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437 pages

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The concept of the avant garde is highly contested, whether one consigns it to history or claims it for present-day or future uses. The first volume of The Idea of the Avant Garde – And What It Means Today provided a lively forum on the kinds of radical art theory and partisan practices that are possible in today’s world of global art markets and creative industry entrepreneurialism. This second volume presents the work of another 50 artists and writers, exploring the diverse ways that avant-gardism develops reflexive and experimental combinations of aesthetic and political praxis. The manifest strategies, temporalities, and genealogies of avant-garde art and politics are expressed through an international, intergenerational, and interdisciplinary convocation of ideas that covers the fields of film, video, architecture, visual art, art activism, literature, poetry, theatre, performance, intermedia and music.

Marc James Léger The Idea of the Avant Garde

Martha Rosler Take the Money and Run: Can Political and Socio-Critical Art ‘Survive’?

Sven Lütticken Permanent Cultural Revolution

David Cunningham Elementary

David Thomas We Know What We’re Doing

Massimo Ricci Just Another Establishment Ultra-red Ways of Listening: Socially-Practiced Art and Solidarity

Pauline Oliveros Quantum Avant Garde

John Tilbury 18 Questions

Richard Barbrook Ludic Training for the Situationist Revolution

Gabriel Rockhill The Theoretical Destiny of the Avant Garde

Machete Group What Does the Avant Garde Mean Today?

Mark Hutchinson For the Avant Garde: Notes on Art, Capitalism and Revolution

Chika Okeke-Agulu The Spectral Avant Garde

Gavin Grindon Disobedient Objects

Marcelo Expósito Festive Disorder, Subjective Mutation and Revolutionary Becoming

McKenzie Wark #Marx21c

Sylvère Lotringer After the Avant Garde

Patricia Ybarra ‘The Whole Thing Is Over by Nine O’Clock’: The Rude Mechs’s Adaptation of Greil Marcus’ Lipstick Traces

Kelly Copper On the Perverse Pleasures of Indifference

Morgan von Prelle Pecelli Seeing What’s Really There: A Talk with Richard Foreman

Robert Wilson Construction in Time and Space

Carrie Noland Experimental Living: Westbeth Artists Housing, Merce Cunningham, and Me

Lucien Kroll Revolutionary Homeopathic Engineering and Empathetic Architecture

Hans Ulrich Obrist A Conversation with Raoul Vaneigem

V. Mitch McEwen and Dawn Lundy Martin On the House Opera | Opera House in Detroit

Lina Stergiou Praxis: The Everyday NOT as Usual

Eda Čufer Feelings and Territories: Makrolab’s Avant-Garde Inquiries

MAP Office (Gutierrez + Portefaix) Urban Spectacle in Post (Socialist) China and Other Illuminations

Oliver Ressler Socialism Failed, Capitalism Is Bankrupt. What Comes Next?

Condé + Beveridge Cultural Relations

Edith Brunette (with François Lemieux) The Imaginary Exit of Disengagement

Freee The New Freee Manifesto

Zoe Beloff The Advanced Guard and the Rearview Mirror

Reverend Billy and The Church of Stop Shopping The Teachable Life-or-Death of Ferguson

Dread Scott Revolutionary Archive

Marc James Léger Austerity and Impunity, and a Few Words with Theodore A. Harris

Matthew Shipp Language Out of the Abyss

Carla Harryman DISK

Niall McDevitt Contra Avant-Garde or Why Poets Should Reclaim the Avant Garde from the Academics

Joshua Clover The Genealogical Avant Garde

Marijeta Bozovic Poetry on the Front Line: Kirill Medvedev and a New Russian Poetic Avant Garde

Jessica Zychowicz FE/M/EN and the Avant Garde: Locating the Text

Marc James Léger A Punk Prayer to the Lack of Reality

Benjamin Noys Epic Fails: Scale, Commodity, Totality

Fabio Vighi Capture and Symptom in Leos Carax’s Holy Motors

Philippe Theophanidis Godard Avant-Gaze

Jean-Marie Straub The Bach Film

Alfredo Jaar The Marx Lounge

David Walsh To Create a Genuine Artistic ‘Avant Garde’ Means Confronting Critical Historical Issues

Bruno Bosteels Three Paradoxes of Communist Art

Sujets

Arts visuels

Raoul Vaneigem

ART

Music

Henri Lefebvre

Leos Carax

Avant-garde

Cultural Studies

General

Politics

Cultural Revolution

General officer

History of art

Vanguardismo

Performing Arts

Informations

Publié par	Intellect Books
Date de parution	15 octobre 2019
Nombre de lectures	1
EAN13	9781789380903
Langue	English
Poids de l'ouvrage	524 Mo

