New Art Exhibition (1923)

Cover of the catalogue, 1923.

The New Art Exhibition [Wystawa Nowej Sztuki] was held on 20 May - 20 June 1923 at Corso Cinema [Kinematograf Corso] on A. Mickiewicz Avenue in Vilnius [Wilno] and organised by Władysław Strzemiński and Vytautas Kairiūkštis. One of the first manifestations of constructivist art outside Russia. Works included painting, drawing, sculpture, architecture, scenography, and prints. Cubist, Constructivist, and Suprematist compositions predominated. Its catalogue includes Kairiūkštis’ constructivist manifesto. The exhibition marked the first appearance of Polish Constructivism; besides Strzemiński and Kairiūkštis participants also included Mieczysław Szczuka (first montage photographs), Henryk Stażewski, Teresa Żarnowerówna, Karol Kryński, and Maria Puciatycka, all of whom later become the members of the Blok group.

Literature

• Viktoras Liutkus, "Lithuanian Art and the Avant-Garde of the 1920s: Vytautas Kairiūkštis and the New Art Exhibition in Vilnius", Lituanus 54:2 (Summer 2008). (English)

See also

• Poland#Constructivists
• Central and Eastern Europe#Constructivists, Futurists

Links

• 70th Anniversary Exhibition, Muzeum Sztuki, Łódź, 1993. Catalogue.

	Art exhibitions and events
Second Spring Exhibition of OBMOKhU (Moscow, 1920-21), Congress of International Progressive Artists (Düsseldorf, 1922), Congress of the Constructivists and Dadaists (Weimar, 1922), First Russian Art Exhibition (Berlin, 1922), New Art Exhibition (Vilnius, 1923), Zenit Exhibition (Belgrade, 1924), Contimporanul Exhibition (Bucharest, 1924), Machine-Age Exposition (New York, 1927), a.r. International Collection of Modern Art (Łódź, 1931), New Tendencies (Zagreb, 1961-73), The Responsive Eye (New York, 1965), 9 Evenings: Theatre and Engineering (New York, 1966), Cybernetic Serendipity (London, 1968), Live In Your Head: When Attitudes Become Form (Bern, 1969), Information (New York, 1970), Software - Information Technology: Its New Meaning for Art (New York, 1970), Documenta 5 (Kassel, 1972), Pictures (New York, 1977), Biennial of Dissent (Venice, 1977), Les Immatériaux (Paris, 1985), Magiciens de la Terre (Paris, 1989), Hybrid Workspace (Kassel, 1997)