By Cecilia Novero
Discussing a facet of the eu avant-garde that has frequently been neglected-its dating to the embodied adventure of nutrients, its sensation, and its consumption-Cecilia Novero exposes the unusually key roles that nutrition performs within the theoretical foundations and fabric aesthetics of a large stratum of works starting from the Italian Futurist Cookbook to the journal Dada, Walter Benjamin's writings on consuming and cooking, Daniel Spoerri's Eat Art, and the French New Realists.
Starting from the idea that avant-garde artwork comprises the wondering of bourgeois aesthetics, Novero demonstrates that avant-garde artists, writers, and performers have produced an oppositional aesthetics of indigestible paintings. in the course of the rhetoric of incorporation and intake and using fabric materials of their paintings, she exhibits, avant-garde artists energetic within the Twenties and Nineteen Thirties in addition to the neo-avant-garde events engaged significantly with customer tradition, reminiscence, and history.
Attention to meals in avant-garde aesthetics, Novero asserts, unearths how those works are rooted in a fancy temporality that affiliates reminiscence and intake with dynamics of change.
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Extra resources for Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art
Every generation must build its own city. ” (Futurist Manifestos, 170, 172) But the theater –– to be understood as the Futurist Variety Theatre –– in its juxtaposition with the restaurant, in fact disturbed another more important public space, namely, the museum of art. According to the tradition of overlap between theatrical spaces and events and the restaurant, the Futurist Cookbook informs the reader that if Futurist architects designed the restaurant, it was actual chefs (cavalier Bulgheroni especially, who was the most active Futurist cook in these years) who prepared the artists’ recipes.
This is not to say that antidiets (and the informe) are the common denominator to which we should conceptually reduce all avant-garde art. To the contrary, the ways in which the dynamics of incorporation operate –– the informe is for Bataille an operation, and so I interpret incorporation in this book –– produce the avant-garde as a plurality of libidinal ﬂows. Some avant-garde artists attempt to transform and in fact direct desire toward the creation (and thus forming) of experiences yet unlived.
Because this public is also included in the Futurist Cookbook, the latter’s ideological, civilizing elements that undeniably and strongly accompany the Futurist aesthetic program appear less authoritative and authoritarian, more discursive and even self-ironic. Irony is evident in the cookbook’s multiple discursive registers. In addition, the cookbook is also contradictory in its scientiﬁc–aesthetic–psychic culinary proposal. As mentioned, the presence of irony plays down the fascist (if not nationalist) agenda that deﬁnitely informs the manifesto, the formulas, and the dinners.