The Avant-Garde and Politics Research Papers (original) (raw)

статья в глоссарий к термину "авангард"

In April 1968, ten months after the Arab defeat of the 1967 June War, Aref El-Rayess’s Dimaʾ wa Hurriyya (Blood and Freedom) opened to the public in the exhibition hall of the L’Orient newspaper headquarters in Beirut, Lebanon. The 5th of... more

In April 1968, ten months after the Arab defeat of the 1967 June War, Aref El-Rayess’s Dimaʾ wa Hurriyya (Blood and Freedom) opened to the public in the exhibition hall of the L’Orient newspaper headquarters in Beirut, Lebanon. The 5th of June, or, The Changing of Horses, a realist mural painting on canvas, was the exhibition’s centerpiece. With this artwork, El-Rayess declared his commitment to national liberation and socialist revolution. The Changing of Horses was presented and received as an allegory of political commitment, but the slips, silences, and repetitions in the public reception point to its excessive, disturbing, and fundamentally uncanny character. In Commitment in the Artistic Practice of Aref El-Rayess, the first comprehensive study of the work, Natasha Gasparian weaves together a social art history from the artist’s writings, exhibition reviews, guestbook comments, personal correspondence and testimonies, as well as social, political, and aesthetic shifts, particularly as they related to the debates on commitment (iltizam) in the aftermath of the June 1967 war. By attempting to reconstruct this history of the artwork and tracing the caesuras in the discourse around it, Gasparian exposes the social antagonism that is repressed and obfuscated in the idealized narrative sustained by El-Rayess and his audiences. She argues that the oversight in the reception—the critics’ and audiences’ inability to see—attests to the delay in grasping the work historically and signals its avant-gardism.

La figura de César Vallejo constituye un hito insoslayable en la historia de la vanguardia latinoamericana. Esta excepcionalidad de la figura de Vallejo acentúa también su singularidad en otro de los ámbitos cruciales en que se debatió la... more

La figura de César Vallejo constituye un hito insoslayable en la historia de la vanguardia latinoamericana. Esta excepcionalidad de la figura de Vallejo acentúa también su singularidad en otro de los ámbitos cruciales en que se debatió la literatura de vanguardia: la tensión entre estética y política. A partir de esta condición política inmanente de la literatura de vanguardia y en el marco de un contexto histórico específico que radicalizó esta tensión entre estética y política, como lo fue la guerra civil española (1936-1939), me propongo hacer un breve análisis comparativo entre tres obras de ocasión escritas en 1937: España en el
corazón de Pablo Neruda; España, poema en cuatro angustias y una esperanza de Nicolás Guillén y España, aparta de mí este cáliz de César Vallejo

In the late 1970s, Pierre Bourdieu argued that the field of cultural production was distinguished along class lines by three different modes of cultural habitus: bourgeois disinterestness, petty-bourgeois allodoxia and working-class... more

In the late 1970s, Pierre Bourdieu argued that the field of cultural production was distinguished along class lines by three different modes of cultural habitus: bourgeois disinterestness, petty-bourgeois allodoxia and working-class necessity. Since that era, the petty-bourgeois habitus has become the dominant predisposition. Adding Bour-dieu's sociology of culture to Peter Bürger's historicized theory of the emergence of the avant garde as a critique of the "institution art," a new "avant garde hypothesis" becomes possible for today's age of post-Fordist biocapitalism. Based on Jacques Lacan's Four Discourses, the contemporary situation is shown to privilege specific forms of cultural production, in particular an activist Discourse of the Hysteric and a technocratic Discourse of the University. Psychoanalysis reveals the limits of these tendencies while also underscoring the archaic aspects of an aestheticist Discourse of the Master and the transferential logics of Analyst avant gardes.

