Parallel Vanguards
By Syd Krochmalny
Syd Krochmalny, Marble Clown, (Visionarism), 2018-2024, oil on canvas, 42x42 in.
Exploring Hypothetical Artistic Movements, Past Futures, and Present Possibilities
In art history, every movement has left a mark that shapes our perception of the past and our understanding of the present. But what about those movements that never came to be? This essay delves into a fundamental question: What if certain avant-gardes, merely outlined in their time, had reached their full potential? What if they had fully realized and manifested their principles and aesthetic proposals, transforming into complete avant-gardes? By speculating on these 'past futures,' we can not only imagine parallel artistic worlds but also reconsider what is possible in contemporary art.
In late 19th and early 20th century Paris, the literary scene was marked by an explosion of poetic and literary movements. During this time, over forty currents emerged, all attempting to revolutionize literature, but despite their energy and creativity, they failed to consolidate as artistic vanguards that included visual artists. Movements such as Jean de la Hire's Synthesism, Adolphe Lacuzon's Integralism, and Florian-Parmentier's Impulsionism appeared one after another, reflecting a relentless pursuit of innovation. However, most of these movements did not achieve the lasting influence needed to transform the artistic landscape beyond literature or poetry.
This period witnessed a unique dynamism, where manifestos and artistic proposals succeeded one another rapidly without transcending the boundaries of their own domains. Here lies my proposal: to revisit these poetic and literary movements, investigate their textual documents, and, through counterfactual construction, imagine what their works would have been like if they had managed to become total avant-gardes, integrating painters as well.
In this context, written language—poetry, narrative, literary criticism—acts not only as a reflection of the thought of its time but also serves as a starting point for visual creation in this new parallel history of art. The archive we work with consists of texts published in books and magazines by their own authors, as well as literary and historical criticism of the time. This archive spans from the last quarter of the 19th century to the beginning of World War I, during what historian Eric Hobsbawm calls "the age of empire," a period characterized by the imperialist expansion of European powers.
From these texts, I construct artistic manifestos that not only expand the poetic and narrative horizon but also bring them into dialogue with the visual arts, thus creating a speculative art history in which these literary vanguards are fully realized. This operation is not merely a retrospective exercise but a way to challenge the historical oppositions that have defined Western aesthetics, such as the tension between intellect and sensitivity, reality and appearance, or between the visible and the invisible.
The process of creating art from written language is not new; however, in this essay, we propose a multiversal paradigm in which word and image coexist and enhance each other, opening multiple possible paths in artistic creation. This approach explores the capacity of word and image to generate multiple interpretations and realities, creating a space where different artistic dimensions can coexist and engage in dialogue.
This approach is inspired by a tradition that sees the Word as the creative principle, an idea that resonates in both religious and philosophical traditions. According to the Gospel of John, "In the beginning was the Word, and the Word was with God, and the Word was God." This theological conception of the Word as the source of creation is reflected in the tension between light and shadow, form and void, found in the biblical narrative of the creation of the world. Moreover, the Bible uses images symbolically and metaphorically to communicate spiritual truths. Prophetic visions are filled with powerful images that possess rich metaphorical and visionary expression, communicating profound spiritual truths.
When translating these ideas into painting, our goal is not only to represent these oppositions but also to make them coexist in the same visual space. The works that emerge from this process are not mere illustrations of texts but attempts to materialize the tensions and possibilities that these poetic and philosophical manifestos propose. In turn, these images generate new texts that achieve relative independence from the originals, allowing for a creative interaction between both forms of expression.
Ultimately, my work with these texts and manifestos seeks to question and expand the limits of what we consider possible in artistic creation. By putting word and image into dialogue, I propose a reconciliation of these dualities, suggesting that in the act of creation, both light and shadow, both word and image, are indispensable to give life to new forms of art that speak to both reason and the body, configuring time.
Art's Relationship with Time
Art has always been a struggle against time, whether in the pursuit of the eternal, as in classical art, or in the capture of the present moment, as in contemporary art. This struggle reflects a fundamental tension in the very nature of art: the need to transcend time while remaining anchored in it. By suspending our judgment about the reality of art, what remains is its intrinsic relationship with time, a relationship that manifests not only in the content of the work but also in its form, technique, and reception.
Art is not just a representation of its time; it is a constant dialogue with the past, present, and future. Each work of art, although created at a specific moment, carries with it the traces of previous time and projects its effects into the future. In this sense, art is a temporal bridge, a medium through which artists negotiate with the ideas, emotions, and traditions they have inherited while simultaneously attempting to open new horizons.
This temporal dialectic is what makes art so fascinating and relevant because it forces us to constantly reconsider our relationship with time and history. When contemplating a work of art, we are not only seeing an image; we are participating in a dialogue that spans generations, cultures, and eras. This leads to an even more provocative question: how would artistic movements have developed if they had taken different paths?
By imagining those untaken paths, those futures that never materialized, we realize that time is not linear or fixed, but malleable, subject to imagination and reinterpretation. Every artistic decision, every movement, could have led to a different reality. This counterfactual approach allows us to explore these alternative possibilities and consider how they might have influenced the development of art, the evolution of its techniques, and the way we perceive it today.