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The Idea of the Avant Garde 2
Te concept of the avant garde is highly contested, whether one consigns it to
history or claims it for present-day and future uses. Te frst volume of Te Idea of
the Avant Garde – And What It Means Today provided an unprecedented forum on THE IDEAthe kinds of radical art theory and partisan practices that are possible in today’s
world of global art markets and creative industry entrepreneurialism. Tis second
volume presents the work of 50 artists and writers who explore the diverse
ways that today’s avant-gardism renews the project of aesthetic and political
praxis. Te manifest strategies, temporalities and genealogies of avant-gardism OF THE
are expressed through an international, inter-generational and interdisciplinary
convocation of ideas that covers the felds of flm, video, architecture, visual art,
art activism, literature, poetry, theatre, performance, music and intermedia. AVANT GARDEMarc James Léger is an Independent Scholar living in Montreal. He is the author
of Drive in Cinema, Don’t Network and Vanguardia.
AND WHAT IT MEANS TODAY 2
“More than one hundred years after the eruption of Dada and ffty years after its
loudly proclaimed death, the spectre of the avant garde returns in renewed and EDITED BY MARC JAMES LÉGER
vibrant forms. Tis excellent collection gives an overview of just how and why
an experimental artistic politics is important.”
Stevphen Shukaitis, author of Te Composition of Movements to Come:
Aesthetics and Cultural Labor After the Avant-Garde
“One hundred years after the October Revolution, why does art continue to be
meaningful in terms of ideological disruption, that is, in avant-garde terms?
If you are looking to understand this question, Te Idea of the Avant Garde –
And What It Means Today is the place to start. Navigating the decade marked by
the fnancial apocalypse of 2008, this forum introduces the twenty-frst century
anti-capitalist zeitgeist in no uncertain terms: art reserves the right to not let us
lose sight of what is wrong, who is responsible and what it means to take sides.”
Angela Dimitrakaki, author of Gender, ArtWork and the Global Imperative:
A Materialist Feminist Critique
Cover design: Karine Savard
CARLA HARRYMAN EDA ČUFER SVEN LÜTTICKEN OLIVER RESSLER PAULINE OLIVEROS JOHN TILBURY LUCIEN KROLL RICHARD BARBROOK ISBN 978-1-78938-088-0
CONDÉ + BEVERIDGE ALFREDO JAAR FREEE KELLY COPPER GAVIN GRINDON DAVID CUNNINGHAM EDITH BRUNETTE (WITH FRANÇOIS LEMIEUX)
MASSIMO RICCI MARCELO EXPÓSITO MACHETE GROUP DAVID WALSH MITCH MCEWEN DAWN LUNDY MARTIN MATTHEW SHIPP ROBERT
WILSON MORGAN VON PRELLE PECELLI RICHARD FOREMAN THEODORE A. HARRIS SYLVÈRE LOTRINGER BRUNO BOSTEELS JESSICA ZYCHOWICZ
REVEREND BILLY BENJAMIN NOYS GABRIEL ROCKHILL MARTHA ROSLER PHILIPPE THEOPHANIDIS DREAD SCOTT NIALL MCDEVITT PATRICIA YBARRA 9 781789 380880
LINA STERGIOU MARK HUTCHINSON CHIKA OKEKE-AGULU HANS ULRICH OBRIST RAOUL VANEIGEM DAVID THOMAS MCKENZIE WARK
intellect | www.intellectbooks.com JOSHUA CLOVER MARIJETA BOZOVIC ZOE BELOFF MAP OFFICE CARRIE NOLAND JEAN-MARIE STRAUB MARC JAMES LÉGER FABIO VIGHI ULTRA-RED01 The Idea of the.indd 6 10/23/19 11:57 AMThe Idea of the
Avant Garde
And What It Means Today, Volume 2
Edited by Marc James Léger
01 The Idea of the.indd 1 10/23/19 11:57 AMFirst published in the UK in 2019 by
Intellect, Te Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2019 by
Intellect, Te University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2019 Intellect Ltd
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by
any means, electronic, mechanical, photocopying, recording, or
otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Karine Savard
Back cover designer: Aleksandra Szumlas
Production editor: Jelena Stanovnik
Copy editor: Ellen Dunkerton
Typesetting: Contentra Technologies
Print ISBN: 978-1-78938-088-0
ePDF ISBN: 978-1-78938-090-3
ePub ISBN: 978-1-78938-089-7
Printed and bound by Severn Print, Gloucester, UK.
While copyright in the volume as a whole is vested in Intellect, copyright in individual
chapters belongs to their respective authors and no chapter may be reproduced wholly
or in part without the express permission in writing of both author and publisher.
Volume 2 of the Te Idea of the Avant Garde – And What It Means Today
was co-published with NeMe, a non-proft NGO arts platform based
in Limassol, Cyprus. NeMe thanks the Cyprus Ministry of Education
and Culture for their kind support.
01 The Idea of the.indd 2 10/23/19 11:57 AMTis book is dedicated to Vito Acconci, Chantal Akerman, John Ashbery, Robert
Ashley, Pierre Boulez, Glenn Branca, Trisha Brown, Věra Chytilová, Ornette
Coleman, Tony Conrad, Harun Farocki, Mark Fisher, Eduardo Galeano, William
Greaves, Charlie Haden, Abbas Kiarostami, Nathan Lyons, Judith Malina,
