119 Sentences With "avant gardes" | Random Sentence Generator

Provisional Avant-Gardes poses questions about the printed page in digital avant-garde publishing.

They considered non-revolutionary art counter productive, therefore were opposed to the Russian avant-gardes.

After WWI, the victors recommenced their formal explorations, inventing Surrealism and Dada, among other avant-gardes.

As a sort of mandarin parallel to punk, the movement disdained the idealism of previous avant-gardes.

These one-man performances became his entree into the avant-gardes of Paris and, later, New York.

Like Mariátegui, he returned to Latin America, inspired by European art avant-gardes but firmly connected to his homeland.

Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital by Sophie Seita is now out from Stanford University Press.

Coming into her own as an artist in the 280s, she flouted the new orthodoxies of Paris's competing avant-gardes.

She has been rightly noticed by other artistic avant-gardes, and has collaborated with electronic composers and been commissioned by choreographers.

Such an investigation has innumerous precedents: identifying the thresholds separating art and life was a defining preoccupation of 20th century avant-gardes.

By the time he returned to Peru in 1923, Mariátegui had experienced a true range of European art avant-gardes and their attendant political commitments.

The "Avant-Gardes" section begins with his most famous exhibition, 1968's When Attitudes Become Form, which featured new trends in conceptual and minimalist art.

Forty years after institutional critique's high noon, 60 years after American neo-avant-gardes such as [John] Cage, [Jasper] Johns, and [Robert] Rauschenberg, and a century after 2543th–century European avant-gardes, it behooves artists to work with and through institutions, and even to build them, to think of themselves not on society's margins or at history's end, but rather as leaders and legacy leavers.

Meanwhile, the leftist avant-gardes, who shared the belief that art must be understood by all, began designing objects and furniture to transform ways of life.

It became an amalgam of previously disparate avant-gardes: hip-hop, post-punk, dub reggae, electronica and just enough pop to provide melodic discipline and skeletal structures.

Sophie Seita's Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital takes on these questions through the medium of the "little magazine" — small-run literary or art magazines.

This is an exhibition of uncharted territories, given that Eastern European avant-garde art tends to be a blind spot in the Anglo-American narrative of the neo-avant-gardes.

Mr. Castellani's career unfolded largely in Europe, but after the turn of the century, with growing interest in avant-gardes around the globe, he had solo shows in New York in 2009, 2011 and 2016.

Mr. Kostelanetz's nonfiction ranges from early works on Gertrude Stein and John Cage to the third edition he is currently finishing of his "Dictionary of the Avant-Gardes," which he has written largely from memory.

Advertise on Hyperallergic with Nectar Ads PARIS — With a sloppy style of vacuous vicissitudes, Cy Twombly reversed what the avant-gardes of the prewar era held as a given: the view of history as a burden.

The European avant-gardes of the mid-1950s were besotted with Zen Buddhism, and Paik, who filled notebooks with gleanings from Asian philosophy, began writing compositions and staging performances that could be meditative, paradoxical or just plain weird.

Ditching your sandals may be good riddance or a bitter defeat for you, but Insider Picks is here to help you find your fall footwear whether you're going for trendy avant-gardes, timeless classics, or something in between.

A professor of art history at the University of California Riverside, Laxton specializes in European avant-gardes, with a focus on the cross-section of art and technology, which is a recurring motif in her book published by Duke University Press.

While she relies perhaps too heavily on academic language, Provisional Avant-Gardes is important as a study of the impact of little magazines on art, literature, and politics, on their changing aesthetics, and on how print communities are created, then and now.

A modernist genre painter, a virtuosic colorist, and a realist painter who traffics in otherworldly moments, Resika has integrated so many idioms of abstraction into figuration that he seems to be giving a middle finger to the art world's ever-changing avant-gardes.

It is divided into three sections: "Avant-Gardes," focused on his seminal exhibitions of contemporary art of the '60s and '70s; "Utopias and Visionaries," which explores exhibitions about early 20th-century utopias, modernists, and mystics; and "Geographies," examining his Swiss identity and peripatetic later career.

In Sale the excess of imagery leads to a dystopian vision of human experience, partially inherited from Expressionism and the European avant-gardes, while in Stonehouse, a professor of drawing and painting at the University of Wisconsin, the tendency to construct a fantasy world, an alternative to reality, closer to the naive formulations of folklore, seems to prevail.

The first years after World War II were taught as a clean baton pass from Picasso to Pollock: The New York School led the way; Europe got a brief and sometimes sneering look; and begrudging attention was paid to the avant-gardes of just a few rich non-Western nations (the Concretists of Brazil, the Gutai artists of Japan).

In Yugoslavia, alongside the new art movement Zenitism, there was significant Dada activity between 1920 and 1922, run mainly by Dragan Aleksić and including work by Mihailo S. Petrov, Ljubomir Micić and Branko Ve Poljanski.Zenit: International Review of Arts and Culture Aleksić used the term "Yougo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.Dubravka Djurić, Miško Šuvaković. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post- avant-gardes in Yugoslavia, 1918–1991, p.

Contemporary Masterworks. St. James Press. 1993 Richard Kostelanetz, Dictionary of the Avant-Gardes. Capella. F. Popper, Art of the Electronic Age. Abrams.

2001 R. Kostelanetz, Dictionary of the Avant-Gardes, Second Edition, Routledge. 2003 R. Kostelanetz, SoHo: The Rise and Fall of an Artists' Colony, Routledge.

American microtonal musician and composer Johnny Reinhard reconstructed and performed Universe symphony in 1996. Kostelanetz, Richard and Brittain, H.R. "A dictionary of the avant-gardes," Taylor & Francis, Inc., 2001.

She presently serves on the editorial committee of the journal Au Sud de l'Est. She lives in Paris and teaches languages and the theatre of the avant-gardes at Paris University.

M. Jesse Jackson, The Experimental Group: Ilya Kabakov, Moscow Conceptualism, Soviet Avant-Gardes, University Of Chicago Press, 2010, p 230. In 1991 Yuri Leiderman left the group, and Vladimir Fedorov joined.

Superarchitettura is a theoretical & conceptual framework, whose physical definition has been given at the homonymous 1966 exhibition, held at Jolly2, an art gallery of Pistoia, Italy. According to the Radical Manifesto, "Superarchitettura is the architecture of superproduction, superconsumption, superinduction to consume, the supermarket, the superman, super gas". Superarchitettura is the overcoming of centuries of constant and consistent art vision. It is the overtaking of ancient artistic pratiques in favour of new avant-gardes, the Sixties so-called "neo avant-gardes".

