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Journal articles on the topic 'Avant-garde'
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1
Olsen, Lance. "The Avant-Garde after the Avant-Garde." American Book Review 28, no. 4 (2007): 12. http://dx.doi.org/10.1353/abr.2007.0109.
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Mangion, Éric. "Une avant-avant-garde." Rue Descartes 69, no. 3 (2010): 39. http://dx.doi.org/10.3917/rdes.069.0039.
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Merritt, Constance. "Avant Garde." Callaloo 14, no. 3 (1991): 689. http://dx.doi.org/10.2307/2931491.
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Merritt, Constance. "Avant Garde." Callaloo 24, no. 3 (2001): 835. http://dx.doi.org/10.1353/cal.2001.0182.
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Sers, Philippe, and Jonathan P. Eburne. "The Radical Avant-Garde and the Contemporary Avant-Garde." New Literary History 41, no. 4 (2010): 847–54. http://dx.doi.org/10.1353/nlh.2010.0036.
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Oblučar, Branislav. "Avangarda poslije avangarde u hrvatskoj poeziji." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 159–73. http://dx.doi.org/10.14746/pss.2020.18.9.
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The article discusses the problem of the avant-garde in Croatian poetry during the second half of 20th century. It supports the thesis about the continuity of the avant-garde before and after World War II, and perceives the artistic and literary experiments of the neo and post-avant-garde as a part of a long avant-garde tradition. The analysis brings forward the different perceptions of avant-garde in the works of Radovan Ivšić and Josip Sever, and post-avant-garde poets of 1970s and 80s.
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Trusewicz, Szymon. "Zaangażowanie i autonomia poezji awangardowej." Białostockie Studia Literaturoznawcze, no. 20 (2022): 183–95. http://dx.doi.org/10.15290/bsl.2022.20.10.
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The article reviews in the context of contemporary avant-garde theories the book by Alina Świeściak Współczynnik sztuki. Polska poezja awangardowa i postawangardowa między autonomią i zaangażowaniem [The Art Factor. Polish Avant-garde and Post-avant-garde Poetry Between Autonomy and Commitment]. The reviewed monograph is a discussion of examples of poetry of the historical avant–garde, neo-avant-garde and post-avant-garde and demonstrates the intertwining tendencies that liberate literature and engage it socially. According to the author of the review, Świeściak remains sensitive to both historical and ahistorical definitions of the avant-garde. In the researcher’s proposed interpretations, the interplay of autonomy and engagement was shown in different perspectives, depending on the unique character of the poetics in question.
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Ilić, Boris. "Avant-garde arts In sociological perspective: Renato pogiolli and Boris Groys." Kultura, no. 174-175 (2022): 197–212. http://dx.doi.org/10.5937/kultura2275197i.
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The paper deals with the possibilities of perceiving avant-garde arts on the example of prominent authors: Renato Poggioli in the book The Theory of the Avant-garde, and Boris Groys in the book In the Flow. Both of these works, through which the sociological perspective of avant-garde arts is presented, are separated by a historical gap of over fifty years. Poggioli focuses on defining the basic socio-cultural features of avant-garde arts, mostly studying it as a relatively isolated social phenomenon. He demands that avant-garde arts should be studied as a sociological and psychological fact. Groys views avant-garde, and all contemporary art, as a product of global socio-economic and cultural-historical assemblies. He starts from the idea of material flow as an all-pervading force that affects all actors of social and cultural life. Sociological insight is necessary for the complete study of avant-garde. He states that it was the avant-garde artists who expressed an awareness of the inevitability of the flow. The aim of research is to provide the possibility of sociological consideration of avant-garde art, as a way of understanding characteristics of the culture of modern society.
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Foitoș, Alexandru. "The status of the Romanian literary avant-garde after 2000: from marginalization to recovery." Swedish Journal of Romanian Studies 7, no. 1 (May 15, 2024): 22–36. http://dx.doi.org/10.35824/sjrs.v7i1.25859.
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The present paper proposes a theoretical approach related to the critical reception of the Romanian literary avant-garde after 2000, a literary phenomenon in‑between marginalization and recovery tendencies. Starting from interwar critical studies from Romania (E. Lovinescu, G. Călinescu, etc.), with predominantly negative perspectives regarding the critical reception of the avant-garde, we will observe how certain clichés of the reception of the phenomenon, seen as “extremist”, as marginal, were perpetuated, with the “barrier” of the apparently impossible literary canonization. After 2000, however, literary studies discuss the historicization of the avant-garde phenomenon, which therefore became canonical in Romanian literary history. However, several elements of the “niche” avant-garde remained in the subsidiary, in the “shadow”. This is what we call the marginal(ized), the secondary avant-garde, which includes a series of less known and researched avant-garde writers, but who contributed to the complex shaping of the avant-garde imaginary. We will analyse several types of works published after 2000, in order to highlight the complexity of the avant-garde, under constant recovery: literary anthologies (Ion Pop, Nicolae Bârna), avant-garde dictionaries (Lucian Pricop, Dan Grigorescu), several critical studies after 2000 (Ion Bogdan Lefter, Ovidiu Morar, Emilia Drogoreanu, Paul Cernat, Dan Gulea, Emanuel Modoc, Delia Ungureanu, Daniel Clinci, Petre Răileanu, Gabriela Glăvan, Ion Pop, etc.). Many of them focus on the recovery trends of some forgotten writers, with the possibility of their inclusion in the central, canonical avant-garde, while other studies pursue new research methodologies, such as the avant-garde seen in a transnational context, in world literature context, etc. An issue that we develop in the context of this extended future research, which is also highlighted upon in the present work, is that of post-Urmuz epigonism within Romanian literary avant-garde, a fact that explains the placement of many writers in the sphere of critical marginalization. Thus, many texts by less researched writers are forgotten, being always associated with the central avant-garde models, especially Urmuz, but also Tristan Tzara or other influential writers within the central avant‑garde groups. It is precisely this problem that made us analyse the way in which the writers who are part of the marginal dimension of the avant-garde are recovered through contemporary literary studies from Romania.
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Pavlovets, Mikhail G. "Russian Poetic Neo-avant-garde of the 2nd Half of the 20th Century: On Issue of the Term’s Use Boundaries." Studia Litterarum 8, no. 2 (2023): 10–31. http://dx.doi.org/10.22455/2500-4247-2023-8-2-10-31.
