Books and edited volumes by Iveta Slavkova
Crisis,7th volume in the series EAM, 2022
Crisis, Berlin, De Gruyter. 7th volume in the series “European Avant-Garde and Modernism Studies”... more Crisis, Berlin, De Gruyter. 7th volume in the series “European Avant-Garde and Modernism Studies”, co-edited David Ayers (University of Kent), Sascha Bru (KU Leuven), Li Lin (University of Antwerpen), Kate Kangashlahti (KU Leuven)
Réparer l'homme – La crise de l'humanisme et l'Homme nouveau des avant-gardes autour de la Grande... more Réparer l'homme – La crise de l'humanisme et l'Homme nouveau des avant-gardes autour de la Grande Guerre (1909-1929), Presses du réel (Dijon)
Review 1 by Catherine Dufour, in Mélusine en ligne, 2020 https://melusine-surrealisme.fr/wp/iveta-slavkova-reparer-lhomme-la-crise-de-lhumanisme-et-lhomme-nouveau-des-avant-gardes-autour-de-la-grande-guerre-1909-1929/
Review 2 by Mariana Pinto dos Santos, « Italian Futurism and the Bauhaus through the lens of humanism », Revista de História da Arte: “Art in the Periphery — hommage to Foteini Vlachou", n°9, 2021 (https://institutodehistoriadaarte.files.wordpress.com/2021/05/rha_w_9.pdf) p. 127- 131.
Review 3 by Abigael van Aelst (KU Leuven), in European Legacy, vol. 27, n° 7-8, 2022.
(https://www.tandfonline.com/doi/full/10.1080/10848770.2022.2029175?scroll=top&needAccess=true&role=tab)
Documentation photographique/La documentations française, 2013
co-édité avec Marianne Cojannot-Leblanc
co-édité avec Jean-Paul Salles et Vincent Chambarlhac
Articles and book chapters by Iveta Slavkova
Theatralia 2022, https://digilib.phil.muni.cz/en/handle/11222.digilib/145144, 2022
Arts, 2022, https://www.mdpi.com/2076-0752/11/2/43, 2022
French artist and poet Camille Bryen (1907–1977) is usually, and always very briefly, cited as a ... more French artist and poet Camille Bryen (1907–1977) is usually, and always very briefly, cited as a member of the post-Second World War (1939–1945) lyrical abstraction trend in Paris, often designated as Ecole de Paris or Nouvelle Ecole de Paris, Tachisme, or Informel. Bryen painted hybrids of plants, animals, rocks, and humans, mixing the organic with the inorganic, evoking cellular agglomerations, geological structures, or prehistorical drawings. He emphasized the materiality and the process through thick impasto, visible brushstrokes, and automatic drawing. Along with other abstract painters in post-war Paris, Bryen’s work is usually associated with vague humanist interpretations and oversimplified existentialism. If the above statement is true for a number of his peers, it does not correspond to the way he envisaged his art, and art in general. His views are reflected in his intense theoretical reflection revolving around the term of “Abhumanism”, too often completely ignored in th...
Revista de História da Arte, 2021, https://institutodehistoriadaarte.files.wordpress.com/2021/05/rha_w_9.pdf, 2021
Gazette Drouot, https://www.gazette-drouot.com/article/camille-bryen-the-forgotten-glory-of-saint-germain-des-pres/28430, 2021
Gazette Drouot,https://www.gazette-drouot.com/en/article/supports%252Fsurfaces%253A-painting-above-all/24675, 2021
Gazette Drouot,https://www.gazette-drouot.com/en/article/wols-between-myth-and-reality/21611 , 2021
Arts, 2020
Circus Wols is a multimedia spectacle conceived by Wols during World War II at the Camp des Mille... more Circus Wols is a multimedia spectacle conceived by Wols during World War II at the Camp des Milles where he was interned between May and October 1940. As a German citizen, the artist was considered an enemy of France and Circus helped him bear the harsh conditions of his imprisonment. Wols envisioned a show of high intellectual and aesthetic value that would employ advanced technology but remain accessible to the masses. As such, it is comparable to a utopian avant-garde total artwork. However, through its assumed incompletion and fragmentation, Circus Wols destabilized the ambitions of the avant-garde and modernism; it even went further, rejecting anthropocentrism. Shortly after his liberation from the camp, Wols began to claim that his art should not be considered a human creation. Prefigured by Circus Wols, the artist’s dismissal of European humanism as a valid social and cultural paradigm only grew after the war. His stance is best understood in relation to the contemporaneous n...
