Peter Bürger's critique of the historical avant garde (in Theory of the Avant Garde) accounts for its ineffectual nature as a political movement because of its relationship with institutions. He argues for hermeneutics to be employed as a critique of ideology, and as a facet of the understanding of the ‘historicity of aesthetic categories’. The influence of institutions on music since 1968 has served as a central part of its critique: the work concept itself seems to enshrine political ineffectiveness and the bourgeois nature of art practice that ought to be critiqued by an avant garde. In contrast, Nicolas Bourriaud's concept of the ‘exform’ re-conceives the avant garde as outside of institutions and an idea of ‘progress’ that is aligned with a dominant capitalist ideology. He frames the task of the avant-garde artist as giving energy to ‘waste’, outside of political and ideological institutions. This type of avant-garde practice functions to ‘bring precarity to mind: to keep the notion alive that intervention in the world is possible’. This article explores the exform with respect to the work of the British composer Chris Newman and the Swiss composer Annette Schmucki, and considers how Bourriaud's approach to re-thinking the avant garde might apply specifically to contemporary and experimental music in the present.

中文翻译：

---

EXFORM 前卫

Peter Bürger 对历史前卫艺术的批判（在前卫理论) 解释了它作为政治运动的无效性质，因为它与机构的关系。他主张将诠释学用作对意识形态的批判，并作为对“审美范畴的历史性”的理解的一个方面。自 1968 年以来，机构对音乐的影响一直是其批评的核心部分：作品概念本身似乎体现了政治上的无效性和艺术实践的资产阶级本质，应该受到先锋派的批评。相比之下，Nicolas Bourriaud 的“exform”概念将先锋派重新构想为制度之外的东西，以及与占主导地位的资本主义意识形态相一致的“进步”观念。他将前卫艺术家的任务描述为在政治和意识形态机构之外为“浪费”提供能量。这种前卫实践的作用是“让人们想到不稳定性：保持对世界进行干预是可能的观念”。本文探讨了英国作曲家克里斯·纽曼和瑞士作曲家安妮特·施穆基作品的形式，并考虑了 Bourriaud 重新思考前卫的方法如何特别适用于当代和实验音乐。