Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
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34 Jelena Stojanović<br />
Another signiWcant unitary urbanist event was the 1959 exhibition<br />
entitled “La Caverna Antimateria” (Anti-Material Cave) that took place<br />
at the Galerie Drouin in Paris. In this case two Situationist members from the<br />
Italian section, Giors Melanotte and Giuseppe-Pinot Gallizio, collaboratively<br />
extended Gallizio’s concept of “industrial painting” into the environment by<br />
creating a full-blown art gallery installation that addressed several issues simultaneously.<br />
By creating an environment made of an indeWnitely reproducible,<br />
collectively made abstract painting reminiscent of bomb shelters that were<br />
commonly featured in daily newspapers, they targeted the persistent massmarketing<br />
of fear through nuclear annihilation while linking this to functionalist<br />
art production. 65 In the same year the group founded Research Bureau<br />
for Unitary Urbanism (Bureau de recherche pour un urbanisme unitaire). In<br />
many ways it was a continuation of the MIBI Experimental Laboratory in<br />
Alba. The Bureau’s Wrst projects were in the form of a labyrinth that rendered<br />
everyday, lived situations events that surpassed art. 66 Much of this ludic<br />
play was itself based on an earlier project in 1956 entitled Mobile Cities and<br />
expressed a utopian belief that the city and its inhabitants should be able to<br />
circulate freely, anarchically, according to their desires. This same grotesque<br />
logic had previously informed another project entitled Temporary Habitations,<br />
which was a series of spatial living constructs for the Gypsy population in<br />
Alba. The Research Bureau for Unitary Urbanism revived this proposition<br />
for nomadic living as a constantly changing and variable architectural environment<br />
necessary for creating “collective spontaneity.” 67<br />
However in 1962 the Bureau moved to Brussels. Here its tactics<br />
once again took up a more theoretical direction. This included the production<br />
of a number of texts including Vaneigem’s “Basic Banalities” that directly<br />
attacked contemporary culture, but also the new program written by Attila<br />
Kotanyi and Raoul Vaneigem who together pronounced that the SI artists<br />
treated urbanism “as an ideology,” without which the “spectacle is impossible.”<br />
68 In this sense the unitary urbanist actions dramatically departed from<br />
most other contemporary art practices including the “de-coll/age” work<br />
performed by Wolf Vostell, or such practices as “Destruction in art,” done<br />
in a similar, performative mode. 69 By contrast the SI offered a powerful collective<br />
vision, something that was profoundly lacking from these isolated,<br />
individualistic political and aesthetic undertakings. 70 This degree of collectivism<br />
was not seen again until, perhaps, the emergence of Fluxus several<br />
years later, or in some of the collectivist actions staged by Jean-Jacques Lebel.<br />
With the tactic of unitary urbanism artists stopped being the<br />
constructors of useless, artiWcial art forms in order to become the constructors<br />
of an environment for developing new forms of collective ownership.<br />
The SI above all believed that architecture and urban planning needed to