Books in English by Przemyslaw Strozek
This volume focuses on the modernist and avant-garde engagement with workers’ sport events that w... more This volume focuses on the modernist and avant-garde engagement with workers’ sport events that were organised or were planned to be organised in the cities of Central Europe and the USSR in the period of 1920–1932: Frankfurt am Main – Vienna – Moscow – Prague – Budapest – Berlin.
During the 1920s and 1930s, two organisations of workers’ sport operated: the Lucerne Sport International/Socialist Workers’ Sport International and the Red Sport International, which held the socialist Workers’ Olympics and the communist Spartakiads, respectively. These events were not aimed at cultivating national victories and individual athletic records, but at mobilising workers for the class struggle and at creating new culture for the working class. This book examines the visual propaganda of the Workers’ Olympics and the Spartakiads expressed through paintings, sculptures, prints, illustrations, posters, postcards, photomontages, photographs, films, theatre and architectural projects. It emphasises the significance of workers’ sport for the artistic and social changes within a utopian project of a new culture, as visualised by the modernist and avant-garde artists, including Varvara Stepanova, Gustav Klucis, and Otto Nagel.
This volume is of great use to students and scholars of the history of sport, art history and cultural history in interwar Europe and the Soviet Union.
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What has been the signi cance of sport for the European avantgarde in the rst half of the 20th ce... more What has been the signi cance of sport for the European avantgarde in the rst half of the 20th century? From an international and interdisciplinary perspective we show the extent to which avant-garde art and culture was shaped by the dynamic encounter with modern sports. Our focus lies on avant-garde artists, groups, movements and institutions across Europe (including Cubism, Futurism, Vorticism, Purism, Expressionism, Dada, the Bauhaus, Constructivism in Central and Eastern Europe), thereby unfolding the diversity of avant-garde responses to modern sports. The book in front of you includes fascinating readings in the elds of aesthetics, visual cultures, cultural history and politics and highlights why speci c kinds of sport such as cycling, boxing and football became important for avant-garde movements and artists. Readership The book will appeal to scholars and students of European history, cultural history, sports history, literature, art and visual culture, as well as the informed general reader. Apart from academic libraries and specialist art libraries, the book might be also sold in Sport and Olympic Museums and similar institutions around the world. For more information see brill.com
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Exhibition Catalogues in English by Przemyslaw Strozek
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Heralds of a New Order. Reclaimed Avant-garde (Scarlat Callimachi, Irina Deeva, Ferdo Delak, Katja Delak, Sandu Eliad, Nina Kosicka, Miroslav Krleza, Jozsef Ligeti, Janosz Macza, Odon Palasovszky, Iacob Sternberg, Witold Wandurski, Teresa Zarnower), Emergence PQ, Warsaw-Berlin-Prague, 2019. Artbook by Kama Sokolnicka, ed. by Przemyslaw Strozek, academic collaboration: Hanna Veselovska, Tomas Toporisic, Alexandra Chiriac, Zoltan Imre, Suzana Marjanic, Anca Hatiegan, Martin Bernatek, Jan Jirik, Anna Hejmova, 2019
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Polish-Moroccan artistic relations during the Cold War are part of
a broader historical phenomeno... more Polish-Moroccan artistic relations during the Cold War are part of
a broader historical phenomenon of the political and cultural rapprochement
between the countries of the Eastern Bloc and those
of the Global South. Ahmed Cherkaoui in Warsaw is a chronological
overview of these relations, initiated by the arrival of Farid Belkahia
in Warsaw in 1955. The book focuses on Moroccan artists who studied
at art schools in Warsaw and Kraków, as well as the Film School in
Łódź. Ahmed Cherkaoui was the first student from the independent
Kingdom of Morocco at the Academy of Fine Arts in Warsaw to receive
scholarship. The book reconstructs his ‘Warsaw period’, offers insight
into the milieu of other Moroccan art students in Poland, as well as
Roman Artymowski’s collaboration with Moroccan artists and students
in Asilah. The publication focuses on socialist art of the 1950s,
matter painting and abstract art of the 1960s, as well as academic
art, experimental film, conceptual practices and the graphic art of
the late 1970s against the background of the artistic and political
transformations of the global Cold War.
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[Fragments] Enrico Prampolini. Futurism, Stage Design and the Polish Avant-garde Theatre, Museum of Art in Lodz, 9.06-8.10.2017, Essays in the catalogue by: Andrea Baffoni, Gunter Berghaus, Maria Elena Versari, Przemyslaw Strozek, Monika Chudzikowska, David Rifkind, Giovanni Lista, Paulina Kurc Maj
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Artbooks by Przemyslaw Strozek
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Articles in English by Przemyslaw Strozek
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This essay explores the presence of Eastern Bloc artists at the Olympiad of Art in Seoul (1988) a... more This essay explores the presence of Eastern Bloc artists at the Olympiad of Art in Seoul (1988) at a time when there were no diplomatic relations between South Korea and the socialist/ communist states in Europe. In the wider geopolitical context, the promotion of Eastern European arts was in line with Nordpolitik (Northern Policy): the South Korean government brought Eastern Europe to its side and isolated North Korea from its allies. The essay discusses the political uses of the 1988 Olympic Games and the Olympiad of Art as a groundbreaking event that contributed to the establishment of bilateral cultural relations between South Korea and the countries of the Eastern Bloc. Both the Olympic Games and the Olympiad of Art (1988) also contributed to a refreshing image of Eastern Europe in South Korea. Moreover, they foreshadowed a commencement of the new line of artistic exchanges when diplomatic relations between both regions in 1989-1991 were established.
