From Bauhaus to Our House – Kritisk Revy, Popular Culture, and the Roots of “Scandinavian Design”
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From Bauhaus to Our House – Kritisk Revy, Popular Culture, and the Roots of “Scandinavian Design”. / Jelsbak, Torben.
A Cultural History of the Avant- Garde in the Nordic Countries 1925–1950. red. / Per Stounbjerg; Andrea Kollnitz; Benedikt Hjartarson; Tania Ørum. Leiden/Boston : Brill, 2019. s. 860-878 (Avant Garde Critical Studies).Publikation: Bidrag til bog/antologi/rapport › Bidrag til bog/antologi › Forskning › fagfællebedømt
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TY - CHAP
T1 - From Bauhaus to Our House – Kritisk Revy, Popular Culture, and the Roots of “Scandinavian Design”
AU - Jelsbak, Torben
PY - 2019
Y1 - 2019
N2 - The Danish architectural magazine Kritisk Revy (1926–1929) occupies an importantposition in Scandinavian avant-garde culture of the interwar period. Edited by a groupof young architects and left-wing intellectuals, the magazine served as an ideologicalplatform for early Scandinavian modernism in architecture and design. As such themagazine may also be regarded as an early stage in the emergence and construction ofthe notion of “Scandinavian Design”. Kritisk Revy’s leading concept of “humane art, artfor society’s sake” was formulated in an on-going dialogue with contemporary currentsand positions in international modernism and the avant-garde such as Le Corbusier,Russian constructivism and the German Bauhaus School. As part of its strategy of promoting a modern ‘democratic’ or ’classless’ culture to replace traditional styles andgenres of bourgeois culture, the magazine embraced a wide range of modern topicsand phenomena – from advertising and shop window design to jazz music, varietytheatre and film. This article analyses how Kritisk Revy’s vision of cultural modernitywas developed as a response to the two apparently opposing phenomena of culturalmodernity, the artistic avant-gardes on the one hand and capitalist popular and commodity culture on the other.
AB - The Danish architectural magazine Kritisk Revy (1926–1929) occupies an importantposition in Scandinavian avant-garde culture of the interwar period. Edited by a groupof young architects and left-wing intellectuals, the magazine served as an ideologicalplatform for early Scandinavian modernism in architecture and design. As such themagazine may also be regarded as an early stage in the emergence and construction ofthe notion of “Scandinavian Design”. Kritisk Revy’s leading concept of “humane art, artfor society’s sake” was formulated in an on-going dialogue with contemporary currentsand positions in international modernism and the avant-garde such as Le Corbusier,Russian constructivism and the German Bauhaus School. As part of its strategy of promoting a modern ‘democratic’ or ’classless’ culture to replace traditional styles andgenres of bourgeois culture, the magazine embraced a wide range of modern topicsand phenomena – from advertising and shop window design to jazz music, varietytheatre and film. This article analyses how Kritisk Revy’s vision of cultural modernitywas developed as a response to the two apparently opposing phenomena of culturalmodernity, the artistic avant-gardes on the one hand and capitalist popular and commodity culture on the other.
M3 - Book chapter
SN - 978-90-04-36679-4.
T3 - Avant Garde Critical Studies
SP - 860
EP - 878
BT - A Cultural History of the Avant- Garde in the Nordic Countries 1925–1950
A2 - Stounbjerg, Per
A2 - Kollnitz, Andrea
A2 - Hjartarson, Benedikt
A2 - Ørum, Tania
PB - Brill
CY - Leiden/Boston
ER -
ID: 214761868