Antidiets of the Avant-Garde: From Futurist Cooking to Eat by Cecilia Novero

By Cecilia Novero

Discussing a side of the eu avant-garde that has usually been neglected-its dating to the embodied adventure of nutrients, its sensation, and its consumption-Cecilia Novero exposes the strangely key roles that foodstuff performs within the theoretical foundations and fabric aesthetics of a wide 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 idea that avant-garde paintings contains the wondering of bourgeois aesthetics, Novero demonstrates that avant-garde artists, writers, and performers have produced an oppositional aesthetics of indigestible paintings. in the course of the rhetoric of incorporation and intake and using fabric parts of their paintings, she exhibits, avant-garde artists lively within the Nineteen Twenties and Nineteen Thirties in addition to the neo-avant-garde hobbies engaged severely with patron tradition, reminiscence, and history.

Attention to foodstuff 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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Eat Art brings back a positivity that is not affirmative (in Herbert Marcuse’s sense) in Dada. 44 Hence the “beautiful Dada excrement,” mentioned in the Révue Dada, returns in Spoerri’s trap-paintings, which both capture (glue) and free the avantgarde’s fragmented and involuntary food memories. Resistant Failures of the Avant-Garde Mythopoeic antidiets of modern disgust open the threshold where the sublime becomes countersublime, where ecstasy turns into dysfunctionalism, art into countergastronomy, and food into antiart.

In every antidiet there is a resistance and thus also a hope as, in Benjamin’s words, hope is only for the hopeless. What fails –– and the avant-garde antidiets are already set up to fail taste and the bourgeois subject –– is moved by resistance. The task of the avant-gardes that continue experimenting, testing their own and their societies’ limits, is to look for that resistance, even civil/aesthetic disobedience, in what introduction xxxv has been declared a historical failure. To echo Howard Zinn, how many struggles failed for change to occur?

40 This antidiet is counterintuitive because it seems to sharply contrast with the aestheticizing diet the Futurists propose with their cuisine. It is foundational because one finds a taste of it in the first manifesto of Futurism published in Le Figaro in 1909. From reading the manifesto it becomes apparent that Filippo Tommaso Marinetti fed on poisonous food, not unlike Braque. Because of this, it seems then that the repelling and archaic ingredients in this diet would stand in sharp contrast to the aesthetically edifying Futurist Cookbook of many years later.

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