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The community-breaking project

AVANTGARDE: Mikkel Bolt frames the avant-garde project as distinct from the continuous aesthetic form-breaking of artistic modernism.

Reportedly, the newly released anthology should Avantgarde Manifest have been nearly twenty years in the making. Twenty years is of course a long time for a book, but a relatively short time if, as the book's editor, art historian Mikkel Bolt, one takes the great historical perspective on the avant-garde and its preferred form of expression: the manifesto. In that perspective, one could just as well say that the book has been well over 110 years in the making, from the Italian futurist Filippo Tommaso Marinetti on the cover of the newspaper Le Figaro in February 1909 trumpeted his unreserved love for the new beauty and speed symbol of the mechanical age, the « roaring automobile », which, as you know, slammed« like a machine-gun salvo »when it was driving.

Almost all major Danish newspapers, from Information to the Exchange, have had the book Avantgard manifests for review, and the template can be said to be the same.

With the release of Avantgarde Manifest is the avant-garde for serious itself come up in a series of well-chosen and well-translated manifestos, which allow for an overall impression of the radicality of the societal project in which all the groups in the anthology can be said to have been involved. The anthology has virtually all the classic avant-garde manifestos with: futurism ( both Italian and Russian), Dadaism, Surrealism and, from the post-World War II period, declarations by groups such as COBRA and Situationist International. In addition, most exciting perhaps, quite a bit from the brink of canon: the English drift from futurism called Vorticism, an unmistakable mix of English charlatanism and industrial worship ("The Modern World is almost entirely due to Anglo-Saxon genius"), the various branches by the Russian Komfut movement (communist-futurists), for example, the Left Front of the Arts, which would dissolve "the small" we "of art into the colossal" we "of communism and transform daily life. After the Second World War, it is the litters who first get the word out, a relatively overlooked avant-garde grouping centered on the eccentric, Romanian-born Jew Isidore Isou, who saw himself as the avant-garde redeeming figure, an art messiah.

THE. . .



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Dominique Routhier
Routhier is a regular critic of Ny Tid.

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