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In: Architectures of Poetry
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Abstract

This paper explores one of the key temporal logics of the avantgarde over its century-plus history, its paradoxical conjunctions of newness and repetition, radical origination and revival, prematurity and aging. I will focus in particular on intentional reiterations of classical avantgarde works that utilize the retrospective perspective on avant-garde »futures past« to explore the temporal conditions of the avantgarde’s historical emergence and continuation, whether as a field of possibilities for new artistic invention or as an object of critical historical analysis and study. Such pairings of an original avantgarde work conceived as an unprecedented new instance of art, an anticipatory singular example or »paleotype,« with a reiterated later instance conceived as a renewing variation, a »neotype,« or an entropic repetition, a »tardotype,« reveal figurative logics of anticipation, reanimation, fulfillment, and decay that are, I would argue, constitutive of the avantgarde, but which only become legible with the passage of time and the elongation/dissemination of its moment of origination. In turn, these pairings underscore the disruptive and reconstructive possibilities of avantgarde temporal distensions and repetitions, highlighting the constructivistic, nominalistic logics of time fundamental to the artistic orientations of the avantgarde. Drawing theoretical inspiration especially from Walter Benjamin’s montage of discontinuous historical materials carrying »temporal indices« and their re/animation in a moment of shock, as well as Theodor W. Adorno’s consideration of the »aging« of the avantgarde, I will briefly survey a set of example pairs, including The Rite of Spring and Katarzyna Kozyra’s video animated restaging with elderly bodies, Samuel Beckett’s Quad and his own Quad II, Vladimir Tatlin’s project Monument to the Third International and Dan Flavin’s 39 versions of his neon Monument to V. Tatlin, and Kazimir Malevich’s Supre matist Composition: Airplane Flying and Ian Hamilton Finlay’s Homage to Malevich.

In: The European Avant-Garde – A Hundred Years Later
In: Controversy and Construction in Contemporary Aesthetics
Hungarian Essays on Literature, Art, and Democratic Transition, 1945-1948
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When the Hungarian Marxist philosopher and literary critic György Lukács returned to Hungary from Moscow after World War II, he engaged in a highly active phase of writing and speaking about the democratic culture needed to exorcise the remnants of fascism and to create the conditions for the advance of socialism in Central Europe. His essays of the period, including the influential volume Literature and Democracy, appear here for the first time in English translation. Engaged with questions of realist and modernist world-views in art, the relations of literary history to politics and social history, and the role of cultural intellectuals in public life, these essays offer a new look at one of the most influential Marxist thinkers of the twentieth century.
In: The Culture of People's Democracy
In: The Culture of People's Democracy
In: The Culture of People's Democracy
In: The Culture of People's Democracy
In: The Culture of People's Democracy
Writings on Aesthetics and Visual Culture from the Avantgarde to Postsocialism
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This volume presents a selection of aesthetic and art theoretical writings by the internationally renowned philosopher Aleš Erjavec from the 1990s to the present. Erjavec was an active participant in the artistic revolt in Slovenia throughout the 1980 and became one of the most notable international theorists of late- and post-socialist developments in art. His work also extended to new, emergent forms of contemporary art and visual culture in global art and culture networks. The diverse contexts and artists with which he has engaged gives him a unique critical perspective on major debates in philosophical aesthetics and art theory.