How Nordic Neue Sachlichkeit, Kulturradikalisme, Transformed Modernism into a Vernacular Avant-Garde
Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
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How Nordic Neue Sachlichkeit, Kulturradikalisme, Transformed Modernism into a Vernacular Avant-Garde. / Fjeldsøe, Michael.
A Cultural History of the Avant-Garde in the Nordic Countries, 1925-1950. ed. / Benedikt Hjartarson; Andrea Kollnitz; Per Stounbjerg; Tania Ørum. Leiden : Brill | Rodopi, 2019. p. 487-498 (Avant-Garde Critical Studies Online, Vol. 2). (Avant-Garde Critical Studies, Vol. 36).Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
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TY - CHAP
T1 - How Nordic Neue Sachlichkeit, Kulturradikalisme, Transformed Modernism into a Vernacular Avant-Garde
AU - Fjeldsøe, Michael
PY - 2019
Y1 - 2019
N2 - If the concept of the avant-garde were to be understood in terms of styles and techniques as the more radical section of modernism, kulturradikalisme would hardly qualify. However, if kulturradikalisme is recognised as a serious challenge to the idea of art as a sacred sphere detached from everyday life, it becomes clear that it continues an earlier avant-garde position: that revolutionary art as such can change society. Artists recognised that avant-garde art did not communicate with society as long as it remained within small circles of artists and connoisseurs. Thus the priorities were reversed but not abandoned: artists should fulfil the task of providing art where it was needed while still producing modern art. How this concept was applied in Danish musical life will be the topic of this essay, using the reception in Denmark of Kurt Weill (1900–1950) as example.
AB - If the concept of the avant-garde were to be understood in terms of styles and techniques as the more radical section of modernism, kulturradikalisme would hardly qualify. However, if kulturradikalisme is recognised as a serious challenge to the idea of art as a sacred sphere detached from everyday life, it becomes clear that it continues an earlier avant-garde position: that revolutionary art as such can change society. Artists recognised that avant-garde art did not communicate with society as long as it remained within small circles of artists and connoisseurs. Thus the priorities were reversed but not abandoned: artists should fulfil the task of providing art where it was needed while still producing modern art. How this concept was applied in Danish musical life will be the topic of this essay, using the reception in Denmark of Kurt Weill (1900–1950) as example.
U2 - 10.1163/9789004388291_028
DO - 10.1163/9789004388291_028
M3 - Book chapter
SN - 9789004366794
T3 - Avant-Garde Critical Studies Online
SP - 487
EP - 498
BT - A Cultural History of the Avant-Garde in the Nordic Countries, 1925-1950
A2 - Hjartarson, Benedikt
A2 - Kollnitz, Andrea
A2 - Stounbjerg, Per
A2 - Ørum, Tania
PB - Brill | Rodopi
CY - Leiden
ER -
ID: 203087844