Marta Minujín's Destructive Intervention

ARTMargins ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 61-84
Author(s):  
Michaëla de Lacaze Mohrmann
Keyword(s):  
Market Value ◽  
Avant Garde ◽  
Art Forms ◽  
The Sixties

On June 6, 1963, after living in Paris for several months, Argentine artist Marta Minujín performed her first happening, The Destruction, at the Impasse Ronsin, the now legendary abode of many modern and neo-avant-garde artists. This article examines how The Destruction responded to the mediatization of Nouveau Réalisme's performances, especially Niki de Saint Phalle's Tirs, by entering a Duchampian discourse through its destabilization of authorship, originality, and authenticity—concepts central to Modernism and the anchoring of art's market value. In addition, The Destruction used Brechtian strategies and routinized actions to undercut the ritualism, immediacy, and collaboration fundamental to the emancipatory promise of both French and US happenings as developed by Jean-Jacques Lebel and Allan Kaprow, respectively. In its self-conscious consideration of the intertwinement between performative art forms and spectacle culture, Minujín's first happening thus opened a path of inquiry that later Argentine avant-garde artists of the sixties would continue to explore.

scholarly journals Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks

2014 ◽  
Vol 39 (4) ◽  
pp. 6-11
Author(s):  
Thomas Crombez
Keyword(s):  
Visual Arts ◽  
Small Groups ◽  
Digital Humanities ◽  
First Generation ◽  
Digital Archive ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
The Sixties ◽  
New Methodologies ◽  
Post War

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.

Entartete Kunst

2018 ◽  
Author(s):  
Amy Kelly Hamlin
Keyword(s):  
Third Reich ◽  
Abstract Art ◽  
Paul Klee ◽  
Traditional Art ◽  
Avant Garde ◽  
The Third ◽  
Art Forms ◽  
Degenerate Art ◽  
The Third Reich

Entartete Kunst (Degenerate Art) is a term that was used by Nazi authorities to identify, censure, and confiscate art they considered inconsistent with their ideology. It was the cornerstone of an ambitious propaganda campaign that culminated in the exhibition Entartete Kunst, which took place in Munich in 1937. The majority of this so-called degenerate art was Avant-Garde in both form and subject. Abstract Art by German artists, including Max Beckmann, Max Eernst, Ernst Ludwig Kirchner, Paul Klee, and Franz Marc, was particularly vulnerable to Nazi attack; non-German artists such as Vasily Kandinsky and Piet Mondrian were also singled out. As a polarizing concept, Entartete Kunst stems from an essentially anti-modernist, xenophobic and anti-Semitic position. It was designed to legitimize the art of the Third Reich, which was rooted in traditional art forms and characterized by an idealized naturalism that promoted heroic virtues and racial purity.

scholarly journals A Memorial Tribute: Peter Barnes: the Playwright who Laughed at Death

2004 ◽  
Vol 20 (4) ◽  
pp. 303-304
Author(s):  
Elaine Turner
Keyword(s):  
Open Space ◽  
Ben Jonson ◽  
Early Career ◽  
Avant Garde ◽  
The Sixties

The death on 1 July 2004 of the playwright Peter Barnes robbed the British theatre of one of its most individual and richly imaginative yet shamefully neglected writers. Although his best known work for the theatre – which included The Ruling Classes, The Bewitched, Laughter, Red Noses, and Dreaming – won widespread admiration, and his later radio and television work brought him before a wider public, he remained a theatrical outsider, his plays transcending the conventions of critical labels and movements – the singe discernible influence that of Ben Jonson, whose eccentric genius he championed throughout his life. Here we include three personal tributes: the oration delivered at Barnes's funeral by the stage and screen actor Alan Rickman; recollections from the avant-garde director Charles Marowitz of his association with Barnes's early career at the Traverse and his own Open Space Theatre in the 'sixties; and the impressions of a personal friend, the lecturer and writer Elaine Turner. An analytical assessent of Peter Barnes's work will appear in a later issue.

The Third Manifesto: ‘We Shall Come to See’

1988 ◽  
Vol 4 (14) ◽  
pp. 120-121
Author(s):  
John Andreasen
Keyword(s):  
Avant Garde ◽  
The Third ◽  
The Past ◽  
The Future ◽  
Art Forms ◽  
Science And Politics ◽  
The University ◽  
Changing Society

In June 1985, a fortnight's discussions on ‘The Theatre in the Future’ were held as part of the Fools' Festival in Copenhagen. The seminars discussed the position of theatre and its possibilities in a rapidly changing society, often from deeply opposed positions – socially engaged versus wildly avant-garde, verbal versus imagistic, anthropological versus robotic, and so on. Participants were an exciting mix of professional performers of many kinds, plus theatre critics and ‘ordinary’ engaged people, who for two weeks exchanged experiences and visions of theatre in conjunction with other art forms, and with science and politics. The manifesto below was the contribution to these seminars of John Andreasen, a veteran of ‘sixties happenings, who has subsequently concentrated on street and environmental theatre, and for the past twelve years has taught and directed in the Drama Department of the University of Aarhus.

