• Will Brand

    I think Futurism’s appeal, here and everywhere it’s ever mentioned, is rooted in the fact that it has as many competent sculptures as it does manifestos (1). It’s a fantastic movement because you can absorb it all through a medium-length Wikipedia read, or maybe through visiting that one room at MoMA that’s got everything worth mentioning in it. Once you’ve done that, you’ve got carte blanche to say whatever you like about the movement, and nobody will ever call you on it because nobody cares. Also, it is good because it has “future” in the name.

  • http://www.bogost.com/ Ian Bogost

    The mention of Futurism is not an endorsement; it’s a means to compare the 20th century avant-garde with what might be the 21st’s version of it. In fact, the article makes quite explicit mention of the unfortunate connection between Futurism and Fascism. To walk away from that piece with the summary you did is surprising.

    • http://hereisafantasy.com Corinna Kirsch

      I appreciate your response. My small issue with your juxtaposition of the New Aesthetic to Futurism is how it’s a pretty simple gesture to compare and contrast things that, as you mentioned, are at two completely opposite ends of the spectrum. Of the many manifestos written in the 20th century, some have more relevance to the way artists involved with the New Aesthetic “now wield the same data access APIs…as the corporations.” In particular, I’m thinking of the Situationist International, who embraced using things from common culture to create new paths in the city (their “dérive”).

  • guest

    “I don’t know many artists interested in how the internet is like a battlefield”

    that is because you know boring artists only concerned with sociability and friendsszzzz

    • Will Brand

      In what capacity do you know anything at all about Corinna Kirsch’s familiarity with various groups of artists?

  • Guest

    Some interesting thoughts (i.e. a little more elaborate than snark) on Futurism:

    In a time where participatory or dematerialized art practices are predicated on an idea of sociability and inclusiveness, a model based on negativity and exclusion becomes interesting. 

    There can be art that doesn’t just exist as a mirror of saccharine, corporate networking and advertising schemes.

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