New European Avantgarde

Avant-garde means moving beyond, anticipating the future. But what happens when the traces of the future take us back to the past? And how does the very idea of the past come out changed in this process? These are the paradoxes of heritage, one of the most debated themes in Europe nowadays. It’s not a coincidence that in September Europe has celebrated Heritage Days and in Brussels, in particular, the event was accompanied by the announcement of the opening of a European House of Memory, coming soon.

Despite or perhaps precisely because of the crisis that it faces now, thanks to its millennial cultural tradition, Europe represents today a source of inspiration for a new model of well-being and participation, which is founded on the simple, yet revolutionary belief that life in common is also, and above all, a matter of “common feeling”. And only art, as an elective form communication, can make it possible.

Trust, engage and share. The future of European identity depends on these keywords, the same that are being investigated by the most innovative forms of art. But it is a future firmly rooted in some models of the past, and maybe it’s time to recover and revitalize, in search of a new avant-garde. Think about it: Homer was the first storyteller. And the first great example of intercultural dialogue has seen the light thanks to the eclecticism of the Roman Empire.

This is not to repeat the worn out arguments for a return to the past but to reverse the look, turning the past from the dusty archive of testimonies to the living source of repeatable and re-adjustable patterns. Because this is what distinguishes this heritage: its transmissibility, the ability to generate and re-generate. That’s what we keep asking participants to do: help us to exploit this paradox and to rewrite the future.

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