{"id":33840,"date":"2025-01-28T12:24:46","date_gmt":"2025-01-28T12:24:46","guid":{"rendered":"https:\/\/mck.krakow.pl\/wystawy\/czas-przelomu-sztuka-awangardy-w-europie-srodkowej-1908-1928\/"},"modified":"2026-07-17T09:08:24","modified_gmt":"2026-07-17T09:08:24","slug":"czas-przelomu-sztuka-awangardy-w-europie-srodkowej-1908-1928","status":"publish","type":"wystawy","link":"https:\/\/mck.krakow.pl\/en\/wystawy\/czas-przelomu-sztuka-awangardy-w-europie-srodkowej-1908-1928\/","title":{"rendered":"Years of Disarray. Art of the Avant-Garde in Central Europe 1908-1928"},"content":{"rendered":"\n

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Was the Central European avant-garde always at the vanguard of artistic change, or did it merely follow the trends dictated by Paris, Berlin, and New York? What can we learn about the avant-garde if we dismiss the narratives constructed by the national art histories?\u00a0Years of Disarray: Art of the Avant-garde in Central Europe 1908\u20131928<\/em>, exhibition presented at the International Cultural Centre, consists of chapters that together tell the story of new art movements in the region that experienced a particularly difficult period in the early 20th century.<\/strong><\/strong><\/p>\n\n\n\n

The exhibition seeks to present a panorama of avant-garde movements that came to life in the new Central European states and to highlight what they shared and how they differed. The period 1908\u20131928 is a time frame offering a broad perspective that shows the progress of artistic transformations as well as confronts their varied rhythm and chronology.<\/p>\n\n\n\n

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After the end of the Great War in 1918 Central Europe became a place where avant-garde ideas, founded or implemented earlier, were developed with great intensity. While the older generation of artists continued their earlier experiments after the war, younger artists came to treat Cubism, Expressionism, and Futurism as petrified and exhausted formulas, instead shifting their attention to Constructivism and abstraction. The rapid revival of modern art came with the focus on \u201cthe city and the machine\u201d and with the fascination with urban civilisation. Central European artists often developed new trends in art. Of particular significance were movements such as Hungarian Activism, Polish Formism, or Czech Poetism, which marked the Central European avant-garde\u2019s major contributions to global art.<\/p>\n\n\n\n

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Years of Disarray juxtaposes and confronts Central European artists \u2013 Polish, Czech, Slovak, Hungarian, Romanian, Croatian, and Serbian \u2013 for whom great artistic centres such as Paris, Berlin, and New York remained important points of reference, but who used impulses and inspirations derived from there to creatively rework them, without feeling inferior due to their peripheral or belated position.<\/p>\n\n\n\n

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This rich and varied exhibition featured more than 170 paintings, sculptures, drawings, and prints by artists such as Anton Jasusch, Bohumil Kubi\u0161ta, Franti\u0161ek Folt\u00fdn, G\u00e9za Schiller, Josef \u010capek, Katarzyna Kobro, Leon Chwistek, Max Oppenheimer, Rafa\u0142 Malczewski, Sandor Bortnyik, Stanis\u0142aw Ignacy Witkiewicz, Tadeusz Makowski, Teresa \u017barnower\u00f3wna, Tytus Czy\u017cewski, and W\u0142adys\u0142aw Strzemi\u0144ski.<\/p>\n\n\n\n

One of the exhibition\u2019s highlights was a great selection of unique avant-garde art magazines, publications, posters, folders, film scripts, and photographs that demonstrate their makers\u2019 experiments and efforts towards developing innovative typography and image-making techniques.<\/p>\n\n\n\n

The exhibition, which first opened at the Olomouc Museum of Art in September 2018, concludes a several-year-long international research project titled The Birth of a Modern Central European<\/em>, realised jointly from 2016 onwards by four partner institutions: the Olomouc Museum of Art, Bratislava City Gallery, Janus Pannonius Museum in Pecs, and the International Cultural Centre, which developed a new version of the exhibition for its Krakow audience.<\/p>\n\n\n\n

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Curator<\/div>
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dr Monika Rydiger<\/div>\n
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Curator<\/div>\n \n
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dr Monika Rydiger<\/div>\n
ICC Curator<\/div>\n \n
\n Art historian and critic, curator. Author and co-author of exhibitions such as “Hunting the Avant-Garde. Forbidden Art in the Third Reich” (2011), “Memory. Registers and Territories” (2013), “Makom. Dani Karavan. The Essence of Place” (2015), and “Logic of Locality. Norwegian and Polish Contemporary Design” (2016). Member of the Polish section of AICA (International Association of Art Critics) and vice-president of the Association of Art Historians, Krak\u00f3w Branch. Author of texts on modern and contemporary art, with particular emphasis on sculpture and architecture. <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n <\/div>\n <\/div>\n <\/div>\n\n\n <\/div>\n\n <\/div>\n\n\n
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