Symbol and Symptom of Cuban Post-1959 Avant-garde
After reading Peter Bürger’s classic, Theory of the Avant-garde, where, upon analysing the purposes of this anti-artistic trend, he declares it, above all, an historical episode for the archives, one can hardly help looking back on avant-garde movements as, more than retro, démodé. This sensation of...
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| Format: | Book Chapter |
| Language: | English |
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Jan van Eyck Academie
2018
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| Online Access: | https://hdl.handle.net/10356/88077 http://hdl.handle.net/10220/44921 |
| _version_ | 1811696889757696000 |
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| author | Ojeda, Danne |
| author2 | Jan van Eyck Academie |
| author_facet | Jan van Eyck Academie Ojeda, Danne |
| author_sort | Ojeda, Danne |
| collection | NTU |
| description | After reading Peter Bürger’s classic, Theory of the Avant-garde, where, upon analysing the purposes of this anti-artistic trend, he declares it, above all, an historical episode for the archives, one can hardly help looking back on avant-garde movements as, more than retro, démodé. This sensation of instability when dealing with the avant-garde is stressed every time one tries to appraise its allegedly disruptive and anti-aesthetic programme. Instead of undermining Art-as-an-institution, the avant-garde only solidified the foundations on which the former stood. Yet, a most valuable aspect of Bürger’s essay is precisely his historical focus when analysing the events that marked Art’s transition from a state of autonomy to one of “heteronomy”; a process in which the avant-garde played a decisive role. Honouring this historical approach, I intend to comment on some of the traits specific to Cuban avant-garde and its post-1959 saga, for it constitutes the background where some of the keys to the contemporary art movement, known as New Cuban Art, can be found. I hope that, given the sui generis quality of Cuban avant-garde post-1959 — which intends to add different data to the avant-garde historical development — we might eventually wave aside any reservations Bürger may have planted related to the obsolete condition of this phenomenon. |
| first_indexed | 2024-10-01T07:46:32Z |
| format | Book Chapter |
| id | ntu-10356/88077 |
| institution | Nanyang Technological University |
| language | English |
| last_indexed | 2024-10-01T07:46:32Z |
| publishDate | 2018 |
| publisher | Jan van Eyck Academie |
| record_format | dspace |
| spelling | ntu-10356/880772020-07-02T08:37:23Z Symbol and Symptom of Cuban Post-1959 Avant-garde Ojeda, Danne Jan van Eyck Academie School of Art, Design and Media DRNTU::Visual arts and music Cuban Post-1959 Avant-garde 1980s–90s Cuban Art organic artist After reading Peter Bürger’s classic, Theory of the Avant-garde, where, upon analysing the purposes of this anti-artistic trend, he declares it, above all, an historical episode for the archives, one can hardly help looking back on avant-garde movements as, more than retro, démodé. This sensation of instability when dealing with the avant-garde is stressed every time one tries to appraise its allegedly disruptive and anti-aesthetic programme. Instead of undermining Art-as-an-institution, the avant-garde only solidified the foundations on which the former stood. Yet, a most valuable aspect of Bürger’s essay is precisely his historical focus when analysing the events that marked Art’s transition from a state of autonomy to one of “heteronomy”; a process in which the avant-garde played a decisive role. Honouring this historical approach, I intend to comment on some of the traits specific to Cuban avant-garde and its post-1959 saga, for it constitutes the background where some of the keys to the contemporary art movement, known as New Cuban Art, can be found. I hope that, given the sui generis quality of Cuban avant-garde post-1959 — which intends to add different data to the avant-garde historical development — we might eventually wave aside any reservations Bürger may have planted related to the obsolete condition of this phenomenon. 2018-05-31T05:41:21Z 2019-12-06T16:55:30Z 2018-05-31T05:41:21Z 2019-12-06T16:55:30Z 2003 Book Chapter Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. In Diagonal: Essay on Contemporary Cuban Art (pp. 9–39), Maastricht, The Netherlands: Jan van Eyck Academie. 90–72076–18–4 https://hdl.handle.net/10356/88077 http://hdl.handle.net/10220/44921 en © 2003 The author(s). This is the author created version of a work that has been peer reviewed and accepted for publication in Diagonal: Essay on Contemporary Cuban Art, published by Jan van Eyck Academie on behalf of the author(s). It incorporates referee’s comments but changes resulting from the publishing process, such as copyediting, structural formatting, may not be reflected in this document. 13 p. application/pdf Jan van Eyck Academie |
| spellingShingle | DRNTU::Visual arts and music Cuban Post-1959 Avant-garde 1980s–90s Cuban Art organic artist Ojeda, Danne Symbol and Symptom of Cuban Post-1959 Avant-garde |
| title | Symbol and Symptom of Cuban Post-1959 Avant-garde |
| title_full | Symbol and Symptom of Cuban Post-1959 Avant-garde |
| title_fullStr | Symbol and Symptom of Cuban Post-1959 Avant-garde |
| title_full_unstemmed | Symbol and Symptom of Cuban Post-1959 Avant-garde |
| title_short | Symbol and Symptom of Cuban Post-1959 Avant-garde |
| title_sort | symbol and symptom of cuban post 1959 avant garde |
| topic | DRNTU::Visual arts and music Cuban Post-1959 Avant-garde 1980s–90s Cuban Art organic artist |
| url | https://hdl.handle.net/10356/88077 http://hdl.handle.net/10220/44921 |
| work_keys_str_mv | AT ojedadanne symbolandsymptomofcubanpost1959avantgarde |