Das neue e-flux journal hat einen guten Text von Gottkurator Hans Ulrich Obrist über “Manifestos for the Future“: “After all, the manifesto is a fundamentally transdisciplinary device, a history that is addressed in Martin Puchner’s recent publication, Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes. He breaks the history of manifestos down into three phases: first, the emergence of the manifesto as a recognizable political genre in the mid-nineteenth century (The Communist Manifesto, 1848); second, the creation of avant-garde movements through the explosion of art manifestos in the early twentieth century (Manifesto of Futurism, 1909); and third, the rivalry between the socialist manifesto and the avant-garde manifesto from the 1910s to the late 1960s. Fifty years later, it could be said that this rivalry has faded, along with the political opposition that fueled it. In the beginning, the art manifesto did not merely register art’s political ambitions; it changed the very nature of the artwork itself. “The result is … an art forged in the image of the manifesto: aggressive rather than introverted; screaming rather than reticent; collective rather than individual.” This has traditionally been the case for manifestos in the arts; however, it could be said that the twenty-first century art manifesto appears to be more introverted than aggressive, more reticent than screaming, and more individual than collective.” Auch die anderen Texte wie “What is contemporary art?” oder “Contemp(t)orary: Eleven Theses” sind spannendes Hirnfutter. Via
