The INKHOUK: notes on “a fight for construction instead of style”
DOI:
https://doi.org/10.5965/2175234606122014041Keywords:
modernism , revolution , avant-garde, constructivism , suprematismAbstract
The Inkhouk was, between 1920 and 1924, one of the most significant organi- zational and institutional displays of Rus- sian and Soviet avant-gardes; deeply em- bedded in the establishment of a Modern State of a new kind and in the full core of a revolutionary dynamic, the Inkhouk was able to prove that not only was it possible for artists to collectively uphold a critical and continuous thinking on the pioneering language and cultural break that they were developing in their artistic work and in their creative methods but it also validated that the political revolution and its every day phenomena had changed the social and symbolic significance of the avant-garde work. The Inkhouk was the moment when modernist activism paused to discern itself while still fully involved in the whirlwind of events.
Downloads
References
ALMEREYDA, Michael (Editor). Night wraps the sky- writings by and about Mayakowsky, New York: Farrar, Straus and Giroux, 2008.
ANDERSON, Perry. As Origens da Pós-modernidade, Lisboa: Edições 70, 1998. BAKER, George. The Artwork caught by the tail, Massachusets: The MIT Press,
BANHAM, Reyner. Teoria e Projeto na primeira era da máquina, São Paulo: Editora Perspectiva, 1979.
BARBUSSE, Henri. Le Feu, Paris: Bellenus, (1916), 2008.
BEAUJOUR, Elizabeth Klosty. Zamiatin’s We and Modernist Architecture, Russian Review, Vol. 47, No. 1. (Jan. 1988).
BENJAMIN, Walter. Sobre arte, técnica, linguagem e política, Lisboa: Relógio d’água, 1992.
Zentralpark, Fragments sur Baudelaire In Charles Baudelaire, un poète lyri- que à l‟apogée du capitalisme, Paris : Éditions Payot, 2002.
Imagens de Pensamento, Liboa: Assírio Alvim, 2004. BOIS Yve-Alain. Art Forum, Feb 2006.
BOYM, Svetlana. Common places: Mythologies of everyday life in Russia, London: Cambridge University Press, 1994.
BUCHLOH, Benjamin. Cold War constructivism. In GUILBAUT, Serge (Ed.). Re- constructing modernism: Art in New York, Paris and Montreal, 1945-1964, Cambridge: MIT Press, 1990.
From Faktura to Factography, October, Vol. 30. (Autumn, 1984).
CONIO, Gerard. Le Constructivisme Russe, Lausanne: Editions l’Age de L’homme, 1987, p. 221.
CLARK, T.J. Farewell to an idea, Episodes from a history of modernism, New haven & London: Yale University Press, 2001.
El Lissitzsky in Vitebsk. In PERLOFF, Nancy & REED, Brian (Ed.). Situating El Lissitzsky, Vitebsk, Berlin, Moscow, Los Angeles: Getty Research Institute, 2003.
ELIOT, T.S. Tradition and the Individual Talent. In Selected Essays; London: Faber and Faber limited, 1951.
FOSTER, Hal. The return of the real, Massachusets: The MIT Press, 1993.
Design and Crime, London: Verso, 2000.
FREDRICKSON, Laurel. Vision and Material Practice: Vladimir Tatlin and the Design of Everyday Objects, Design Issues, Vol. 15, No. 1. (Spring, 1999).
GIUSI, Rapisarda. (Ed.), La Fábrica del actor excêntrico (FEKS), Barcelona: Editorial Gustavo Gili, 1978.
GOUGH, Maria. The Laboratory of Constructivism: Karl Ioganson’s Cold Structu- res, October, Vol.84 (Spring 1998).
GROSZ, Georges. Georges Grosz: An autobiography, Berkeley: University of Cali- fornia Press, 1998.
HATHERLY, Ana. O Espaço crítico do Simbolismo à Vanguarda, Lisboa: Editorial Caminho,1979.
HAUSER, Arnold. Teorias da Arte, Lisboa: Editorial Presença, 1978.
HOLTER, Howard R. The Legacy of Lunacharsky and Artistic Freedom in the USSR, Slavic Review, Vol. 29, No. 2. (June 1970).
KHAN-MAGOMEDOV, Selim. L’Inkhouk naissance du Constructivisme, Paris: Info- lio, 2013, p.42
KIAER, Christina. Rodchenko in Paris, October, Vol 75. (Winter 1996), Massachu- sets: The Mit Press.
Boris Arvatov’s Socialist Objects, (Massachusets: The Mit Press, October, Vol. 81. (Summer, 1997.
