New Art Movement Poised To Sweep The Globe:

It will change the way we view the world

by Cesar Marzetti,

excerpted from his recent lecture "The Truly First and Only Art Movement of the 21^st Century, Even..."

Late in the last century, the loss of blahblahblah spawned the rise of an anti-blahblahblah. Even for cultural theorists, discussions concerning blahblahblah were often carried out in a critical blahblahblah that failed to engage with the work of art, much less any notions of blahblahblah. To see the art object by itself as embodying and conveying blahblahblah quickly became an outdated blahblahblah within the contemporary art world.

People started to make art at university in response to whatever blahblahblah they read. This blahblahblah became instrumental in creating the art: it served the art and the art served the blahblahblah. The practical body of work suffered accordingly. Any changes in the blahblahblah surrounding contemporary art are now intimately linked to art’s overall blahblahblah and specifically to its 'blahblahblahism'.

But now, a distinctly 21^st Century blahblahblahism re-allows the idea that focusing on the total blahblahblah has the potential to open radically different ways of thinking about blahblahblah, blahblahblah and blahblahblah. If we allow the old 'blahblahblah' to enter a more reflective phase, we can expect the appearance of this new blahblahblahism. At a moment that is often termed 'post-blahblahblah', this is a direct index to which there is a renewed willingness among critics and philosophers to consider the ways in which cultural blahblahblah often overlooked key aspects of its reliance on philosophical blahblahblah.

The art object itself has become a distant and vague blahblahblah. The work itself no longer applies as the blahblahblah for one's conviction of its 'blahblahblahism'. A work of art is no longer visually blahblahblah from a non-art object. Instead, its placement in an art space and context has orientated it within a coherent blahblahblah of artistic blahblahblahs, blahblahblahs, blahblahblahs and modes of blahblahblahs otherwise known as the 'blahblahblah'. This leaves art as a blahblahblah activity, an institutional blahblahblah (and no longer a unique species of blahblahblah as such).

Such a peripheral blahblahblah makes any discussion of the art object suddenly blahblahblah and instead targets art only in relation to the modes of blahblahblah and the blahblahblah that surrounds it.

However, with the birth of a new blahblahblahism, there is a will to return to a consideration of the artwork’s blahblahblah itself. Heralding this nascent blahblahblah suddenly becomes a priority for all of art practice to develop an even greater blahblahblah, without being constricted by measurable blahblahblahs but reclaiming such now-mythologized blahblahblahs as 'blahblahblah', 'blahblahblah' and 'blahblahblah': special qualities requiring no further blahblahblah from any externally imposing blahblahblahism.