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This article focuses on conceptual practices by Moroccan artist Abdelkader Lagtaâ, whose early 19... more This article focuses on conceptual practices by Moroccan artist Abdelkader Lagtaâ, whose early 1970s work, created as a part of Polish conceptual milieus in Łódź and Warsaw, remains undocumented in art-historical scholarship. The author rediscovers Lagtaâ’s practices as part of conceptual strategies in Eastern Europe and discusses his work in relation to Okwui Enwezor’s article “Where, What, Who, When: A Few Notes on ‘African’ Conceptualism.” The author argues that while Enwezor and, later, other scholars, including Olu Oguibe and Salah M. Hassan, critique the work by African conceptualists to and through conceptualist strategies prevalent in Africa and the West, Lagtaâ’s work was almost entirely situated in the linguistic, performative, new media, and mail art experiments characteristic of Eastern Europe. While the work of conceptual artists from the African continent identified by Enwezor remained on the margins, outside of international and noninstitutional artistic circuits, Lagtaâ’s work was an intrinsic part of the early 1970s collective experiments and transnational networks of artistic exchange between Eastern Europe and other geographical regions.
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Books in English by Przemyslaw Strozek
During the 1920s and 1930s, two organisations of workers’ sport operated: the Lucerne Sport International/Socialist Workers’ Sport International and the Red Sport International, which held the socialist Workers’ Olympics and the communist Spartakiads, respectively. These events were not aimed at cultivating national victories and individual athletic records, but at mobilising workers for the class struggle and at creating new culture for the working class. This book examines the visual propaganda of the Workers’ Olympics and the Spartakiads expressed through paintings, sculptures, prints, illustrations, posters, postcards, photomontages, photographs, films, theatre and architectural projects. It emphasises the significance of workers’ sport for the artistic and social changes within a utopian project of a new culture, as visualised by the modernist and avant-garde artists, including Varvara Stepanova, Gustav Klucis, and Otto Nagel.
This volume is of great use to students and scholars of the history of sport, art history and cultural history in interwar Europe and the Soviet Union.
Exhibition Catalogues in English by Przemyslaw Strozek
a broader historical phenomenon of the political and cultural rapprochement
between the countries of the Eastern Bloc and those
of the Global South. Ahmed Cherkaoui in Warsaw is a chronological
overview of these relations, initiated by the arrival of Farid Belkahia
in Warsaw in 1955. The book focuses on Moroccan artists who studied
at art schools in Warsaw and Kraków, as well as the Film School in
Łódź. Ahmed Cherkaoui was the first student from the independent
Kingdom of Morocco at the Academy of Fine Arts in Warsaw to receive
scholarship. The book reconstructs his ‘Warsaw period’, offers insight
into the milieu of other Moroccan art students in Poland, as well as
Roman Artymowski’s collaboration with Moroccan artists and students
in Asilah. The publication focuses on socialist art of the 1950s,
matter painting and abstract art of the 1960s, as well as academic
art, experimental film, conceptual practices and the graphic art of
the late 1970s against the background of the artistic and political
transformations of the global Cold War.
Artbooks by Przemyslaw Strozek
Articles in English by Przemyslaw Strozek
During the 1920s and 1930s, two organisations of workers’ sport operated: the Lucerne Sport International/Socialist Workers’ Sport International and the Red Sport International, which held the socialist Workers’ Olympics and the communist Spartakiads, respectively. These events were not aimed at cultivating national victories and individual athletic records, but at mobilising workers for the class struggle and at creating new culture for the working class. This book examines the visual propaganda of the Workers’ Olympics and the Spartakiads expressed through paintings, sculptures, prints, illustrations, posters, postcards, photomontages, photographs, films, theatre and architectural projects. It emphasises the significance of workers’ sport for the artistic and social changes within a utopian project of a new culture, as visualised by the modernist and avant-garde artists, including Varvara Stepanova, Gustav Klucis, and Otto Nagel.
This volume is of great use to students and scholars of the history of sport, art history and cultural history in interwar Europe and the Soviet Union.
a broader historical phenomenon of the political and cultural rapprochement
between the countries of the Eastern Bloc and those
of the Global South. Ahmed Cherkaoui in Warsaw is a chronological
overview of these relations, initiated by the arrival of Farid Belkahia
in Warsaw in 1955. The book focuses on Moroccan artists who studied
at art schools in Warsaw and Kraków, as well as the Film School in
Łódź. Ahmed Cherkaoui was the first student from the independent
Kingdom of Morocco at the Academy of Fine Arts in Warsaw to receive
scholarship. The book reconstructs his ‘Warsaw period’, offers insight
into the milieu of other Moroccan art students in Poland, as well as
Roman Artymowski’s collaboration with Moroccan artists and students
in Asilah. The publication focuses on socialist art of the 1950s,
matter painting and abstract art of the 1960s, as well as academic
art, experimental film, conceptual practices and the graphic art of
the late 1970s against the background of the artistic and political
transformations of the global Cold War.