Against the Avant-Garde

Pier Paolo Pasolini, Contemporary Art, and Neocapitalism

Inbunden, Engelska, 2020

468 kr

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Beskrivning

Recognized in America chiefly for his films, Pier Paolo Pasolini (1922-1975) in fact reinvented interdisciplinarity in post-war Europe. Pasolini self-confessedly approached the cinematic image through painting, and the numerous allusions to early modern frescoes and altarpieces in his films have been extensively documented. Far less understood, however, is Pasolini's fraught relationship to the aesthetic experiments of his own age. In Against the Avant-Garde, Ara H. Merjian demonstrates how Pasolini's campaign against neocapitalist culture fueled his hostility to the avant-garde. An atheist indebted to Catholic ritual; a revolutionary Communist inimical to the creed of 1968; a homosexual hostile to the project of gay liberation: Pasolini refused the politics of identity in favor of a scandalously paradoxical practice, one vital to any understanding of his legacy. Against the Avant-Garde examines these paradoxes through case studies from the 1960s and 70s, concluding with a reflection on Pasolini's far-reaching influence on post-1970s art. Merjian not only reconsiders the multifaceted work of Italy's most prominent post-war intellectual, but also the fraught politics of a European neo-avant-garde grappling with a new capitalist hegemony.

Produktinformation

Utgivningsdatum:2020-07-15
Mått:178 x 254 x 28 mm
Vikt:1 078 g
Format:Inbunden
Språk:Engelska
Antal sidor:304
Förlag:The University of Chicago Press
ISBN:9780226655277

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Mer om författaren

Ara H. Merjian is associate professor of Italian Studies at New York University, where he is an affiliate of the Institute of Fine Arts and the Department of Art History. He is the author of Giorgio de Chirico and the Metaphysical City.

Recensioner i media

“Merjian’s new book helps us untangle the idiosyncrasies of this polyhedric modern movement. Casting a lucid gaze into a recent but culturally impervious past, Against the Avant-Garde conjures the complexities of Pasolini’s visual, material, and ideological context to show us how much he resisted it and how much, at the same time, he belonged to it.”

Innehållsförteckning

Introduction Heretical AestheticsTechnical Sacrality/Heretical AestheticsAgainst the Avant-GardeCommunism, Humanism, ModernismAesthetic DecelerationA Tradition of AntitraditionOne Abstraction: The Zero Degree of HistoryAbstraction and NeocapitalHistory, Rage, PaintingAbstraction and/as Failed RevolutionA Cinema of Poetry and PaintingThe Zero Moment of HistoryTwo Pop: A Mimesis of the FutureMass Culture and the Crisis of CommunismPop Polemics on the Left“All the World at Home”Objective Indifference/Pop VernacularPop, Politics, and the Ends of IronyThe Division of HistoryA Mimesis of the FutureThree Arte Povera: Prehistory and the Aesthetics of ContaminationAn Irrational Marxism and the “Intimacy of ‘Things’"Contamination, Craft, and the “Slang” of MatterThe “Third World” between History and PrehistoryDouble RepresentationPhenomenology versus Frame1968 and After: Cold War, Hot AutumnFour Performance: A Semiology of ActionBody/StruggleIntellectual FleshIntimacy and ExposureFrom What Is Fascism to SalòPerforming the PseudorevolutionConclusion Hopes and Alibis: Pasolini and Contemporary ArtAcknowledgmentsNotesIndex