Jonas Mekas, Pauline Oliveros, Jacques Rivette, Mark E. Smith,
Cecil Taylor, David Tomas and Agnès Varda.
01 The Idea of the.indd 3 10/23/19 11:57 AM• “Te very term ‘avant-garde’ was frst used fguratively to designate radical or advanced activity in
both the artistic and social realms. It was in this sense that it was frst employed by the French Utopian
socialist Henri de Saint-Simon, in the third decade of the nineteenth century.” – Linda Nochlin • “One
commentator, not known for his sympathy to the Revolution, has recently written: ‘With the tolerant and
sophisticated Anatole Lunacharsky in charge of cultural afairs and with a high proportion of Bolshevik
leaders (Lenin, Trotsky and Bukharin) being intellectuals […] it was taken for granted that the creative
process was not amenable to crude administrative control’.” – Tariq Ali citing Max Hayward • “Perhaps
there is no such thing as an avant-garde, only a few uncorrupted sensibilities who cling together in times
of rampant militarism or commercialism to challenge their elders.” – Cyril Connolly • “Te avant-garde
groups of today conduct their antilinguistic action from a base that is no longer literary but linguistic:
they don’t use the subversive instruments of literature in order to throw language into confusion and
demystify it, but they set themselves at a linguistic zero point in order to reduce language—and thus
values—to zero.” – Pier Paolo Pasolini • “We have then to recall that the politics of the avant-garde,
from the beginning, could go either way. Te new art could fnd its place either in a new social order or
in a culturally transformed but otherwise persistent and recuperated old order.” – Raymond Williams
• “Mere noise permits no articulated interactions. Short cuts, of the kind that concept art peddles, are
based on the banal and false conclusion that the development of the productive forces renders all work
superfuous. With the same justifcation, one could leave a computer to its own devices on the assump -
tion that a random generator will organize material production by itself.” – Hans Magnus Enzensberger
• “I met John Cage towards the end of the 1950s, through Stefan Wolpe. What Cage gave me was conf -
dence, that the direction I was going in was not crazy. It was accepted in the world called ‘the avant-garde.’
What I was doing was an acceptable form. Tat was an eye-opener for me. Pre-Cage composers such as
Henry Cowell, Stefan Wolpe and Edgar Varèse should be remembered for their brilliance and courage,
too. Tey were in pain already because it seemed that they were rapidly forgotten once Cage came out.”
– Yoko Ono • “Te Clash have taken Beefeart’s aesthetic of scorched vocals, guitar discords, melody
reversals, and rhythmic confict and made the whole seem anything but avant-garde: in their hands that
aesthetic speaks with clarity and immediacy, a demand that you have to accept or refuse.” – Greil Marcus
• “To confuse art and politics is a political mistake. To separate art and politics is another mistake.” –
Armando Hart • “While the avant-garde movements I am writing about situated themselves in
opposition to consumer capitalism, they also emerged out of societies based on such a mode of organisation
and thus do not entirely escape the logic of the marketplace. Tis is particularly obvious in relation to the
obsession many of them display over the concept of innovation, which refects perfectly the waste inher -
ent in a society based on planned obsolescence.” – Stewart Home • “A major consequence of the changes
in the social situation of the artist as well as in the political and social importance of the arts generally, as
seen in the increased resources which were allocated to them during this period [1940-1985], was that
the artistic role ceased to be that of an avant-garde with its concomitant overtones of alienation from
popular culture and middle-class values.” – Diana Crane • “We are directors, we are the creators, we
should be the hornets that sting.” – Werner Herzog • “Embracing the new technologies and market
formations, the new audiences seemed to seriously believe that an expansion of artistic practices into the
registers of the culture industry would compensate for the destruction of the emancipatory promises of
the avant-garde cultures of the twentieth century.” – Benjamin H.D. Buchloh • “Te avant-gardes were
didactic in their desire to put an end to art, in their condemnation of its alienated and inauthentic
character. But they were also romantic in their conviction that art must be reborn immediately as absolute—
as the undivided awareness of its operations or as its own immediately legible truth.” – Alain Badiou •
01 The Idea of the.indd 4 10/23/19 11:57 AMMarc James Léger Te Idea of the Avant Garde Martha