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.
