The second EAM conference aims to revise the relation between
high and low culture in the European avant-garde and modernism.
Although we welcome all scrutinising this relationship, we are
particularly interested in innovative research on the following
1. Popular culture’s influence of the textual and artistic production
of avant-garde and modernism has been up for debate for quite
a while. What forms and themes in popular culture inspired the
poetic and aesthetic agenda of modernism and the avant-garde?
Which representational tactics from popular culture informing the
avant-garde and modernism still require attention today? What
intermedial aspects still warrant scrutiny in this context? How
were the avant-garde and modernism received in the popular press
and other popular media? And what is the role of kitsch in this
2. To what extent were modernist and avant-garde poetics and
aesthetics determined by consumer culture? Which aspects of
avant-garde and modernist practice affirmed expectations and
laws governing the market? How did individual writers and
groups, theoreticians and art practitioners resist commodity
culture? Are there notable shifts in avant-garde writers’ and
artists’ attitude toward capitalism from the post-war era onward,
and how do these relate to shifts within capitalism itself? What
do avant-gardes and modernisms from European regions in which
capitalism developed somewhat slower teach us in this context?
The tension between the avant-garde/modernism and capitalism
was extremely varied across Europe given economic, social and
political differences. Do these differences allow for alternate
histories of the European avant-garde and modernism, marking
not just and East/West divide bus bringing into scope the specifity
of the so-called Eastern bloc as well?
3. To what extent have the avant-garde and modernism
themselves become part and parcel of popular and consumer
culture? In what ways do avant-garde and modernist practice
and aestetics define the outlook of popular culture today? What
processes and institutions led (and lead) to the incorporation of
the avant-garde and modernism in the canon, mainstream culture
and the international art market? How do more recent avantgardes
attempt to resist such incorporation and maintain part of
modernism’s and the avant-garde’s legacy?
Gabriele Jutz of viennAvant attended this second EAM-conference again, this time in the course of a tree hour’s session “Avant-garde-Literature and –Film in central-european context”.
Subject of the talk of Gabriele Jutz was “Applications of László Moholy-Nagy’s Production-Reproduction in Film und Media Art”