Moreover, this speculation about time in art also invites us to reflect on the very nature of time in artistic creation. Is art a testimony to the past, or is it an act of creating new times? Each work, when created, inaugurates its own time, a space where past and future meet in the present of creation. This is particularly evident in artistic vanguards, where the rupture with the past was a way to liberate new temporalities, new ways of experiencing time through the work.
Thus, by exploring the artistic movements that never came to be, we are not just imagining other possible futures; we are also experimenting with time, using art as a tool to rewrite history and, in a way, to create new temporal realities. In this sense, art becomes not only a form of resistance to the passage of time but also an active means of temporal transformation, where what could have been intertwines with what is, thus opening infinite possibilities for what can still be.
The Literary Revolution in Late 19th Century France: Movements and Vanguards That Transformed European Culture
During these years, numerous literary movements developed that, together, profoundly transformed the way literature and art were conceived. The importance of this era lies in the richness of literary innovations, the emergence of radical ideas, and the depth of responses writers offered to the challenges of their time. However, unlike later vanguards, these literary movements did not articulate with artists in a broader sense, making this period unique and worthy of detailed analysis.
This period witnessed social, political, and technological changes that shook the foundations of European society. In France, these changes were particularly intense, with the Second Industrial Revolution and the Third Republic facing challenges such as the Dreyfus Affair, secularization, and the struggle between republican and monarchist forces. In this context, literary movements emerged as responses to the most pressing issues of the time: national identity, morality, social justice, and the role of religion in public life.
The literary movements of this era, such as Symbolism, Naturalism, Decadentism, Magnificism, Magism, and others like Paroxysm, Jammism, Visionarism, Vivantism, Serenism, and Totalism, not only sought to explore new forms of artistic expression but were also deeply committed to the ethical and political issues of the time. The writers did not limit themselves to creating beauty; their works were vehicles for reflection and debate about the future of French society. This gave literature a central role in the intellectual life of the country, acting as a mirror of the tensions and conflicts of the time.
The emergence of so many literary movements during this period was due to a confluence of factors. First, the crisis of traditional values, brought about by secularization and the loss of religious influence, led writers to seek new ways to understand and represent the world. Moreover, rapid industrialization and urbanization created a new social reality that demanded to be interpreted from multiple perspectives.
The intense political life of the time, marked by the Dreyfus Affair and the tensions between republicanism and conservatism, also stimulated the creation of literary currents that reflected the ideological divisions of society. Each literary movement offered a different way of addressing these issues, from Symbolism, which focused on the exploration of the spiritual and symbolic, to Naturalism, which examined daily life with an almost scientific approach.
Innovation was a key feature of the literary movements of this era. In their quest to capture the complexity of the modern world, writers experimented with new forms and styles, breaking away from established conventions. This era was, in many ways, an incubator for ideas that would later be developed by the vanguards of the 20th century. However, unlike these vanguards, the literary movements of the late 19th century did not seek to articulate with other forms of art in a broader sense.
Despite their innovative character, the literary movements of this period did not articulate with visual artists or other disciplines to the same extent as later vanguards, such as Dadaism or Surrealism. There are several reasons for this. First, the writers of the time considered literature an autonomous form of art, with its own rules and objectives. Their main concern was the exploration of philosophical, social, and political ideas through language, which limited their interest in integrating other forms of art into their practice. Additionally, unlike later vanguards, which sought to break down barriers between different forms of art, the literary movements of the late 19th century developed in a context where artistic disciplines tended to remain separate. Literature, painting, and music followed independent trajectories, with less interaction between them. Lastly, the cultural and political climate of the time was marked by conflicts that were primarily debated in literary and intellectual terms. This led writers to focus on responding to these challenges through literature, without the need to seek collaboration with artists from other disciplines.
The period of the late 19th and early 20th centuries was crucial for the evolution of literature in France. The literary movements that emerged during these years, including Pluralism, Integralism, Philopresentaneism, Hexagramism, Sincerism, Druidism, and many more, were profoundly innovative and responded to the tensions and conflicts of their time. However, unlike later vanguards, these movements did not seek to articulate with other forms of art, due to their focus on the written word, the independence of artistic disciplines, and the specific cultural and political context of the era. This fact makes this period unique, reflecting the complexity of a society in transformation and the search for new forms of literary expression.
Exploration of Hypothetical Movements
Based on the research of forty-three schools, groups, movements, and literary formulas, carried out through the reading and analysis of manifestos, books, magazines, literary criticism, and historiography, I have speculated on how these literary vanguards could have also developed in the artistic field. Below is a selection and brief description of the possibilities within a universe that includes:
Le Magnificism, Le Magisme, L’École Romane, Le Paroxysme, Le Jammisme, Le Synthetisme, Le Sompuarisme, L’Integralisme, Impulsionism, Le Visionarisme, Le Primitivisme, Le Subjetivisme, Le Sincerisme, L’Intensisme, L’École Spiritualiste, Les Renaissances, Le Floralismisme, Dramatisme, L’Imperialisme, Le Dynamisme, Le Vers-Librisme, La Poésie Scientifique, L’Effrénélisme, Le Bonisme, Le Druidisme, Le Plurisme, Le Pluralisme, Le Totalisme, Le Patriartisme, Le Démocratistme, Le Philoprésentaneisme, Le Vivantisme, Le Sérénisme, La Closerie, L’Abbaye, L’Hexagramisme, Les Argonautes, Les Loups, La Ligue Celtique Française, Le Conseil Central, La Gauche Littéraire, La Biche, and Les Revues.
