pour point de départ l’œuvre Resurrección de Núria Güell (2013), cet article aborde le rôle que les artistes contemporains ont assumé, en Espagne, dans la contestation du passé fasciste. Il traite les politiques de terreur mises en œuvre pendant et après la guerre civile, ainsi que la résistance antifasciste pendant la dictature, menée par le maquis, mais aussi par des artistes associés à des organisations d’extrême gauche. Enfin, il réintègre l’œuvre de Güell dans un contexte de création militant de son époque où l’on cherchait à réactiver l’antifascisme face aux survivances structurelles du franquisme dans l’Espagne contemporaine. PubDate: Mon, 02 May 2022 10:23:13 PDT
Authors:Jaime Vindel Abstract: This short essay uses the concept of “partisan ecologies” in order to analyse certain past and present chapters on the relationship between anti-fascism and nature. According to the Swedish eco- Marxist Andreas Malm, wilderness has not only represented an essentialist idea resulting from the projections of conservationist environmentalism about a supposedly untouched nature, but has also been one of the real spaces of a modern antagonism. Taking this theoretical point of departure, the text describes the Alpine Battalion of the Sierra del Guadarrama during the Spanish Civil War and its resonances in some contemporary events. PubDate: Mon, 02 May 2022 10:23:08 PDT
Authors:Laura Ramírez Palacio Abstract: Tomando como punto de partida el caso de imágenes referentes a los procesos revolucionarios en Nicaragua y El Salvador durante la década de 1980, el presente artículo reflexiona sobre antecedentes en la historia de las revoluciones, donde la incorporación de los niños no solo fue una realidad, sino también un elemento simbólico asociado a la idea de liberación en pos de una transformación social duradera en el tiempo. De este modo el texto analiza y busca situar la figura del niño combatiente dentro de las narrativas visuales revolucionarias y de liberación en la historia reciente de Occidente. PubDate: Mon, 02 May 2022 10:23:02 PDT
Authors:Olga Fernández López Abstract: The end of 1970s is an interesting moment to understand the epistemic shift that involves the passage from partisan artistic activism to contemporary socially engaged art. Then, a significant convergence took place in the neighborhood of Loisaida (NYC), where artists and local residents coincided in their modes of action. However, its subsequent cultural interpretations have overlooked each other. Art history cosmopolitan approaches clashed with migration identities, traversed by victimhood, but also by transnational heritages. This article examines and reunites both traditions looking for a reparative art history. PubDate: Mon, 02 May 2022 10:22:56 PDT
Authors:Anita Orzes Abstract: The article analyses the section Libertà al Cile [Liberty for Chile] of 1974 Venice Biennale. Even if this cultural proposal against Pinochet’s regime had a significant role and was the most visible face of La Biennale per una cultura democratica e antifascista [The Biennial for a democratic and anti- fascist culture], a detailed study of this exhibition is still missing. The aim of this article is to contextualize Libertà al Cile within the project of the New Biennale and its new exhibition formula, as well as within the ties of brotherhood that united Italy and Chile by paying attention to the Italian political context of the seventies. PubDate: Mon, 02 May 2022 10:22:51 PDT
Authors:Fabiola Martínez Rodríguez Abstract: The subject of this paper is a travelling exhibition organized by the National Front of Plastic Arts which toured various cities in the Eastern Bloc between 1955 and 1956. Its objective was to introduce the public to Mexican art, and to promote the socially committed art of the Mexican School and its enduring revolutionary spirit. Attention will be given to two of its venues: Poland and Bulgaria. It is hoped that this focused analysis will provide a deeper understanding of its artistic and political objectives, whilst highlighting the activism of the Mexican School in the context of the Cultural Cold War. PubDate: Mon, 02 May 2022 10:22:45 PDT
Authors:Jacopo Galimberti Abstract: Dante Pescò, also known as Giandante X, was a Milanese anarchist who participated as a militant, militiaman and artist in some of the major struggles of antifascism in the 1920s and 1930s, from the street clashes against the Blackshirts in Italy to the Spanish Civil War. The article retraces two decades of Giandante X’s oeuvre, concentrating on his work for Antonio Gramsci’s l’Unità and on his manifold agit-prop production for the International Brigades. PubDate: Mon, 02 May 2022 10:22:39 PDT
Authors:Gal Kirn Abstract: The article departs critically from the postsocialist condition in Yugoslavia marked by conservative revisionism that transformed the memorial landscape. The nation-building process took a clearly negative attitude towards the Yugoslav, socialist and partisan/antifascist past. The first part of the text will shortly present the notion of »counter-archive« and the central features of the method. The second part of the text will offer a short analysis of four case studies: A short partisan poem written by Iztok, a drawing by Dore Klemenčič, a partisan dance by Marta Paulin and a partisan film by Rudi Omota. PubDate: Mon, 02 May 2022 10:22:34 PDT
Authors:Maria Grazia Messina Abstract: Ce texte, conçu comme un épilogue au colloque La Méditerranée des artistes, entend faire le point sur les méthodes de travail des artistes qui ont abordé le thème de l’identité méditerranéenne dans leurs œuvres au cours des cinquante dernières années. A la lumière de quelques récents points de repère bibliographique, des thèmes majeurs sont envisagés, tels que le genius loci, la crise induite par une remise en cause des identités due à la mondialisation, le risque du folklore et d’un orientalisme introjecté, les différences entre les artistes des rives Nord et Sud de la Méditerranée. PubDate: Wed, 17 Nov 2021 11:13:18 PST
