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Abstract:

While the term “Neo-Modernism” has only established itself in relation to ar- chitecture, the term “Neo-Avant-Garde” has become a key not only to individual projects of visual arts, but also to the dynamics of using ready-made forms of the visual. This article examines how the instability of the visual artifact, which can be both whole and part, has determined the correlation of the Avant-Garde gesture with the idea of the Neo-Avant-Garde. Discussions around the Neo-Avant-Garde have shown that the criticism of the retrospective nature of the Avant-Garde as secondary or dependent on ready-made structures of publicity is untenable for the following reasons. The Neo-Avant-Garde produces copies of things or flat realizations of ideas based on the proper organization of the material world, and therefore can neither erase the distinction between the original and the copy, nor exploit it commercially. The Neo-Avant-Garde proceeds from the absence of the privileges of the gaze, understanding ways of seeing as already embedded in a system of production and perception. Perception in the Neo-Avant-Garde always has that intellectual critical component that cannot be reduced to the orders of the rationalization of impressions or concepts. Thus, Neo-Avant-Garde projects can be as historicized and recognized as a period in the development of art and critical social practices, as the Avant-Garde actions.

Кeywords: Neo-Avant-Garde, Neo-Modernism, art theory, visual arts, critical theory.