Difference between revisions of "Veshch/Gegenstand/Objet"
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* [http://digitalgallery.nypl.org/nypldigital/dgtitle_tree.cfm?title_id=1042949&level=1&imgs=20&snum=0 Scans in NYPL Digital Library] (as of 1/2016 not available anymore) | * [http://digitalgallery.nypl.org/nypldigital/dgtitle_tree.cfm?title_id=1042949&level=1&imgs=20&snum=0 Scans in NYPL Digital Library] (as of 1/2016 not available anymore) | ||
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+ | * [http://bluemountain.princeton.edu/exist/apps/bluemountain/title.html?titleURN=bmtnaam Blue Mountain Project] contains 2 issues of Veshch/Gegenstand/Objet. Princeton University. | ||
==Reprints== | ==Reprints== |
Revision as of 18:58, 15 January 2017
Veshch/Gegenstand/Objet: Mezhdunarodnoe obozrenie sovremennogo iskusstva / Internationale Rundschau der Kunst der Gegenwart / Revue internationale de l'art moderne was a journal edited by El Lissitzky and Ilya Ehrenberg, published in two issues by Skythen Verlag, Berlin, in 1922. The vast majority of articles were in Russian, some in German and French.
Contents
Lissitzky had come to Berlin the previous year as representative of new Russian art and culture, and Veshch' begins by celebrating the renewed cultural contacts between Russia and the west after the years of war and revolution. The journal's manifesto goes on to explain that the journal's title was chosen because, "for us, art is nothing other than the creation of new 'objects'". The journal championed Constructivist and Suprematist works. Its publisher specialised in Russian publications - Berlin had a population of over half a million Russians in 1923.
Contributors: Viktor Shklovsky, Vladimir Mayakovsky, Boris Pasternak, Sergey Esenin, Aleksandr Kusikov, Nikolay Punin, Igor Glebov (Gleboff), Valentin Parnakh, Charles Vildrac, Ivan Goll, Jules Romains, Gino Severini, Albert Gleize, Theo van Doesburg, Fernand Léger, Jacques Lipchitz, Gino Severini, Le Corbusier, et al. Illustrations: Albert Gleize, Teo van Doesburg, Fernand Leger, Jacques Lipchitz, Richard Eggerling, and others. Cover design by El Lissitzky.
Number 3 was banned for distribution in the USSR, which was due to changes in the ideological politics of the Bolsheviks. With no chance for its distribution in Russia the editors found it pointless to continue. The fourth issue of the magazine was originally planned to be devoted to art and literature of the Soviet Russia. [1]
Issues
- Scans in NYPL Digital Library (as of 1/2016 not available anymore)
- Blue Mountain Project contains 2 issues of Veshch/Gegenstand/Objet. Princeton University.
Reprints
- Baden: Lars Müller, 1993. The reprint is accompanied by an additional volume of commentary on the history and contents of the magazine, and includes an English and German translation of the text. [2]
- Princeton Architectural Press, 1996.
Literature
- Kristin Romberg, "From Veshch' to SA: Journal as Object", in Richard Anderson and Kristin Romberg, Architecture in Print: Design and Debate in the Soviet Union, 1919-1935, Wallach Art Gallery, 2005. Catalogue text. (English)
- Stephen Bury, "'Not to adorn life but to organize it': Veshch. Gegenstand. Objet: Revue internationale de l'art moderne (1922), G (1923-6)", in The Oxford Critical and Cultural History of Modernist Magazines. Volume III: Europe 1880 - 1940, eds. Peter Brooker, Sascha Bru, Andrew Thacker, and Christian Weikop, Oxford University Press, 2013.