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The article is devoted to the neo-avant-garde literary trend that emerged in the Soviet underground of the 2nd half of the 20th century. The paper states that the use of the term “neo-avant-garde” with respect to post-war avant-garde has already become conventional in European art and art studies, however it has not yet established in the Russian scientific vocabulary. Moreover, in the field of literary study a significant amount of research material has been collected, which allows us to indicate the existence of Russian poetic neo-avant-garde in the 2nd half of the 20th century. Its authors primarily were either localized within the uncensored literary underground, or abroad as emigres. The article concludes that the Russian neo-avant-garde differed from historical avant-garde (1900–1930s) in the same ways Western neo-avant-garde did: it rejected the socio-political utopianism in favor of an aesthetical utopia that implied the avoidance of any ideology with a virtually escapist concentration on solving solely art tasks. In addition, neo-avant-garde was interested in the issues of revival, continuation and completion of traditions of historical avant-garde, which in its own times manifested declaratively the breakup with every single tradition. Neo-avantgardists mainly inherited the most radical searches of historical avant-garde authors, who often converged their poetry with the boundaries of art as a whole or with zones of visual, acoustic, performative or other art that adjoin verbal poetry.
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Guzmán Játiva, David. "Avant-garde detectives." Mitologías hoy 7, no. 1 (July 30, 2013): 9. http://dx.doi.org/10.5565/rev/mitologias.127.
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Potter, Polyxeni. "Science Avant-Garde." Emerging Infectious Diseases 18, no. 11 (November 2012): 1922–23. http://dx.doi.org/10.3201/eid1811.ac1811.
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Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.
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The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.
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Thompson, Seth. "Cairo's Avant-Garde." Afterimage 36, no. 2 (September 1, 2008): 4–6. http://dx.doi.org/10.1525/aft.2008.36.2.4.
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Klein, Lillith. "Antiquarian Avant-Garde." History of Photography 27, no. 4 (December 2003): 395–96. http://dx.doi.org/10.1080/03087298.2003.10441279.
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Egbe, Amanda. "Avant Garde Museology." Leonardo 50, no. 2 (April 2017): 217–18. http://dx.doi.org/10.1162/leon_r_01393.
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Ings, Simon. "Timeless avant-garde." New Scientist 239, no. 3187 (July 2018): 46. http://dx.doi.org/10.1016/s0262-4079(18)31314-9.
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Hornby, Richard. "Avant-Garde Follies." Hudson Review 42, no. 1 (1989): 117. http://dx.doi.org/10.2307/3851172.
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Hopkins, David. "Avant-Garde Blake." Bulletin of the John Rylands Library 98, no. 1 (May 31, 2022): 55–74. http://dx.doi.org/10.7227/bjrl.98.1.6.
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This article discusses how we might formulate an account of William Blake’s avant-garde reception. Having dealt with Peter Bürger’s theorisation of the notion of ‘avant-garde’, it concentrates on a series of portraits, made from Blake’s life mask, by Francis Bacon in 1955. This ‘high art’ response to the Romantic poet is then contrasted with a series of ‘subcultural’ responses made from within the British counterculture of the 1960s. Case studies are presented from the alternative magazine production of the period (notably an illustration from Oz magazine in which Blake’s imagery is conflated with that of Max Ernst). An article by David Widgery in Oz on Adrian Mitchell’s play Tyger (1971) is also discussed to show how the scholarly literature on Blake of the period (mainly David Erdman) was called on by the counterculture to comment on political issues (e.g. Enoch Powell’s 1968 ‘Rivers of Blood’ speech). The final section of the article shows how the ‘avant-gardism’ of Oz’s utilisation of Blake might be counterposed to the more activist left-wing approach to the poet in small magazines such as King Mob with their links to French situationism. In terms of the classic avant-garde call for a reintegration of art and life-praxis, such gestures testify to a moment in the 1960s when Blake may be considered fully ‘avant-garde’.
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Vyas, Girish N. "Avant-garde biologicals." Biologicals 34, no. 1 (March 2006): 1. http://dx.doi.org/10.1016/j.biologicals.2005.12.006.
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Carruthers, A. J. "Avant-Garde Austalgia." Journal of Foreign Languages and Cultures 6, no. 2 (December 28, 2022): 132–42. http://dx.doi.org/10.53397/hunnu.jflc.202202012.
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The Australian avant-garde raises all the contradictions of avant-garde studies in the present time. Antipodal vanguards in the 20th and 21st centuries would grapple with various aspects of Australian national history, being in various ways and times between East and West, the aligned and non-aligned, the political and geopolitical in poetics. The word “Australia,” from the Latin auster, contains meanings for “East.” Most importantly, the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it. In this essay, I begin with the example of a “Dada” poem that comes from an Aboriginal rain dance, as well as the emergence of Dada poetics from the 1950s to the 1970s. Throughout I keep complexities of history and time at the forefront: what is the worth of a “marginal” national literary history of the avant-garde? What does the avant-garde mean outside Europe or the Euro-US? What can Australian Dadaism tell us about the future of avant-garde studies? Does the avant-garde always lead to nostalgia, or “Austalgia,” a hearkening after the past, as much as a striving toward the future?
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Bru, Sascha. "Avant-Garde Egypt." Journal of Avant-Garde Studies 4, no. 1 (April 23, 2024): 1–12. http://dx.doi.org/10.1163/25896377-00401001.
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Abstract This article opens with a discussion of contemporary avant-garde art, which according to many critics distinguishes itself by a turn to history, that is by a (seemingly paradoxical) backward-looking stance. Relativizing the ‘newness’ of this turn to history and the past in early twenty-first-century avant-garde art, the article then unearths the early twentieth-century avant-garde’s often neglected fascination with cultures that historically predate that of Europe. Zooming in on the historical avant-garde’s widespread interest in ancient Egypt in particular, the article highlights the “anarcheological impulse” that may well characterize the treatment of the (long-gone) past in all avant-garde exploits, be they early twentieth or twenty-first-century.
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Cheng, Zhen, and Eason Lu. "Avant-Garde Heterotopia." PAJ: A Journal of Performance and Art 46, no. 2 (May 1, 2024): 47–54. http://dx.doi.org/10.1162/pajj_a_00711.
