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Jacopo Galimberti

, Servire il Popolo, Che Fare and Re Nudo, outlining various trends of Italian Maoism in the 1960s and early 1970s. Finally, the narrative will address the revival of the avant-gardes of the 1910s and 1920s in order to return to La Rivoluzione and to explore a late 1970s upshot of Italian Maoism, Mao-Dadaism. Servire il Popolo Italian Maoism originated in the early 1960s, when the ‘revisionist’ turn of the PCI and the reformist tendencies of the other main Marxist party, the Partito Socialista Italiano (PSI, Italian Socialist Party), pushed some leftists to explore

in Art, Global Maoism and the Chinese Cultural Revolution
An aesthetic controversy during the establishment of the BBC Radiophonic Workshop and the radiophonic poem Private Dreams and Public Nightmares
Tatiana Eichenberger

and Public Nightmares mirror the general situation at the BBC during a phase when traditional values met the experimental avant-garde developments in radiophonic art and in music as well. The efforts to establish an electronic studio at the BBC beginning in November 1956 came relatively late compared to continental Europe, where electronic studios at broadcasting corporations in Paris, Cologne and Milan were, as major actors, essential to the development of avant-garde electroacoustic music. In direct reaction to developments on the Continent, the BBC took a strong

in Tuning in to the neo-avant-garde
Der Blaue Reiter and Dada
Deborah Lewer

on at least two occasions.2 Ball’s place in the theatre in Munich was precarious. In 1913 and 1914, in the months before the outbreak of World War I, he was still clinging to his position. He was now part of the vast and complex network that constituted the literary and artistic avant-garde in Germany’s major cities and was keen to forge a reputation in this context.3 He contributed to the small, short-lived Munich journals that sprang up, broadly in the manner of Franz Pfemfert’s Die Aktion in Berlin, such as Neue Kunst and Revolution. The uncertainty of his job

in German Expressionism
Abstract only
Marc James Léger

situation in which affect and creativity, immaterial and communicative labour are key components of the biopolitical engineering of subjectivity, a voluntary machinic enslavement within a bureaucratically regulated process of continuous evaluation that is increasingly geared towards the requirements of a service economy. The new forms of art activism, associated with new social movements, autonomous collectives and alternative media are certainly shaped by this new class composition. However, they also bear a striking resemblance to avant-garde predecessors. Renato

in Vanguardia
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The Futurist manifesto as avant-garde advertisement
Matthew McLendon

1 Engaging the crowd: the Futurist manifesto as avant-garde advertisement Matthew McLendon Matthew McLendon Engaging the crowd In April 1912 Umberto Boccioni, writing to Carlo Carrà from Berlin and the travelling Futurist exhibition, expressed his concerns about the lack of publicity surrounding the event. He complained: ‘I fear that there is not the tremendous interest of Paris and London, because the publicity has been badly organised. Marinetti should be here, it is necessary. I am neither a journalist nor a writer, nor do I have his name, or the experience

in Back to the Futurists
Shulamith Behr

, and maintained contact with literary and artistic circles following the dissolution of the Gereonsklub. Without resurrecting debates about the nature of the avant-garde and modernism of the 1970s and 1980s, here avant-gardism can be interpreted as a broad field that embraced male practitioner, woman patron or supporter in a self-conscious definition of what constituted modern theory and practice. But does this fluid sociological model suffice to explore the international community of artists, dancers, composers and art historians who were drawn into the circles of

in German Expressionism
UK artists’ film on television
A. L. Rees

reforms, and shaken by student demands, sit-ins and calls for more relevance to the times, the UK art schools were a hothouse for radical new media and cultural theory. For Malcolm Le Grice, they were turning into ‘one of the components of cultural intervention’ rather than simply a preparation for it.9 Many of the artist filmmakers who made up the structural avant-garde in the UK were art school graduates from this period, as were a considerable number of the social-political independent filmmakers who were among the new voices of the 1970s. The RCA Film and Television

in Experimental British television
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British journeys
Paul Newland

in the film, located on the A4 Bath Road at Brislington Hill. The effect of this exploration of an old road across southern England is to offer a richly evocative vision of the country at the end of the 1970s which does not always chime with popular contemporary mythologies of Englishness. 75 056-084_BritFilm70s_Ch 2.indd 75 19/11/2012 12:58 British films of the 1970s In their lack of clarity or sense of closure, the ambivalent last scenes of Radio On serve to locate the film within (or at least alongside) the British avant-garde. Robert drives his old Rover

in British films of the 1970s
A history
Hans Bertens

simply did not know one another’s example of post-modernism. And when they did, one man’s post-modernism appeared to others as only slightly varied modernism, or nostalgic and mystified returns to the sixties, or mere fringe avant garde phenomena’. 14 Only the loosest, un-theoretical and unphilosophical formulation (which still emphasized postmodernism’s superior representative qualities), such as the one offered in 1978 by Robert Kern, could capture what most of these postmodernisms had in common: ‘Modernist poetics

in Post-everything
Futurist cinema as metamedium
Carolina Fernández Castrillo

and a celebration of the future based on the hybridisation of art and media that was clearly formulated in The Founding and Manifesto of Futurism (1909). With astonishing lucidity the Futurists embraced the modern adventure, launching a cry of revulsion against the past, thus establishing the fundamental principles of subsequent avant-gardes. Their historical role was to announce the forthcoming changes as the result of the emergence of industrialisation, technology, new modes of transport and communication systems. The capacity to engage with reality by infusing it

in Back to the Futurists