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Cold War Modern: Art Design in a Divided World 1945 70. Closed International Research Symposium, University of Brighton at the Victoria Albert Museum, 4 5 January, 2007

This closed invitational research seminar, planned by the University of Brighton in collaboration with the Victoria Albert Museum, represented an interim stage of the Cold War Modern exhibition planning process, bringing together a range of international researchers with a particular interest in World's Fairs and Exhibitions in the post Second World War period. The two day symposium was chaired by Professor Jonathan Woodham (University of Brighton), Jane Pavitt (University Brighton Research Fellow at the V David Crowley (Royal College of Art) and Professor Bruce Brown (University of Brighton).

The event was organised in order to test out the ideas and rationale for the for the exhibition as conceived by its curator Jane Pavitt (University of Brighton Research Fellow at the V and consultant curator David Crowley (Royal College of Art). This was presented at the outset of the event and is summarised below:

The Cold War Modern: Art Design in a Divided World Exhibition: Overview

This exhibition will bring together remarkable works of art and design from across the world Testosterone Enanthate Vs Trenbolone Acetate to explore the major themes of the period. It will be the first show to examine late modernism in a wide international context, uniting painting and sculpture with architecture, design, film, fashion and other popular media. It will feature major public art commissions (such as the Monument to the Unknown Political Prisoner), key international exhibitions (including Brussels Expo Montreal Expo and Osaka Expo and the designed objects of everyday life (kitchens and household furnishings, cars and clothing). It will include film (both avant garde and mainstream, such as the James Bond films) and photography (as documentary witness and as works of art). It will place the works of internationally renowned artists and designers (Pablo Picasso, Mies van der Rohe, Charles Eames) along side the marginalised or forgotten figures of the Cold War era. This exhibition will, for instance, introduce the public to the exceptional glass Winstrol Tablets Price art of Czechoslovakia, Polish and Hungarian textile art, Yugoslav modern architecture and fashion, and Soviet non conformist art.

It is anticipated that the exhibition will address the broad ranging geography of the Cold War, 4-chlorodehydromethyltestosteron incorporating Europe, America and the Far and Near East. The inclusion of China and Japan, for example, would significantly add to any assessment of the visual arts of the period. We might, should suitable exhibits be found, also explore ways in which the themes explored in the exhibition affected or were affected by the particular experiences of nations such as Greece, Egypt and Israel in the period.

Proposed exhibition sections and themes

Section One: Anxiety and Hope in the Aftermath of War

Exhibition sections and themes

The exhibition will explore the period 1945 1970 thematically, whilst maintaining a broad chronology to guide the visitor through this complex and eventful epoch. At this early stage, we fully expect the themes and structure of the exhibition to change. However, for the purposes of discussion we propose the following structure, based upon three broad sections:

Section One: Anxiety and Hope in the Aftermath of War

This section will explore the shift from total war to cold war and its consequences for art, design and architecture. Reconstruction promised opportunities not only to realise the urban and artistic visions of inter war period but also for social renewal and even moral rehabilitation. However, hopes for the post war era often expressed as a faith 4-chlorodehydromethyltestosteron in progress, social justice and the promise of modern technology were shadowed by anxiety, whether in broadly existentialist terms about the human condition, or more explicitly ideological terms about the menace of communism or capitalism.

Themes which might be addressed in this section include:

Memorialising Conflict: Conflicts over Memorials. This period was characterised by searches for new ways of memorialising, breaking with the conventions of public sculpture (and often distancing the idea of the monument from its socialist realist counterpart). The holocaust was the subject of some remarkable abstract conceptions in the 1940s and 1950s. And whilst The International Competition for a Monument to the Unknown Political Prisoner, organised by the ICA, London, 1953, remained unbuilt, it sparked a hugely controversial debate about the form and nature of modern public art with political undertones.

Existential anxieties. The uncertainties of the peace and the trauma of conflict had a clear impact on artists who addressed in their works of the 1940s and 1950s. Whilst these preoccupations have been subject to sophisticated analysis in the field of painting, they can also be traced through the applied arts and architecture (not least in the symbolic, defensive forms of influential buildings like Corbusier's 1947 Unit d'habitation in Marseilles).

The Legacy of the Modern Movement. Claims to the legacy of the interwar avant garde were often politicised in the post war period. Pre war biographies were rewritten to conform to Cold War realities and the interests of institutions like MOMA. The legacy of the Bauhaus was, for instance, the subject of strong Comprar Levitra debate in Europe and America, with the founding of the Ulm Hochschule fr Winstrol 3 Ampollas Gestaltung in 1950 and the relocation of many former Bauhaus staff and students to the US. At the same time, prominent figures from the avant garde in Eastern Europe were being persecuted by the new communist regimes, sometimes producing remarkable and poignant art despite the harsh circumstances in which they worked.