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Chen, Fangdai. "Avant-Garde Anachronism." Prism 20, no. 2 (September 1, 2023): 297–314. http://dx.doi.org/10.1215/25783491-10992730.
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Abstract This article examines Chen Chuncheng, an up-and-coming mainland Chinese novelist emerging from the internet, as a representative case of a renewed manifestation of literary avant-gardism in the contemporary Sinosphere. It is an avant-gardism that challenges the status quo of the avant-garde's radical revolutionism and shields itself under a more sophisticated and adaptable aestheticism. In engaging with China's classical past, particularly in his imagined history of Dream of the Red Chamber in a fictitious forty-ninth century where futuristic digital motifs abound, the young novelist invokes the radical belief in the power of wen 文 (letters) to intervene in sociopolitical crises. It is a belief that aligns with the avant-garde's core spirit of coming to the rescue of a society through aesthetic means. In deconstructing the temporality and materiality of literary texts, Chen also enacts a meta-reflection on the existential condition of literature in cyberspace, where digital technologies make it possible for literary productions to take alternative forms, to roam around, and to dissolve when the exigency of socio-historical circumstances necessitates. The digital world therefore constitutes the most ideal site to host literature's omni-presence and omni-absence—two concepts that form the dialectical kernel of Chen Chuncheng's neo-avant-gardism.
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Puzyrkova, A. "Features of the avant-garde directions of European modernism during 1900–1910 in the Ukrainian avant-garde." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 208–14. http://dx.doi.org/10.33838/naoma.27.2018.208-214.
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During 1900–1910, there was a process of intensive cooperation and mutual enrichment between artists in Western European artistic centers and representatives of the Ukrainian and Russian avant-garde. At the same time, the avant-garde, both in Europe and in the territory of the Russian Empire, forms its own face and features that are reflected in the specificity of the artistic expression of specific groups and trends. The art of the 1900–1910 became a turning point in the history of avant-garde in Europe and in the Ukrainian lands, finally affirming the irreversibility of the phenomenon of avant-gardism. The avant-garde movements evolved rapidly during the period from 1900 to 1930, however, despite certain differences in manifestations, the revolutionary gains of cubism, expressionism and futurism became the foundation of the entire Ukrainian avant-garde. The publication, using examples of cubism, futurism and expressionism, which, deriving from European centers, laid the foundation for the artistic expression of the Ukrainian, as well as Russian avant-garde – cubofuturism, suprematism, constructivism, scrutinizes the features of the avant-garde on Ukrainian territories in the European context. For the first time, it is focused on the differences between the manifestations of Cubism, Futurism, and expressionism in the Ukrainian and European avant-garde. There is a lack of formed groups and program documents of cubism, futurism, and expressionism in the Ukrainian fine art of the 1900-1910, with absolute domination of these areas of artistic expression and formulation. It focuses on the specific manifestations of the Ukrainian and Russian avant-garde that emerged on their base, as well as on the specific manifestation of the Ukrainian avant-garde, the neoprimitivism, which includes the school of Mykhailo Boichuk. The publication emphasizes the importance of suprematism in the Ukrainian avant-garde as a classical avant-garde movement, which had such distinct features as breaking with tradition and well-formed ideological principles outlined in the program documents, which was generally not typical for the Ukrainian avant-garde in the fine arts. As it is known, even the ideological foundations of cubofuturism were not clearly formed by its representatives, Oleksandr Bohomazov and Oleksandra Ekster. It is possible to speak of a formed and declared platform only with respect to the Ukrainian literary avant-garde, where it were the futurists who most clearly positioned themselves.
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Van den Berg, Hubert. "Martin Puchner, Poetry of the Revolution. Marx, Manifestos, and the Avant-Gardes 2006." Nordlit 11, no. 1 (May 1, 2007): 300. http://dx.doi.org/10.7557/13.1789.
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The genre of the manifesto belongs to the key elements of avant-garde textuality. As such, the manifesto has received considerable attention in recent avant-garde research. Many articles, chapters in general studies on the avant-garde, several collections of essays, monographs and annotated anthologies have been devoted to the manifesto in the past decades. Martin Puchner's book on the avant-garde manifesto is a latecomer in this context, published some ten years after a wave of Manifestantismus struck in particular continental European avant-garde research. As in the case of any late arrival, the main question is self-evidently: what adds Puchner to already existing literature? The answer must be rather ambivalent. Puchner's book definitely fills a lacuna in the Anglophone historiography of the avant-garde.
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Zykova, I. V. "“The New Ways of the Word”: Theory and Methodology of Cognitive Research into Poetics of the Avant-Garde." Critique and Semiotics 37, no. 2 (2019): 206–28. http://dx.doi.org/10.25205/2307-1737-2019-2-206-228.
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The present paper aims to study the avant-grade manifesto as the manifesto of a new type and to analyze factors that establish the specificity of its poetics. The research shows that the specific character of the avant-garde manifesto’s poetics is provided by the phenomenon of avant-garde, peculiar ways of historical evolution of the manifesto as a literary genre, and pragmatic goals of the avant-garde manifesto that influence the choice of appropriate language means and artistic and linguistic devices. Special attention is paid to the theory and methodology of exploring the avant-garde manifesto’s poetics that are elaborated on the manifesto “The New Ways of the Word” written by Aleksej Kruchenykh. The methodology is complex and includes the method of frame semantics, the method of ID card of avant-garde idioms, the method of linguocultural reconstruction, and the quantitative analysis. The methodology involves a fivelevel analysis that includes: 1) the interpretive analysis of the title of the avant-garde manifesto; 2) the frame analysis of the text aimed to extract language units that are most relevant in conceptual and practical terms; 3) the study of figurative-expressive means of the text of the avant-garde manifesto; 4) quantitative analysis of idioms and phraseological units used in the text in question; 5) the study of the semantics of the avantgarde idioms and phraseological units. The results obtained let us draw the following deductions. The avant-garde idioms and phraseological units are the key constitutive elements shaping the poetics of the avant-garde manifesto. One of the basic techniques used to construct the poetics of the avant-garde manifesto is the conceptual-metaphorical collage.
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Gardfors, Johan. "Redaktörens blick och samlarens hand." Tidskrift för litteraturvetenskap 48, no. 4 (January 1, 2018): 6–20. http://dx.doi.org/10.54797/tfl.v48i4.7441.