Her research also deals with the visual strategies of images in relation to human rights and dictatorships, particularly in Argentina. She has developed research on gender studies since the early 1990s, and has included a feminist perspective since the 2010 exhibit Radical Women. Latin American Art, 1960-1985 (Hammer Museum and Brooklyn Museum, 2017, Pinacoteca do Estado de São Paulo, 2018). In her publications, the concept of "simultaneous avant- gardes" – as opposed to "peripheral" or "decentralized" avant-gardes – is central, referring to such artistic movements since 1945 in different metropolises of the world.

She studied the history of the avant-gardes through a doctoral program at Stanford but apparently did not complete the Ph.D."Artis 16th Research Trip Participants." Artis.org. Retrieved July 14, 2016. She married Michael Benjamin Lubic on Sept.

Maria Elizabeth Gough is an art historian. She serves as Joseph Pulitzer, Jr. Professor of Modern Art at Harvard University. Her research focuses on early twentieth-century European art, particularly the Russian avant-gardes, Weimar, and French modernism.

Osvaldo Lamborghini (April 12, 1940 - November 18, 1985) was an Argentine writer of the 1960s and 70s avant-gardes. His work is not easily lumped into traditional generic categories, as it spans and combines elements of poetry, prose fiction, and theatre.

Denise René developed different generations of abstract art by introducing to Paris the historical figures of the concrete avant-gardes of Eastern Europe while seeking historical antecedents like Marcel Duchamp. In 1955 she organized the exhibition Le Mouvement, which helped to popularize kinetic art.

Jackson M. J. "The Experimental Group: Ilya Kabakov, Moscow Conceptualism, Soviet Avant-Gardes." University of Chicago Press, 2010 p248 , 9780226389417 Osmolovsky was the leader of the anti-postmodernist movement, revolutionary Rival Programme NETSEZUDIK".Renfrew A. and Tihanov G. "Critical Theory in Russia and the West.

The largest amount of titles date from 2000 onward. Among them are Ken Bloom's Broadway, Lol Henderson and Lee Stacey's Encyclopedia of Music in the 20th Century, Peter Matzke et al., Das Gothic- und Dark Wave-Lexikon, and Richard Kostelanetz's Dictionary of the Avant-Gardes.

The BunaB line of products has been cited as an early form of conceptual art, as described in the 2001 Dictionary of the Avant-Gardes. BunaBs #3 and #5 are in particular cited as examples of praecisio, defined as the act of making a point through silence.

Avant Garde is the fourth studio album by American hip hop duo Constant Deviants. The album was released on May 12, 2015 by their label SIX2SIX Records. Avant Gardes production and mixing was entirely handled by the duo. It was supported by the singles "Breathin","End All Be All" and "Standards".

In 1889, he joined the Scottish Rite Travail et les Vrais Amis Fidèles where he became Grand Master . In 1898, the latter lodge was admitted to the Grand Orient of France.Françoise Jupeau Réquillard, La Grande Loge Symbolique écossaise 1880-1911, ou les avant-gardes maçonniques, Éditions du Rocher, Monaco, 1998, p.165, n. 13.

An unconventional aspect of her style was to leave parts of her canvas unpainted in this series of paintings, a technique used by her male Fauve counterparts.Steve Edwards; Paul Wood. Art of the Avant-gardes. Yale University Press; 2004. . p. 78. Charmy established a studio in Paris at 54 Rue de Bourgogne in 1908.

A common concern since the early part of the 20th century has been the question of what constitutes art. In the contemporary period (1950 to now), the concept of avant-gardeFred Orton & Griselda Pollock, Avant- Gardes and Partisans Reviewed. Manchester University, 1996. may come into play in determining what art is noticed by galleries, museums, and collectors.

Throughout the 1970s and early 1980s, Evans toured in North America and Europe in support of music by 20th century American composers. He recorded a complete album of prepared piano pieces Prepared Piano: The First 40 Years before 1983 when illness forced him to leave the field of music.Kostelanetz, Richard; H. R. Brittain. A Dictionary of the Avant-Gardes, Routledge, 2001, p. 492.

The Sourcebook of Central European avantgards (Los Angeles County Museum of Art) contains primary documents of the avant-gardes in Austria, Czechoslovakia, Germany, Hungary, and Poland from 1910 to 1930. The manifestos and magazines of Western European radical art circles are well known to Western scholars and are being taught at primary universities of their kind in the western world.

Grumman's first book, Poemns was published in 1966. He went on to publish several books of visual poetry before moving on to mathematical poetry. Grumman describes mathematical poetry as "poetry that does mathematics, rather than merely discusses mathematics (or uses mathematical algorithms to choose its content, as in the Oulipo movement)."Richard Kostelanetz, H. R. Brittain (eds), A Dictionary of the Avant-Gardes, Routledge, 2000, p.397.

From the late 1920s, Pagano had adopted a rationalist position, influenced by Futurism and the European avant-gardes – he became an architect caught between the theory and practice of Fascist Italy whose approach advocated for a triad of Unity, Abstraction and Coherence.Flavia Marcello, “Giuseppe Pagano: A Rationalist Caught between Theories & Practices of Fascist Italy”, Architectural Theory Review, vol. 8, no. 2, 2003, 96–112.

To some degree, this transfiguration also appears in Eminescu's treatment of other settings and landscapes. The Bucharest of Eminescu's imagination is not just affected by magic, but also suffering from "topographic incoherence" (an expression used by Eminescu expert Ioana Both).Ioana Both, "Elégie pour une ville absurde: Bucarest", in Thomas Hunkeler, Edith Anna Kunz (eds.), Metropolen der Avantgarde/Métropoles des avant-gardes, p. 156. Bern: Peter Lang, 2011.

Anton Podbevšek was the beginner and main representative of the first, radical phase of the Slovenian historical avant-gardes. He deviated from the established poetic forms: in his poems, he used free verse, a nominal or telegraphic style and unusual imagery. He gradually moved from relatively simple poems to longer, graphical hymns in lyrical prose. The themes of his poetry were existential experiences, war, as well as romantic themes.

He was born in La Chaux-de-Fonds, Neuchâtel, Switzerland, rue de la Paix 27, into a bourgeois francophone family, to a Swiss father and a Scottish mother.Richard Kostelanetz, A Dictionary of the Avant-Gardes, Routledge (2013), p. 113 They sent young Frédéric to a German boarding school, but he ran away. At the Realschule in Basel in 1902 he met his lifelong friend the sculptor August Suter.

Michel Falempin (born 1945, Paris) is a French writer. An under librarian at the Bibliothèque nationale de France then a curator at the of the George Pompidou Center, he obtained the Prix Fénéon in 1976 for L'Écrit fait masse. His work, written outside the literary genres, is influenced in particular by Stéphane Mallarmé, the literatures of the baroque age and the avant-gardes of which Michel Falempin comes from.

