By Ale Erjavec
Contributors. John E. Bowlt, Sascha Bru, Ales Erjavec, Tyrus Miller, Raymond Spiteri, Miško Šuvakovic
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Extra info for Aesthetic Revolutions and Twentieth-Century Avant-Garde Movements
22. See Hinderliter, Communities of Sense, 2. 23. We presented and analyzed the main instances of such art in Erjavec, Postmodernism and the Postsocialist Condition. 24. Köppel-Â�Yang, Semiotic Warfare, 182. 25. Poggioli, The Theory of the Avant-Â�Garde, 96. 26. Rodchenko, quoted in Milner, The Exhibition 5 × 5 = 25, 35. Introduction 17 27. Gray, The Russian Experiment, 226. 28. Buchloh, “From Faktura to Factography, ” 93. 29. Breton, Manifestoes of Surrealism, 14. 30. Coffey, How a Revolutionary Art Became Official Culture, 1.
Just as the proletariat in historical materialism was to be the guide toward a classless society, so too was the “proletariat of geniuses” in futurism to lead to a new artistic society. Futurists thus pitted their own “proletariat” of Italian geniuses against the dictatorship of the majority or working class. The futurist proletariat, interestingly, referred to an oppressed body of artists in need of liberation, a social minority that more or less coincided with what after armistice was often also called the “intellectual proletariat”: the thousands of graduates who were destined for unemployment due to shortage of work—Italy was bankrupt.
In his essay on the nsk movement, Miško Šuvaković first focuses on the complex historical and political roots of Slovenian independence and simultaneously on the early (1983–92) history of nsk. He shows how the groups forming the nsk network or movement in 1983 and 1984 went through various phenomenal stages of artistic development before reaching the stage of “postmedia,” a developmental stage where they no longer require an actual material work to be made and exhibited, for what they exhibit in the form of a postmedium is a whole fictitious state.