Cover for Falešný Mariás 

Curator: What a striking cover. Before us is the "Cover for Falešný Mariáš," believed to be created by Jindrich Styrsky, employing a variety of techniques like collage and printmaking. What jumps out at you? Editor: The clashing of textures, the bold geometric blocks wrestling with the representational images—it's unsettling! A disembodied hand holds playing cards, while a coiled snake and spiky urchin-like object sit below. It feels deliberately…abrasive. Curator: Precisely! Styrsky often challenged the prevailing artistic norms of his time. Look at how the red and white grid, almost a deconstructed flag, vies for attention with the organically shaped snake. There's tension in the chosen materials and how they are placed. He and Toyen, the other credited artist, were deeply involved in Czech Surrealism, which sought to break down societal structures and traditional artistic boundaries. Editor: So this cover isn't just an advertisement; it's a statement about… destabilization? Book covers often reinforce narratives; this seems to intentionally fight it! Who was the intended audience for such a piece? Curator: The audience was likely members of the Devětsil group, Czech avant-garde artists pushing for a new proletarian art and a fusion of art and life, so to speak. These artists were politically engaged, so considering their milieu provides an entry point for understanding this strange amalgamation of images. Also, note the author of the book, V. Nezval. Another huge figure in Czech modernism. The making of this cover was far from individual. It involved the fusion of at least 3 powerful personalities and their visions. Editor: The interplay between the mass-produced playing cards and the perhaps uniquely-made, collage elements blurs lines, doesn’t it? Makes one consider accessibility in art consumption and the value placed on certain mediums and techniques. Curator: Exactly. Styrsky and others were questioning high/low art distinctions. These kinds of artistic engagements reflect an interest in daily lives and how everyday materials and art can come together. The use of readily available materials and simple production methods challenge existing value systems within the art world. Editor: So this isn't simply about aesthetics. It’s also about dismantling existing hierarchies related to artistic expression and the ways in which people engage with it in interwar Europe. This work really gets to question preconceived notions. Curator: Absolutely. And this particular piece provides us a glimpse into this interesting intersection of art, literature, and politics of that period. Editor: An intriguing case study! Now, when I encounter similar pieces, I'll certainly be viewing them through this socio-political and material lens.