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The Editor’s Gaze and the Collector’s Hand. The Editorial Practices of the Avant-Garde
 The avant-garde has frequently been understood in terms of negation. This article seeks to convey a different picture through highlighting the editorial practices of the avant-garde. It is important to acknowledge how the avant-garde establishes a great number of independent publishing ventures since these constitute the avant-garde as a multitude, that is, as a network of connected but individual nodes. Moreover, the editorial practices of the avant-garde are highly visible on the level of the work through collaborative writing, experiments with typography and printing, appropriation and détournement of existing materials etc. The present article suggests that the avant-garde can be traced as a transnational tradition that works with the outside of art, or, differently put, with its material preconditions. Drawing attention to the continued importance of materiality throughout the different phases of the avant-garde, the article suggests that the editorial practices of the avant-garde permeates both publishing in a narrow sense and artistic production in a broader sense. The concept of editorial practice can be expanded as to include the avant-garde’s collection and regrouping of refuse from the city. These practices treat text and objects as if they were on the same ontological level. Under the editorial gaze of the avant-garde, the city emerges as an immanent system of objects, and as an autopoietic archive whose material and media technological components can be collected and reconfigured, privileging the role of the collector-editor rather than that of the individual author.
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Nkrumah-Abraham, Noble, Genevieve Adjei-Appoh, and Francis Kwasi Selormey Amenakpor. "Semiotic Visual Analysis of Avant-Garde Fashion Designs in Ghana." Fashion and Textiles Review 6 (March 8, 2025): 1–21. https://doi.org/10.35738/ftr.v6.2024.18.
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Purpose: This study tends to appreciate the artistic and philosophical underpinnings and symbolic interpretation of some avant-garde design samples from the creative artist’s perspective. It also explores the familiarity, acceptance or otherwise of Ghanaians on Avant-garde artistry, practices, and culture based on the experiences of a Ghanaian avant-garde artist. Methodology/Design: Through a qualitative strategy and a case study design, the study employed a semi-structured interview, observation, photographs and video, among other instruments to gather data from a participant. This was achieved by investigating the experiences of an avant-garde fashion designer who also practices avant-garde as a lifestyle in Ghana. Some design samples were selected, and a semiotic visual analysis was conducted. Also, data gathered from participants’ experiences in living an avant-garde culture in contemporary Ghana were then analysed to ascertain the level of acceptance of avant-garde arts and culture in Ghana. Findings: Avant-garde being a cross-disciplinary concept, is a proponent of conceptual art that gives artists unlimited freedom to explore diverse tools, materials, techniques and medium as a form of self-expression. The avant-garde concept transcends cultural norms and boundaries; however, it is faced with vehement contention and resistance from most conservative Ghanaian traditions and cultures. This has subjected avant-garde practitioners to ridicule, crime-tagging and stigmatisation socially, and has also become a limitation in terms of exploration and innovation in the field of art. The design samples gathered in the study addressed these concerns as well as other issues such as health, marriage, and politics among other socio-cultural concerns. Practical and Social Implications: Based on the experiences of an avant-garde artist, the ill-reception and perception of avant-garde arts and culture serve as a security threat to practitioners due to the association of eccentric appearances and non-conventional appearances with crime. This leads to wrong targeting, stigmatization and victimization among other socio-cultural challenges. Again, in the field of art, it limits exploration, innovation and creativity, and by extension, discourages budding artists from practising avant-garde in Ghana. On the other hand, the designs serve as a source of inspiration, reference or design template for other avant-garde designers, as well as an avenue to express one’s artistic views, philosophies and opinions. Avant-garde fashion being a global phenomenon, also creates a cross-cultural milieu which transcends traditional or indigenous boundaries. Therefore, understanding the concept of avant-garde fashion encourages tolerance, subjective and divergent views or opinions on socio-cultural issues. It is also a niche for people who hope to shape the future of fashion design, with their unique innovations. Originality: This study is among the first and few to analyse the physical features of avant-garde designs in Ghana and their contextual symbolism. Art appreciation takes into consideration not just the visual elements and principles of design inculcated in the design samples but also focuses on the relevance of the concepts and draws a link between the philosophy and the socio-cultural Ghanaian setting.
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Kristensen, Jens Tang. "Generationsbrud. Avantgardebegrebet før og efter 2. verdenskrig." Periskop – Forum for kunsthistorisk debat, no. 19 (May 30, 2018): 100–119. http://dx.doi.org/10.7146/periskop.v0i19.114007.
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This article takes as its point of departure the notion that World War II represents a generational breach that resulted in the post-war avant-garde being on the one hand more accessible to the public, and on the other less subversive and radical. The notion of World War II as the generational and cultural cleft that separated the historical avant-garde from the ahistorical, neo-avant-garde thus also implies a complete collapse of the avant-garde as an anti-capitalist and sociopolitical project. As Peter Bürger has pointed out, this reasoning naturally invites apprehension of World War II as the single historical event that led to the final decline and failure of the avant-garde. Given Karl Marx’s theory that history always repeats itself, it is still possible from a discourse-analytical standpoint to consider the neo-avant-garde as a sort of appropriated edition of the historical one. Contrary to later post-war avant-garde theory, however, Walter Benjamin asserted as early as 1940 that every period should ideally manifest currents capable of wresting it free from obligations to historical legacy and conformity. It is nonetheless difficult, in this day and age, to locate an example of avant-garde art that realistically has the potential to wage an anti-capitalist resistance: in any event, not while such art operates under obligation to a complex of traditionally determined avant-garde legacies that are seamlessly assimilated into the canonized, art-historical discourse on generational teleology.
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Krajewska, Anna. "Nieokreślone światy awangardy, czyli co ma wspólnego kot Schrödingera z awangardą." Przestrzenie Teorii, no. 41 (November 28, 2024): 5–11. http://dx.doi.org/10.14746/pt.2024.41.0.
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This editorial is devoted to the issues of contemporary, anti-binary ways of seeing the avant-garde, presenting arguments for the simultaneous existence and annihilation of the concept of the avant-garde, and for creating the avant-garde from scratch. After discussing the articles presented in the issue, we put forward the thesis that the avant-garde opened up literature that escaped from the confines of definitions, becoming “entangled art”, literature understood as a possibility.
