Toward a Horizontal History of the European Avant-Garde

Bru, Sascha; Baetens, Jan; Hjartarson, Benedikt; Nicholls, Peter; Ørum, Tania; Berg, H.F. van den

doi:10.1515/9783110217728.2.49

Cited by 22 publications

(8 citation statements)

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“…It is time to promote a historiography of animation more committed to interdisciplinary inputs, which help reassessing its narratives, an historiography self-aware of its methods, its choices, its objects and the voices that shape history. As Piotr Piotrowski stated: ‘A critical analysis should reveal the speaking subject: who speaks, on whose behalf, and for whom?’ (Piotrowski, 2009: 54)…”

Section: Discussionmentioning

confidence: 99%

“…In response to the canonical geographies of Art Since 1900 (Foster et al, 2007), critical inclusiveness lies at the heart of current revisions in art historiography that encourage decentred (Mitter, 2008), non-hierarchized, horizontal narratives (Piotrowski, 2009) to address the centre/periphery divide (Vlachou, 2016, 2019). On the one hand, Thomas DaCosta Kaufmann (2004; Kaufmann et al, 2016), Piotr Piotrowski (2009), Catherine Dossin and Béatrice Joeux-Prunel (2016) propose a critical geography of art based on earlier historiography or on quantitative methods in order to address art circulations and cultural transfers in a transnational approach, rather than national or international. On the other hand, Keith Moxey (2013) and the Greek art historian Foteini Vlachou (2016, 2019) have highlighted the category of time.…”

Section: Centre Periphery and Art Historiographical Narrativesmentioning

confidence: 99%

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Modernism and Discourses on Animation in 1930s Portugal: The Case of José de Almada Negreiros

Soares

2022

Animation

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The leading Portuguese modernist José de Almada Negreiros (1893–1970) often interacted with cinema and was particularly captivated by animation. While Almada’s stay in Madrid – from 1927 to 1932 – was marked by a magic lantern show and echoes of cut-out animation in his visual works, his presentation on Disney at the premiere of Snow White and the Seven Dwarfs in Lisbon is a milestone of the reception of animation in Portugal. Drawing upon current art historiographical debates, this article addresses the case of Almada as a way to reconstruct the history of the reception of animation in peripheral countries. Simultaneously, it highlights the importance of interdisciplinarity, the intertwinement between history and theory, as well as the support of archival research.

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Section: Discussionmentioning

confidence: 99%

Section: Centre Periphery and Art Historiographical Narrativesmentioning

confidence: 99%

Modernism and Discourses on Animation in 1930s Portugal: The Case of José de Almada Negreiros

Soares

2022

Animation

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“…Further, the reconsideration of space as a structuring category for the history of art (Buurman et al, 2018: 12) has led to the proposition of, for example, a horizontal rather than a vertical approach to the development of historiographic narratives. Reflecting the historiography of modernism, Piotr Piotrowski calls ‘Toward a Horizontal History of the European Avant-Garde’ (2009) that dismantles the hierarchy of centre and periphery where the latter is to adopt the ‘canons, hierarchy of values, and stylistic norms’ (p. 51) of the former. Piotrowski underlines that it was not the artists but art historians who defined these hierarchies and categorizations, and therefore determined who was included in the history of art.…”

Section: Lessons From Art History: Horizontal Histories Ast (Art Scie...mentioning

confidence: 99%

The Ever-Expanding Scope of Animation Historiography: A Discussion of Interdisciplinary Approaches and Methods

Bieberstein

Feyersinger

2022

Animation

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Accounting for animation’s pervasiveness, heterogeneity and intermediality, this article reflects conceptions of animation historiography. It brings together contemporary perspectives and methods in the research of animation history/historiography, and considers tangible approaches outside animation studies. Particular attention is paid to materials and aspects that are overlooked and non-canonical. The authors conceptualize animation historiography in the shape of a rhizome, enabling a better understanding of the relations between canonical aspects and fringes, and enriching the dialogue between the various disciplines, actors and institutions writing the histories of animation. Following a look at the current state of debate about animation history/histories and historiography in animation studies, the article surveys pertinent debates in film studies, art history and media art history. It then discusses historical research in performance studies and in the history of science, both concerned with fields where animation is often marginalized, as well as animation-related research on motion graphics and useful cinema, themselves under-researched topics, for perspectives to reconceptualize animation history. Media archaeology, its approaches and methodology, will be addressed repeatedly from the perspectives of the different disciplines and areas. The article is conceived as an ‘open paper’, understood as an invitation to further discuss animation historiography on a metalevel.

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“…through 'savages' and their faraway and nearby colonies (Piotrowski 2009;Buck-Morss 2011). In the Panopticon of Central European Modernity, 'Gypsies' become pendants of the African and Asian 'primitives' of Western Europe.…”

Section: Introductionmentioning

confidence: 99%

Black Bodies, White Bodies – ‘Gypsy’ Images in Central Europe at the Turn of the Twentieth Century (1880–1920)

Kovács

2021

CRS

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The problem of the observer has long been a key concern of social theories. However, in mainstream sociology, it was not until three decades ago that the relationship between image and text, seeing and gaze, appeared on the horizon of the discipline. Studying the visual representation of Roma in Modernity, one sees how CentralEuropean societies create their own sexualised and feminised Blackness through ‘savage’ groups and individuals. The central thesis of the article is that, across Europe, the panoptic regime of Modernity operates with the optical unconscious in two ways. On the one hand, by re-visualising social differences that becameinvisible after the collapse of feudal society; on the other, by bringing the oppressed into sight and rendering the oppressors invisible. However, there is a significant difference between the Western and Eastern European representations of ‘savages’: in the process of nation-building, the ‘Gypsy’ became an ambiguous part of the national imaginary in Eastern European countries. The paper argues that ideas and visual representations of Roma commuted between Central and Western Europe resulted in tensions between the colonial and emancipatory gazes.

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Toward a Horizontal History of the European Avant-Garde

Cited by 22 publications

References 0 publications

Modernism and Discourses on Animation in 1930s Portugal: The Case of José de Almada Negreiros

Modernism and Discourses on Animation in 1930s Portugal: The Case of José de Almada Negreiros

The Ever-Expanding Scope of Animation Historiography: A Discussion of Interdisciplinary Approaches and Methods

Black Bodies, White Bodies – ‘Gypsy’ Images in Central Europe at the Turn of the Twentieth Century (1880–1920)

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