Magism (1884)
Magism would have deeply explored esoteric territories, merging mysticism with the plastic arts in a quest to transcend the merely aesthetic. Inspired by figures like Joséphin Péladan, who founded the School of Magism, this movement would have created works that not only functioned as aesthetic objects but also as amulets or portals to other spiritual dimensions. These pieces, loaded with esoteric symbolism and aligned with ritual practices, would have challenged traditional aesthetic conventions, blurring the boundaries between art, religion, and magic.
Magism, according to Péladan, was not simply a return to hermetic practices but a superior methodology for self-cultivation, a persistent effort to educate sensitivity through meditation and introspection. This approach gave Magism an air of severe grandeur, a quality that initially attracted various intellectuals and artists, though many later distanced themselves. Figures like Paul Adam, Louis le Cardonnel, and Maurice Donnay, among others, accompanied Péladan on this path for a time, fascinated by the possibility of art that not only adorned life but also spiritually enriched it.
Magist works would have been conceived not only as expressions of beauty but also as vehicles for spiritual transformation. Imagine sculptures, paintings, and ritual objects that not only capture the visible but also invite the viewer to a state of deep meditation, to an encounter with the sacred. In this sense, Magism would have represented a radical break with conventional aesthetics, proposing that art could be a means to achieve higher states of consciousness and, ultimately, a greater connection with the universe.
By blurring the lines between art, religion, and magic, Magism would have offered a new way to understand the function of art in human life. More than a mere passive contemplation, magist art would be an active experience, a gateway to the transcendental, where each work not only reflects the world but also transforms it, acting as a bridge between the material and the spiritual.
Scientism (1888)
Scientism could have represented a radical fusion between art and science, where rigorous scientific principles were combined with the expressive freedom of artistic creation. The works produced under this current would not only have captured the external form of the natural world but also attempted to reveal the internal and hidden structures of reality. Imagine works that not only represent the human figure but also expose the complex internal structure of sound or images, using materials that react to external stimuli like heat, light, or even magnetic fields.
This vision of Scientism has its roots in René Ghil’s “Scientific Poetry,” who distanced himself from symbolism to develop his own doctrine. Inspired by the theories of the German physicist Hermann von Helmholtz, especially his work on acoustics and the theory of sound perception, Ghil proposed "Verbal Instrumentation." This theory held that poetic language should resonate with natural laws, similar to how sound vibrates in physical space. Ghil aspired for poetry to be governed not by arbitrary laws but by the vibrations and rhythms of nature, creating a "verbal music" that not only expressed feelings but also the underlying laws of nature.
Helmholtz also theorized about color and light perception, exploring how the human eye interprets different wavelengths. These investigations could have served as a basis for Ghil or his contemporaries to consider a "visual instrumentation" in painting. Speculating, Helmholtz’s theory on additive color mixing and its relationship to human perception could have translated into a pictorial technique that not only captured visible light but also the complex interactions between colors and perception. Thus, Scientism could have explored the visual representation not only of color but also of invisible forces like magnetism or light waves not perceived by the naked eye.
Scientism, inspired by the ideas of Ghil and Helmholtz, could have consolidated as an artistic theory that sought to capture both the visible and the invisible. This current would not only have united science and art but also anticipated movements like Cubism or Futurism, which focused on the perception of time, space, and movement. By representing the invisible dynamics and universal laws that govern nature, Scientism would have offered a new way to understand and represent the world in all its complexity, proposing a bridge between physics and aesthetics and expanding the possibilities of art to explore and express the deeper dimensions of reality.
Magnificism (1892)
Magnificism would have sought to magnify life itself, capturing greatness in everyday details and resonating with the pulse of the universe. Led by M. Saint-Pol Roux, this movement promoted a "mystique magnificat" to Nature, considered in its essence of beauty. Magnificist works could have been monumental in scale and ambition, using precious materials and elaborate techniques to amplify the aesthetic experience of the viewer.
Imagine a painting that not only portrays a natural scene but elevates it to an almost divine state, where each leaf of a tree shines like a jewel, and each ray of sunlight seems to pulse with cosmic energy. This approach aligned with the Magnificism program, which exalted sensations and ideas, sought to elevate them "to the thousandth power," and imagined heroes and supermen in an effort to "enlarge" everyday spectacles and magnify universal life.
Magnificism was not only about exalting the grandiose but also about constant vibration and enthusiasm for life. Saint-Pol Roux, along with figures like Albert Aurier, Marcel Batilliat, and Arthur Bernède, proposed an art that saw in the everyday an inexhaustible source of wonder, where beauty and magnificence were the guiding principles. In this sense, Magnificism offered a vision of art as a tool to elevate reality to levels of sublime splendor.
This movement, with its condensed, refined, colorful, metaphorical, and precious language, proposed an aesthetic that not only reflected reality but transformed it into something greater, almost mythical. By magnifying everyday life, Magnificism created a bridge between the ordinary and the divine, suggesting that in every moment, in every detail, there is a greatness that art can reveal and amplify.