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Whui-yeonJin. "Avant-garde, Neo-Avant-garde, Politics of Newness: The History and Vision of theory of the Avant-garde." Journal of History of Modern Art ll, no. 34 (December 2013): 153–78. http://dx.doi.org/10.17057/kahoma.2013..34.007.
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Margolit, Evgeny Y. "Soviet Cinema Avant-Garde: from Notional Reality to Life Material." Koinon 2, no. 1 (2021): 148–67. http://dx.doi.org/10.15826/koinon.2021.02.1.007.
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The article emphasizes specific features of the Soviet film avant-garde of the 1920s. Whereas the Western version of the avant-garde did not trust physical reality, the Soviet film avant-garde did not abandon it. On the contrary, the domestic film avant-garde turned its attention to the surrounding reality and used it as building blocks of the new art. A new historical reality becomes a new artistic reality. In Soviet cinema, the rejection of the past, which is traditional for the art of the avant-garde, means the rejection of theatrical and cup-and-saucer plots, film adaptations of classical literature. Young filmmakers focus on the reality under renovation. This reality is far from being dead sets created on a sound-stage and simpering characters; it is a living stream of city streets, objects and faces. A live human face also appears in the mass, the new hero and the discovery of the Soviet cinema avant-garde. The mass becomes aware of itself as a single body through the acquisition of the face. It is in the Soviet film avant-garde that the faceless extras transform into a live multi-faceted and diverse collective subject. The author considered the attainment of the face as one of the main findings of the cinema avant-garde based on the material from the films of Eisenstein, Vertov, Ermler, Room, representatives of the FEKS association. The domestic film avant-garde rehabilitated all the so-called "grassroots" genres of the performing arts primarily, circus buffoonery, demonstrating their possibilities for expressing a new reality. The Soviet film avant-garde chooses strategies for the history and modernity carnivalization as a tool for mastering the new reality and criticizing the past. One can trace these strategies in a system of montage principles developed by Eisenstein and Vertov and based on the dichotomy of creation-destruction, life-death.
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Lymar, Anna. "Ukrainian Paradigm Of Avangard Art In Artistic Creativity." Art Research of Ukraine, no. 21 (November 29, 2021): 43–51. http://dx.doi.org/10.31500/2309-8155.21.2021.254671.
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The study of the Ukrainian aspects of the European avant-garde movement of the first third of the twentieth century became possible with a radical reassessment of values in the late twentieth century. During this period, the term "Ukrainian avant-garde" appeared in Western European art history discourse. The emergence of such a term in Ukraine during the Soviet period was impossible, because creativity was viewed through the prism of socialist realism and nothing else. However, art researchers were aware of the national aspects of the avant-garde. In the Ukrainian academic discourse, the problem of the contribution of domestic artists to the development of the avant-garde begins to become relevant with the acquisition of state independence. The state-building process stimulated the revival of cultural processes and the emergence of scientific interest in the avant-garde. Researchers have studied the problem of conventional and authorial, philosophical and aesthetic foundations of the Ukrainian avant-garde, its artistic and stylistic features, creative and theoretical heritage of artists. For a period of time, avant-garde revolutionary art and political revolution in the first quarter of the twentieth century were united in a single burst of influence on the masses. Avant-garde art for some time became part of the revolutionary process. The Ukrainian paradigm is marked by a territorial feature, the affiliation of artists of eidetic creativity of folk self-expression. With the acquisition of independence, the Ukrainian avant-garde emerged from oblivion and organically entered the national artistic space and became part of Ukrainian art.
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Skurtys, Jakub. "Druga płeć awangardy? O książce Płeć awangardy." Wielogłos, no. 2 (44) (2020): 161–80. http://dx.doi.org/10.4467/2084395xwi.20.018.12409.
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Other Gender of Avant-Garde? On the Book Płeć awangardy The book Płeć awangardy [Gender of the Avant-Garde] is the first attempt of this kind at a comprehensive, gender-oriented presentation of the avant-garde tradition in Polish literary studies. The review of the volume starts with an outline of its place in the worldwide humanities, especially in the face of the increasingly dynamic development of women’s studies on the avant-garde. Individual texts are slightly different from the editorial introduction and its assumptions: a materialistic attempt to reclaim and reestablish feminism in the heart of the avant-garde. Thus, they are presented as a result of a meeting of several methodological schools with clear patronages at the University of Silesia: art historians, literary historians, literary critics, representatives of men’s studies, women’s studies, feminism and gender studies. Despite the political background of many of them, connected with avant-garde ideas of social and aesthetic emancipation, it is easy to see how far their dictionaries have diverged from each other and how difficult it is now to meet and establish a common understanding of basic concepts such as avant-garde, sex/gender or even political engagement.
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Skurtys, Jakub. "Druga płeć awangardy? O książce Płeć awangardy." Wielogłos, no. 2 (44) (2020): 161–80. http://dx.doi.org/10.4467/2084395xwi.20.018.12409.
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Other Gender of Avant-Garde? On the Book Płeć awangardy The book Płeć awangardy [Gender of the Avant-Garde] is the first attempt of this kind at a comprehensive, gender-oriented presentation of the avant-garde tradition in Polish literary studies. The review of the volume starts with an outline of its place in the worldwide humanities, especially in the face of the increasingly dynamic development of women’s studies on the avant-garde. Individual texts are slightly different from the editorial introduction and its assumptions: a materialistic attempt to reclaim and reestablish feminism in the heart of the avant-garde. Thus, they are presented as a result of a meeting of several methodological schools with clear patronages at the University of Silesia: art historians, literary historians, literary critics, representatives of men’s studies, women’s studies, feminism and gender studies. Despite the political background of many of them, connected with avant-garde ideas of social and aesthetic emancipation, it is easy to see how far their dictionaries have diverged from each other and how difficult it is now to meet and establish a common understanding of basic concepts such as avant-garde, sex/gender or even political engagement.
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Golubtsova, Anastasia V. "Italian neo-avant-garde in Soviet philology: An approach to the problem." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 92 (2024): 159–73. https://doi.org/10.17223/19986645/92/8.