Their 1996 work Camelot, provoked local controversy after the artists erected steel security fencing around grass areas in Albion Square, Stoke-on-Trent as part of a public commission.Malcolm Miles, Urban Avant-Gardes: Art, Architecture and Change, Routledge, 2004, pp166-7. In 1998, for 10, they advertised in Derby for contestants to take part in a beauty contest. A computer analysed photographs of the participants and picked out the most symmetrical faces.

In 2011, with Haijun Park, he founded ParisLike, an online bi-lingual creative arts magazine, devoted to the artistic, literary and scientific avant-gardes. ParisLike features video-documentaries, interviews and critical essays, both in French and in English. Among others: documentaries, interviews and recordings of performances with Bruno Latour, Luc Moullet, Philippe Sollers, Bertrand Hell, Yehezkel Ben-Ari, Luc Ferrari, Michel Maurer, eRikm, Pascal Perrineau, Serge Lehman, Jean Levi, Camille Paglia, Anita Molinero.

Caldiero has lived in Utah since 1980 with his wife and children shortly after converting to Mormonism,PBS, Why I Am Mormon and is Poet/Artist in Residence at Utah Valley University."Poet's reading elicits laughs and scoffs from UVU crowd," Deseret News, December 7, 2008 Caldiero's work has been reviewed by Village Voice and The New York Times and he is included in "A Dictionary of the Avant-Gardes" on page 104 .

Martha Hellion is a visual artist, radical publisher, and freelance curator. Her formal studies were in Architecture and Museum Design; in later years she continued to specialize in experimental art in England and the Netherlands. From then on her praxis has been focused on editions of artists' books and other multidisciplinary projects. She is co-founder of the Beau Geste Press in England, a Fluxus-associated enterprise that was part of the transnational 1970s avant-gardes.

Emmanuel Guigon (born 1959 in Besançon) is a museologist, holds a doctorate in art history and is the current director of the Museu Picasso in Barcelona. He holds dual French-Swiss nationality. Guigon earned his doctorate in contemporary art at the Paris-Sorbonne University (France), and is a specialist in historical avant-gardes, surrealism, modern Spanish art and European post-war art. Before becoming the director of the Picasso Museum Barcelona, he was deputy director of museums in Besançon.

Born in Rosario, to Italian immigrant parents, he was the son of the sculptor Luigi Fontana (1865 — 1946).Sarah Whitfield, Lucio Fontana, University of California Press, 2000, p. 68. Richard Kostelanetz, H. R. Brittain, A Dictionary of the Avant-Gardes, Routledge, 2001, p. 216. Fontana spent the first years of his life in Argentina and then was sent to Italy in 1905, where he stayed until 1922, working as a sculptor with his father, and then on his own.

Ay-O established a reputation in the avant-gardes of Japan, Europe and the United States. In Japan, he is known as the "Rainbow Man" for his use of colorful, rainbow-striped motifs in his artwork. In its purest form, some paintings are simple gradations of the rainbow, with up to 192 gradations. 250px Example with 96 gradations Ay-O represented Japan at the Venice Biennale in 1966 and at the São Paulo Biennale in 1971.

As well as the traditional anarchist opposition to the state and capitalism, agents have at times advocated a straight edge lifestyle, the total supersession of gender roles, violent insurrection against the state, and the refusal of work. CrimethInc. is influenced by the Situationist International, and has been described by scholar Martin Puchner as "inheritors of the political avant-garde",Puchner, Martin (2005). Poetry of the Revolution: Marx, Manifestos and the Avant-Gardes. Princeton University Press, Princeton and Oxford. 320pp.

ESTE ARTE is an international art fair held annually every January in Punta del Este, Uruguay. It presents international art galleries, which showcase both established and newly emerging artists. In addition to the artworks shown by participating galleries, the fair offers parallel programming including seminars by experts open to the public, debates hosted by different artists, shows featuring sound art and scheduled guided visits. ESTE ARTE brings an artistic offering that ranges from historical avant-gardes to emerging and contemporary art.

Federico Luisetti is an Italian philosopher, he is Associate Professor of Italian Culture and Society at the University of St. Gallen. From 2005 to 2017 he taught Italian Studies at the University of North Carolina, Chapel Hill where he has been the chair of the Department of Romance Studies from 2014 to 2017. He is the author of books and essays on philosophy, literature, visual studies, the Avant-gardes, and political thought. He has also worked on decolonial thought and anthropology.

126–134 In his 1963 monograph, Cesare Brandi highlighted the essentialness of Burri's painting and his rejection of both decorative detail and the historical avant-gardes' (e.g. Futurism) provocations, favoring a new approach through an 'unpainted painting' concept.Brandi 1963, p.26 On the other hand, Enrico Crispolti interpreted Burri's employment of material from an existential point of view – as James Johnson Sweeney similarly had in the very first monograph on Burri published in 1955 – implying a criticism towards a certain post-war ethical drift.

His works, The Age of the Avant-Gardes, Art and Society 1905-1955 and the Fascination of the Exotic, Exoticism, Racism and Sexism in European Art, fully support this. Klaus von Beyme's work on reconstruction (1987) combines politological and aesthetic views and relativises the cliché of the special affinity of "conservative" taste in Architecture and fascist thought, in that it elucidates the successful careers of Nazi architects in the post-war years in terms of the examples of Rudolf Hillebrecht, Roland Rainer and Friedrich Tamms.

Some art theorists have proposed that the attempt to define art must be abandoned and have instead urged an anti-essentialist theory of art.Elizabeth Millán (ed.), After the Avant-Gardes, Open Court, 2016, p. 56. In ‘The Role of Theory in Aesthetics’ (1956), Morris Weitz famously argues that individually necessary and jointly sufficient conditions will never be forthcoming for the concept ‘art’ because it is an "open concept". Weitz describes open concepts as those whose "conditions of application are emendable and corrigible" (1956, p. 31).

Edwards, S. and Wood, P. (eds), Art of the Avant-gardes, Yale University Press, 2004, pp 88-89 Before 1900, most of his works could be characterized as "anecdotal genre scenes". As he became more interested in Islam, he began to paint religious subjects more often. He was active in translating Arabic literature into French, publishing a translation of an Arab epic poem by Antarah ibn Shaddad in 1898.Pouillon, François (1997) Les deux vies d’Étienne Dinet, peintre en Islam: L’Algerie et l’heritage colonial.