This book is dedicated to Amiri Baraka, Chris Marker and Lebbeus Woods iv • "Innovation enters art by revolution. Reality reveals itself in art in much the same way as gravity reveals itself when a ceiling collapses on its owner's head.... more

This book is dedicated to Amiri Baraka, Chris Marker and Lebbeus Woods iv • "Innovation enters art by revolution. Reality reveals itself in art in much the same way as gravity reveals itself when a ceiling collapses on its owner's head. New art searches for the new word, the new expression. The poet suffers in attempts to break down the barrier between the word and reality. We can already feel the new word on his lips, but tradition puts forward the old concept." -Viktor Shklovsky • "This means that in the psychology and ideology of avant-garde art, historically considered (from the viewpoint of what Hegelians and Marxists would call the historic dialectic), the futurist manifestation represents, so to speak, a prophetic and utopian phase, the arena of agitation and preparation for the announced revolution, if not the revolution itself." -Renato Poggioli • "Through the commercial mechanisms that control cultural activity, avant-garde tendencies are cut off from the constituencies that might support them, constituencies that are always limited by the entirety of social conditions. People from these tendencies who have been noticed are generally admitted on an individual basis, at the price of a vital repudiation; the fundamental point of debate is always the renunciation of comprehensive demands and the acceptance of a fragmented work, open to multiple readings. This is what makes the very term avant-garde, which when all is said and done is wielded by the bourgeoisie, somewhat suspicious and ridiculous." -Guy Debord • "In so far as the historical avant-garde movements respond to the developmental stage of autonomous art epitomized by aestheticism, they are part of modernism; in so far as they call the institution of art into question, they constitute a break with modernism.

The text is an abridged version of a longer research article on several episodes from the early Soviet avant-garde such as the programme of “life-building” taken from the point of view of “ biopolitics”. This version was published in... more

The text is an abridged version of a longer research article on several episodes from the early Soviet avant-garde such as the programme of “life-building” taken from the point of view of “ biopolitics”. This version was published in "Pedagogical Poem. The Archive of the Future Museum of History", Marsilio Editori, 2014.

Modernist Cultures 12.3 (2017): 331–344. This essay reconsiders Reyner Banham's classic study of early twentieth-century architecture and design, Theory and Design in the First Machine Age, originally published in 1960. Banham surveyed... more

Modernist Cultures 12.3 (2017): 331–344. This essay reconsiders Reyner Banham's classic study of early twentieth-century architecture and design, Theory and Design in the First Machine Age, originally published in 1960. Banham surveyed the architecture, design, and visual arts of the 'first machine age', characterized by industrial production and motorized transportation, from a self-consciously thematized perspective within the 'second machine age', populated by expendable consumer technologies and images. This revisionist perspective enabled Banham to challenge long-standing myths propagated by the dominant figures of the modern movement. In his polemical emphasis on the contingency and plurality of that which had empirically transpired in first machine age, Banham rejected the reduction of the messy history of the modern movement to the victory of a putative 'international style'. Banham reasserted the intimate connection of architectural modernism with the avant-garde artistic movements of the 1910s and 20s, emphasizing particularly the most radical ones such as expressionism, futurism, and dadaism.

African American poetry is as old as America itself, yet this touchstone of American identity is often overlooked. In this critical history of African American poetry, from its origins in the transatlantic slave trade, to present day... more

African American poetry is as old as America itself, yet this touchstone of American identity is often overlooked. In this critical history of African American poetry, from its origins in the transatlantic slave trade, to present day hip-hop, Lauri Ramey traces African American poetry from slave songs to today's award-winning poets. Covering a wide range of styles and forms, canonical figures like Phillis Wheatley (1753-1784) and Paul Laurence Dunbar (1872-1906) are brought side by side with lesser known poets who explored diverse paths of bold originality. Calling for a revised and expanded canon, Ramey shows how some poems were suppressed while others were lauded, while also examining the role of music, women, innovation, and art as political action in African American poetry. Conceiving of a new canon reveals the influential role of African American poetry in defining and reflecting the United States at all points in the nation's history.

