USD $239.00
Search Results
Author:
Abstract
Humour has been used as a feminist avant-garde strategy by generations of artists. Since the historical avant-gardes of the 1920s humorous (re)presentations of the body have been part of female artists’ activism. This essay focuses on three generations of Danish women artists who in different ways have used their bodies in a critical manner, ranging from ironic representations of women’s living conditions by Kirsten Justesen and understated absurdity in silently repeated actions by the artist duo Hanne Nielsen & Birgit Johnsen to loud and even grotesque stereotypical exaggeration by Maja Malou Lyse.
Author:
Abstract
This article traces how the avant-garde feminist artists who began making films in the 1970s used the media i n different ways from their male colleagues. Their conceptual techniques and choice of subject matter can be seen as a response to the ongoing crisis in gender relations at this time. With only a few exceptions, such as Carolee Schneemann and Gunvor Nelson, the avant-garde film-makers of the 1960s were men. However, with the feminist movement at the beginning of the 1970s, more women artists started making their own films, instead of just being part of productions directed by their male colleagues. This essay investigates how the film Tornerose (Sleeping Beauty, 1971), by the Danish artists Jytte Rex and Kirsten Justesen, relates to other avant-garde films and to the more explicit political documentaries made in Denmark by the feminist ‘Redstockings‘ movement.
Author:
Abstract
Vilhelm Bjerke-Petersen’s book Surrealismen. Livsanskuelse. Livsudfoldelse. Kunst (Surrealism. Philosophy of Life. Way of Life. Art, 1934) was the first comprehensive introduction to surrealism written in a Nordic language. In order to understand the relationship between the French and the Nordic avant-garde, centre and periphery, this essay investigates Bjerke-Petersen’s notion of surrealism in Surrealismen. How were central surrealist topics such as automatism, collage, convulsion, love and revolution conceived? And how did this correspond to the ideas of the French movement? To understand further the impact and cultural context of the book, the essay considers the rather mixed reception of the book and Bjerke-Petersen’s prominent role in the Nordic and international avant-garde networks.
Author:
Abstract
Vilhelm Bjerke-Petersen’s book Surrealismen. Livsanskuelse. Livsudfoldelse. Kunst (Surrealism. Philosophy of Life. Way of Life. Art, 1934) was the first comprehensive introduction to surrealism written in a Nordic language. In order to understand the relationship between the French and the Nordic avant-garde, centre and periphery, this essay investigates Bjerke-Petersen’s notion of surrealism in Surrealismen. How were central surrealist topics such as automatism, collage, convulsion, love and revolution conceived? And how did this correspond to the ideas of the French movement? To understand further the impact and cultural context of the book, the essay considers the rather mixed reception of the book and Bjerke-Petersen’s prominent role in the Nordic and international avant-garde networks.
Volume Editors:
, , , and
The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 is the final volume of the four-volume series of cultural histories of the avant-garde movements in the Nordic countries. This volume carries the avant-garde discussion forward to present-day avant-gardes, challenged by the globalisation of the entertainment industries and new interactive media such as the internet. The avant-garde can now be considered a tradition that has been made more widely available through the opening of archives, electronic documentation and new research, which has spurred both re-enactments, revisions and continuations of historical avant-garde practices, while new cultural contexts, political, technological and ecological conditions have called for new strategies.
Volume Editors:
, , , and
The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 is the final volume of the four-volume series of cultural histories of the avant-garde movements in the Nordic countries. This volume carries the avant-garde discussion forward to present-day avant-gardes, challenged by the globalisation of the entertainment industries and new interactive media such as the internet. The avant-garde can now be considered a tradition that has been made more widely available through the opening of archives, electronic documentation and new research, which has spurred both re-enactments, revisions and continuations of historical avant-garde practices, while new cultural contexts, political, technological and ecological conditions have called for new strategies.