Authors:Yves Chevrefils Desbiolles Abstract: Il peut arriver qu’une anecdote tapie au creux d’un fonds d’archives suffise à rafraîchir le regard critique jeté sur une œuvre et sur son créateur. Au printemps 1947, la visite du peintre André Fougeron à la basilique San Francesco d’Arezzo, fait partie de ces petits événements dont il faut tirer le fil pour mieux comprendre la place occupée par cet artiste, chez qui la fonction sociale de l’art se décline de manière contrastée en divers styles figuratifs, dans l’histoire de la peinture européenne de la seconde moitié du siècle dernier. PubDate: Wed, 17 Nov 2021 11:13:12 PST
Authors:Alessandro Gallicchio Abstract: En 1940, à l’aide d’un dispositif de monstration complexe, le pavillon de l’Albanie de l’exposition coloniale de Naples propose, pour la première fois, une lecture italienne et fasciste du passé de ce pays balkanique, en évoquant des raisons d’ordre culturel et géographique : son identité « romaine », son positionnement à 71 km des côtes italiennes et ses richesses archéologiques. À partir de ce cas inédit, l’article tâche à questionner la nature des productions artistiques conçues pour ce projet idéologique, à analyser les discours historiques produits autour du mythe de l’Albanie romaine et fasciste et à décrypter les stratégies visuelles employées dans le pavillon napolitain. PubDate: Wed, 17 Nov 2021 11:13:06 PST
Authors:Poppy Sfakianaki Abstract: Cet article traite de l’utilisation de l’idée de la Méditerranée par le critique d’art Tériade en France de l’entre-deux-guerres. En s’alignant avec le courant intellectuel et artistique dominant à l’époque qui considérait l’art du Sud/méditerranéen supérieur à l’art du nord/allemand, il a souligné dans ses écrits l’origine méditerranéenne des artistes qu’il souhaitait promouvoir ainsi que les caractéristiques méditerranéennes de leur art. Étant lui-même d’origine grecque, ses arguments sur la méditerranéité de l’art et des artistes reflétèrent tout autant chez Tériade un outil d’intégration dans l’establishment culturel français. PubDate: Wed, 17 Nov 2021 11:13:00 PST
Authors:Aurora Roscini Vitali Abstract: This essay aims to analyse the ways in which the myth of the Mare nostrum entered into the artistic iconography of the early twentieth century. It was highly amplified during the Fascist regime thanks to some relevant graphic works, monumental commissions and, above all, temporary exhibitions that were characterized by a propagandistic overtone. The representation of a Mediterranean (in fact Italian) common identity became a fundamental part of a pervasive political strategy. The stylistic choices were conditioned both by the need to emphasize the glorious return of “Latinness” and the incardination of the “new” fascist modernity. PubDate: Wed, 17 Nov 2021 11:12:54 PST
Authors:Eleni Stavroulaki Abstract: La géographie de l’art prend un essor incontestable dans les années 1930, alimentant une polarisation, souvent démesurée, entre le Nord et le Sud, à laquelle s’attachent des attributs culturels, artistiques et spirituels antithétiques. Des figures tutélaires de ce tournant historiographique, tel Josef Strzygowski, font leur apparition dans les revues de la période, dynamisant davantage le discours. Rapidement, les revues d’art, entre autres Formes et Cahiers d’art, sont convoquées à prendre position pour ou contre la Méditerranée comme point de départ d’un renouveau artistique à venir. PubDate: Wed, 17 Nov 2021 11:12:48 PST
Authors:Giuliana Altea Abstract: Looking at the North- African stay of the artist Giuseppe Biasi (1885–1945), the paper deals with a brand of Mediterraneism marked by issues of national and regional identity. A key figure of the regionalist movement in his native Sardinia, in Egypt Biasi sympathized with the painters Mukhtar and Said’s nationalist ideals. Back in Italy, his works showed a conflation of the African and Sardinian worlds, implicitly confirming the theories of the anthropologist Giuseppe Sergi about the Italians as Mediterranean race and contributing to spread the fascist notion of a mediterraneism aimed at justifying colonialism. PubDate: Wed, 17 Nov 2021 11:12:43 PST
Authors:Christina Dimakopoulou Abstract: In 1919 a group of Greek modernist artists under the name “Groupe Tekhni” was presented to the Parisian public through a collective exhibition aiming at proving the synchronized status and the international scope of Greek contemporary art. Against all the ambitions, the exhibition did not meet the expectations of French critics who were searching vainly in the work of Greek artists for a certain accent local, typical of the region of oriental Mediterranean. This paper investigates the way in which the concept of accent local, proposed by the French critics, was interpreted in the Greek art of the interwar period in terms of artistic as well as institutional choices. PubDate: Wed, 17 Nov 2021 11:12:37 PST
Authors:David Cottington Abstract: ‘A working countryside is hardly ever a landscape’, Raymond Williams observed fifty years ago in his book The Country and the City; for to perceive it as such is to have both the leisure and the distance from it, to aestheticize it. This essay argues that, similarly, art practices have too often been understood ‘from the outside in’: that in Cubist representations of the Mediterranean, the picturesque quality of the Riviera insinuated itself—indeed that that the influence of the decorative was so far- reaching in the inter- World War years that it co- opted avant-gardism itself, and that the Riviera was one of its vehicles for doing so. PubDate: Wed, 17 Nov 2021 11:12:31 PST
Authors:Joana Cunha Leal Abstract: This article studies the early 1920s Olhão views painted by Eduardo Viana (1881–1967). It analyzes Viana’s turn to Algarvian-Mediterranean landscapes, while considering the emergence of Olhão as the Portuguese “cubist village” rendered just before its regionalization by the fascist cultural industry. I contend that Viana’s vistas stem from his cosmopolitan profile and earlier avant-garde experiences, suggesting also that Olhão’s Mediterranean “cubist”-built environment offered Viana the prospect of a denationalized geography. The relationship between identity, place and politics will therefore be discussed. PubDate: Wed, 17 Nov 2021 11:12:26 PST
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