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  1. 1 Makslas Vesture un Teorija

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  1. 1 Brasliņa A.

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  1. 1 2025

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“Laikmeta” pēdas Berlīnē un Arnolds Dzirkals: Pārsteigums latviešu modernistu žurnāla simtgadē

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Brasliņa A.
Makslas Vesture un Teorija
|
2025
|
vol. 29
58-72
EN
During the heyday of European avant-garde periodicals in the German capital in 1923, in collaboration with the German art critic Paul Westheim’s (1886–1963) publication “Das Kunstblatt” as the main partner and model, the only four issues of the first Latvian art magazine “Laikmets” (The Epoch) were published in the hyperinflationary conditions of the Weimar Republic. The initiator of the journal was sculptor Kārlis Zāle (also Zālīte, Zālīts, 1888–1942), a prominent figure in Berlin’s international avant-garde movement. His co-publisher and editor in the German metropolis was Zāle’s assistant, the little-known sculptor Arnolds Dzirkals (also Dzirkalis, 1896–1942). They invited the writer and art theoretician Andrejs Kurcijs (real last name Kuršinskis, 1884–1959) to join the editorial team. At the height of Latvian classical modernism, the theoretical ideas and priority of form proposed by “Laikmets”, together with the activism manifested by Kurcijs claimed to establish a “new epoch of artistic culture”. On the centenary of the magazine, the Latvian National Museum of Art, having been in contact with Berlin antiquarian Marco Gietmann, unexpectedly supplemented its collection with a fragmentary set of materials from the archives of Dzirkals and the “Laikmets” editorial office. Marco Gietmann had obtained these materials from the German art historian, former director of the West Berlin museum Galerie des 20. Jahrhunderts (1945–1968) Adolf Jannasch’s (1898–1984) son, lawyer Alexander Jannasch. These documents are valuable primary sources of international contacts during Latvia’s period of classical modernism.
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