A Quote by Louis Aragon
I must confess that I and a few others are burdened with heavy responsibilities regarding the future of criticism. I am certainly, if not the inventor, then at least one of the first systematizers of an absurd critical practice that, as soon as it had peeked its beak out of the nest, flapping its new wet wings, took flight in the minds of the young, becoming a wild ox and sowing avant-garde literature with the mighty tomes of what might as well be called the abstract bear.
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I am, it seems, an avant-garde dramatist. It would even seem obvious since I am present here at discussions on the avant-garde theatre. It is all entirely official. But what does the term avant-garde mean?
There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this theres certainly a kind of avant-garde, abstract, existential element to it.
There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant-garde, abstract, existential element to it.
The avant-garde understands itself as invading unknown territory, exposing itself to the dangers of sudden, shocking encounters, conquering an as yet unoccupied future ... The avant-garde must find a direction in a landscape into which no one seems to have yet ventured.
I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.
The majority of people probably think that Damien Hirst is avant-garde. Look at the amount of people who say 'What is this rubbish? Who is running our galleries? Why are they spending all this money on the avant-garde?' That doesn't make it avant-garde to me.
If you try consciously to be avant-garde, it's a little dangerous, like the present state of modern painting, where dealers try to be avant-garde, and under this pretext, painters take some old scraps and call it avant-garde.
Now there is no taboo; everything is allowed. But one cannot simply go back to tonality, it’s not the way. We must find a way of neither going back nor continuing the avant-garde. I am in a prison: one wall is the avant-garde, the other wall is the past, and I want to escape.
My writing is called exotic or avant-garde because I write about rural places. Has it really come to this, that if you write about the country you are avant-garde? How did this happen? Modern agriculture and spaces are still so relevant.
What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .
We will have to create an avant-garde.... We could have a Union for the enlarged Europe, and a Federation for the avant-garde.
The only place Avant Garde looks good is in the words Avant Garde.
My work first engaged with the early russian avant-garde; the paintings of moholy-nagy, el lissitzky's 'prouns' and naum gabo's sculptures, but in particular with the work of kasimir malevitch - he was an early influence for me as a representative of the modern avant-garde intersection between art and design.
The main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda, that kitsch is more pliable to this end.
The avant-garde has always existed throughout the history of mankind. The good things from the avant-garde last and eventually, after many years, become tradition and people forget they were ever part of the avant-garde. The kitchen is a living discipline, always evolving, and there will always be cutting edge things that over the years, ends up being part of tradition.
More than one branch of the avant-garde, claiming to break with the bourgeois vision and mode of production, remains tied to it in spite of its denials and ex-communications. We are far from having overcome bourgeois thought or practices, despite the socialist "intermission" between the Russian revolution and the collapse of the Berlin wall. The avant-garde has lost its radical nature. On the other hand, "bourgeois theatre" is sometimes subtle enough to flirt with the avant-garde or to make "intelligent boulevard theatre.
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