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The article studies the reception of Italian neo-avant-garde (Group 63) in Soviet philology. Italian neo-avant-garde was an experimental movement born in mid-1950s around Luciano Anceschi's literary magazine Il Verri (since 1956). In 1963 neo-avant-garde poets, writers and critics formed a literary group called Group 63. The group dissolved in 1969 as a result of ideological disputes regarding the political protests of 1968–1969, thus marking the official end of Italian neo-avant-garde. The article analyzes Soviet academic monographs dealing with Italian neo-avant-garde (Neo-Avant-Garde Currents in Foreign Literature of the 1950s–1960s, Moscow, Khudozhestvennaya Literatura, 1972; The Ways of the Novel, Moscow, Progress, 1975; Z.M. Potapova, Italian Novel Today, Moscow, Nauka, 1977) and articles in the Voprosy Literatury journal published by the Union of Soviet Writers and the Maxim Gorky Institute of World Literature. The study aims to determine specific features of Soviet academic discourse about neo-avant-garde and to study the evolution of that discourse in time, in relation to the historical and cultural context. In order to achieve the aim, I analyze how the Soviet reception of neo-avant-garde was shaped, study the opinions on Western neo-avant-garde and other experimental movements expressed by the main figures of Soviet politics and culture, describe how experimental arts and literature were fiercely attacked by the official press, and determine the role of those critical and even derogatory commentaries in Soviet culture of the Cold War period, with its political and ideological conflicts. To better understand the features of Soviet academic discource on Italian neo-avant-garde, I: (1) compare the mentioned monographs and academic articles with pieces of literary criticism published in non-academic literary magazines, such as Novy Mir and Inostrannaya Literatura; (2) make a comparison between the two genres of Soviet academic discource on Italian neo-avant-garde (parts of monographs, on one hand, and articles in Voprosy Literatury, on the other hand). As a result of this comparative analysis, I: (1) point out such specific features of Soviet academic writings on Italian neo-avant-garde as terminological vagueness (such philological terms as "avant-garde", "modernism", "decadence", etc. are used as ideological clichés, derogatory terms devoid of exact meaning) and stylistic similarity between academic and journalistic discourse (both types of discourse on neo-avant-garde are almost equally ideologically and emotionally charged); (2) find a number of differences in style and content occurring between the articles in monographs and in Voprosy Literatury, the latter being written in a considerably more moderate and balanced manner, without ideological excesses and aggressive rhetoric. Trying to explain those discrepances, I put forward two hypotheses: (1) Voprosy Literatury, being an academic journal, unlike Novy Mir or Inostrannaya Literatura, endorsed a more moderate and unbiased way of treating even ideologically sensitive subjects, such as literary neo-avant-garde; (2) the second, seemingly paradoxical finding (a considerable stylistic difference between the two genres of academic discourse on neo-avant-garde) may actually be of a temporal, not a genre nature: the mentioned monographs were published in the 1970s, several years after the articles in Voprosy Literatury, but as the process of writing and publishing a book takes much longer than that of an article, those monographs, in comparison to articles, actually reflect an earlier, less "liberal" and more ideologically charged period of the Soviet reception of Italian neo-avant-garde. Still, I note that my conclusions are preliminary ones, and the subject deserves a futher, more profound research.
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Lubiak, Jarosław. "CANONIZATION OF THE AVANT-GARDE: ON THE PUBLICATION AVANT-GARDE MUSEUM." Muzealnictwo 62 (June 23, 2021): 128–31. http://dx.doi.org/10.5604/01.3001.0014.9723.
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The monumental publication Avant-garde Museum (ed. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020) juxtaposes and analyses four museum projects: Museums of Artistic Culture in Soviet Russia, the activity of the Société Anonyme in the USA, Poland’s ‘a.r.’ Group, and the Kabinett der Abstrakten, the selection criterion being that each was conceived by Avantgarde artists; additionally, in the projects’ assumptions the artists were to run the implementation of the projects. The publication has been divided into three sections: research papers, source texts, and the catalogue of documents and works. The study of the Avant-garde museum projects spans over four areas: the concept, collection, organization, and display. However, these issues are not isolated in the research, but more purposefully integrated. The main goal of the study is to show how the Avant-garde institutionalized itself. This very thesis is reflected upon in the present paper. Just like the consequences of this publication: e.g., entering the Avant-garde into the canon of art history and sanctifying its output as an unquestionable value.
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Tokarz, Bożena. "Przekład w perspektywie awangardowości." Między Oryginałem a Przekładem 26, no. 49 (September 30, 2020): 83–100. http://dx.doi.org/10.12797/moap.26.2020.49.05.
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Translation in the Perspective of Avant-garde
 Avant-garde is a kind of precursor that precedes some fundamental change. Translation can provoke such a change in the host literature, presenting works that have the potential to make a turn in it, or it can become revolutionary in the art of translation. The avant-garde function of Polish literature in Slovenia is fuzzy. It is present in the minds of some authors although they do not exhibit it in an explicit way. Therefore, it is not possible to assign its translations an avant-garde role in the interwar period, which abounded with stormy transformations of European art and not only. The Polish historical avantgarde was unknown to the reader, and the poetry of one of the central poetic groups, the Krakow Avant-Garde, has remained so. The translations of avant-garde prose and drama of that time are late to fulfill such a function because they only appeared after the 1970s.
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Sienkiewicz, Barbara. "Co wynika z Peiperowskiego projektowania „uścisku z teraźniejszo ścią” (refleksje historyka dwudziestowiecznej awangardy, z małym wychyleniem w stronę XXI wieku)." Przestrzenie Teorii, no. 41 (November 28, 2024): 155–72. http://dx.doi.org/10.14746/pt.2024.41.9.
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The article discusses the evolution of the avant-garde, determining the emergence of important differences between the historical avant-garde of the 1920s and the attitudes of the post-avant-garde and neo-avant-garde – from the 1970s of the twentieth century to the first decades of the twenty-first. At the same time, it answers the question of where the logic of the avant-gardes would find its axioms. Post-avant-garde poetry undoubtedly pursues the avant-garde postulate of approximation to the social reality of everyday life, but fundamentally understands this postulate differently. Consequently, it fulfills what the historical avant-garde did not: opening the boundaries of poetry as a result of questioning the autotelicity and autonomy of poetry, redefining reality-in-the-present as that, historically, locally, politically conditioned. Not infrequently, this forces a critical gesture against social reality and the associated rules of social communication. To an even greater extent, this opening was determined by the conviction that this reality is not available in unmediated experience, that poetic critical discourse must be based on “interceptions” of social narratives, more or less petrified, leading to the recognition that everything belongs to reality, regardless of ontological status. It points out that countercultural movements have had a significant impact on the direction of this evolution.
