The story of KatarzynaKobro (–) and Władysław Strzemiński (–), two of the most prominent artists of the Polish avant-garde, embraces many central aspects of early modernism and abstraction. This is reflected in the exhibitionNewArt inTurbulent Time at Moderna Museet in Malmö. The “turbulent time” the exhibition title refers to contain the complex issue of national identity, visible in the biographical story of the two artists, presented in a wall text at the exhibition entrance. A summary of both this and central concepts were also presented in the free booklet. Both artists were born in Russia: Strzemiński to Polish parents in Minsk in Belarus, Kobro to a German/ Latvian father and a Russian mother in Moscow. During the First World War, Strzemiński served in the Russian Sapper Army until he got heavily wounded in , eventually leading to him losing an arm and a leg. He moved to Moscow, where he met Kobro when studying art at the Free State Art Workshops (SVOMAS). They became a pair and moved to Smolensk where they ran the local branch of UNOVIS (“advocates for the new art”). In the shift – they fled the USSR’s increasingly hardened cultural climate that among other things, led to the closing of UNOVIS for Vilnius, which then was a part of the recently resurrected nation state of Poland. Being born to Polish parents, Strzemiński could claim citizenship. Kobro, on the other hand, had to enter as an illegal refugee and was compelled to move to Riga while waiting for the marriage to become valid in Poland, only to become, in time, a central part of the Polish avant-garde. When following how the story of Kobro and Strzemiński unfolds in the exhibition and catalogue, one is also struck of how emblematic it is of the early avant-garde. First, the struggling artists had to fight for recognition of their new art through self-organized exhibitions. In this case, we find the New Art Exhibition in Vilnius in , organized by Strzemiński with other Polish and Lithuanian artists. When moving to Warsaw, Strzemiński and Kobro formed the art group Blok, which had their first exhibition in an automobile showroom. Second, the internal turmoil that followed led the artists to regroup in other constellations, and third, the artists formed a theoretical position of their own, including a new concept: Unism. First discussed by Strzemiński in relationship to painting in the small book Unism in Painting, published by Praesens, the second group the two artists belonged to. Unism was later developed in the essay “Composing space: calculating space-time

中文翻译：

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Kobro＆Strzemiński：动荡时期的新艺术

波兰前卫艺术最杰出的两位艺术家KatarzynaKobro（–）和WładysławStrzemiński（–）的故事涵盖了早期现代主义的许多核心方面和抽象。这反映在马尔默的摩登那博物馆的“动荡时代的新艺术”展览中。展览标题中的“动荡的时刻”指的是包含民族身份的复杂问题，这在两位艺术家的传记故事中可见，并在展览入口处的墙上显示。免费手册还提供了有关此概念和主要概念的摘要。两位艺术家都出生于俄罗斯：斯特热米斯基（Strzemiński）来自白俄罗斯明斯克的波兰父母，科布罗（Kobro）来自莫斯科的德国/拉脱维亚父亲和俄罗斯母亲。第一次世界大战期间，Strzemiński在俄罗斯S蛇军中服役，直到他在中受重伤，最终导致他失去了一条胳膊和一条腿。他移居莫斯科，在那里他在自由州艺术工作室（SVOMAS）学习艺术时遇到了科布罗。他们成为一对，并搬到了斯摩棱斯克，在那里他们经营UNOVIS的当地分支机构（“倡导新艺术”）。在–转变中，他们逃离了苏联日渐加深的文化氛围，这尤其导致关闭了维尔纽斯的UNOVIS，当时维尔纽斯是最近复活的波兰国家之一。Strzemiński由波兰父母生，可以申请公民身份。另一方面，科布罗则必须以非法难民身份进入，并被迫搬到里加，等待婚姻在波兰生效，但后来却成为波兰前卫的中心部分。当追随科布罗和斯特雷森斯基的故事在展览和目录中的展现方式时，人们还对它的前卫性标志性印象深刻。首先，挣扎的艺术家必须通过自组织展览来争取对新艺术的认可。在这种情况下，我们会发现Strzemiński与其他波兰和立陶宛艺术家在维尔纽斯举办的新艺术展。Strzemiński和Kobro移居华沙后，成立了Blok艺术团体，该团体在汽车陈列室举行了首次展览。第二，随之而来的内部动荡导致艺术家们重新组合到其他星座中；第三，艺术家形成了自己的理论立场，包括一个新概念：统一主义。首先由Strzemiński在Praesens出版的小书《绘画中的统一论》中讨论了与绘画的关系，两位艺术家所属的第二组。一元论后来在论文《合成空间：计算时空》中得到发展。