By Cecilia Novero

Discussing a facet of the ecu avant-garde that has usually been neglected-its dating to the embodied event of meals, its sensation, and its consumption-Cecilia Novero exposes the unusually key roles that foodstuff performs within the theoretical foundations and fabric aesthetics of a huge 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 basis that avant-garde paintings consists of the wondering of bourgeois aesthetics, Novero demonstrates that avant-garde artists, writers, and performers have produced an oppositional aesthetics of indigestible paintings. during 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 seriously with buyer tradition, reminiscence, and history.

Attention to nutrients in avant-garde aesthetics, Novero asserts, finds how those works are rooted in a posh temporality that affiliates reminiscence and intake with dynamics of change.

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Additional info for Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art

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And the Futurists became aware quite early on of the difficulties involved in translating a poetic vision into a gastronomic one (33). Unlike for these recipes, the new architecture of the Holy Palate tavern and the new body of steel that the Futurists intended to shape with their diets came together for Marinetti, Fillìa, and Diulgheroff on the night of the restaurant’s opening, March 8, 1931. The merging of actors and recipients, and inside and outside space, at the restaurant returns in the critics’ description of the physical environment.

Scholars have pointed out that an informe, that is, disjointed and dysfunctional, even death-driven desire or tendency, is at work in the avant-garde. ”38 At the same time, Foster notes in Dada a critical parody that he calls “hypertrophic” and that I define, in chapter 2, as omnivorous and cannibalistic. 39 Antidiets are at the center of the sublimations proposed in Futurist cooking, with its desire to free desire, which, however, falls prey first to anxiety and finally to sublimatory reterritorialization.

Food –– gulped down, transforming and transformed, living on in its absence –– may be seen as countering the commodity fetish. Finally, as Spoerri’s Eat Art demonstrates, the neo-avant-garde, in this one manifestation at least, literally operates to dé-collage (to “unglue” but also to “take off”) the historical avant-garde, which here takes off in different temporal constellations. The Primeval Technological Antidiet of Futurism and Beyond: Mud Tossed with Gasoline To be more concrete, let me once again return to the “disgusting” cubist diet and indicate how much one is dealing with an indeterminate space–time of the amorphous, if not always informe, when facing the avant-garde.

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