This paper explores Walter Benjamin’s relationship with French Surrealism from sources rarely studied or practically unknown until now. First, I will set out the direct link between the theses on “profane illumination” and the... more

This paper explores Walter Benjamin’s relationship with French Surrealism from sources rarely studied or practically unknown until now. First, I will set out the direct link between the theses on “profane illumination” and the “organization of pessimism” in Der Sürrealismus. Die letzte Momentaufnahme der europäischen Intelligenz, and various texts by Pierre Naville, one of the most active figures in the Surrealist movement between 1925 and 1929. Second, I will consider Benjamin’s commentaries in Pariser Passagen and convolute “S” of the Passagen-Werk about Surrealist writings and Martin Heidegger’s Sein und Zeit, flagging up the implications of this confrontation for Benjamin’s ideas of secularization of mysticism and messianism. Lastly, I will seek to refine the meaning of Benjamin’s “anthropological materialism” and its relevance to those sections of the Passagenarbeit that are dedicated to the evolution of social movements since the French Revolution.

University of Michigan Press, 2014

Meine Abschlussarbeit ist zum größten Teil eine kulturelle Analyse der verschiedenen Kunststile der avantgardistischen bildenden Kunst. Es wird beschrieben, wie diese zu einer ganz neuen Stilrichtung während der Nazizeit wurden, der... more

Meine Abschlussarbeit ist zum größten Teil eine kulturelle Analyse der verschiedenen Kunststile der avantgardistischen bildenden Kunst. Es wird beschrieben, wie diese zu einer ganz neuen Stilrichtung während der Nazizeit wurden, der sogenannten ‚entarteten‘ Kunst, nach der auch die Ausstellung in München 1937 benannt wurde. Aus den verfolgten Stilrichtungen wurden am 19. Juli 1937 in München die Werke der deutschen Moderne vereint und zu einer ‚entarteten Stilrichtung‘ gemacht als Kontrast zu der „Großen deutschen Kunstausstellung“ im neuen Haus der Deutschen Kunst welches einen Tag davor eingeweiht wurde. Für die historisch-kulturelle Analyse werden unter anderen Kunstwerke in Betracht gezogen, die genau in dieser ersten Ausstellung der „Entarteten Kunst“ (1937) verwendet wurden.
Als die Nationalsozialisten Anfang der Dreißiger Jahre an die Macht kamen, war eine ihrer energischsten Kampagnen die, die sie gegen die Kunst der deutschen Moderne aufnahmen. Weltbekannte Kunstwerke wurden aus verschiedenen deutschen Museen entfernt und in der Ausstellung „Entartete Kunst“ gezeigt. Das wiederum macht diese Werke, die grundlegend verschieden waren, zu einem Teil eines neuen Ganzen, was während der Nazizeit verfolgt wurde. Künstler wie Max Beckmann, Marc Chagall, Otto Dix, Wassilly Kandinsky oder Paul Klee wurden somit entartete Künstler.
Was mich an der Arbeit am meisten interessiert, ist, die künstlerischen Konzepte zu erklären, die hinter diesen Werken stecken. Beginnend mit einer kurzen Einführung über drei der bekanntesten verfolgten Kunstrichtungen, die es in Deutschland in dieser Zeit gab. Dazu gehören die Dada-Bewegung, der Expressionismus und die Neue Sachlichkeit.
Einer der Gründe, mich mit diesem Thema zu beschäftigen, ist, diese Arbeit als kleines Tribut für die verfolgten und teilweise vergessenen Künstler zu sehen und zweitens, das Konzept der künstlerischen Freiheit zu verstehen, das in dieser Zeit Aufschwung und Niedergang erfuhr. Betrachtet man es vom künstlerischen Standpunkt, ist diese dunkle Epoche der deutschen Geschichte faszinierend, um die Rolle des Staates
in der künstlerischen Produktion zu analysieren. Es ist sehr interessant zu sehen, dass in der Nazizeit die Kunst und Stilrichtungen angegriffen wurden, die auch heute noch für
Laien Gegenstand des Unverständnisses sind. Entscheidend ist hier letztlich die Frage, ob der Mensch wirklich mit echter Freiheit umgehen kann oder ob er bevorzugt, tief im
Inneren, dass jemand oder etwas die Führung oder Verantwortung für ihn übernimmt. Warum ist es so, dass der Mensch es so schwer findet, mit dem ,Ungewöhnlichen,‘
‚Seltsamen‘ umzugehen? Und warum fühlt sich das Kollektiv attackiert, wenn ein Künstler sich wirklich sein Recht der Freiheit nimmt und seine Visionen zum Ausdruck
bringt?

