Preaching to the converted – Victoria and Albert Museum

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of /* xin2 */ more than a century of growth that what is indisputably avant garde today has become very difficult to define. One man’s ‘avant garde’ can easily be his neighbour’s idea of ho-hum, follow-my-leader conservatism.

Another problem, allied to the first, is that the history of the 20th century avant garde was rather specifically a history of élites. Avant-garde artists relied on élite patrons for financial support – independently wealthy, high status individuals who

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were conscious
of the fact that their championship of the radically new distinguished them from the mass. There is also the fact that the now-classical avant-garde art movements initially

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embraced right wing politics more enthusiastically than they did left wing ones. This was the case with Italian Futurism, the most publicised of the early avant-gardes. Later, when avant-garde artists began to identify with the left, it was nevertheless would-be mass movements, Nazism and
Soviet Communism, which were particularly hostile to avant-garde art. When Surrealism tried to sustain an alliance with Communism, the relationship was always extremely uneasy.

Disobedient Objects at the V&A (until February 1st) shows that this uneasiness has not

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gone away.
Housed
in one of London’s most
important museums, its organisers have gone to some lengths to emphasise its democratic google_ad_client = "ca-pub-3967079123942817"; status. It is free entry, google_ad_width = 970; like the rest of the permanent collection (but

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unlike the other special exhibitions the museum offers as part src="//pagead2.googlesyndication.com/pagead/show_ads.js"> of its regular programme), and it has been given an unusually /* 9-970x90 */ long run – six months in all.

What it offers is an anthology of objects connected google_ad_width = 970; will all sorts of anarchic projects, from the anti-nuclear protests at Greenham Common in England, to the Mothers of the Disappeared in Buenos Aires – all challenges to some kind of existing src="//pagead2.googlesyndication.com/pagead/show_ads.js"> status quo, made in many different contemporary societies and national entities, democratic and non-democratic. Most of the objects concerned would not normally be classified as art, or even as craft or design. In google_ad_slot = "6023194682"; fact, what one has here is a kind of religious treasury – the holy relics of a number of recent episodes of social agitation, some of which succeeded in their google_ad_height = 90; aims and some of which failed. If Christ had lived in our own times, it wouldn’t be src="//pagead2.googlesyndication.com/pagead/show_ads.js"> surprising to find a relic of the True Cross as part of the display – always remembering that this now sacred

interview given in conjunction with the show, Catherine Flood

State Britain, was

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reconstruction of the ‘Peace Camp’ set up by the late activist Brian Haw in front of the Houses of Parliament, in protest against the Iraq War, google_ad_slot = "8637400688"; and subsequently dismantled by the police because it contravened a hastily passed law against “unauthorised demonstrations within a one kilometre radius of Parliament Square”. Much play was
made with the fact that the site of
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the installation within the museum building also seemed /* xin-1 */ to fall within the forbidden zone. However, as the critic Tim Teeman, writing in The Times, remarked, “moving Haw’s protest from the street to the hallowed hush of the Tate denudes it of rawness and energy. The google_ad_height = 90; riot of colour, the anarchy of words and images, are dimmed; the

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weatherbeaten plastic coverings aren’t flapping in the wind anymore, but listlessly reflecting gallery spotlights.” He concluded by asking: “Does it ask new questions or challenge our preconceptions?” And answered his own query: “No, it merely confirms the liberal consensus.” This is exactly what has happened at the V & A, the second time round.

In fact Disobedient Objects is

a very good example of that hallowed middle-class liberal pastime –

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preaching to
the google_ad_client = "ca-pub-3967079123942817"; converted. It claims to be radical and is in fact deeply conventional and google_ad_width = 970; self-congratulatory. It won’t change anyone’s mind.

Edward Lucie-Smith

The Jackdaw Nov/Dec 2014

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