Vivantism (1896)
Vivantism would have exalted vital force in all its manifestations, proposing not only to represent life but also to infuse works with a sense of imminent vitality. This movement, founded by Gustave Fivé, poet of La Lampe Charbonne, promoted the idea that, instead of grand words, a few living images, carried by an equally living rhythm, could translate all the movements of the soul.
Vivantist works stood out for their dynamism and ability to evoke constant change, using innovative techniques to create pieces that seemed to possess inherent energy. Vivantism opposed "Paroxysm," which it accused of filling poetry with outdated rhetorical figures. Instead, Vivantism sought to directly reproduce sensations and passions in the viewer in all their nakedness, in all their vibrant dynamism, through words that were both sincere and spontaneous, liberated from the constraints of rigid syntax and heavy structures.
This approach was also reflected in vivantist poetry, which reduced language to its essentials, relying on sincerity and impulsiveness to reveal, with the same intensity as precision, the emotional state of the poet. As an example of this poetics, a stanza by Gustave Fivé illustrates the essence of Vivantism:
"Our torsos are intertwined.
Our lips: a kiss.
Fusion of souls,
Bell strike.
It’s forever.
Where are men’s laws?
A kiss?
I dominate the sky and its thousands of stars.
A kiss:
The universe is small; it is the immensity!"
Vivantism, therefore, not only sought to represent life but also attempted to capture and transmit the very energy of existence. Vivantist works, using innovative and vibrant forms of expression, would have brought the viewer closer to an aesthetic experience that is both physical and emotional, resonating with the vital pulse that inhabits every living being.
Visionarism (1906)
Visionarism, emerging in 1906, was an artistic movement that deeply explored both the inner and outer visions of individuals, merging the dreamlike with the real in an attempt to represent the invisible. Visionary artists focused on capturing images that emerged during altered states of consciousness or through intuition, seeking to convey a perception that went beyond the merely physical. Their works not only showed surreal landscapes but also sought to depict a connection between the material and the spiritual, using ethereal forms and colors to express this union.
The term "aristocratie" was first used by Gérard de Lacaze-Duthiers in his book L’Idéal Humain de l’Art in 1906 and became a central concept for Visionarism artists. For these artists, life had to be lived in constant pursuit of beauty, free from the constraints of laws, religions, and social conventions. Aristocracy, in this context, did not refer to an elite of power but to a group of individuals aspiring to live and create with a higher aesthetic consciousness, guided by their own vision of the world and their relationship with art.
The visionaries, as they called themselves, firmly believed in the authenticity of their visions, which they considered to emerge from the deep interaction between their senses and the matter around them. For them, having a vision was not just an act of seeing but a total sensory and mental experience, in which perception was integrated with a deep and original understanding of the world. This approach led them to develop an artistic style that sought to reflect the "living mobility" of sensation or vision, using free verse as a means of expression to capture the changing essence of life.
Over time, Visionarism artists realized that their art was destined to be understood by only a minority and abandoned the idea of massively spreading their ideas, preferring to work in silence and with serene creative fertility. However, their legacy was marked by their focus on the fusion between life and art and their quest for an aesthetic that captured the ephemeral and the spiritual in everyday reality. Visionarism, although brief in its duration, left a lasting mark on the history of art and literature, proposing a new way of perceiving and representing reality beyond the visible.
Hexagramism (1907)
Hexagramism, emerging in 1907, would have focused on the geometric figure of the hexagram as a central symbol, not only as a visual element but also as a profound representation of cosmic harmony and the interconnectedness of all things. Inspired by the teachings of Michel Savigny, creator of Adamite metaphysics and hexagrammist philosophy, this movement would have proposed exploring the geometric and symbolic relationships that exist in nature, art, and spirituality. The works produced under this influence, whether paintings, sculptures, or artistic manifestations, would have used the hexagram as a base structure, upon which complex layers of color and texture were woven to represent the connection between the physical and the metaphysical.
The influence of Michel Savigny and his philosophical legacy was central to the development of Hexagramism. His sons, G. and E. Simon-Savigny, played a crucial role in spreading his ideas, publishing the first part of his work under the title Les Adamites in 1906 and founding the magazine L'Hexagramme in 1907 to continue his work. This publication not only served as a vehicle for Savigny’s theories but also consolidated a group of followers committed to his vision, among whom were prominent figures like Henry Cormeau, Victor-Emile Michelet, and sculptor Grégoire Calvet. The founding of the Association of L'Hexagramme in 1908 further formalized this movement, allowing the organization of conferences and artistic events that propagated the "science of being and its psychic evolution" as conceived by Savigny.
The artistic manifestations promoted by Hexagramism were not limited to geometric exploration; they also extended to dramatic and literary representation. Under the auspices of the Association of L'Hexagramme, exhibitions and theatrical productions were organized, presenting works by authors affiliated with the movement, such as Han Ryner and Félix Pagan. These representations, often performed by the Théâtre Shakespeare troupe, sought not only to entertain but also to transmit the philosophical principles of hexagrammism, proposing an art that deeply connected with ideas of cosmic harmony and spiritual evolution.