Una ola de sueños -"el otro manifiesto del surrealismo", como se lo llama en el estudio preliminar de este libro- es a la vez el texto inaugural del movimiento surrealista y un verdadero inventario de sus actividades hasta 1924. Publicado... more

Una ola de sueños -"el otro manifiesto del surrealismo", como se lo llama en el estudio preliminar de este libro- es a la vez el texto inaugural del movimiento surrealista y un verdadero inventario de sus actividades hasta 1924. Publicado poco antes del Manifiesto de André Breton y reeditado en Francia después de la muerte de Aragon, además de ofrecer el testimonio directo de uno de los principales protagonistas del movimiento, elabora toda una concepción del arte y la literatura -valorada en su momento por críticos como Ernst Robert Curtius y Walter Benjamin- donde lo "surreal" aparece bajo una luz completamente distinta. Esta primera traducción castellana se presenta aquí acompañada de un ensayo sobre las ideas estéticas de Aragon y un amplio aparato crítico que documenta aspectos casi desconocidos de la historia del surrealismo.

The series solicits books that consider literature beyond strictly national and disciplinary frameworks, distinguished both by their historical grounding and their theoretical and conceptual strength. We seek studies that engage theory... more

The series solicits books that consider literature beyond strictly national and disciplinary frameworks, distinguished both by their historical grounding and their theoretical and conceptual strength. We seek studies that engage theory without losing touch with history, and work historically without falling into uncritical positivism. FlashPoints will aim for a broad audience within the humanities and the social sciences concerned with moments of cultural emergence and transformation. In a Benjaminian mode, FlashPoints is interested in how literature contributes to forming new constellations of culture and history, and in how such formations function critically and politically in the present.

Książka składa się z trzech części: w pierwszej autorka rozważa zjawiska metateatralności i metadramatyczności, ich różne ujęcia badawcze i typologię form metadramatycznych; w drugiej kreśli się związki metadramatyczności ze zmianami w... more

Książka składa się z trzech części: w pierwszej autorka rozważa zjawiska metateatralności i metadramatyczności, ich różne ujęcia badawcze i typologię form metadramatycznych; w drugiej kreśli się związki metadramatyczności ze zmianami w sztuce okresu awangardy: w trzeciej zaś analizuje wybrane dramaty awangardy polskiej. Sięga do zapomnianych dziś tekstów ("Kain" Jerzego Hulewicza, "Osioł i słońce w metamorfozie" i "Włamywacz z lepszego towarzystwa" Tytusa Czyżewskiego, "Śmierć na gruszy" Witolda Wandurskiego oraz "Szósta! Szósta!" Tadeusza Peipera), znajdując w nich zarówno podobieństwa, jak i różnice, a przede wszystkim odnajdując wspólne pragnienie uporządkowania świata i, jak pisze autorka, konstruowania "go takim, jakim powinien się stać w wyniku ewolucji - lub rewolucji awangardy".

While Lennon and McCartney's class affiliations are ambiguous to degrees that should remain debatable, the depth and the detail in which working-class life defines their work have been overlooked, thus misrepresenting The Beatles'... more

While Lennon and McCartney's class affiliations are ambiguous to degrees that should remain debatable, the depth and the detail in which working-class life defines their work have been overlooked, thus misrepresenting The Beatles' cultural significance. As Collins (2012) critiques, initial New Left criticisms of The Beatles -almost exclusively in response to one composition, 'Revolution' (1968) -have recently been adapted by commentators eager to portray The Beatles as a culturally and politically conservative force. I argue that early Left-wing and recent Right-wing criticisms of The Beatles' legacy are misleading, because both overlook Lennon and McCartney's different relationships to working-class culture.

