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The Future of Futurism
From the Avant-Garde to the Neo-Avant-Garde, or, How to Imagine Communism by Other Means
From: Spectres of Fascism
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This chapter offers a remapping of the lineage of the futurist movement through historical and structural lines of reasoning. The author argues that present debates about the return of fascism might be better understood by exploring the aesthetic traditions associated with fascism and futurism.
Contributors
Jaleh Mansoor
Jaleh Mansoor is a historian of modern and contemporary cultural production, specializing in twentieth-century European art, Marxism, Marxist feminism and critical theory. She received her PhD from Columbia University in 2007 and has taught at the State University of New York Purchase, Barnard College, Columbia University and Ohio University. Having worked as a critic for Artforum, and a frequent contributor to October, Texte zur Kunst and The Journal of Aesthetics and Protest, among others, Mansoor has written monographic studies on the work of Piero Manzoni, Ed Ruscha, Agnes Martin, Blinky Palermo, Gerhard Richter and Mona Hatoum. She has co-edited an anthology of essays addressing Jacques Rancière’s articulation of aesthetics’ bond to politics, entitled Communities of Sense: Rethinking Aesthetics and Politics (Duke University Press, 2010). Her first book is Marshall Plan Modernism: Italian Postwar Abstraction and the Beginnings of Autonomia (Duke University Press, 2016). She is currently working on a book, tentatively entitled Concrete Abstraction: The Work of Art in the Age of Mechanical Labour, on the entwinement of labour, value and “bare life” in the work of Santiago Sierra and Claire Fontaine, among