The legacy of Hexagramism, although perhaps not as widely recognized as other movements of its time, left an indelible mark on the intersection of art and philosophy. By taking the hexagram as its emblem, Hexagramist artists and thinkers not only explored the visual and symbolic forms of the figure but also delved into its spiritual significance, proposing an art that transcended the merely aesthetic to become a vehicle of cosmic connection and self-knowledge.
Primitivism (1909)
Primitivism, emerging in 1909, would have proposed a return to the purest and most essential forms of art, drawing inspiration from ancestral cultures and the simplicity of primitive forms. This movement, born as a protest against Futurism, valued authenticity, connection with nature, and direct expression, in contrast to the complexity and artificiality of modern avant-gardes. Primitivists believed that art should be nourished by the original sources of life, those that date back to the beginning of time, and that any attempt to disconnect it from its roots would result in art devoid of vitality, a mere lifeless object.
The Primitivism manifesto, published in Poésie by Touny-Lerys, Marc Dhano, and George Gaudion, defended the idea that art is and always will be primitive in essence. For them, just as the seven colors of the solar spectrum are the basis of all tones, primitive forms constitute the foundation of all artistic expression. This manifesto exalted eternal beauty and universal harmony, in opposition to the destruction and rejection of the past promoted by futurists. Moreover, Primitivists emphasized the importance of the female figure as mother, sister, and wife, rejecting the contempt that futurists expressed towards women.
Although the term "Primitivism" already existed in the field of painting, associated with artists like Paul Gauguin and Maurice Denis, literary Primitivists developed a different interpretation. While pictorial Primitivism explored a return to the "wild" and "primitive" in terms of culture and style, literary Primitivists focused on emotional authenticity and connection with tradition and the past. This literary movement shared some ideals with Jammism, another movement that valued naivety and spontaneity in artistic expression.
In Primitivists' works, whether poems, sculptures, or artistic manifestations, there is a return to the essential, a search for the eternal through simple and powerful forms. These creations evoked the spirituality and wisdom of the first civilizations, challenging the sophistications of modern avant-gardes. Ultimately, Primitivism was not only a reaction against Futurism but also an affirmation of the importance of cultural roots and the need to reconnect with the very essence of humanity and nature.
Pluralism (1912)
Pluralism, which could have emerged in 1912, would represent an aesthetic and conceptual movement that celebrated diversity and the multiplicity of forms of expression. Unlike other movements that adhered to a single style or approach, Pluralism would have promoted the coexistence of multiple styles and techniques within the same work or series of works. This approach would have challenged the notion of stylistic purity, proposing instead a celebration of the complexity and richness that comes from cultural and artistic diversity. Imagine a painting that combines elements of Cubism, Surrealism, and Abstract Art, creating a continuous dialogue between different eras, styles, and cultures, without prioritizing one over the other.
This movement, under the influence of thinkers like J.-H. Rosny aîné and Arthur Cravan, would have been conceived as a response to the restlessness and uncertainty of the modern soul, torn between impulsive action and analytical reason. Aesthetic Pluralism, according to Cravan, would reflect this internal struggle, singing the multiplicity of aspirations, instincts, and desires that inhabit the human being. Instead of seeking unity or coherence, Pluralism would have embraced the idea that multiple identities and voices coexist within each individual, each with its own legitimacy.
Arthur Cravan, known for his provocative character and relationship with Dadaism, would have been a key figure in articulating Pluralism in the arts. Through his magazine Maintenant and his poetic style, Cravan would have explored the multiple facets of the self, challenging the conventions of traditional poetry and opening new expressive possibilities. In his poem Hic!, Cravan expresses this plurality with images that evoke the simultaneity of experiences, desires, and places, reflecting a mind in constant movement and expansion, unable to conform to a single identity or destiny.
Pluralism, therefore, would not only have been an artistic movement but also a philosophy of life that rejected the limitations imposed by categories and rigid molds. In an increasingly interconnected and complex world, Pluralism would have offered a vision of art and existence that celebrated diversity, contradiction, and the coexistence of multiple realities within a single being. This approach would have allowed artists and thinkers to explore new creative territories, where the mixing and juxtaposition of styles and perspectives became a form of resistance and affirmation against cultural uniformity.
Totalism (1912)
Totalism, which could have emerged in 1912, would have manifested as an ambitious quest to integrate all forms of art into a single total work. Inspired by the idea of Gesamtkunstwerk (total work of art), popularized by Richard Wagner, Totalism would have attempted to unify music, painting, sculpture, dance, and literature into a unique and immersive artistic experience. This movement would have sought to go beyond the simple combination of disciplines, aspiring to a complete fusion where each form of art contributed to creating a cohesive whole capable of enveloping the viewer in a sensory symphony that transcends the limits of each individual discipline.
André Billy, literary critic and advocate of this integrative vision, argued that our era, marked by a tendency towards synthesis and high ambitions, needed an aesthetic formula as inclusive as what he called Totalism. For Billy, Totalism not only represented an artistic current but also a necessity of the time: the need not to repudiate any aspect of the different artistic doctrines that, although seemingly contrary, could unite in a great common effort to achieve "Integral Beauty." This concept advocated for the creation of a work of art capable of harmoniously combining all means of expression, reflecting a totalizing vision of art.
