Viennese Kinetism 1920-25

"Viennese Kinetism" may reasonably be regarded as Austria`s only (group) contribution to abstract, Futurist, Constructivist currents in art during the interim between the two World Wars-an avant-garde movement that developed from the context of the "Kunstgewerbeschule" (now the Universität für angewandte Kunst-University of Applied Arts). Franz Cizek, a native of Bohemia and a pioneer of a new approach to art education for children, took his students through a crash course in the pre-war "isms"-Expressionism, Cubism and Futurism-as a part of the programme devoted to "theories of ornamental form" after the end of First World War. The "Kinetism" (from the Greek kinetis = movement) that emerged in the process focused on the rhythms of motion and the analysis of sequences of movement. Despite its affinities to French and Czech Cubism, Italian Futurism, Russian Suprematism and Constructivism, Viennese Kinetism deserves consideration as a serious independent mouvement in its own right. It is interesting to note that most of its leading exponents were young women. Erika Giovanna Klien, Marianne (My) Ullmann and Elisabeth Karlinsky were its most noteworthy exponents, as judged by their productivity and quality. Works of striking quality were realized especially during the years 1923-25: constructive-abstract compositions of progressively greater rigour and intensity that stand in vivid contrast to earlier expressive-emotional works. While Kinetism did not attract broad public attention in Vienna, it did earn international recognition during the 1920s-yet always within the framework of Cizek`s educational reform programme. In Austria, Cizek himself experienced a typically "Austrian" fate: His colleagues at the "Kunstgewerbeschule" rejected him as an "un- Viennese" Modernist. Having made little impact outside the school context, Kinetism was completely forgotten for decades as an innovative contribution to the art of the years between wars. The goal of this one-year research project is to heighten public awareness of Viennese Kinetism as an independent, avant-garde movement in Austria during the 1920s. Key aspects of the project include an assessment from a feminist perspective and an investigation of links between Viennese Kinetism and international avant-garde phenomena.

"Viennese Kinetism" may reasonably be regarded as Austria`s only (group) contribution to abstract, Futurist, Constructivist currents in art during the interim between the two World Wars-an avant-garde movement that developed from the context of the "Kunstgewerbeschule" (now the Universität für angewandte Kunst-University of Applied Arts). Franz Cizek, a native of Bohemia and a pioneer of a new approach to art education for children, took his students through a crash course in the pre-war "isms"-Expressionism, Cubism and Futurism-as a part of the programme devoted to "theories of ornamental form" after the end of First World War. The "Kinetism" (from the Greek kinetis = movement) that emerged in the process focused on the rhythms of motion and the analysis of sequences of movement. Despite its affinities to French and Czech Cubism, Italian Futurism, Russian Suprematism and Constructivism, Viennese Kinetism deserves consideration as a serious independent mouvement in its own right. It is interesting to note that most of its leading exponents were young women. Erika Giovanna Klien, Marianne (My) Ullmann and Elisabeth Karlinsky were its most noteworthy exponents, as judged by their productivity and quality. Works of striking quality were realized especially during the years 1923-25: constructive-abstract compositions of progressively greater rigour and intensity that stand in vivid contrast to earlier expressive-emotional works. While Kinetism did not attract broad public attention in Vienna, it did earn international recognition during the 1920s-yet always within the framework of Cizek`s educational reform programme. In Austria, Cizek himself experienced a typically "Austrian" fate: His colleagues at the "Kunstgewerbeschule" rejected him as an "un- Viennese" Modernist. Having made little impact outside the school context, Kinetism was completely forgotten for decades as an innovative contribution to the art of the years between wars. The goal of this one-year research project is to heighten public awareness of Viennese Kinetism as an independent, avant-garde movement in Austria during the 1920s. Key aspects of the project include an assessment from a feminist perspective and an investigation of links between Viennese Kinetism and international avant-garde phenomena.