The spirit of the European avant-gardes would be carried through the post-war generation as well. The poet Isidore Isou formed the Lettrist group, and produced manifestoes, poems, and films that explored the boundaries of the written and spoken word. The OULIPO (in French, Ouvroir de littérature potentielle, or "Workshop of Potential Literature") brought together writers, artists, and mathematicians to explore innovative, combinatoric means of producing texts. Founded by the author Raymond Queneau and mathematician François Le Lionnais, the group included Italo Calvino and Georges Perec.

On entering the Taller Torres-Garcia (TGG), he discovered the Universalismo Constructivo. It was the name given by Joaquín Torres García to the artistic language he wanted to create for Latin America in order to unite the primitive vision of Pre-Columbian Art and the geometrical abstraction of the European avant-gardes. An aesthetic approach to project to applied arts as well, from ceramics to architecture, and a way to stimulate experimentation with different techniques and materials. In this atmosphere, Josep Collell first encountered ceramics.

It was written in February and March 1994, and published as a leaflet, to be later included in the catalogue of their joint exhibition, held in Pančevo in June 1995. “It was created to reduce to a minimum the possibility of shallow stories about our painting”, stated their text of the Manifesto, referring to the history of its own making. Going back to the experiences of the local historical avant-gardes, namely, Zenitism, whose manifesto these artists not only quoted in their own manifesto but even claimed to repeat, they looked for a way to avoid being listed among the “urban section” of “figurative painters”, following the “other line” of former Yugoslav art, who institutionalized those practices within the histories of neo-avant-gardes, of neo-constructivists, conceptual and process art movements, considered to be tendencies of “radical”, as opposed to “soft” modernism. They also did not feel quite comfortable with the concept of “monumental intimism”, which placed them amongst the authors active in the “interspace between high art and the underground”, with Đile Marković and Zoran Marinković, in the close proximity of authors such as Daniel Glid and Jasmina Kalić.

González moved to Paris at the beginning of the twentieth century and focussed on painting and metalwork. It was not until the end of the 1920s that he opted definitively for sculpture and became a notable figure in the European avant- gardes. Based on his formal experiments using iron, he created a sculptural language of his own. According to the National Art Museum of Catalonia, Still Life II illustrates his masterly ability to combine matter and void and to extract unsuspected expressive possibilities from a simple sheet of iron.

Oratorio profano (1974) for three narrators, three instrumental chamber groups, four orchestras, four timpani, organ, and tape was premiered in 1979. Radić here used his usual models of simulation of folk and popular music, as well as those known from the history of avant-gardes such as Aleatory, performance, sound poetry, and electronic media. In this work, the composer reached for citations in piano pieces by Alexander Scriabin and Igor Stravinsky. Radić commented on this work: “Oratorio was not a turning-point in my work as it may have seemed to some….

Comic book historians Zdravko Zupan and Slavko Draginčić lauded Maurović for his masterful ability to develop visual dynamics, with particular emphasis on black and white contrasting. Art historian Vera Horvat Pintarić wrote about his interwar period comic book work:Istorija jugoslovenskog stripa do 1941. godine, Zdravko Zupan Timothy O. Benson described him as a superb master of the art of cartoon, stating that "intensified interest in mass communications have resulted in reconsideration of his entire oeuvre".Central European Avant-gardes: Exchange and Transformation, 1910-1930, Timothy O. Benson, Los Angeles County Museum of Art, 2002, pp.

Miki Malör's works elude unilateral attributions: they are inspired by the avant-gardes of the 20th century, postmodern, deconstructivist, subversive, alternative, experimental, post- dramatic, feminist, rhizomatic, sensual, absurd, highly comical, intimate, transgressing taboos, excessive, and much more. Her works are neither based on drama pieces, nor are they meta-narrations, and there are no actors impersonating roles. She exclusively realises her own pieces and favours working with performers, dancers, and laypersons. Another mark of her works is her special attachment to music; her frequent trade with objects indicates a close relationship with the fine arts.

Carlos Edmundo de Ory (April 27, 1923 – November 11, 2010), born in the Spanish city of Cadiz, was a Spanish avant-garde poet. He was a son of Eduardo de Ory, who was a modernist poet and founder of the Academia Hispanoamericana de Cádiz (Cadiz's Spanish American Society). In the circle of friends of Eduardo de Ory were poets as Salvador Rueda, Amado Nervo, Juan Ramón Jíménez, Manuel Reina and Rubén Darío. Ory was fundamental in modernizing post-Spanish Civil War poetry by creating work that engaged major twentieth-century European avant-gardes such as Futurism, Dadaism, and Surrealism.

Studying art history at Sussex University, Fer gained her BA in 1979. She finished her PhD in 1988 with a dissertation on the Soviet and French avant-gardes, written at Essex University (where she worked with Professors Dawn Adès and Michael Podro. In 1980 she joined the Art History Department at the Open University (OU), where she developed the essays published in the Modernity and Modernism textbooks, released in 1993 by the OU and Yale University Press. She joined the Department of History of Art at University College in 1990, where she was promoted to Professor in 2005.

Once elected Mayor, Dozza began immediately to instil confidence in citizens and encouraged them to participate in the reconstruction of the city. Dozza has committed himself in the autonomous battle of Bologna, demanding more decentralized powers and claiming the financial autonomy of local authorities. Dozza brought solidarity to workers in crisis and equipped the first industrial areas that were the avant-gardes of the economic boom. Dozza established the tax councils, which combined the need for self-government of Bologna with the principle of "progressive taxation" and with the principle of control of citizens in finding the economic resources.

According to literary historian Adrian Marino, it should be read as a "nihilistic" text, echoing the irrationalism of Dada and Futurism.Adrian Marino, "Tendances esthétiques", in Jean Weisgerber (ed.), Les Avant-gardes littéraires au XXe siècle II, John Benjamins Publishing Company, Amsterdam & Philadelphia, 1986, pp. 671-672\. In March, he contributed the Contimporanul editorial, a polemical text about the impact of cultural modernity. Researcher Paul Cernat sees in it a sample of "rather Futurist" Orthodoxism, noting its attack on the "supersexual" content and "gallantry" of minor modernism, as well as its praise of purity in high modernism.

Susumu Koshimizu's first solo exhibition was at Tamura Gallery in 1971. He represented Japan at the Venice Biennale in 1976 and 1980. Koshimizu has also been included in landmark surveys, such as "Reconsidering Monoha", National Museum of Art, Osaka, 2005; "Japanese Art after 1945: Scream Against the Sky", held at Yokohama Museum of Art, Guggenheim Museum Soho, New York, and San Francisco Museum of Modern Art, 1994; and "Japon des Avant Gardes 1910–1970", Centre Georges Pompidou, Paris, 1986. Koshimizu's work has received renewed attention in the United States following his inclusion in "Requiem for the Sun: The Art of Monoha", at Blum & Poe, Los Angeles, in February 2012.