La vie intelectuelle en France XIXe et XXe siècles
La vie intelectuelle en France XIXe et XXe siècles, Paris, éditions du Seuil, éd. Laurent Jeanpie... more La vie intelectuelle en France XIXe et XXe siècles, Paris, éditions du Seuil, éd. Laurent Jeanpierre (vol. 2, 2de édition)
Mémoires en jeu/Memories in stake, 2019
Les Années terribles: La France en guerre, 2018
Histoire Politique, 2017, https://journals.openedition.org/histoirepolitique/9809
Images are so overwhelming in our globalized quotidian life that W. J. T. Mitchell has labeled th... more Images are so overwhelming in our globalized quotidian life that W. J. T. Mitchell has labeled the end of the 20 th century a « pictorial turn ». If no one contests the necessity of spreading the methods of image analysis and making it approachable by everybody, including the young children, there is vigorous disagreement on how we should approach visuals and what images should we study. Those which have crossed the centuries and are considered as masterpieces? Those published in the media, largely diffused and impacting our daily life? Can we, should we put on the same level a commercial and a video artwork? According to what criteria should we study the gaze as well as the social, political, family environment which shapes it? Our paper will try to clarify the recent debates on this question, and namely the criticism addressed at art history, the discipline which has traditionally had the monopoly of image analysis. Emanating from « visual culture » and « visual studies », this critique has allowed rethinking the visual research methodology. We are going to ponder the specificity of the epistemological field related to the visual, the objective of its research without forgetting the potential of fascination held by the images. Les images sont si présentes dans notre quotidien « globalisé » qu'on parle aujourd'hui de « tournant pictorial » (W. J. T. Mitchell). Si personne ne conteste le besoin de proposer des méthodes d'analyse visuelle, accessibles à tous dès le plus jeune âge, les désaccords quant aux façons d'appréhender les images et le corpus à étudier sont vigoureux. Quelles images doit-on étudier ? Celles qui ont passé l'épreuve du temps et qu'on appelle des chefs-d'oeuvre ? Celles des médias qui ont une diffusion très large et nous affectent au quotidien ? Peut-on, doit-on mettre au même niveau un spot publicitaire et une oeuvre d'art vidéo ? Selon quels critères évaluer le regard ainsi que l'environnement social, politique, familial qui forme ce regard ? Cet article tentera d'éclairer les débats récents à ce sujet : les critiques adressées à l'histoire de l'art, une discipline, qui s'est traditionnellement occupée de l'étude des images ; la naissance de la « culture visuelle » et des « études visuelles » qui ont permis de reforger les outils d'analyse. Tout au long, nous réfléchirons sur la spécificité du champ épistémologique concernant le visuel, des usages et objectifs des méthodes, sans oublier le potentiel de fascination des images. http://www.histoire-politique.fr/index.php?numero=33&rub=pistes&item=39
Alexandre Zinoview. Un peintre russe sur le front français (1914-1918), 2017
"1914", 2016, https://books.openedition.org/pupo/15645?lang=fr
“From eternal knight to modern hero. The aviator as the New Man of avant-garde at the outbreak of... more “From eternal knight to modern hero. The aviator as the New Man of avant-garde at the outbreak of the Great War”, in Marine Branland (ed.), 1914: guerre et avant-gardes, Presses universitaires de Paris Ouest, collection « 20/21. Siècles. Cahiers du Centre Pierre Francastel », 2016
Arts drogués, 2013
“La marginalité comme condition de l’art : l’alcoolisme de Wols vu par Sartre”, in Arts drogués. ... more “La marginalité comme condition de l’art : l’alcoolisme de Wols vu par Sartre”, in Arts drogués. Expériences psychotropiques et création artistique, coll. 20/21 siècles, related to the exhibition « Sous influence, arts plastiques et produits psychotropes » (Maison Rouge, Paris), Presses universitaires de Paris-Ouest, 2014
Histoire de l'art, 2012
En 1922, Oskar Schlemmer dessine son logo pour le Bauhaus, résumant dans cette image le changemen... more En 1922, Oskar Schlemmer dessine son logo pour le Bauhaus, résumant dans cette image le changement idéologique du Bauhaus qui abandonne l’expressionnisme pour passer à sa phase constructiviste. Par l’équilibre entre imago et logos, par la signification des deux en tant qu’ensemble, le logo incarne l’idéal de Schlemmer d’un monde immaculé, homogénéisé et parfaitement réglé ainsi que d’un Homme nouveau supérieur et purifié qui en est le maître. Tout en saluant le logo comme un des exemples les plus probants du graphisme moderne, notre article soulignera l’ambiguïté idéologique et politique de l’idéal de Schlemmer et, par extension, de celui du Bauhaus.
