Munich: at Haus der kunst; Conference on “Postwar – Art Between the Pacific and Atlantic, 1945-1965” Day 3-Friday
A great day at the conference with some amazing papers presented by wonderful scholars
“…Eduardo Paolozzi, born in 1924, stands for a dramatic blend of twentieth-century migration. In 1947 Paolozzi lived in postwar Paris, visiting french heroes of prewar modernism. He also joined the local colony of remaining GIs, who supplied him, an expatriate still accustomed to austerity, with magazines and films filled with colorful impressions of a consumer paradise across the Atlantic. Here, Paolozzi became the first artist to map the second American invasion, one of consumer goods and media cliches, which would transform European everyday culture in the decades to come – insufficently, but not completely wrong, labeled pop culture. “
Continued with Panel 1: Concrete Visions, Transatlantic Worlds
Adapting an approach that is both regionally specific and cross-culturally comparative, this panel situates the production and reception of Concretism within transatlantic networks that stretching from Paris to Buenos Aires, Sao Paulo to Munich. A focus on Latin America further brings to surface complex negotiations between the social and the aesthetic, offering critical perspectives on radical and intractable realignments of artistic centers and peripheries during the tumultuous decades following the end of the Second World War.
panelists: Abigail McEwen, University of Maryland, “Cuba’s Concretos: the Constructivist Revolution” ; Federico Deambrosis, Politechnico di Milano, “Time, Space, Borders: A Possible Map of Concrete Art from an Argentinian Perspective ” ; Susanne Neubauer, Freie Universitat, Berlin “Politicla Entaglements of Brazilian Modernism and is Reception in Postwar Germany, 1951-1959″and Gerardo Mosquera, Independent Curator, Havana and Madrid, “Brazil: Disarranging Concretism”
In the afternoon, “Nation(s) Seeking Form . How might artistic and intellectual movements from the former colonies and peripheries impact our understanding of postwar modernism? Through specific case studies, the panel presents a socio-historical and critical understanding of postwar aesthetic practices in Africa and the Middle East.
panelists: Sam Bardoui, Art Reoriented and Ludwig-Maximilians-Universitat, Munich ” I See Wonderful Things! The Art and Liberty Group and Manifestations of Surrealism in Egypt 1939-1945″; Nada Shabout, University of North Texas, “Enemy of the People: The Baghdad Group of Modern Art”; Chika Okeke-Agulu, Princeton University, “Ucke Okeke, Ibrahim El Salahi, and Postcolonial Modernism in the 1960s” and Burcu Dogramaci, Ludwig-Maximilians-Universitat, Munich “A Look Back to the Future: Art in Turkey in the 1950s”