trans-avanguardia (English spelling)

...In Japan, in the late 1960s, Jun Miyagawa pointed out that not only did various "anti-arts" not change art as an institution in the slightest, but also paradoxically proved the "impossibility of art disappearing." The Osaka Expo (1970) where many avant-garde artists were mobilized became a symbol of this. Thus, since 1970, distrust and criticism of the concept of avant-garde art has increased internationally, including the Italian "trans-avanguardia (ultra-avant-garde)." As Brazilian critic Ferreira Goulart wrote in his book "Avant-garde and Underdevelopment," there has been criticism that since Western avant-garde art inherits the desire to escape from Romanticism, it is futile to mechanically introduce it into the reality of the Third World. However, since the concept of the avant-garde has already become the logic of contemporary art creation, it seems that denying only the concept will not easily overcome the substance. ...

*Some of the terminology that mentions "trans-avanguardia" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…日本では60年代の末，宮川淳が，多様な〈反芸術〉も制度としての芸術を少しも変えなかったばかりか，〈芸術の消滅不可能性〉を逆説的に証明した，と指摘したが，大阪万国博(1970)に多くの前衛芸術家が動員されたのが，その象徴となった。こうして70年以降は，イタリアの〈トランス･アバングアルディアtrans‐avanguardia(超前衛)〉をはじめ，前衛芸術の概念への不信と批判が国際的に高まり，ブラジルの評論家フェレイラ･グラールの著書《前衛と低開発》のように，西欧の前衛芸術がロマン主義以来の脱出願望を引き継ぐ以上，第三世界の現実に機械的に導入しても不毛だ，という批判も起こっている。ただ前衛概念はすでに現代芸術の創造の論理と化しているため，概念だけ否定しても実質は容易に乗り越えられないようだ。…

※「trans-avanguardia」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報