Contemporary French and Francophone Studies, 2013
Abstract Camille Bryen is best known as an abstract painter from the post-World World War II “Éco... more Abstract Camille Bryen is best known as an abstract painter from the post-World World War II “École de Paris.” At the end of the 1940s and throughout the 1950s, his works were claimed by the various branches of lyrical abstraction dominating the Parisian artworld. It is less known that Bryen together with playwright Jacques Audiberti invented a new philosophical concept, “abhumanism,” which he himself considered as the most appropriate term for his art. Casting into question the humanistic values, both authors claimed a return to vitalistic materiality against the fallacious spiritual aims underlying humanism: “I want to write like the bull mooes,” Audiberti wrote. The books dealing with abhumanism (the founding Ouvre-boîte. Colloque abhumaniste in 1952 and later L’Abhumanisme) designated painting (and that of Bryen in particular) as the abhumanist activity, because of its intrinsic material and earth-bound anti-spirituality. “Abhumanising” Bryen sets his artistic production in the wake of Dada and Surrealism, to which he was affiliated, who clearly accused the Western humanistic civilization of enacting World War I; it also sets him apart from the restricted lyrical and ahistorical argumentation related to post-World War II Parisian abstraction.
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Books and edited volumes by Iveta Slavkova
Review 1 by Catherine Dufour, in Mélusine en ligne, 2020 https://melusine-surrealisme.fr/wp/iveta-slavkova-reparer-lhomme-la-crise-de-lhumanisme-et-lhomme-nouveau-des-avant-gardes-autour-de-la-grande-guerre-1909-1929/
Review 2 by Mariana Pinto dos Santos, « Italian Futurism and the Bauhaus through the lens of humanism », Revista de História da Arte: “Art in the Periphery — hommage to Foteini Vlachou", n°9, 2021 (https://institutodehistoriadaarte.files.wordpress.com/2021/05/rha_w_9.pdf) p. 127- 131.
Review 3 by Abigael van Aelst (KU Leuven), in European Legacy, vol. 27, n° 7-8, 2022.
(https://www.tandfonline.com/doi/full/10.1080/10848770.2022.2029175?scroll=top&needAccess=true&role=tab)
Articles and book chapters by Iveta Slavkova
Review 1 by Catherine Dufour, in Mélusine en ligne, 2020 https://melusine-surrealisme.fr/wp/iveta-slavkova-reparer-lhomme-la-crise-de-lhumanisme-et-lhomme-nouveau-des-avant-gardes-autour-de-la-grande-guerre-1909-1929/
Review 2 by Mariana Pinto dos Santos, « Italian Futurism and the Bauhaus through the lens of humanism », Revista de História da Arte: “Art in the Periphery — hommage to Foteini Vlachou", n°9, 2021 (https://institutodehistoriadaarte.files.wordpress.com/2021/05/rha_w_9.pdf) p. 127- 131.
Review 3 by Abigael van Aelst (KU Leuven), in European Legacy, vol. 27, n° 7-8, 2022.
(https://www.tandfonline.com/doi/full/10.1080/10848770.2022.2029175?scroll=top&needAccess=true&role=tab)