The dichotomy between art as cognition and as action dates back to negotiations that took place between Kant on one side of the divide and Schiller, Schelling and Hegel on the other. Adorno, in his attack on inartistic art\u2019s party-political alliances, sought to anchor the political dimension in the very core of the work of art: \u201cDas Asoziale der Kunst ist bestimmte Negation der bestimmten Gesellschaft.\u201d [The asocial in art is the definite negation of the definite society.] (Theodor W. Adorno)<\/p>\n
In the reception of the classic avant-garde a tendency was already discernible to recast \u201cthe political dimension, which was part and parcel of the concept of avant-garde, as a dilemma of its protagonists\u201d (Karl-Heinz Barck). In the case of the Viennese avant-gardes after 1945, a great deal of emphasis was on utopian elements and, even more so, on totalitarian elements, as in the case of Otto Muehl. These are particularly in evidence in the Wiener Architekturmanifeste [Viennese Architectural Manifestos].<\/p>\n
A notorious dilemma in aesthetic theory is the tension between the postulated autonomy of art on the one hand and the call for its societal and political effectiveness on the other. The political dimensions of the Viennese avant-gardes, which competed from 1950 in the same epistemological field with the most advanced theories of the time \u2013 semiotics, psychoanalysis, the deconstruction or analysis of the dispositifs of power \u2013, are becoming increasingly apparent in retrospect: \u201cThe real legacy of the Wiener Gruppe are the critique of the state and of reality through the critique of language, their anti-literary and anti-artistic concepts of literature and\/or of art, their anti-statist and anti-authoritarian attitudes, their habitual transgression of the boundaries between the genres and between art and life.\u201d (Peter Weibel)<\/p>\n
There is no evidence of explicit gender consciousness in post-war Austria. Even though Maria Lassnig had been experimenting with body-oriented painting from the 1950s, no one was prepared to follow her example. It was left to Valie Export to proclaim a highly focussed variant of feminism, which made an issue of the female body and its role in art and society through spectacular performances and demonstrated the extent to which it was the object of discrimination.<\/p>\n
The most crucial questions dealt with by this panel were:<\/p>\n
What interventions by the Viennese avant-gardes may retrospectively be interpreted as acts of resistance, transgression or of utopian speculative thought?<\/p>\n
What \u2013 if any \u2013 relationship links the development of the Viennese avant-gardes between 1960 and 1975 to the tendencies to put \u201chigh\u201d and \u201clow\u201d on the same level, the spread of the pop-culture aesthetic and the socio-critical attitudes of sub- and counter-cultures?<\/p>\n
What differences in the perception and significance of the Viennese avant-gardes are discernible between 1950\/60\/70 and today?<\/p>\n
Lecture Irene Suchy Zur\u00fcckgebliebene, Spie\u00dfer, Befangene, Neoprimitivisten<\/cite> in German<\/a><\/p>\n Lecture Evelyn Deutsch-Schreiner \u201cWirklichkeitsinterventionen\u201d. Performative Provokations\u00e4sthetiken der Wiener Gruppe als Reaktion auf das starre kulturelle Klima der Nachkriegszeit?<\/cite> in German<\/a><\/p>\n Lecture Diedrich Diederichsen Gegen die Wirklichkeit. Der Sprung aus der Geschichte und seine Geschichte<\/cite> in German<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" The dichotomy between art as cognition and as action dates back to negotiations that took place between Kant on one side of the divide and Schiller, Schelling and Hegel on the other. Adorno, in his attack on inartistic art\u2019s party-political alliances, sought to anchor the political dimension in the very core of the work of … Continue reading Politik der Wiener Avantgarden \u2013 The Politics of the Viennese Avant-gardes<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2261,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2300","page","type-page","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/pages\/2300","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/comments?post=2300"}],"version-history":[{"count":1,"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/pages\/2300\/revisions"}],"predecessor-version":[{"id":4649,"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/pages\/2300\/revisions\/4649"}],"up":[{"embeddable":true,"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/pages\/2261"}],"wp:attachment":[{"href":"https:\/\/www.viennavant.at\/en\/wp-json\/wp\/v2\/media?parent=2300"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}