NSK, IRWIN in Malevič

Abstract

Univerzalna transhistorična tipizacija avantgard Petra Bürgerja, ki jo sam uvidi kot razprto, je mogoča na podlagi njegovih izhodišč, če jo povežemo z definicijo temporalnosti avantgard Petra Osborna. Razmerje lahko preizkusimo na primeru več desetletij dejavnega avantgardnega kolektiva v povezavi z zgodovinsko avantgardo. Odločili smo se za primer manifestov NSK in IRWIN ter IRWIN-ovega zgodovinjenja zgodovine Malevičeve umetnosti. Smrt je tako pri Maleviču kot pri IRWIN splet časov, ki omogoča prehod materialnega v idejno. Ugotovili smo, da tisto, kar Bürger imenuje umetniški material, obstaja kot z umetnostjo inicirana temporalizacija relacij. Glede na to je avantgardna montaža estetski način povezovanja, je idejni proces. Montaža kot atribut avantgarde je estetsko funkcionalizirana ideja.

The universal transhistorical typification of the avant-garde by Peter Bürger, which he himself presents as redefinable, is possible on the basis of his premises when related to the definition of avant-garde temporality by Peter Osborne. This relation can be examined in the example of decades of activity of an avant-garde collective in relation to a historical avant-garde. We decided on an example of manifestos by NSK and IRWIN and for IRWIN’s historicizing of Malevich’s art history. Both, Malevich and IRWIN consider death as an interlacing of times, that facilitates a transition from something material into something ideal. This led to the determination that art material, as Bürger calls it, exists as temporalization of relations, initiated by art. In this regard, an avant-garde assemblage is an aesthetical mode of inter-relations, it is a process of ideas. An assemblage as an attribute of avant-garde is an aesthetically functionalized idea.