The Idea of the Avant Garde - And What It Means Today 2


The Idea of the Avant Garde - And What It Means Today 2


28 × 22 cm | 8.5 × 11 in
80 ills | 288 pages

Editor: Marc James Léger


The concept of the avant garde is highly contested, whether one consigns it to history or claims it for present-day and future uses. The first volume of The Idea of the Avant Garde - And What It Means Today provided an unprecedented 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 50 artists and writers who explore the diverse ways that today’s avant-gardism renews the project of aesthetic and political praxis. The manifest strategies, temporalities and genealogies of avant-gardism 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, music and intermedia.

“More than one hundred years after the eruption of Dada and 50 years after its loudly proclaimed death, the spectre of the avant garde returns in renewed and vibrant forms. This excellent collection gives an overview of just how and why a renewed experimental artistic politics is important.”—Stevphen Shukaitis, author of The 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, The Idea of the Avant Garde - And What It Means Today is the place to start. Navigating the decade marked by the financial apocalypse of 2008, this volume introduces the twenty-first 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.

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