Cover Girls

Mulata Nation ◽  
2018 ◽  
pp. 106-149
Author(s):  
Alison Fraunhar
Keyword(s):  
National Identity ◽  
Political Activism ◽  
Fine Art ◽  
International Travel ◽  
Avant Garde ◽  
National Symbols ◽  
Art Forms ◽  
Republican Era ◽  
Popular Magazine ◽  
Magazine Covers

This chapter studies in the interweaving of popular and fine art forms during the Republican era, focusing on artwork of popular magazine covers and avant-garde painters of the period, with particular analysis of the work of several well-known (and several less so) painters and illustrators. In the chapter, the two formal approaches are connected by the deployment of the mulata in many of the artworks and illustrations. These artworks, fine and popular, were crucial in shaping consensus through vernacular imagery and well known national symbols, particularly (but not exclusively) the mulata. Both graphic and fine artists were shaped by international travel and residence abroad, introducing them to international stylistic currents against and through which they generated images that resonated with national identity. Not only did artists travel, but tourism continued to rise, bring foreign tastes, further shaping culture on the island. In addition to international connections, artists were at the vanguard of important political activism against corrupt government.

Bodenwieser, Gertrud (1890–1959)

2018 ◽  
Author(s):  
Amanda Card
Keyword(s):  
Modern Dance ◽  
Avant Garde ◽  
Art Forms ◽  
The Status

Gertrud Bodenwieser was an Austrian-born dancer, teacher, and choreographer who made major contributions on two continents to the development of what she called New Dance, and what others have called modern dance, or Ausdruckstanz. Since the 1940s she has enjoyed the status of a dance pioneer in Australia. More recently, her legacy has been recognized in her native Austria, allowing her a place amongst Vienna’s interwar modernist avant-garde. In both countries Bodenwieser is remembered as an inspired experimenter who stirred a prodigious loyalty among her students. Her early experimentation solidified into a formal technique, which she imparted through her teaching in Vienna in the 1920s and 1930s and in Sydney in the 1940s and 1950s. Her pedagogic principles supported her choreographic practice, as did her belief in the interconnectedness of all the art forms. In her works of pure abstraction or her dance dramas, music was a constant inspiration and improvisation a key process in the realization of her kinetic and thematic ideas.

Discourse, Figure, d’après Lyotard.

2021 ◽  
Author(s):  
Noni Geiger
Keyword(s):  
Visual Arts ◽  
Conceptual Art ◽  
Time Lapse ◽  
Abstract Concepts ◽  
Structural Element ◽  
Avant Garde ◽  
White Boards ◽  
The Sixties ◽  
White Type ◽  
Text Condition

The presence of the written element in cinema goes back to the early silent movies era, to express meanings that were not enough comprehensible just through images. The use of text charts as means to support and to implement narrative almost invariable consisted of black cards with centered white type (rarely the opposite, i.e., black type on white boards), occasionally utilizing graphic features as ornaments.These letterings inserted between scenes, either before or after to which they referred, sometimes had a deranged narrative effect because of interrupting the action flow. But words, when added to the cinematographic image, can indeed communicate certain abstract concepts such as date time lapse, local; evince characters speeches; describe some action not performed in the movie.This paper aims to investigate the change of status of the written element as an accessory apparatus to a central and structural element of the movie, specifically in the experimental and avant-garde cinema, considering Marcel Duchamp’s Anémic Cinéma (1926) its inaugural example.The incorporation of textual elements can be understood within the very process of the visual arts in the first decades of the twentieth century since Braque’s Gueridon (1913) and Picasso’s Bottle of Vieux Marc, Glass, Guitar and Newspaper (1913) through the Cubist and the Dada conceptual and formal strategies.The Conceptual art of the sixties and seventies permeates expressions of film experimentalism that will be analyzed for its use of text condition, where Michael Snow’s So this is, already in early 80ies (1982) is to be highlighted.

scholarly journals Misreading Generalised Writing: From Foucault to Speculative Realism and New Materialism

2018 ◽  
Vol 40 (1) ◽  
pp. 20-37
Author(s):  
Jonathan Basile
Keyword(s):  
Market Value ◽  
New Materialism ◽  
Deleuze And Guattari ◽  
Avant Garde ◽  
Speculative Realism ◽  
Traditional Sense ◽  
Temporal Progress

Misreadings of Derrida's Of Grammatology were prevalent from the time of its debut (Foucault, Deleuze and Guattari), up to the present day (Speculative Realism and New Materialism). For fifty years, Derrida's generalised textuality has been misread as though he meant there was nothing outside text in the traditional sense. This misreading always serves to re-institute notions of linear temporal progress, either among self-styled avant-garde authors who would like to break with past traditions, or among self-styled conservatives who hope to repeat them. If the binaries that divide these works from past texts are undecidable, the ground for such temporal progress disappears, along with the divisions by which we create linear narratives of history. The misreading of Derrida is an attempt to exorcise this undecidability and regain the intellectual and market value of novelty or repetition.

Sign in / Sign up

Export Citation Format

Share Document