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Tatlin, El Lisicki in Kosovel
Vrečko, Janez (Author)

URLURL - Presentation file, Visit http://www.dlib.si/details/URN:NBN:SI:DOC-BX39JCQ4 This link opens in a new window

Abstract
Razprava najprej analizira pojem in oznako kons in jo poveže z značilnim sovjetskim krajšanjem besed (loks, vešč), ki so ga prevzeli tudi nekateri evropski avantgardisti (merz, mont). V manifestu Mehanikom Kosovel ne polemizira le z Marinettijevim "mehaničnim človekom", ampak tudi z ideološko opredeljenim Tatlinovim "človekom-strojem", kot so Tatlinovo umetnost napačno razumeli berlinski dadaisti. Kosovel je sledeč Elu Lisickemu v konsih uveljavil praznino, ki se spreminja v plankonveksni in plankonkavni prostor, v črke v prostoru, kjer ni več ne perspektive ne gravitacije. Uporaba inženirskih skic, geometrijskega materiala in prostorske opredeljenosti konsov je vsebino in obliko učinkovito združevala v novo organično celoto, kar potrjuje, da je Kosovel poznal ruski in evropski konstruktivizem.

Language:Slovenian
Keywords:literarna avantgarda, konstruktivizem, človek-stroj, ruska umetnost, slovenska poezija
Work type:Not categorized (r6)
Tipology:1.01 - Original Scientific Article
Organization:FF - Faculty of Arts
Year:2009
Publisher:Slovensko društvo za primerjalno književnost
Number of pages:str. 67-85
Numbering:Letn. 32, št. 1
UDC:82.091"192"
ISSN on article:0351-1189
COBISS.SI-ID:39686242 Link is opened in a new window
Views:372
Downloads:91
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Record is a part of a journal

Title:Primerjalna književnost
Shortened title:Primer. književ.
Publisher:Slovensko društvo za primerjalno književnost
ISSN:0351-1189
COBISS.SI-ID:8744704 This link opens in a new window

Secondary language

Language:English
Title:Tatlin, El Lisicki, and Kosovel
Abstract:
This paper begins by analyzing the concept and term cons and connecting it with the typical Soviet practice of shortening words (loks, veshch´), which was also adopted by some European avantgardists (merz, mont). In his manifesto Mehanikom (To the mechanics), Kosovel takes issue not only with Marinetti's "mechanical human being", but also with Tatlin's ideologically defined "human machine", as Tatlin's art was misunderstood by the Berlin Dadaists. Following El Lisicki's example, kosovel introduces emptiness, which changes into a plano-convex and plano-concave space, in which there is no more perspective and gravitation. The use of engineering sketches, geometric material, and spatial definitions of conses effectively combined the content and form into a new organic unit, which confirms that Kosovel was familiar with Russian and European constructivism.

Keywords:literary avant-garde, constructivism, human machine, Russian art, Slovene poetry

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