The Russian Constructivist Flapper Dress, Critical Inquiry, Vo 28, Nº1. (Au- tumn 2001), Chicago: University of Chicago Press.
KOPP, Anatol. Quando o Moderno não era um estilo mas sim uma causa, São Pau- lo: Nobel: Editora da Universidade de São Paulo, 1990.
LANCHNER, Carolyn. Fernand Léger: American Connections. In LANCHNER, Ca- rolyn (Ed.). Fernand Léger. New York: Museum of Modern Art (MoMA), 1998, p.15.
LELEU, Natahlie. Mettre le regard sous le contrôle du toucher – Répliques, copies et reconstitutions au XXe siècle: Les tentations de l’historien de l’art, Les Cahiers du Musée national d’art moderne, no.93, Paris, Autumn 2005.
LISSITSZKY, Elezard, Merz-Nasci nº8/9, Hannover, Abril-Julho 1924, p.2, texto em alemão e em francês.
LISSITZKY-KUPERS, Sophie. El Lissotzkij: Pittore, Architteto, Tipografo, Fotografo, Roma: Editori Reuniti, 1992.
LODDER, Christina. Russian Constructivism, Haven and London: Yale University Press, 1987.
El Lissitzky and the Export of Constructivism. In PERLOFF, Nancy & REED, Brian (Ed.), Situating El Lissitzsky, Vitebsk, Berlin, Moscow, Los Angeles: Getty Research Institute, 2003.
LOZOWICK, Louis. A note on Modern Russian Art, Broom Magazine, February 1923. Acessado em http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=- d&d=bmtnaap192302-01.2.17&e=-------en-20--1--txt-IN #
MALEVITCH, K. Le Suprématisme en Peinture, 34 Dessins, (1920). In LICHTENS- TEIN, Jacqueline (Ed.), La Peinture Textes Essentiels, Paris: Larousse, 1995.
MERTINS, Detlef. Modernity unbound, Londres: Architectural Association Lon- don, 2011.
MILNER, JOHN. Vladimir Tatlin and the Russian Avant-garde, New Haven and London: Yale University Press 1984.
MORRIS, Robert. Notes on Sculpture. In BATTCOCK, Gregory. Minimal Art- A critical anthology, Berkeley: University of California Press, (1968), 1995.
OSBORNE, Peter, Philosophizing beyond philosophy- Walter Benjamin reviewed In Radical Philosophy 088 (March/April 1998).
POE, Edgar Allan. O corvo seguido da Filosofia da Composição. Lisboa: Ulmeiro, 1989.
RIPELLINO, A.M. Maiakóvski e o teatro de Vanguarda, S.Paulo: Editora Perpsepc- tiva, 1986.
RODCHENKO, Aleksander. In LAVRENTIEV, Alexander (Ed.), Experiments for the Future - Diaries, Essays, letters, and other writings, Nova Iorque: MoMA, 2005.
ROSENBERG, Harold apud JENCKS, Charles. The post-avant-garde. In PAPA- DAKIS, Andrew. The New Art, London: Academy editions, 1991.
SENKEVITCH, JR., Anatole. “The Sources and Ideals of Constructivism in Soviet Architecture”. In ALLISON, Nicholas H (Ed.). Art Into Life: Russian Constructivism 1914- 1932, New York: Rizzoli International Publications, 1990.
SPITERI, Raymond. Envisioning Surrealism in “Histoire de l’OEil and La femme 100 têtes” In Art Journal, Vol. 63, No. 4. (Winter, 2004).
STEIN, Gertrude. Picasso, (1938), Lisboa: Vega, s.d.
TROTSKY, Lev. Literatura e Revolução, Capítulo 4: O Futurismo (1923). Texto con- sultado na sua versão inglesa em 30.6.08 no site http://www.marxists.org/archive/trot- sky/1924/lit_revo
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2014 Pedro Rodrigues Pousada
This work is licensed under a Creative Commons Attribution 4.0 International License.
COPYRIGHT STATEMENT
The articles published by the magazine are free to use, intended for academic and non-commercial applications. Copyright is all assigned to the magazine. The articles whose authors are identified represent the expression from the point of view of their authors and not the official position of Palíndromo Magazine. The author (s) commits to whenever they publish material referring to the article published in Palíndromo mention this publication as follows:
This article was originally published by Palíndromo magazine in its volume (place the volume), number (place the number) in the year of (place the year) and can be accessed at: http://www.revistas.udesc.br/index.php/palindromo