From the early twentieth century the 'avant-garde' formed a cultural and interdisciplinary subsystem with a strong impact on architecture. However, it was only in the sixties that the term ‘avant-garde’ started describing architects,... more

From the early twentieth century the 'avant-garde' formed a cultural and interdisciplinary subsystem with a strong impact on architecture. However, it was only in the sixties that the term ‘avant-garde’ started describing architects, groups, and material and immaterial productions of the latter. A disciplinary consciousness of the term was now manifest along with its appropriation as endogenous architectural quality. A terminological approach to the ‘avant-garde’ of the sixties provides tools for a historiographical revision of the term as applied to architectural currents since this decade. It provides insight into how exactly definitions are wielded in order to characterize and shape the discipline’s common sense.

Текст представляет собой попытку критической ревизии советского опыта через рассмотрение среднеазиатского искусства 20-30-х гг. – периода, известного в историографии как «культурная революция». С середины прошлого века сложилась традиция... more

Текст представляет собой попытку критической ревизии советского опыта через рассмотрение среднеазиатского искусства 20-30-х гг. – периода, известного в историографии как «культурная революция». С середины прошлого века сложилась традиция интерпретации искусства данного периода, включающая три популярных мотива: «синтез Востока и Запада», «репрезентация национального духа» и «творческий взлет индивида». Первые два мотива обеспечивают консервативную повестку (почвеннический этнонационализм, евразийство), последний представляет собой центральный тезис либеральной искусствоведческой мысли, не возражающей, однако, первым двум и, как правило, полностью их принимающей. В первой части текста анализируются типичные для искусствоведческой традиции риторические ходы и формулы, во второй – предлагается альтернативное прочтение феномена раннесоветского искусства через левую классовую оптику, с фокусом на процессы, происходившие в Узбекистане (так называемый «туркестанский авангард») и Киргизии. Анализируется творчество С. Чуйкова; Г. Айтиева; практики самаркандской изофабрики и ее идеолога О. Татевосьяна; а также сложная творческая судьба самого известного художника Центральной Азии – А. Волкова. Рассмотрение художественных практик периода культурной революции в Центральной Азии указывает на то, что художники, присвоенные консервативным и либеральным мифом, не в меньшей, а возможно, и в большей степени могут быть героями левого мифа.

This essay focuses on the writings of the architectural historian Manfredo Tafuri, who was at the center of a group of historians and theorists at the University of Venice’s School of Architecture. It considers how his works dealing with... more

This essay focuses on the writings of the architectural historian Manfredo Tafuri, who was at the center of a group of historians and theorists at the University of Venice’s School of Architecture. It considers how his works dealing with the avant-garde, especially Architecture and Utopia and The Sphere and the Labyrinth, develop a historical-critical method to identify and explicate the gap between the evolution of ideologies of the avant-garde and their translation into a repertoire of techniques that have divergent histories and social meanings than those posited by avant-garde ideologies. In doing so, Tafuri is not just offering an “ideology-critique” of modernism, revealing the way that the avant-garde failed to fulfill its postulated social and aesthetic goals; he is also arguing metahistorically, that via a dialectic of the avant-garde, twentieth-century capitalist modernity weaves an ideological fabric of modernism and interleaves it into the effective structure of reality, for instance through the practices of architecture and urbanism. Thus, “modernism” becomes a relevant term of periodization, not because of the historical veracity of any orthodox art historical narrative of the succession or progressive evolution of modernist forms, but insofar as “modernism” designates the symptomatic tension between the progressive history of avant-garde forms and the heterogeneous technical history that represents how the avant-garde’s formal programs were actualized.