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Lazareva, E. A. "Moscow Conceptualism in a Monologue with the Avant-garde." Art & Culture Studies, no. 1 (March 2024): 274–305. http://dx.doi.org/10.51678/2226-0072-2024-1-274-305.
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This article is the first to explore the relationship of Moscow conceptual artists with the creative and moral legacy of the Russian avant-garde of the 1910s-1920s. In the 1960s, the previous generation of Soviet non-official artists resonated with the avant-garde legacy upon getting acquainted with it and attempted to continue the tradition seen precisely as a formal experiment. Meanwhile, the Moscow conceptualist circle recognized Russian avantgarde as a conceptual source for the consequent ideologization of the entire reality and as a project of the violent transformation of life. And if social realism was a more obvious opponent for conceptualists, the forbidden art of the avant-garde became its own Other, alien in a very close and uncomfortable sense. The relations articulated in Moscow conceptualism over several decades were different and ambiguous; they developed and evolved as the legacy of the avant-garde became more familiar and as the socio-political and cultural context changed. In the 1970s, the conceptual art practice did not seek a ‘dialogue’ with the avant-garde, and the reflections of the older generation of Moscow conceptualists were marked with intention to dissociate themselves from the avant-garde and its aesthetic systems (the discussion of the political engagement of the avantgarde was pushed forward for later reflections, mainly into the 2010s). The 1980s brought liberalization into the study and exhibiting of the Russian avant-garde, and its admiration became a kind of duty that was taken ironically by the next generation of Moscow conceptual artists. To get international recognition, contemporary Russian art required to establish any affiliation (negative, if not positive) with the brand of the ‘Russian avant-garde’. The artistic practice of Ilya Kabakov has radically escalated the polemics with the avant-garde, which was subsequently projected onto the entire Moscow conceptualism. However, the exploration into the history of Moscow conceptualism as a response to the avant-garde project reveals heterogeneity of such a response, comprising individual halftones and historical dynamics.
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Wang, Hongjian. "The Uneasy Entanglement with the Socialist Legacy: Remapping Avant-Garde Theatre in Post-Socialist China." Modern Chinese Literature and Culture 36, no. 2 (December 2024): 344–78. https://doi.org/10.3366/mclc.2024.0061.
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The debate over contemporary Chinese avant-garde theatre tends to focus on its compatibility with popularization, which has led to a lack of attention to its political radicalism. Stemming from late nineteenth-century utopian socialism, the history of the avant-garde in Europe is one of constant, dynamic interactions between political and artistic radicalism. Although contemporary Chinese avant-garde theatre arose as a revolt against the political radicalism of socialism, it is also uneasily entangled with China’s socialist legacy. Not only did contemporary Chinese avant-garde theatre artists inherit the linear, progressive, and anti-traditionalist mindset from socialism, but, in contrast to their counterparts in Russia and Eastern Europe, their theatrical praxis also revolved around it. Through a close analysis of three prominent avant-garde theatre artists — Mou Sen, Meng Jinghui, and Huang Jisu — this paper argues that contemporary Chinese avant-garde theatre is defined more by its uneasy entanglement with China’s socialist legacy than its controversial relationship with market popularization. While Mou decidedly and defiantly broke away from socialist realism, socialism remained an indispensable reference point. For Meng, socialism was at once a target for mockery and an object of nostalgia. In sharp contrast to both, Huang strove to revive the revolutionary legacies in his avant-garde theatre.
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Redhead, Lauren. "THE AVANT GARDE AS EXFORM." Tempo 72, no. 286 (September 6, 2018): 7–16. http://dx.doi.org/10.1017/s0040298218000311.
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AbstractPeter Bürger's critique of the historical avant garde (in Theory of the Avant Garde) accounts for its ineffectual nature as a political movement because of its relationship with institutions. He argues for hermeneutics to be employed as a critique of ideology, and as a facet of the understanding of the ‘historicity of aesthetic categories’. The influence of institutions on music since 1968 has served as a central part of its critique: the work concept itself seems to enshrine political ineffectiveness and the bourgeois nature of art practice that ought to be critiqued by an avant garde. In contrast, Nicolas Bourriaud's concept of the ‘exform’ re-conceives the avant garde as outside of institutions and an idea of ‘progress’ that is aligned with a dominant capitalist ideology. He frames the task of the avant-garde artist as giving energy to ‘waste’, outside of political and ideological institutions. This type of avant-garde practice functions to ‘bring precarity to mind: to keep the notion alive that intervention in the world is possible’. This article explores the exform with respect to the work of the British composer Chris Newman and the Swiss composer Annette Schmucki, and considers how Bourriaud's approach to re-thinking the avant garde might apply specifically to contemporary and experimental music in the present.
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Kristensen, Jens Tang. "Razzle Dazzle." Passage - Tidsskrift for litteratur og kritik 33, no. 80 (December 23, 2018): 29–42. http://dx.doi.org/10.7146/pas.v33i80.111721.
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Jens Tang Kristensen: “Razzle Dazzle. The Camouflaged Avant-Garde”This article demonstrates that Razzle Dazzle, a type of camouflage applied to war and merchant ships in the early twentieth century, can be seen as a complex form of visual expression that emerged in close dialogue with several of the avant-garde movements which appeared in the same period. In a sense Razzle Dazzle can thus further be seen as a mode by which the avant-garde was inadvertently integrated into the military sector, which certain avant-garde groups, namely the Futurists, idealized.
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Pushenkova, Sofia A., and Dmitriy E. Lavrov. "Avant-garde heritage of the regions: Use and development prospects in a museum context (on the example of the museums of Saratov and Smolensk)." Issues of Museology 13, no. 1 (2022): 110–20. http://dx.doi.org/10.21638/spbu27.2022.108.
