[..] a familiar art historical narrative [..] celebrates the triumph of the expressive individual over the collective, of innovation over tradition, and autonomy over interdependence. [..] In fact, a common trope within the modernist tradition of the nineteenth and early twentieth centuries involved the attempt to reconstruct or recover the lost ideal of an art that is integrated with, rather than alienated from, the social. By and large, however, the dominant model of avant-garde art during the modern period assumes that shared or collective values and systems of meaning are necessarily repressive and incapable of generating new insight or grounding creative praxis.
This assumption of the intrinsically repressive nature of collective experience and redemptive power of individuation is a staple of contemporary art theory and criticism. I would argue that a closer analysis of collaborative and collective art practices can reveal a more complex model of social change and identity, one in which the binary oppositions of divided vs. Coherent subjectivity, desiring singularity vs. Totalizing collective, liberating distanciation vs. Stultifying interdependence, are challenged and complicated.
A stubborn refusal of the conditions of 20th Century 'reality', surrealism has denied intransigently and consistently that modern man can live without a sense of wonder at the world that was once embodied in myth. In approaching literature, it has aimed at restoring to the word its magical qualities. And at giving back to language the elemental power it once had within society. This determinism lies at the heart of the surrealist attitude and distinguishes it radically from the modernism which took shape contemporaneously with it.
Yes, I do believe in something. I believe in being warm-hearted. Ibelieve especially in being warm-hearted in love, in fucking with awarm heart. I believe if men could fuck with warm hearts, and the womentake it warm-heartedly, everything would come all right. It's all thiscold-hearted fucking that is death and idiocy.
Finally, the functionalist organization, by privileging progress (i.e. Time), causes the condition of its own possibility--space itself--to be forgotten: space thus becomes the blind spot in a scientific and political technology. This is the way in which the Concept-city functions: a place of transformations and appropriations, the object of various kinds of interference but also a subject that is constantly enriched by new attributes, it is simultaneously the machinery and the hero of modernity.