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Avant-Post: The Avant-Guarde Under "Post-" Conditions By Louis Armand

Is an avant-garde viable under the conditions of post-modernism? This question immediately gives rise to others, concerning the status of avant-gardes historical or conjectural, and concerning the various cognates of post-modernism and the numerous other post-s and isms that have populated critical discourse in literature and the arts during the latter half of the last century. Consequently our initial question may come to appear purely definitional, while any endeavour to respond to it programmatically will nevertheless remain ambiguous, eclectic, even contradictory. The reason for this has not to do simply with the diversity of possible positions vis-à-vis avant-gardism and post-modernity, nor with the ambivalences of historicity or interpretation, but with what has been called (in deference to the poetic legacy of the Russian poet Velimir Chlebnikov) “the discoveries of forgotten but never completely lost archaic resources of construing, which lead to unexpected significations of the language structure.”1 It has been argued that all art worthy of the name is in some sense experimental, and that experimentation is inevitably bound to innovation by the same thread that binds the purportedly new to the idea of a tradition. Such a formulation reveals an inherent “referential indeterminacy,” wherein words like experimental, avant-garde and tradition come to approximate “heterologous signs,” without indicating whether they should be read literally or metaphorically, while demanding that we nevertheless interrogate their meaning within an increasingly conventionalised discipline. This “metacritical” dimension to the question at hand has in various quarters been perceived as bringing about something of a renewal of the trope of the “avant-garde,” lending it a critical force which extends beyond the domain of aesthetics into the entire field of thought, sign systems and technology.[...]

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