Deux Nus (Two Nudes, Two Women and Dones en un paisatge) is an early Cubist painting by the French artist and theorist Jean Metzinger. The work was exhibited at the first Cubist manifestation, in Room 41 of the 1911 Salon des Indépendants, Paris. At this exhibition the Cubist movement was effectively launched before the general public by five artists: Metzinger, Gleizes, Le Fauconnier, Delaunay and Léger.Steve Edwards, Paul Wood, Art of the Avant- gardes, Yale University Press, 2004 Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford University Press This was the first exhibition during which artists, writers, critics and the public at large encountered and spoke about Cubism.

Fouque read Jacques Lacan before reading Sigmund Freud. After marrying René Fouque, Antoinette Fouque moved to Paris to study literature at the Sorbonne. In the 1960s, she enrolled at the EPHE for a thesis on literary avant-gardes, which she abandoned preferring her activism alongside women, but passed a "DEA with Roland Barthes". It was during a seminar of Barthes, in January 1968, that she met Monique Wittig. Appalled by the sexism surrounding the intellectual and activist environments at the time of May 1968,Madeleine Chapsal in Le Débat : « Matériaux pour servir à l'histoire intellectuelle de la France », Gallimard, 1988Françoise Barret- Ducrocq, Femmes en tête, Flammarion, 1997.

Melanie Smith on a screening of her videos in Mexico City on 2012. Melanie Smith is an artist based in Mexico City. Her work has been characterized by a certain re-reading of the formal and aesthetic categories of avant-gardes and post-avant-garde movements, problematized at the sites and within the horizons of heterotopias. Her production is intimately related to a certain expanded vision of the notion of modernity, maintaining a relationship both with what this means in Latin America, particularly in Mexico, and with the implication this has for her formal explorations as a critical moment in the aesthetic- political structure of modernity and late modernity.

In Pippin's 1991 Modernism as a Philosophical Problem: On the Dissatisfactions of European High Culture, he develops what he calls a socio-cultural corollary to his 1989 work. He enters the debate on the legitimacy of the modernist project and the possibility of post-modernity. Still claiming to be interpreting Hegel, Pippin tries to defend modern, prosaic bourgeois society. Nonetheless he admits that, and attempts to explore why, the dominant high culture of that society has been one of what might be termed self-hatred: he ranges from Flaubert and later modernist avant-gardes to the intellectual trends of New Historicism and Derridean deconstructive thought.

He is well known in the international art world for the project Swimming Across The Atlantic, which was executed in the swimming pool of the ocean liner Queen Elizabeth 2 in 1982 while traveling on the route between London and New York. In the book Europa-America - The different avant-gardes produced by Franco Maria Ricci in 1976, Achille Bonito Oliva inserts Misheff between the more 30 avant-garde artists in Europe. Between his more meaningful performances Music of the sky, concert-installation of 1979 in the Public square of the Dome of Milan. Replicated in 1979 in Mills College of San Francisco and University of California Irvine (near Los Angeles).

Cascina Brughetto in Sacconago After spending the night in Cairate, Frederick Barbarossa resumed the march on Pavia heading towards the Ticino. Meanwhile, some avant-gardes of the Lombard League army stationed in Legnano, formed by 700 knights, broke away from the main army and searched the territory between Borsano and Busto Arsizio. According to other sources, the knights instead controlled the area between Borsano and Legnano, in other words, the modern-day districts of Ponzella and Mazzafame. At 3 miles (about 4.5 km) from Legnano, near Cascina Brughetto, the 700 municipal knights on the track crossed - just outside a forest - 300 knights of the imperial army on patrol, which represented only the vanguards of Frederick's troops.

He thus facilitated the recognition of musicology at the university as an autonomous discipline and enabled many musicians to find a more stable professional situation. He was also Inspector General of Music at the Ministry of National Education and director of the Schola Cantorum in Paris from 1962 until c. 1982. His erudition and eclecticism, but also his distinct character and marked opinions, made him one of the principal figures in the post-war French musical life. Always remained in the post-Debussy French tradition with a modal language close to Ravel, Roussel and Honegger and firmly opposed the atonality and serialism "avant- gardes" (very much in vogue in the post-war years).

Futurism, in the context of the formal experimentation of the avant-gardes of the early 20th century, had as an ideal the rejection of the traditional aesthetics and the interest in the contemporary life, innovation and the latest technologies. The dominant subjects were the machine and the movement. To represent this movement, they repeated the same image as if it were a filmic sequence, which they called simultaneism. This reminds of the sequences of images of the same animal or person moving that Marey did in his studies. In the words of Jonathan Miller: “Étienne Jules Marey was a qualified doctor and there would have been no Italian futurism movement without his extraordinary influence”.

Researcher Kirsty Lohman points out that punk's concern for animal welfare is placed in broader politics of environmental awareness and anti-consumerism, suggesting a form of continuity with previous countercultures such as the hippies and avant-gardes. One of the main characteristics of punk is its anti-authoritarian nature that includes a belief in liberation, concept which quickly extended into compassion for animals. In line with this, author Craig O'Hara said that "politically minded punks have viewed our treatment of animals as another of the many existing forms of oppression." Furthermore, due to the substantial affiliation between meat eating and masculinity, many punks consider their vegetarian lifestyles as, at least partly, a feminist practice.

The Marinko Sudac Collection, based in Zagreb, Croatia, has been created with a clear collecting strategy based on the region of Central and Eastern Europe, additionally spanning from the Baltic area to the Black Sea. The guiding principle of the Collection is systematic exploration, researching, and promotion of the avant-garde practices which have been marginalized, forbidden, and at times completely negated due to the historical, social and political circumstances. In this context, the Marinko Sudac Collection gives the most complete and comprehensive overview on the art of this region. The Collection starts at 1909, and it show the continuity from the first Avant- Gardes, through neo-avant-garde and New Artistic Practices, ending with the fall of the Berlin Wall.

Johnny Reinhard (1956- ) is a microtonal composer, bassoonist, author and conductor. Reinhard employs many avant-garde techniques in his bassoon performance such as glissando and multiphonics, as well as uses just intonation and other microtonal tuning systems. Notable compositions by Reinhard include "Dune" (1990), "Cosmic rays" (1995), "Middle-Earth" (1999), "Talibanned Buddhas" (2000), and "Semantics of tone" (2007). AFMM Website Gagné, Nicole V., Historical dictionary of modern and classical music, Scarecrow Press, 2011 (Kindle edition). Page 222. ASIN: B005JSGBCO. Retrieved October 4, 2011 He reconstructed and performed Charles Ives' Universe symphony in 1996.6MTsXiCcWqsQKKuMnbBA&sa;=X&oi;=book_result&ct;=result&resnum;=10&ved;=0CF0Q6AEwCQ#v=onepage&q;=%22Johnny%20Reinhard%22&f;=false Kostelanetz, Richard and Brittain, H.R. "A dictionary of the avant-gardes," Taylor & Francis, Inc., 2001.

