Avantgarde Art

In this essay I would like to analyse the historical and contemporary views on phenomena named by Sigmund Freud as the death instinct. I will examine the freudian theory and also how it has developed through time, with particular focus on views on the subject of Jacques Lacan, Julia Kristeva, Gilles Deleuze and Guattari and Slavoj Zizek. I will relate this theory to the works of radical artists, whose creative energy, I believe, is being channeled through this instinct. These artists are Marina Abramovic, Klara Liden, Oreet Ashery and Anna Odell. Their actions, mostly performance based, deal with pain and the body and involve risky situations, breaking of the taboos or common social rules, inflicting pain and endurance of the body. I will also give some examples from my own emerging art practice. I want to discuss how psychiatry perceives such actions as non desirable, and how the psychiatric system is being designed to ‘catch’ and ‘control’ any signs of radical or non conventional behaviour. I will also discuss why radical performance is significant and revolutionary in its nature.

The essay explores the comparable features of first half XX Century Avant-garde, Poetry and the contemporary Science, Art and Philosophy – focusing the esoteric inspiration and nuances both in Poetry and Criticism of the major Modernist poets Pound, Yeats and Eliot.

In 1987, Simon Frith and Howard Horne's Art into Pop questioned the rise of British PostWar popular music within the context of art schools, employing cross-terms such as " rock bohemians " and " pop situationists ". The authors focused on the 1970s and the aftermath of punk, finding a close relation between popular music forms and art forms in the contexts of several British cities as well as in New York City. More recently, Simon Reynolds traced the genealogy of an " artistic bias " in popular music back to the post-punk period of the late 1970s, when " art ideas affected actual musical practices " (2009: 365) due to the influence of not musically trained artists coming from the NYC experimental scene such as Yoko Ono and Brian Eno. So far, scholarly investigations on the intersections between popular music and culture and avant-garde arts have been mostly limited to the social cultural milieu of only two decades (1960s/1970s) and two countries (U.S.A./U.K.). Essay such as Bernard Gendron's Between Montmartre and the Mudd Club (2002) and Sytze Seenstra's We are the noise between the stations (2003) constitute two notable exceptions through their reframing of the American punk scene and of David Byrne's work through a diachronical comparison with French modernism and conceptual romanticism, respectively. They do not only reassess the collapse of hierarchical distinction between the social function played by high arts and mass culture with the advent of late modernity/postmodernity, but also take into serious consideration the relationships between different media domains. Drawing on a similar methodological approach, this special issue of Cinéma & Cie aims to address the context made up of works of art in music, film and video by tracing the ongoing exchange between avant-garde and popular forms from trans-historical and intermedial perspectives. We are interested, for instance, in how art groups as the No Wave in NYC between 1970s and 1980s represented a 'turn' in cinema, media, and

Mapirati afrički kontinent u Zenitu znači sagledavati zenitističke koncepte internacionalizma, civilizacije, kulture, primitivizma, crnačke umetnosti, itd. i na osnovu njih izvesti zaključak o odlikama jedne fragmentarne, ali ipak postojeće slike Afrike u ovom časopisu. Upravo se tim tragom
ova slika i pronalazi u programskim i manifestnim tekstovima, izveštajima i vestima, reprodukcijama umetničkih dela, pesničkim tropima, kritičko-teorijskim komentarima. Posebna pažnja u Zenitu posvećena analizi umetničkog statusa „crnačke plastike“ pretpostavlja nacrt potencijalne „zenitističke teorije afričke umetnosti“. Pored toga, niz zenitističkih „Afrika“ otkriva i značajne vankolonijalne težnje u razmišljanju o ovom udaljenom kontinentu kroz primere pružanja podrške savremenim političkim događajima i narodnooslobodilačkim borbama. Značajan deo slike Afrike u Zenitu čine i oni njeni fragmenti
integrisani u viziju i misiju balkanskog primitivizma oličenog u liku Barbarogenija. U ovom radu daje se pregled svih pomenutih narativa koji skupa formiraju zenitističku sliku Afrike – mozaik složen
kroz avangardnu umetničku aproprijaciju, antiimperijalističku solidarnost i stereotipnu predstavu kontinenta.