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Manifests, foresight and experimentation

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French

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Abstract

The manifesto is one of the “genders” of modernity and accompanies the shift from a model aesthetic to an aesthetic of innovation. But its evolution makes it possible to grasp the breakthrough of the foresight. By moving the manifesto from programmatic to poetic, by constituting it as a shape and work, the ‘historical’ pregards of the years 1910-1920 build a new artistic aesthetic and ‘posture’, which favours experimentation and action. The study of this development (in particular that of the Lacerba magazine and the typographical work) reveals four functions of the manifesto (whistleblowing and foundation, theorising and performation), which have gradually been formed, and shows that the leading manifesto, viewed as a form rather than a gender, favours the performance dimension (which calls for a nuanced approach to the concept of ‘anti-manifest’). Finally, it confirms that the manifesto functions as a laboratory, where the theoretical and practical possibilities of artistic experience are considered together. Beyond a call for innovation, it is this intentional and efficient nature of the vanguard manifesto that opens up experimentation. It makes it possible to develop the principle by which the vanguard breaks with modernity, and which Kurt Schwitters expresses, for example, in ‘i. Ein Manifest’ in 1922: Concept, material and work of art are the same. ’

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