The Situationist International was a restricted group of international revolutionaries founded in 1957 and which had its peak in its influence on the unprecedented general wildcat strikes of May 1968 in France. With their ideas rooted in Marxism and the 20th century European artistic avant-gardes, they advocated experiences of life being alternative to those admitted by the capitalist order, for the fulfillment of human primitive desires and the pursuing of a superior passional quality. For this purpose, they suggested and experimented with the "construction of situations", namely the setting up of environments favorable for the fulfillment of such desires. Using methods drawn from the arts, they developed a series of experimental fields of study for the construction of such situations, like unitary urbanism and psychogeography.

The Situationist International was a restricted group of international revolutionaries founded in 1957, and which had its peak in its influence on the unprecedented general wildcat strikes of May 1968 in France. With their ideas rooted in Marxism and the 20th-century European artistic avant-gardes, they advocated experiences of life being alternative to those admitted by the capitalist order, for the fulfillment of human primitive desires and the pursuing of a superior passional quality. For this purpose they suggested and experimented with the construction of situations, namely the setting up of environments favorable for the fulfillment of such desires. Using methods drawn from the arts, they developed a series of experimental fields of study for the construction of such situations, like unitary urbanism and psychogeography.

Houédard cultivated an interest in multiple religious traditions; he wrote commentaries on Meister Eckhart and was a founder-member of the Eckhart Society, as well as an honorary fellow of the Muhyiddin Ibn 'Arabi Society.Beshara Publications author info He published a fair amount of literary criticism, often with eccentric typography,Richard Kostelanetz, H. R. Brittain: A Dictionary of the Avant-Gardes, p. 291 and corresponded widely with leading poets, artists, theologians and philosophers of the day, including Robert Graves, Edwin Morgan, Allen Ginsberg, William S. Burroughs, Jack Kerouac, Mark Boyle, John Blofeld, Michael Horovitz and Ian Hamilton Finlay. In 1965 he collaborated with Jasia Reichardt from the Institute of Contemporary Arts in London on the connection between poetry and visual art which led to a joint publication.

Peter Bürger, Theory of the Avant-Garde, English translation by Michael Shaw, Foreword by Jochen Schulte-Sasse, Theory and History of Literature, Volume 4 (Manchester University Press, University of Minnesota Press, 1984), It is frequently characterized by aesthetic innovation and initial unacceptability.Kostelanetz, Richard, A Dictionary of the Avant-Gardes, Routledge, May 13, 2013, The avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement, and still continue to do so, tracing their history from Dada through the Situationists and to postmodern artists such as the Language poets around 1981.

Papini's literary success began with his known works include Il Crepuscolo dei Filosofi ("The Twilight of the Philosophers"), published in 1906, and his 1913 publication of his auto-biographical novel Un Uomo Finito ("A finished man"). Papini was born into a lower-middle-class family in Florence, the capital of Tuscany. Controversial and discussed intellectual, admired for his writing style, he was a scholar of philosophy, religion, literary critic and heated polemicist, narrator and poet, popularizer of pragmatism and historical avant-gardes such as futurism and post-decadentism. He went from one position to another on the fronts, always dissatisfied and uneasy, he converted from the anti-clericalism and atheism that turned catholicism on; went from cursing and convinced interventionism (before 1915) to aversion to war.

Hobsbawm writes on Post-war modernist art practice: :"...consisted largely in a series of increasingly desperate gimmicks by which artists sought to give their work an immediately recognizable individual trademark, a succession of manifestos of despair... or of gestures reducing the sort of art which was primarily bought for investment and its collectors ad absurdum, as by adding an individual's name to piles of brick or soil ('minimal art') or by preventing it from becoming such a commodity through making it too short-lived to be permanent ('performance art'). :"The smell of impending death rose from these avant-gardes. The future was no longer theirs, though nobody knew whose it was. More than ever, they knew themselves to be on the margin.

Sekine has also been included in landmark surveys, such as Reconsidering Mono-ha, National Museum of Art, Osaka, 2005; Japanese Art after 1945: Scream Against the Sky, held at Yokohama Museum of Art, Guggenheim Museum SoHo, New York, and San Francisco Museum of Modern Art, 1994; and Japon des Avant Gardes 1910–1970, Centre Georges Pompidou, Paris, 1986. Sekine’s work has received renewed attention in the United States following his inclusion in Requiem for the Sun: The Art of Mono-ha, at Blum & Poe, Los Angeles, in February 2012. This exhibition was the first survey of Mono-ha in the United States. Sekine’s work was also featured in Tokyo 1955–1970: A New Avant Garde at the Museum of Modern Art, New York, in 2012.

Eric Robertson is Professor of Modern French Literary and Visual Culture at Royal Holloway, University of London. His research focuses primarily on 20th century French literature, especially poetry, and the visual arts, with particular emphasis on European Modernism and the avant-gardes. He is the author of Arp: Painter, Poet, Sculptor (2006), Writing Between the Lines (1995), a study of the bilingual novelist and essayist René Schickele, and various articles and chapters on 20th century French literature, especially poetry, and visual arts. He is also the co-editor of Yvan Goll - Claire Goll: Texts and Contexts (1997), Robert Desnos: Surrealism in the Twenty-First Century (2006), Dada and Beyond Volume 1: Dada Discourses (2011) and Dada and Beyond Volume 2: Dada and its Legacies (2012).

The Situationist International (SI) was a restricted group of international revolutionaries founded in 1957 and which had its peak in its influence on the unprecedented general wildcat strikes of May 1968 in France. With their ideas rooted in Marxism and the 20th century European artistic avant-gardes, they advocated experiences of life being alternative to those admitted by the capitalist order, for the fulfillment of human primitive desires and the pursuing of a superior passional quality. For this purpose they suggested and experimented with the construction of situations, namely the setting up of environments favorable for the fulfillment of such desires. Using methods drawn from the arts, they developed a series of experimental fields of study for the construction of such situations, like unitary urbanism and psychogeography.

A self-taught artist, Claramunt belongs to a generation that tried to be of its time without belonging to it. The start of his career in the 1970s coincided with the emergence of a more politicised approach to art to which most of his contemporaries subscribed, at a time when Barcelona was teeming with experimental initiatives in the spheres of art, literature and film, as well as underground subcultures.RWM Son[i]a: Bartomeu Marí, Carles Guerra and Yaiza Hernández introduce ... at Ràdio Web MACBA During this period, Claramunt swam against the tide, focusing on painting rather than looking to the avant-gardes for inspiration. The finishes of naturalist painting, and in particular the work of Isidre Nonell, became the first rung of the ladder that Claramunt would build in the course of his life.