Informal communities of Russian artists and intellectuals during the late Soviet years practiced a “politics of indistinction.” They claimed to be uninterested in anything political and differentiated themselves from ordinary “Soviet... more

Informal communities of Russian artists and intellectuals during the late Soviet years practiced a “politics of indistinction.” They claimed to be uninterested in anything political and differentiated themselves from ordinary “Soviet citizens,” whether supporters of or dissenters from the system. However, their apolitical lifestyles and pursuits contributed greatly to creating the conditions for making the collapse of the Soviet state imminent. Close examination of one such group, the Necrorealists, raises a set of questions that are central for an understanding of momentous and unexpected social transformations, and of the concept of "politics" more broadly

This book tests critical reassessments of US radical writing of the 1930s against recent developments in theories of modernism and the avant-garde. Multidisciplinary in approach, it considers poetry, fiction, classical music, commercial... more

This book tests critical reassessments of US radical writing of the 1930s against recent developments in theories of modernism and the avant-garde. Multidisciplinary in approach, it considers poetry, fiction, classical music, commercial art, jazz, and popular contests (such as dance marathons and bingo). Relating close readings to social and economic contexts over the period 1856–1952, it centers in on a key author or text in each chapter, providing an unfolding, chronological narrative, while at the same time offering nuanced updates on existing debates. Part One focuses on the roots of the 1930s proletarian movement in poetry and music of the nineteenth and early twentieth centuries. Part Two analyzes the output of proletarian novelists, considered alongside contemporaneous works by established modernist authors as well as more mainstream, popular titles.

This essay analyses the features of a new semiotic system and of a new language in advertisement and political texts issued by Italian and Russian Futurists. My semiotic approach reveals the avant-garde's intention to 'destroy' the sign... more

This essay analyses the features of a new semiotic system and of a new language in advertisement and political texts issued by Italian and Russian Futurists. My semiotic approach reveals the avant-garde's intention to 'destroy' the sign and to undermine the traditional relationship between the signified and the signifier, as well as the avant-garde's tendency to reject symbolical representation in favour of iconical and indexical types of representation. The Futurists' special interest in advertising reflects their orientation towards overcoming the border between art and reality and to break down the delineations between a sign and an object of reality. Commercial advertising, political agitation, and revolutionary propaganda offered Futurist artists an opportunity for creating new realities. This essay identifies the main features of 'contamination' as a form of interaction between avant-garde and advertising discourses, such as creating new hybrid genres and text forms. It examines how the Futurists applied avant-garde linguistic tools, such as defamiliarization, neologisms, and multimodality, to political and advertising discourses, and how they used avant-garde communicative strategies in their advertising texts. Furthermore, this essay examines the use of onomatopoeia and 'telegraphic' syntax as the iconical type of representation; it discusses the shift from iconical to indexical signification that can be found in advertising posters. Thereby I show how hybrid texts and new multimodal media operated with a combination of iconical and indexical modes of representation.

Ruggero Vasari was a vital figure in the history of Futurism and played a key role in the movement’s relations with Central and Eastern Europe. The specific interplay between his artistic identity as an Italian Futurist on one hand and... more

Ruggero Vasari was a vital figure in the history of Futurism and played a key role in the movement’s relations with Central and Eastern Europe. The specific interplay between his artistic identity as an Italian Futurist on one hand and his predominantly European professional contacts and career on the other offers a symptomatic ensemble of elements that might help the historian when reassessing theoretical definitions of the avant-garde and its international modes of operation. This essay attempts to offer a more exacting explanation of what were the coordinates of Futurism at play
in these international settings and in Vasari’s work itself. In this sense, it analyses the international alliances which he established in the1920s with several artists and intellectuals in the German capital at the time, such as Ivan Puni, Karlis Zale, Viktor Shklovsky and Viking Eggeling. It retraces the way in which Vasari’s conception of radical art and his attitude of stylistic ecumenism succeeded in attracting to Futurism artists who, often as a result of their condition as political exiles, rejected the more overtly politicized tenets of Constructivism. It concludes by outlining the repercussions that this large avant-garde network had on the fate of Vasari’s own activity as a dramatist.