See also
Links
- Veshch in Dada Companion
- http://www.emigrantica.ru/item/veshch-berlin-1922?category_id=47
- http://www.artrz.ru/menu/1804657051/1804967053.html
Avant-garde and modernist magazines | ||
---|---|---|
Poesia (1905-09, 1920), Der Sturm (1910-32), Blast (1914-15), The Egoist (1914-19), The Little Review (1914-29), 291 (1915-16), MA (1916-25), De Stijl (1917-20, 1921-32), Dada (1917-21), Noi (1917-25), 391 (1917-24), Zenit (1921-26), Broom (1921-24), Veshch/Gegenstand/Objet (1922), Die Form (1922, 1925-35), Contimporanul (1922-32), Secession (1922-24), Klaxon (1922-23), Merz (1923-32), LEF (1923-25), G (1923-26), Irradiador (1923), Sovremennaya architektura (1926-30), Novyi LEF (1927-29), ReD (1927-31), Close Up (1927-33), transition (1927-38). |
Full list | ||
---|---|---|
Entretiens politiques et littéraires (1890-93), Moderní revue (1894-1925), Volné směry (1897-1948), Mir iskusstva (1898-1904), Vesy (1904-09), Poesia (1905-09, 1920), Zolotoe runo (1906-10), The Mask (1908-29), Apollon (1909-17), Ukraïnska khata (1909-14), Der Sturm (1910-32), Thalia (1910-13), Rhythm (1911-13), Trudy i dni (1912), Simbolul (1912), The Glebe (1913-14), Ocharovannyi strannik (1913-16), Revolution (1913), Blast (1914-15), The Little Review (1914-29), Futuristy (1914), Zeit-Echo (1914-17), The Egoist (1914-19), L'Élan (1915-16), 291 (1915-16), Orpheu (1915), La Balza futurista (1915), MA (1916-25), SIC (1916-19), flamman (1916-21), The Blindman (1917), Nord-Sud (1917-18), De Stijl (1917-20, 1921-32), Dada (1917-21), Klingen (1917-20, 1942), Noi (1917-25), 391 (1917-24), Modernisme et compréhension (1917), Anarkhiia (1917-18), Iskusstvo kommuny (1918-19), Formiści (1919-21), S4N (1919-25), La Cité (1919-35), Aujourd'hui (1919), Exlex (1919-20), L'Esprit nouveau (1920-25), Orfeus (1920-21), Action (1920-22), Proverbe (1920-22), Ça ira (1920-23), Zenit (1921-26), Kinofon (1921-22), Het Overzicht (1921-25), Jednodńuwka futurystuw (1921), Nowa sztuka (1921-22), Broom (1921-24), Život (1921-48), Creación (1921-24), Jar-Ptitza (1921-26), New York Dada (1921), Aventure (1921-22), Spolokhi (1921-23), Gargoyle (1921-22), Veshch/Gegenstand/Objet (1922), Kino-fot (1922-23), Le Coeur à barbe (1922), Die Form (1922, 1925-35), 7 Arts (1922-28), Manomètre (1922-28), Ultra (1922), Út (1922-25), Dada-Jok (1922), Dada Tank (1922), Dada Jazz (1922), Mécano (1922-23), Contimporanul (1922-32), Zwrotnica (1922-23, 1926-27), Secession (1922-24), Stavba (1922-38), Gostinitsa dlya puteshestvuyuschih v prekrasnom (1922-24), Putevi (1922-24), Klaxon (1922-23), Akasztott Ember (1922-23), MSS (1922-23), Perevoz Dada (1922-49), Egység (1922-24), L'Architecture vivante (1923-33), Merz (1923-32), LEF (1923-25), G (1923-26), The Next Call (1923-26), Russkoye iskusstvo (1923), Disk (1923-25), Irradiador (1923), Surréalisme (1924), Almanach Nowej Sztuki (1924-25), La Révolution surréaliste (1924-29), Blok (1924-26), Pásmo (1924-26), DAV (1924-37), Bulletin de l'Effort moderne (1924-27), ABC (1924-28), CAP (1924-28), Athena (1924-25), Punct (1924-25), 75HP (1924), Le Tour de Babel (1925), Periszkop (1925-26), Integral (1925-28), Praesens (1926, 1930), Sovremennaya architektura (1926-30), bauhaus (1926-31), Das neue Frankfurt (1926-31), L'Art cinématographique (1926-31), Dokumentum (1926-27), Kritisk Revy (1926-28), Novyi LEF (1927-29), i 10 (1927-29), Nova generatsiia (1927-30), ReD (1927-31), Dźwignia (1927-28), Tank (1927-28), Close Up (1927-33), Horizont (1927-32), transition (1927-38), Discontinuité (1928), Munka (1928-39), Quosego (1928-29), Urmuz (1928), Unu (1928-32), Revista de Antropofagia (1928-29), 50 u Evropi (1928-29), Documents (1929-30), L'Art Contemporain - Sztuka Współczesna (1929-30), Adam (1929-40), Art concret (1930), Zvěrokruh (1930), Alge (1930-31), Le Surréalisme au service de la révolution (1930-33), Levá fronta (1930-33), Kvart (1930-37, 1945-49), Nová Bratislava (1931-32), Linja (1931-33), Spektrum (1931-33), Nadrealizam danas i ovde (1931-32), Ulise (1932-33), Die neue Stadt (1932-33), Mouvement (1933), PLAN (1933-36), Karavan (1934-35), Ekran (1934), Axis (1935-37), Acéphale (1936-39), Telehor (1936), aka (1937-38), Plastique (1937-39), Plus (1938-39), Les Réverbères (1938-39). |