The idea of a totalist work could be realized in a carefully designed installation space, where each surface, sound, and movement were choreographed precisely to create an immersive experience. In this sense, Totalism would have challenged traditional artistic conventions, proposing an experience where the viewer not only observes but is completely immersed in a world created entirely by art. The totalist work of art, at its peak, would have sought to transform the viewer's perception, leading them to a state where all forms of art intertwine to create a new and total reality.
Totalism, therefore, was not limited to being a mere artistic current but presented itself as a revolutionary proposal for the future of art. This vision aspired to transcend the barriers between different artistic disciplines and, in doing so, offered an experience that captured the complexity and richness of human existence. In an increasingly fragmented world, Totalism would have offered a unifying response, a way to bring together the multiple facets of artistic creation into a single work that reflected the totality of the human experience.
Philopresentaneism (1912)
Philopresentaneism, emerging in 1912, would have been an artistic and philosophical movement dedicated to the exaltation of the present moment, rejecting both nostalgia for the past and speculations about the future. This movement focused on capturing the immediacy of the human experience, valuing the "now" as the only true time. Unlike currents that idealized what once was or what is to come, Philopresentaneism sought to represent and live the instant in its purest and most authentic state. Imagine works of art that change as the day progresses, using materials that react to light, temperature, or touch, thus reflecting the ephemeral and changing nature of existence.
The leader of Philopresentaneism, M. Lenzi, promoted the idea that true wisdom lay in learning to love and seize every moment of life. This philosophy not only advocated for a life fully conscious of the present but also proposed a radically new approach to artistic and literary creation. According to Lenzi, thinking too much was detrimental to the balance of our vital functions; living and creating without thinking, letting instinct guide our actions, was the key to a healthier and more natural life. This instinct, comparable to what makes birds sing without conscious effort, would be the driving force of Philopresentaneist creativity, leading the artist to express the beauty of the moment without the limitations of reflection or planning.
Philopresentaneism, like other radical currents of its time, challenged established norms of art and literature. It proposed a direct and spontaneous form of expression, where the work develops at the moment of its creation, without premeditation or rational control. Instead of pursuing technical perfection or stylistic coherence, Philopresentaneists celebrated imperfection and transience, reflecting life as it is experienced: chaotic, unpredictable, and wonderfully fleeting. This approach manifested in paintings that evolved over time, sculptures that decomposed or changed shape, and writings that captured thoughts and sensations as they arose, without filters or edits.
The legacy of Philopresentaneism, although brief and perhaps not as influential as other movements of the time, left an important mark on the history of modern art. By focusing on the experience of the present, this movement opened new possibilities for artistic creation, proposing an art that is not only contemplated but lived and transformed with each instant. In a world increasingly accelerated and oriented toward the future, Philopresentaneism reminded us of the importance of pausing and appreciating the here and now, turning the present into the only reality worthy of celebration. An art that proclaimed the fusion between art and life.
Serenism (1912)
Serenism would have promoted calm, contemplation, and serenity as supreme aesthetic values. In an era marked by the increasing pace of modern life, this movement rose as a response to chaos and acceleration, proposing art that invited reflection and inner peace. Serenism sought to create spaces where the viewer could stop, breathe, and simply be, away from the distractions and tensions of the outside world. Imagine a serenist painting composed of soft tones and simple forms, designed not to impact but to induce a deep sense of calm and balance, evoking the stillness of a landscape at dawn or the serenity of a clear sky.
Louis Estève, in his novel La Nouvelle Abbaye de Thélème, sketched the foundations of what would become the Serenist doctrine. According to the movement's manifesto, Serenism would reject naturalist trivialities and overly familiar or violent evocations. This approach aspired to distill the essence of the aesthetic experience, eliminating the coarser emotional elements and seeking a higher and more refined form of expression. Just as a violin can elevate the mind more than a drum that viscerally shakes, Serenist art intended to transcend the emotionally basic to reach an aesthetic that nourished the soul with serenity and nobility.
Serenism was not only a quest for calm but also an aspiration toward an elevated ideal, free from the torment of the beyond. This trend, although serene, retained all the fervent devotion of a cult, animated by an unwavering longing for intellectual and spiritual conquest. For Serenists, art had to be an expression of human nobility, an act of faith in the possibility of joyful and serene art. They rejected both morbid and somber art and that which merely explored social miseries or human anguish, proposing instead a poetics that, as Nietzsche said, brought the world the comfort of "beautiful luminous deities" that inhabit the "blue lointans" of a fortunate land.
Serenism presented itself as a reaction against the turbulence and hopelessness of the time, offering art that sought peace and joy through serenity and contemplation. This movement was not only an aesthetic stance but also a philosophy of life that valued balance, mental clarity, and simple and pure beauty. At a time when new theories and artistic movements were emerging rapidly, Serenism offered a vision that sought to be a refuge in the midst of the bustle, a space where art could be a source of comfort and harmony.
Simultaneism (1913)
Simultaneism, which could have emerged in 1913, would have revolutionized artistic expression by focusing on the simultaneity of perceptions and sensations. Inspired by the polyphonic complexity of modern life, this movement would have sought to capture multiple elements and experiences in a single artistic moment. In a world where reality is perceived in a fragmented and multifaceted manner, Simultaneism would have proposed art that reflected this condition, challenging linear notions of narration and perception. Imagine compositions where forms, colors, sounds, and rhythms intertwine, creating an experience that does not follow a single path but presents various perspectives in a single moment.
