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This article opens with a discussion of contemporary avant-garde art, which according to many critics distinguishes itself by a turn to history, that is by a (seemingly paradoxical) backward-looking stance. Relativizing the ‘newness’ of this turn to history and the past in early twenty-first-century avant-garde art, the article then unearths the early twentieth-century avant-garde’s often neglected fascination with cultures that historically predate that of Europe. Zooming in on the historical avant-garde’s widespread interest in ancient Egypt in particular, the article highlights the “anarcheological impulse” that may well characterize the treatment of the (long-gone) past in all avant-garde exploits, be they early twentieth or twenty-first-century.
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Abstract
This article homes in on monuments designed by proponents of the historical or classic avant-gardes. After the First World War, monuments by, among others, Kurt Schwitters and Johannes Baader, Walter Gropius and Mies van der Rohe, Vladimir Tatlin and El Lissitzky, Man Ray and Salvador Dalí, began to articulate a new function for the genre of the monument: no longer was it to commemorate the past, but to memorialize the present and time to come. This new architecture of memory also led to an expansion of the genre, which in the hands of avant-gardists further came to include temporary pavilions. Paying attention to theoretical writings on the monument, among others, by László Moholy-Nagy, Siegfried Giedion and Robert Smithson, the article concludes by referencing more recent experimentation in monument design by artists such as Flavin, Oldenburg and Hirschhorn, arguing that a comprehensive history of the avant-garde monument is long overdue.
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Abstract
Wherein resides the revolutionary nature of the avant-gardes of the past century? What features are shared by all the emanations of the avant-garde, whether they be historical, neo-, retro-, post-, ….? And can we isolate practices in contemporary art that bring the avant-garde’s criticality and revolutionary fervor to bear on our own times? This chapter charts three very influential and partially overlapping discourses about an ‘avant-garde tradition’ that have been developed by theorists, philosophers and critics in the forgoing century. These three traditions, which I call the ontological, critical and anachronic tradition, have each in their own way tried to define the revolutionary character of the avant-garde. Yet it is only by bringing these three traditions dialectically together, I argue, that we may also come to understand the socially revolutionary nature of the avant-garde, past or present.
Abstract
In comparing Surrealist cinema and literature with that of magical realism, one cannot escape the impression that in magical realism some of the Surrealist magic is lost. In an attempt to explain this loss, this chapter compares the ways in which the two movements interpret reality by means of images.
In:
Avant-Garde Film
Abstract
In comparing Surrealist cinema and literature with that of magical realism, one cannot escape the impression that in magical realism some of the Surrealist magic is lost. In an attempt to explain this loss, this chapter compares the ways in which the two movements interpret reality by means of images.
In:
Avant-Garde Film
In 1906, for the first time in his life, F.T. Marinetti connected the term ‘avant-garde’ with the idea of the future, thus paving the way for what is now commonly called the ‘modernist’ or ‘historical avant-garde’. Since 1906 the ties between the early twentieth-century European aesthetic vanguard and politics have been a matter of debate. With a century gone by, The Invention of Politics in the European Avant-Garde takes stock of this debate. Opening with a critical introduction to the vast research archive on the subject, this book proposes to view the avant-garde as a political force in its own right that may have produced solutions to problems irresolvable within its democratic political constellation. In a series of essays that combine close readings of texts and plastic works with a thorough knowledge of their political context, the book looks at avant-garde works as media producing political thought and experience. Covering the canonised avant-garde movements of Futurism, Expressionism, Dadaism and Surrealism, but also focussing on the avant-garde in Europe’s geographical outskirts, this book will appeal to all those interested in the modernist avant-garde.
In 1906, for the first time in his life, F.T. Marinetti connected the term ‘avant-garde’ with the idea of the future, thus paving the way for what is now commonly called the ‘modernist’ or ‘historical avant-garde’. Since 1906 the ties between the early twentieth-century European aesthetic vanguard and politics have been a matter of debate. With a century gone by, The Invention of Politics in the European Avant-Garde takes stock of this debate. Opening with a critical introduction to the vast research archive on the subject, this book proposes to view the avant-garde as a political force in its own right that may have produced solutions to problems irresolvable within its democratic political constellation. In a series of essays that combine close readings of texts and plastic works with a thorough knowledge of their political context, the book looks at avant-garde works as media producing political thought and experience. Covering the canonised avant-garde movements of Futurism, Expressionism, Dadaism and Surrealism, but also focussing on the avant-garde in Europe’s geographical outskirts, this book will appeal to all those interested in the modernist avant-garde.