In the 21st century, M. Habaj,[6] K. Csiba,[7]P. Kerecman,[8] D. Hajko, J. Lysý, J. Leikert, L. Perný, M. Krno, M. Gešper, E. Chmelár,[9] J. Migašová,[10] J. Baer[11] and others devoted their texts to the reflection of DAV.
In 1992, the last collection of Ladislav Novomeský's texts from 1960s entitled "Repayment of the Great Debt" was published in the V. Clementis Foundation.[12] In 2015, L. Perný organized a conference for the 110th anniversary of the birth of Ladislav Novomeský in Bratislava.[13] In 2002,[14] 2012[15] and 2022, three conferences about Vladimir Clementis were organized in Bratislava. In 2022, Matica slovenská and ASA Institute organized a conference for Vladimír Clementis (the 120th anniversary) and Vladimír Mináč (the 120th anniversary)[16] and in 2023 for Daniel Okáli (the 120th anniversary).[17]
Aesthetic aspects
According to Lukáš Perný, the author of the cover of the DAV revue was Mikuláš Galanda (with the alias La Ganda), who, together with Ľ. Fulla created the artistic identity of the DAV revue. They collaborated with DAV members through books, posters, and bulletins; for example, Fulla illustrated a book by Ján Rob Poničan before the formation of the DAV and Galanda created drawings for Novomeský’s debut poetry book. The Revue also contains the first Slovak attempt at modernisttypography, the equivalent of which can be found in the Czech avant-garde (Host, Pásmo).
According to Lukáš Perný, when discussing the aesthetic component (visual dimension of the DAV revue design), the international context that connects it must not be overlooked:
1. The influence between Prague and Slovakia-Bratislava; with Hungary (texts of avant-garde theorist and poetLajos Kassák published in DAV) (The DAV was part of the manifestations of Slovak modernism, which was closely connected with Prague),
3. with Russian avantgarde (Okali’s appeal to Mayakovsky in the DAV 1924; mentions of Mejerchold, Mayakovsky, Erenburg in DAV 1925/1),4. with German avantgarde (especially art of the New Objectivity – aesthetics of experience with urban culture in the form of satirical and social-critical images based on aestheticization of visuality of –bourgeois entertainment, nightlife, social periphery and poverty, prostitution, murders, political criticism (paintings by Otto Dix, Georg Grosz – published in DAV revue).
According to Lukáš Perný, D. Okáli’s text – with the motto “Not an artistic program! An artistic act!”–represents a pamphlet article of the DAV on social-revolutionary art. Ideologically, (D. Okáli) finds the function of art and culture in the revolutionary rebirth of society, a radical split with tradition (criticism of bourgeois ideology, clericalism, capitalism, and individualism), referring to Trotsky (art as a means of changing the economic establishment and helping to achieve political power).[18]
Collectivism of DAV — according to J. Migašová — is based on reflections on collective art by Lajos Kassák, and also under the influence of Jiří Wolker, Karel Teige (Teige redefined the concept of folk art) and early Devětstil.[19]
Conference on the 120th anniversary of Vladimír Clementis and the 100th anniversary of Vladimír Mináč (ASA, Nové Slovo, Slovak Matica, SZPB), October 2022
Migašová, Jana. Čaro neučeného. Preferencia naivného, primitivistické tendencie a slovenské výtvarné umenie v období 1918 –1972: príspevok k slovenskej výtvarnej moderne. Prešov: Prešovská univerzita v Prešove, 2021
Baer, Josette: “Spirits that I’ve Cited ...?” Vladimír Clementis (1902–1952). The Political Biography of a Czechoslovak Communist. Columbia University Press, 2017
Holásek, Peter, Baňacká, Mira: Vladimír Clementis 1902-1952: zborník príspevkov z konferencie 28. 5. 2002 v Bratislave. Bratislava: Ministerstvo zahraničných vecí, 2002.
Perný, Lukáš: Introduction to the Aesthetic Aspects of the Slovak Left-Wing Revue DAV. In: GNOSI: An Interdisciplinary Journal of Human Theory and Praxis, 5(2), 183-190, 2002. Retrieved from https://www.gnosijournal.com/index.php/gnosi/article/view/198
Migašová, Jana. Čaro neučeného. Preferencia naivného, primitivistické tendencie a slovenské výtvarné umenie v období 1918 –1972: príspevok k slovenskej výtvarnej moderne. Prešov: Prešovská univerzita v Prešove, 2021
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