Henri-Martin Barzun, in his work L'Ere du Drame (1912), outlined the foundations of what would be known as "Dramatism," a concept closely linked to Simultaneism. Barzun argued that dramatic art should reveal a multiple and total vision of the individual, the collective, the human, and the universal. This "permanent synthesis" of fundamental elements, perceived simultaneously, would profoundly modify artistic expression. In this context, Simultaneism would not only have sought to capture multiple aspects of reality but also explored how these different elements could coexist and amplify each other within a single work.
Simultaneism, in its approach, would have rejected the idea of sequentiality in favor of polyrhythmic perception and expression, where all voices, passions, and presences of nature and life are experienced simultaneously. Barzun proposed that this simultaneity should not be limited to a mere superimposition of elements but should be structured as a microcosm of life itself, with volumes, masses, and depths that go beyond the mere length or linearity of traditional verse. This approach would have required a new kind of artistic technique, where voice and rhythm played a central role in the construction of the work, transforming the poem into a plastic and multisensory experience.
Despite the possible difficulties in its implementation, such as cacophony or the lack of perceptual coherence, Simultaneism would have represented a brave effort to redefine how art reflects and communicates reality. This movement would have attempted to capture the essence of modern life, where experiences do not present themselves in an orderly manner but come to us simultaneously, with all their complexities and contradictions. By proposing art that is lived and felt together, Simultaneism would have laid the groundwork for a new aesthetic, one that challenges conventions and explores the potential of simultaneity as a way of understanding and representing the world.
Multiversal History
Each of these hypothetical movements not only represents an alternative direction in art history but also offers new ways of understanding the relationship between art and other disciplines such as science, religion, and philosophy. By imagining and developing these movements, we are not merely creating "fictional" art but expanding the limits of what art could have been and, even more importantly, what it can still be. These currents challenge traditional dichotomies between reason and emotion, reality and appearance, spirituality and materiality, proposing art that is not only an exploration of knowledge but also a manifestation of human experience in its most intense and expansive form.
Creating works inspired by these manifestos is not limited to reinterpreting past ideas; it is an opportunity to materialize and visualize concepts that, until now, have remained in the realm of the possible. This process allows not only a rereading of the texts and intentions of their original authors but also the opening of new paths for contemporary artistic practice. Artists who embark on these explorations invite viewers to reconsider the possibilities of art in its relationship with time, space, and the totality of human experience.
As these hypothetical movements invite us to reflect on what could have been, they also challenge us to imagine what art could be in the future. By breaking with established stylistic and conceptual conventions, these movements propose art that is both an act of creation and an act of discovery, where the work not only represents an idea but also embodies and transforms it. In this way, these currents not only reinterpret the past but also offer a radically new vision for the future of art, integrating diverse disciplines into a synthesis that is at once complex and deeply human.
In the end, exploring these hypothetical movements reminds us that art history is neither fixed nor inevitable. It is a constantly evolving field, shaped by both what happened and what did not. By opening ourselves to these alternative possibilities, we not only enrich our understanding of the past but also broaden the horizon of what art can become in the future.
Comparison with Real Movements: A Dialogue Between the Imaginary and the Historical
To better understand the potential impact of these hypothetical artistic movements, it is useful to contrast them with the real vanguards that defined the history of art in the 19th and 20th centuries. This comparison not only illuminates the differences and similarities between real and imaginary movements but also allows us to speculate on how the latter might have challenged, complemented, or even transformed the artistic currents of their time.
1. Scientism (1890) vs. Futurism (1909): Scientism, with its emphasis on the fusion between art and science, would have offered an alternative perspective to Futurism, which exalted speed, technology, and modernity. While futurists celebrated movement and the break with the past, Scientism could have complemented this vision by exploring the hidden structures and scientific laws underlying physical reality. Instead of focusing solely on surface and action, Scientism would have challenged Futurism by incorporating scientific precision and the exploration of invisible phenomena, creating works that not only capture external dynamism but also the internal complexity of nature.
2. Magism (1891) vs. Symbolism (1886): Magism and Symbolism share a common interest in the esoteric and the spiritual but would have differed in their approach. While Symbolism focused on the evocation of ideas and emotional states through symbols and metaphors, Magism would have gone a step further by integrating ritualistic and mystical practices into artistic creation. Magism could have complemented Symbolism by providing a more structured and ritualized framework for the expression of the spiritual, turning works of art into objects with real esoteric power, not just symbolic representations. This would have challenged the symbolists to reconsider the role of art as an active bridge to the transcendental, rather than being merely a window to the invisible.
3. Magnificism (1892) vs. Realism (1850) and Romanticism (1800-1850): Magnificism would have represented a continuation and expansion of both Realism and Romanticism. While Realism sought to represent life as it is, and Romanticism idealized emotion and nature, Magnificism would have magnified both approaches, creating works that capture the greatness of everyday life with a sense of almost divine exaltation. Magnificism could have challenged Realism by insisting that everyday life, when viewed through a magnifying lens, contains a beauty and sublimity that pure Realism might overlook. At the same time, it would have complemented Romanticism by taking its idealization to a new level, combining the emotional with an exaggerated and monumental representation of reality.