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In the wake of the growing interest in the history of the Russian avant-garde, leading Russian museums become initiators, organizers and partners of large-scale exhibition projects dedicated to both individual personalities of the avant-garde era and iconic cultural institutions. In this regard, it is also important to understand how the museum community in Russia reacts to the given trend of turning to the heritage of the avant-garde era, and how regional museums are involved in this process. The artistic avant-garde was never limited to capitals, new trends penetrated all cities of the country, one way or another leaving a mark on the appearance of the city, its history and, of course, in museum collections. This is why researchers need to see the fullest possible picture of how regions are using their avant-garde heritage. The article is devoted to the study of the experience of using the avant-garde heritage in Russian regions on the example of the Saratov State Art Museum named after A.N.Radishchev and the Art Gallery of the Smolensk State Museum-Reserve. Based on sources of museum origin, electronic catalogs of museums, texts by regional authors, Internet sources (in particular, the State Catalog of the Museum Fund of the Russian Federation, and the Constructivist Project portal), as well as local news sources the article reviews the avant-garde collections of these museums, considers cultural and educational activity of urban cultural institutions and independent curatorial projects on this topic. An important part of this study is the assessment of the development prospects in the actualization of the avant-garde heritage of the regions, as well as the role of independent cultural institutions of cities in the actualization and use of the avant-garde heritage of these regions.
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Shchokina, Olena. "ESTABLISHMENT AND DISTINCTIVE FEATURES OF THE ART PHILOSOPHY OF THE UKRAINIAN AVANT-GARDE." Doxa, no. 1(41) (June 27, 2024): 171–81. https://doi.org/10.18524/2410-2601.2024.1(41).316169.
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The article examines the formation, development and philosophical and cultural justification of the term “Ukrainian avant-garde”. Philosophic-cultural innovations and the art criticism of artists-theorists of the Ukrainian avant-garde are positioned in research as the complete system of thinking possessing the characteristic features and making considerable impact on development of modern art culture. It is revealed that the modern Ukrainian culture studies considers the phenomenon of the “classic” Ukrainian avant-garde in the aspects of history, art study, social study and psychology. It presents the analysis of works of the leading specialists in this field (D. Gorbachev, N. Aseeva, L. Savitska and others). The Ukrainian Avant-Garde is an art stream based on the theoretical and philosophical platform as well as practice created directly by Ukrainian artists and masters. However, along with the characteristics of the Ukrainian mentality (a predominance of the heart over the intellect, dreaminess, passivity, poetics, lyricism, fantasy, dynamics, decorativeness) in the Ukrainian AvantGarde, there are typical features of other cultures and aggression inherent in the very concept of “avant-garde”. Thus, the Ukrainian Avant-Garde is, first of all, the European art of the early XX century, which is clearly emphasized by his theory. The ratio and confrontation of the international and national was at the heart of the Ukrainian Avant-Garde. The modern culture demonstrates an urgent need for national self-identification of the cultural phenomena and processes. Numerous scientific works already present a substantiation of the national aspect of the Ukrainian Avant-Garde phenomenon.
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Dudareva, D. "THE VALUE OF THE HISTORY OF AVANT-GARDE ART FROM ITS INCEPTION TO THE PRESENT DAY." Sciences of Europe, no. 135 (February 26, 2024): 14–16. https://doi.org/10.5281/zenodo.10704305.
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<strong>The purpose of research:</strong> The subject of this work is Avant-garde art. this is a trend in art that arose at the beginning of the 20th century. It rejects traditional and outdated art forms, and strives for innovation and experimentation. <strong>Research methods: </strong>distinctive features of avant-garde art have been studied using a historical critical method. <strong>Research results</strong>: Avant-garde artists and writers are looking for new ways of self-expression to represent a new reality and the coming era. <strong>Practical application:</strong> Familiarization with the origin of avant-garde art and its history
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Bogusławska, Magdalena. "Wędrująca idea awangardy. Centrum Dekontaminacji Kulturowej i serbska kultura oporu." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 23–36. http://dx.doi.org/10.14746/pss.2020.18.1.
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The article addresses the presence of the avant-garde in the discourse and the practice of social resistance in Serbia at the turn of the 20th and 21st centuries. The focal point of the text is the thesis that nowadays the avant-garde resonates not so much as an artistic formation, but as an ideological complex. The author investigates the manners of contemporary transposition of ideas and avant- garde imagination through the analysis of the activities of the Centre for Cultural Decontamination in Belgrade. Using the examples of two programmes: Modernism, Serbian National Identity in 20th Century and En Garde – Avant-Garde 20/21, the author shows how the local experience of the interwar avant-garde and the neo-avant-garde formed within the movement of ʼ68 protests, creates a specific ideological current, a model of self-organization and a pattern of activities bordering between art and socio-political reality. In the 1990s, in Serbia, it becomes the reference system for artivism (an approach consisting in influencing social and political reality through art), and today still remains an inspiration for independent intellectual and artistic environments and for critical institutions that create an alternative and polemic cultural space to the official policies of the Serbian authorities.
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Medić, Ivana. "The Impossible Avant-garde of Vladan Radovanović." Musicological Annual 55, no. 1 (June 20, 2019): 157–76. http://dx.doi.org/10.4312/mz.55.1.157-176.
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The term nesuđena avangarda (“undestined avant-garde”) was coined by Milorad Belančić to describe Vladan Radovanović’s unique artistic destiny. Although Radovanović was the only truly avant-garde Serbian composer in the post-World War II Yugoslavia, his output was overlooked and sidelined. In this article I discuss the circumstances that rendered Radovanović’s avant-garde unrecognised, irrelevant and invisible for many decades.
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Patina, Tatiana E., and Ol’ga V. Kovaleva. "Formation and Evolvement of the Russian Avant-Garde during 1910–1930. Ideas of the Russian Textile Avant-Garde." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 315–24. http://dx.doi.org/10.37816/2073-9567-2022-65-315-324.
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The paper presents an analytical review of the studied and processed information on the fundamental role of the education of artists in the system of the avant-garde institutes and art schools in the first quarter of the twentieth century. The study explores the main theoretical aspects related tothe development and formation of the Russian textile avant-garde. For a deeper and more objective understanding of the development of innovative ideas in the art of post-revolutionary Russia in the 20th century it focused on the activities of the main ideologists of the Russian avant-garde in the art of painting: M. F. Larionov, N. S. Goncharova, K. S. Malevich, and V. V. Kandinsky. In the textile art there were studied the activities of V. F. Stepanova, L. S. Popova, and O. V. Rozanova, as well as other personalities who influenced the formation of avant-garde schools. The authors provide an insight into how the ideas of the avant-garde were kept in the ideas of suprematism, constructivism and propaganda textile. The paper allowed conclusion that the study and research of the ideas of the Russian avant-garde opens up fresh opportunities for thedevelopment of modern Russian design.