Russkiy yazyk: sistema, uzus i sozdavaemye imi riski [The Russian language: system, usage and the risks they create], by Olga B. Sirotinina, Saratov, Izdatel'stvo Saratovskogo Universiteta, 2013, 116 pp., RUB200, ISBN 978-5-292-04194-8... more

Russkiy yazyk: sistema, uzus i sozdavaemye imi riski [The Russian language: system, usage and the risks they create], by Olga B. Sirotinina, Saratov, Izdatel'stvo Saratovskogo Universiteta, 2013, 116 pp., RUB200, ISBN 978-5-292-04194-8 (hardcover)

Антропология революции. М.: Новое литературное обозрение, 2009: 373-399.

The magnitude of the economic reactivation plans in the Latin triad (Italy, Portugal and Spain) meant becoming aware that lengthy work needed to be done, which were the subject of doubts, contradictions and successes throughout the 20th... more

The magnitude of the economic reactivation plans in the Latin triad (Italy,
Portugal and Spain) meant becoming aware that lengthy work needed to be done, which were the subject of doubts, contradictions and successes throughout the 20th century. Within a historical-political context led by autarchic regimes (Portugal and Spain) and fascists (Italy), the recovery of the agricultural and industrial sectors was assumed as a challenge, given the lack of solvency of the previous liberal governments in their failed attempt to face endogamous problems inherited from the 18th century.
The key points to which the Opera Nazionale per i Combattenti, the Junta de Colonização Interna and the Instituto Nacional de Colonización1 devoted their efforts included: the reorganization of the territory (Italy), the equitable division of property, the increase in production by including irrigation and demographic redistribution. These all complement each other by outlining a complex network when dealing with internal colonization behavior in each of the countries.
Not alien to economic contributions, social and artistic design marked a before and after in the rural lifestyle, in terms of the configuration of urban centers built ex novo, the balanced confluence of traditional and new in architectural types and, most importantly, the design of a community with the esthetic integration of avant-garde thinking, which ran parallel to state plans and whose incidence was asymmetric in each country.
The objective of this chapter is to compare the incidence of contemporary art and architecture in the policies of Portuguese-Spanish colonization. The ties that were formed in a team of architects and artists are the subject of analysis; thanks to two namesake figures such as José Luis Fernández del Amo in Spain and Eugénio Corrêa in Portugal, they were able to share their thoughts and works beyond congresses and exhibitions, while influencing their colleagues, as we will see.

un régimen que se caracterizó por su pragmatismo y que, a pesar de ser hostil al arte moderno en el interior, intentó adecentar su imagen exterior promocionando a artistas españoles de vanguardia en los certámenes internacionales de Sao... more

un régimen que se caracterizó por su pragmatismo y que, a pesar de ser hostil al arte moderno en el interior, intentó adecentar su imagen exterior promocionando a artistas españoles de vanguardia en los certámenes internacionales de Sao Paulo y Venecia 1 .

The Situationist International was a radical avant-garde group founded in 1957 aimed at reviving the inter-war avant-garde project of integrating art and life in a revolutionised society. The group, which existed until 1972, went through... more

The Situationist International was a radical avant-garde group founded in 1957 aimed at reviving the inter-war avant-garde project of integrating art and life in a revolutionised society. The group, which existed until 1972, went through a series of splits that had to do with the question of art and the ability of the individual art work to contribute to the revolutionary transformation of capitalist society.

The Russian Revolution of 1917 has been considered the essential cause of the awakening of the artistic avant-garde of that country for a long time. One hundred years after the revolutionary events on the political and social scenes, we... more

The Russian Revolution of 1917 has been considered the essential cause of the awakening of the artistic avant-garde of that country for a long time. One hundred years after the revolutionary events on the political and social scenes, we examined the development of the Russian artistic avant-garde prior to 1917, during the events of the October Revolution of that year and thereafter until 1932. We demonstrate that avant-garde ideas were already present and active in Tsarist Russia and that the Revolution of 1917 would only provide a more glaring framework for the proposals of avant-garde artists. In the same way, it will be demonstrated how the new Soviet status quo ended up drowning the vanguard vortex and establishing a methodology of action and production in art that would be far from the originality of the avant-garde works prior to 1917.