The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung.

The Russian Avant-Garde Book, Rowell & Wye, MOMA, 2002 Russian futurism gradually evolved into Constructivism after the Russian Revolution, centred on the key figures of Malevich and Tatlin. Attempting to create a new proletarian art for a new communist epoch, constructivist books would also have a huge impact on other European avant-gardes, with design and text-based works such as El Lissitsky's For The Voice (1922) having a direct impact on groups inspired by or directly linked to communism. Dada in Zurich and Berlin, the Bauhaus in Weimar and De Stijl in the Netherlands all printed numerous books, periodicals and theoretical tracts within the newly emerging International Modernist style. Artist's books from this era include Kurt Schwitters and Kate Steinitz's book The Scarecrow (1925), and Theo van Doesburg's periodical De Stijl.

In addition to documenting, publishing enables a deepening of the exhibition activities of the Consortium. Les Presses du RéelVoir sur le site du Consortium . limited company was set up in 1992, in order to make the publishing business financially independent from the Consortium. Its publications include series about today's most relevant contemporary art, as well as the main historical and literary texts from or about the 20th century's avant-gardes : Monographs (Lily van der Stokker, Yayoi Kusama, Lee Bull, Annette Messager, etc. ), exhibitions catalogues, artists’ writings, previously unpublished documents, classical texts never reprinted, and so forth. The series ‘L’Ecart Absolu’, ‘Document sur l’Art’, ‘Otto Muehl’s’ and ‘Hans Hartung’s', the publications Permanent Food and Charley, define an editorial policy which gives Les Presses du Réel a singular position in the landscape of French and international publishing.

North Point Press, 1994. Goethe spoke with Eckermann about the excitement of reading Chinese novels and Persian and Serbian poetry as well as of his fascination with seeing how his own works were translated and discussed abroad, especially in France. He made a famous statement in January 1827, predicting that world literature would replace the national literature as the major mode of literary creativity in the future: Reflecting a fundamentally economic understanding of world literature as a process of trade and exchange, Karl Marx and Friedrich Engels used the term in their Communist Manifesto (1848) to describe the "cosmopolitan character" of bourgeois literary production, asserting that: Martin Puchner has stated that Goethe had a keen sense of world literature as driven by a new world market in literature.Martin Puchner, Poetry of the Revolution: Marx, Manifestos and the Avant-Gardes.

Sheikh Fadlullah Nouri was one of the distinguished and avant-gardes of the constitutional movement. He had well realized the existing problems and challenges that faced Iranian people with full wisdom and said that the despotic regime was the main cause. For the same reason, he believed that people must counter with the autocratic regime in the best way that is constitution of legislature and constitutionalizing the Imperial regime; hence, once constitutional movement began, he made speeches and distributed tracts to insist on this important thing. After the westernized intellectuals involved in the constitutional movement, intellectuals held control of the constitutional movement that Sheikh and scholars had in mind and they rose up for restricting autocracy, all laws written down by intellectuals after establishment of the first parliament he seriously opposed and he published treatises, statements and speeches for their improvement.

Sources indicate that Diana Dowek first entered Escuela de Bellas Artes Manuel Belgrano in Buenos Aires (roughly translated to the Manuel Belgrano School of Fine Arts) at the ripe age of thirteen before she later enrolled in a similar school, Escuela Nacional de Bellas Artes Prilidiano Pueyrredón (National Fine Arts). Both schools were within her general vicinity of Buenos Aires. While in attendance at Escuela Nacional de Bellas Artes Prilidiano Pueyrredón, Dowek demanded educational reform alongside other members of the student movement, protesting the active militance opposition so many of her colleagues were up against. During these years, she would make connections and build what could be described as friendships with other important figures, such as Horacion Safons and Margarita Paska, eventually forming an "active cohort among Buenos Aires' artistic avant-gardes" in other words being, they would form a power group.

At the beginning of 1900 Friuli seemed far from the numerous avant-gardes of the period, at least in part due to its difficult historical situation; the regional request for autonomy received no response from the Italian authorities, and in 1933 the fascist regime prohibited any publications in Friulian. The most important authors of this time were Vittorio Cadel of Fanna (1884-1917), who composed poems with a sensual background, concealing a deep feeling of sadness and discouragement; Ercole Carletti (1877-1946) of Udine, author of poems in a style close to Italian crepuscolarismo; and Celso Cescutti. A rare example of political and civil themes can be found in Giovanni Minut's Rimis furlanis (1921). Minut, born in Visco in 1895, was forced to flee to Uruguay when the fascists came to power; he died there in 1967.

MFAH, Allen Chasanoff Photographic Collection, Museum of Fine Art Houston: 1991, retrieved May 28th, 2015. In 1980, he founded the Photography Department at the American Center for Artists in Paris becoming Director of its Center for Media Art and Photography in 1985 following in the footsteps of founder Don Foresta and Anne-Marie Stein.Caujolle, Christian. "Scott MacLeay – Un Pont Sur l’Atlantique," Libération: rubrique Têtes d’Affiche, (22 octobre 1985)Delanoë, Nelcya. "Le Raspail Vert, L’American Center à Paris 1934-1994 – une histoire des avant- gardes franco-américaines," Editions Seghers, Paris (1994): 185, 188, 189, 221. Repères Historiques, Proposée par l’Encyclopédie nouveaux médias du Centre Georges Pompidou: 10 - retrieved May 28th, 2015 In 1982 he began composing experimental music for contemporary dance for American and French choreographers including Robert Kovich, Ruth Barnes, Marc Vincent and Jean- Marc Matos in collaboration with French choreographer François Raffinot.

Despite the contrary opinion of his generals, he decided to attack the enemy forces, resting just a few miles away. At dawn on 24 April the first avant-gardes of the imperial army advanced, looking for a way for all the army to cross the river. Helped by the surprise and by the dense fog that had risen from the river, small groups of Spanish and Italian veteran soldiers managed to swim across the river and eliminate the few Saxon troops that were guarding the other side. Meanwhile, some troops of the tercios of Lombardy and Naples, that were the most experienced soldiers in Charles' army, followed a plan set by Don Fernando Álvarez de Toledo, Duke of Alba and commander-in-chief of the Imperial troops in Germany and with the help of a local farmer,Robertson, p.

