The Aesthetics of Matter: Modernism, the Avant-Garde and Material Exchange (European Avant-Garde and Modernism Studies, 3)

It has often been argued that the arrival of the early-20th-century avant-gardes and modernisms coincided with an in-depth exploration of the materiality of art and writing. The European historical avant-gardes and modernisms excelled in their attempts to establish the specificity of media and art forms as well as in experimenting with the hybridity of the materials of their multiple disciplines. This third volume of the series __European Avant-Garde and Modernism Studies__ sheds light on the full range and import of this aspect in avant-garde and modernist aesthetics across all art forms and throughout the 19th and 20th centuries. The book’s contributions, written by experts from some 20 countries, seek to answer the following questions: * What sort of objects and material, works and media help us to properly grasp the avant-garde and modernist “aesthetics of matter”? * How were affects, emotions and sensory and bodily experiences transferred and transformed in the experiment with matter? * How were “immaterial” things such as concepts of time changed in this aesthetic moment? * What “material meanings” were disseminated in the cultural transfer and translation of objects? * How did subsequent avant-gardes deal with the “aesthetics of matter” in their response to historical predecessors? Introduction Matter on the Move Translations Modernism Diffracted Picture Postcards from The Sturm Gallery and Walden. Collection in Berlin André Breton’s Autobiographical Cut-Ups Collages, Photographs, and Cinema Visual Music, a Missing Link? From Abstract Film to Op Art and Kinetic Art? Henryk Berlewi’s Mechano-Facture as a Transmedial Adaptation of Viking Eggeling’s Experimental Films “hap-hap-hap-hap-happy clothes” Avant-Garde Experiments in/with Material(s) The Poetic Materiality of Fascism on the British Stage Dematerializing Verbal and Visual Matter Wassily Kandinsky’s Bitextuality Material Memory Beyond Matter or Form Invalidating Subliminal Contradictions in the Aesthetics of Matter Upon Hearing James Joyce The Anna Livia Plurabelle Gramophone Disc (1929) Small Press Modernists Collaboration, Experimentation and the Limited Edition Book Plaster as a Matter of Memory Auguste Rodin and George Segal Deconstructive Readings of the Avant-Garde Tradition in Post-Socialist Retro-Avant-Garde Theatre The Materiality of a Contemporary Avant-Garde? Legacies of Surrealist Collage in Contemporary Art Spaces and Places Reproducing the Avant-Garde The Art of Modernist Magazines Bedeutungsveränderung und Kanonisierung des deutschen Expressionismus in den USA Expressionism, Fiction and Intermediality in Nordic Modernism Materiality and Dematerialization in Paul Neagu’s Work La maison d’artiste en portrait, manifeste et sanctuaire L’exemple de Fernand Khnopff Liquid Modernity and the Concrete City Ford Madox Ford and Virginia Woolf Bodies and Sensoria To “Feel Breathing” Duchamp and the Immaterial Aesthetics of Scent Synthesis Instead of Analysis Avant-Garde Eat Art and the Cultural Dimensions of Taste Lygia Clark, the Paris Years The Body as Medium and Material Les matérialités à l’oeuvre dans la « poésie élémentaire » de Julien Blaine Corps, que me veux-tu? Embodiment and Visuality in Post-1950 Music Subjectivities M/Paternal Meanings in the Neo-Avant-Garde Raoul Hausmann et le montage de matériau textuel : Hylé I Georges Hugnet’s Surrealist Monsters and Women From Material Meaningless to Poetics of Potentiality The Religious Dimension of Lettrist Visual Poetry A “Dance of Gestures” Hyperdialectic in Gertrude Stein’s Compositions Conceptual Frames of Life Passage du sujet dans la « matière mentale » surréaliste List of Contributors Index

It has often been argued that the arrival of the early-20th-century avant-gardes and modernisms coincided with an in-depth exploration of the materiality of art and writing. The European historical avant-gardes and modernisms excelled in their attempts to establish the specificity of media and art forms as well as in experimenting with the hybridity of the materials of their multiple disciplines. This third volume of the series European Avant-Garde and Modernism Studies sheds light on the full range and import of this aspect in avant-garde and modernist aesthetics across all art forms and throughout the 19th and 20th centuries.

The book’s contributions, written by experts from some 20 countries, seek to answer the following questions:

• What sort of objects and material, works and media help us to properly grasp the avant-garde and modernist “aesthetics of matter”?
• How were affects, emotions and sensory and bodily experiences transferred and transformed in the experiment with matter?
• How were “immaterial” things such as concepts of time changed in this aesthetic moment?
• What “material meanings” were disseminated in the cultural transfer and translation of objects?
• How did subsequent avant-gardes deal with the “aesthetics of matter” in their response to historical predecessors?
  

This Volume Proposes An In-depth Exploration Of The Materiality Of Art And Writing In Modernism And The Avant-garde. The Essays Explore How The Avant-gardes And Modernism Attempted To Establish The Material Specificity And Hybridityof Media And Art Forms. The Collection Sheds Light On The Full Range And Import Of The Aesthetics Of Matter In Avant-garde And Modernist Practice Across All Art Forms From The 19th Century To The Present Day. Biographical note: S. Posman, Ghent, A. Reverseau and S. Bru, Leuven, D. Ayers, Canterbury, andB. Hjartarson, Reykjavik