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1

Futuryzm w muzeum. Włochy przed jubileuszem stulecia ruchu futurystycznego

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Strożek P.

Biuletyn Historii Sztuki

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2008

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vol. 70

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issue 3-4

463-477

EN

This article presents a summary history of the Futurist exhibitions and movement’s reception after 1944. Although at the present moment, in the face of celebrations under preparation for the movement’s one hundredth anniversary in 2009, a renewed interest is being enlivened in broad Italian public consciousness, evaluation following the WWII of the work of those artists who remained to the bitter end, alongside Marinetti, faithful to the ideals of Futurism led to a prolonged marginalisation of their works in debate relating to art and its exposition.

2

Maszyna Chaplina, czyli amerykanizm w sowieckiej rosji

100%

Strożek P.

Kwartalnik Filmowy

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2017

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issue 99 Triki, numery specjalne, atrakcje

213-216

PL

Recenzja książki Owena Hatherleya “The Chaplin Machine. Slapstick, Fordism and the Communist Avant-Garde” (2016). Strożek omawia główne idee pracy Hatherleya, który pod postacią terminu „Chaplin (slapstick) Machine (tayloryzm-fordyzm)” analizuje wizje amerykanizmu i amerykańskiego snu w kulturze lewicowych awangard, zwracając tym samym uwagę na znaczenie wyobrażeń Ameryki dla kształtowania nowej proletariackiej kultury w duchu konstruktywizmu. Recenzent pokazuje, w jak konsekwentny sposób brytyjski autor analizuje zależności między dwiema wielkimi triadami: slapstick – tayloryzm-fordyzm – amerykanizm = cyrk – komunizm – konstruktywizm, kreśląc interesujące relacje między tym, co amerykańskie, a tym, co rosyjskie w obszarze nowego myślenia o kulturze lat 20. i 30.

EN

Book review of Owen Hatherley’s “The Chaplin Machine. Slapstick, Fordism and the Communist AvantGarde” (2016). Strożek discusses the main ideas of Hatherley’s work, who, using the term “Chaplin (slapstick) Machine (taylorism-fordism)” examines the visions of Americanism and American dream in the left-wing avant-garde culture, paying attention to the importance of how America was imagined in the shaping of a new proletarian culture in a constructive spirit. The reviewer shows how in a consistent manner the British author analyses the relationship between two great triads: slapstick – taylorism-fordism – americanism = circus – communism – constructivism, drawing interesting links between the American and the Russian elements in the area of new thinking about culture of the 1920s and 1930s.

3

Panorama di collaborazioni internazionali. Enrico Prampolini e i suoi contatti con gli ambienti dell’avanguardia polacca

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Strożek P.

pl.it / rassegna italiana di argomenti polacchi

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2016

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issue 7

27-37

EN

The article focuses on the reception of Enrico Prampolini’s work in Polish Avant-garde circles in the 1920s and 1930s. It shows Prampolini as a central figure in “networking” between artists and illustrates how such “networking” phenomena resulted in the popularisation of Italian Futurism in Poland and Polish Avant-garde in Italy. It highlights the range of Prampolini’s contacts with Poland, especially with the «Zwrotnica» circle, Jalu Kurek and Jan Brzękowski, who promoted his theatrical productions and paintings. The outcome of these contacts was most of all a good knowledge of Futurist scenography in Poland, an invitation for Polish scenographers to take part in the “Triennale” which Prampolini organized in 1936 in Milan, and his cooperation with the “a.r.” collection of Modern Art in Łódź. The painting entitled Tarantella (1920), which Prampolini offered to Brzękowski and was installed in Łódź in 1931, testifies to this important collaboration.

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1 Biuletyn Historii Sztuki

1 Kwartalnik Filmowy

1 pl.it / rassegna italiana di argomenti polacchi

3 Strożek P.

1 2017

1 2016

1 2008

Futuryzm w muzeum. Włochy przed jubileuszem stulecia ruchu futurystycznego

Maszyna Chaplina, czyli amerykanizm w sowieckiej rosji

Panorama di collaborazioni internazionali. Enrico Prampolini e i suoi contatti con gli ambienti dell’avanguardia polacca