These musicians have experimented the interaction among sound, sign and vision, a synaesthetics of art derived from historical avant-gardes, from Kandinskij to futurism, to Scrjabin and Schoenberg, all the way to Bauhaus. His work in the eighties is also based in involving, with didactic-educational projects, students as executors of performances in the example of the Music Circus carried out in 1984 in a High School in Piemonte by John Cage. And it is the American musician (met in 1991 in Zurich for the execution of Europeras 1&2) who appreciates this aspect of Maltagliati's work, because he is able to involve young people as performers. These works, besides building approach to music and, specifically, developing a different way of listening, aim at expanding the concept of artistic creation to the executor, till it reaches just the user, often unprovided with a traditional artistic formation.

The Generation of '27 cannot be neatly categorized stylistically because of the wide variety of genres and styles cultivated by its members. Some members, such as Jorge Guillén, wrote in a style that has been loosely called jubilant and joyous and celebrated the instant, others, such as Rafael Alberti, underwent a poetic evolution that led him from youthful poetry of a more romantic vein to later politically-engaged verses. The group tried to bridge the gap between Spanish popular culture and folklore, classical literary tradition and European avant- gardes. It evolved from pure poetry, which emphasized music in poetry, in the vein of Baudelaire, to Futurism, Cubism, Ultraist and Creationism, to become influenced by Surrealism and finally to disperse in interior and exterior exile following the Civil War and World War II, which are sometimes gathered by historians under the term of the "European Civil War".

A few months after the exclusion, in the context of judicial prosecution against the group by the German state, Debord expressed his esteem to Gruppe SPUR, calling it the only significant artist group in (Germany) since World War II, and regarding it at the level of the avant-gardes in other countries.Letter from Guy Debord To the Spur group, 28 April 1962 The next significant split was in 1962, wherein the "Nashists," the Scandinavian section of the SI led by Jørgen Nash, were excluded from the organization for lacking the theoretical rigor demanded by the Franco-Belgian section of SI led by Guy Debord. This excluded group would later declare themselves the 2nd Situationist International, basing their organization out of Sweden. Journalist Stewart Home, who favored the "Nashists" and considered Debord a "mystic, an idealist, a dogmatist and a liar"Anselm Jappe (1999) Guy Debord, p.

The Situationist International (SI), a small group of international political and artistic agitators with roots in Marxism, Lettrism and the early 20th-century European artistic and political avant- gardes formed in 1957, aspired to major social and political transformations; before disbanding in 1972 and splitting into a number of different groups, including the Situationist Bauhaus, the Antinational, and the Second Situationist International, the first SI became active in Europe through the 1960s and elsewhere throughout the world and was characterized by an anti- capitalist and surrealist perspective on aesthetics and politics, according to Italian art historian Francesco Poli. In the works of the situationists, Italian scholar Mirella Bandini observes, there is no separation between art and politics; the two confront each other in revolutionary terms. Historically, revolutionary ideas have emerged first among artists and intellectuals. That's why a precise mechanism to defuse the role of artists and intellectuals is to relegate them into specialized, compartmentalized disciplines, in order to impose unnatural dichotomies as the "separation of art from politics".

The 9th Berlin Biennale stirred some controversy among critics and audiences. James Farago, of the Guardian, wrote a scathing review, describing the art event as ‘an ultra-slick, ultra- sarcastic biennial, replete with ads, avatars, custom security guard uniforms, a manic social media presence disposed to hashtags like #BiennaleGlam, and a woman lip syncing to Trap Queen. However, it is for these same reasons that the Biennale was equally celebrated. In the September 2016 Issue of Artforum, British artist Hannah Black wrote that “…They [DIS] have been greeted, just like the modernist avant-gardes were in their time, with accusations of bad politics and even worse taste. Perhaps these critics haven’t noticed: The world is a ruin, but we go on living in it…” Many reviews have characterized the 9th Berlin Biennale as a gesamtkunstwerk. When reviewing the 2017 Documenta in Athens, art historian Susanne von Falkenhausen referenced her reaction to DIS’s 2016 Berlin Biennale 9: “That exhibition rigorously, to the point of cynicism, followed the web 2.0 world of digital prosumer reality and the moral ambiguity of its promises and aesthetics.

The Brignoni collection MUSEC opened its doors in 1989 thanks to the bequest of ethnic works of art that the Swiss artist and collector Serge Brignoni (1903-2002) collected in the long period between 1930 and the mid 1980s, when he decided to donate them to the city of Lugano. The collection thus bears witness, first of all, to the link between the forms of creativity of the "South Seas" cultures and the object that the artistic avant-gardes of the 20th century discussed in their circles and tried to create in their works. The works are the expression of a refined choice that privileges the best manufactured articles and knows how to recognize phenomenologically the expressions of an art not yet acculturated. The genres and geographical origins, albeit with some significant exceptions, reflect those most widespread in the European, Australian and North American collections of the mid-twentieth century and there is almost no lack of "pieces" of what were considered the indispensable objects of collecting at the time.

It had a particularly interesting relation to the UK avant- garde: in the 1970s and 1980s there were extensive contacts between American Language poets and veteran UK writers like Tom Raworth and Allen Fisher, or younger figures such as Caroline Bergvall, Maggie O'Sullivan, cris cheek, and Ken Edwards (whose magazine Reality Studios was instrumental in the transatlantic dialogue between American and UK avant-gardes). Other writers, such as J.H. Prynne and those associated with the so-called "Cambridge" poetry scene (Rod Mengham, Douglas Oliver, Peter Riley) were perhaps more skeptical about language poetry and its associated polemics and theoretical documents, though Geoff Ward wrote a book about the phenomena. A second generation of poets influenced by the Language poets includes Eric Selland (also a noted translator of modern Japanese poetry), Lisa Robertson, Juliana Spahr, the Kootenay School poets, conceptual writing, Flarf collectives, and many others. A significant number of women poets, and magazines and anthologies of innovative women's poetry, have been associated with language poetry on both sides of the Atlantic.

Since 1999 McCarthy has been 'general secretary' of a 'semi-fictitious organisation' he co-founded with his friend the philosopher Simon Critchley called the International Necronautical Society (INS) "devoted to mind-bending projects that would do for death what the Surrealists had done for sex". Having failed to interest publishers in his novels in 2001-2, he made art projects under the INS name. McCarthy handed out his International Necronautical Society or INS manifestos at a mock art fair organised by artist Gavin Turk. The INS operates through publications, live events, media interventions and more conventional art exhibitions. In a 2007 interview with the website Bookninja, McCarthy explained the circumstances that led to the formation of the INS: "I was quite well integrated into the art world in London by the late nineties, and on top of that I’d for some time had an interest in the modes and procedures of early twentieth century avant-gardes like the Futurists and Surrealists: their semi-corporate, semi-political structures of committees and subcommittees, their use of manifestos, proclamations and denunciations".