This article examines Hedwig Fechheimer’s 1914 Die Plastik der Aegypter (Egyptian Sculpture) and Tristan Tzara and Étienne Sved’s 1954 collaborative book L’Égypte face à face (Egypt Face to Face) and how, bookending the classical European avant-garde period, both took recourse to ancient Egypt to explain their present moment. While Fechheimer approaches Egyptian artwork via a nascent Cubism, Tzara and Sved reflect on ancient Egypt through nostalgic, Dada-tinted lenses. The presents of Fechheimer, Tzara, and Sved were rife with anti-Semitism and conflict; while Fechheimer avoids politics entirely Tzara and Sved do have a poignantly political purpose. In both cases time is folded, challenging teleological conceptions of historicity.
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This article examines Hedwig Fechheimer’s 1914 Die Plastik der Aegypter (Egyptian Sculpture) and Tristan Tzara and Étienne Sved’s 1954 collaborative book L’Égypte face à face (Egypt Face to Face) and how, bookending the classical European avant-garde period, both took recourse to ancient Egypt to explain their present moment. While Fechheimer approaches Egyptian artwork via a nascent Cubism, Tzara and Sved reflect on ancient Egypt through nostalgic, Dada-tinted lenses. The presents of Fechheimer, Tzara, and Sved were rife with anti-Semitism and conflict; while Fechheimer avoids politics entirely Tzara and Sved do have a poignantly political purpose. In both cases time is folded, challenging teleological conceptions of historicity.
All Time | Past 365 days | Past 30 Days | |
---|---|---|---|
Abstract Views | 334 | 308 | 92 |
Full Text Views | 5 | 1 | 1 |
PDF Views & Downloads | 16 | 2 | 0 |