4. Vivantism (1896) vs. Impressionism (1870) and Expressionism (1905): Vivantism, with its focus on vitality and constant change, could have been seen as a bridge between Impressionism and Expressionism. While Impressionism focused on capturing fleeting moments and changing light, and Expressionism focused on intensifying emotion, Vivantism would have integrated these aspects, but by adding an almost biological dimension of life to the works. Vivantist sculptures and paintings would not only represent vitality but would literally move or change, challenging traditional notions of permanence in art. This movement would have complemented the impressionists and expressionists by taking their emphasis on change and emotion to a physical and dynamic level.
5. Visionarism (1906) vs. Surrealism (1924): Visionarism would have anticipated many of the themes and techniques of Surrealism, but with a more mystical and less political focus. While Surrealism sought to free the unconscious and explore dreams and absurdity, Visionarism would have focused on spiritual visions and transcendental perceptions. Visionarism could have challenged Surrealism by introducing a deeper spiritual dimension, suggesting that dream visions are not only products of the subconscious but also gateways to other realities or spiritual dimensions. By complementing Surrealism, Visionarism would have expanded the range of unconscious exploration to include mystical and religious experiences.
6. Hexagramism (1907) vs. Cubism (1907): Hexagramism and Cubism share a quest for new geometric forms to express reality, but from very different perspectives. While Cubism deconstructs form into multiple and simultaneous facets, Hexagramism would have used the sacred geometry of the hexagram to represent the interconnectedness of all things. Hexagramism could have challenged Cubism by suggesting that geometry is not just a tool for visual deconstruction but also a key to accessing cosmic harmony. By doing so, it could have complemented Cubism by providing a symbolic and spiritual framework that enriches Cubist exploration of form and space.
7. Primitivism (1909) vs. Fauvism (1905) and Naïve Art (early 20th century): Primitivism would have shared with Fauvism and Naïve Art an interest in simplification and the purity of forms but with a deeper connection to ancestral and cultural roots. While Fauvism focused on bold use of color and Naïve Art on a stylistic simplicity often devoid of formal training, Primitivism would have sought a conscious return to the forms and aesthetics of original cultures. This movement could have challenged both Fauvism and Naïve Art by introducing a more ritualistic and tradition-connected approach, suggesting that art should not only simplify but also recover and revive the lost essences of ancestral cultures. Complementarily, it would have offered a spiritual and cultural dimension that would have enriched the aesthetic simplicity of these movements.
8. Pluralism (1912) vs. Dadaism (1916) and Constructivism (1915): Pluralism would have shared with Dadaism and Constructivism an aversion to stylistic hierarchies but with a more inclusive and expansive approach. While Dadaism focused on subversion and negation of artistic norms, and Constructivism on building a new reality through abstract and functional forms, Pluralism would have embraced all styles and approaches, promoting the coexistence of diversity within the same work. Pluralism could have challenged Dadaism by demonstrating that negation and subversion are not the only ways to break with the past, suggesting instead that the inclusion and integration of multiple styles can be equally radical. This movement would also have complemented Constructivism by providing a less rigid and more flexible approach to artistic creation.
9. Totalism (1912) vs. Surrealism (1924) and Futurism (1909): Totalism, with its aspiration to integrate all forms of art into a single total work, would have offered an expansive vision that would complement the more specialized explorations of Surrealism and Futurism. While Surrealism focused on freeing the unconscious and Futurism on celebrating speed and modernity, Totalism would have attempted to unify all forms of artistic expression into a single sensory and emotional experience. This movement could have challenged both Surrealism and Futurism by suggesting that true modernity lies in the total fusion of the arts, not just in exploring a single aspect of the human experience. Complementarily, it would have created a platform for different artistic disciplines to intertwine in new and unexpected ways.
10. Philopresentaneism (1912) vs. Impressionism (1870): Philopresentaneism would have taken the exploration of the present a step further than Impressionism, which focused on capturing the light and color of a specific moment. While the impressionists tried to represent the visual immediacy of the present, Philopresentaneism would have sought to capture the essence of the moment in all its complexity, incorporating not only what is seen but also what is felt, smelled, and perceived in a given instant. This movement could have challenged Impressionism by emphasizing the importance of a holistic perception of the present, suggesting that the full experience of a moment cannot be captured solely through sight. Complementarily, it would have expanded the understanding of the "moment" as something multidimensional, integrating all the senses into the work of art.
11. Serenism (1912) vs. Minimalism (1960s): Serenism would have shared with Minimalism a focus on simplicity and the reduction of forms, but while Minimalism focused on eliminating everything superfluous to reach formal essence, Serenism would have pursued inner and contemplative calm. This movement could have challenged Minimalism by suggesting that simplicity is not just a matter of form but also of emotional and spiritual content. Instead of focusing solely on visual purity, Serenism would have promoted a purity of experience, creating spaces and works that invite the viewer to inner reflection and serenity. Complementarily, it would have provided an emotional and spiritual counterpoint to the austerity of Minimalism.
12. Simultaneism (1913) vs. Cubism (1907) and Futurism (1909): Simultaneism would have shared with Cubism and Futurism an interest in the representation of multiple perspectives and simultaneous moments, but while Cubism focused on the geometric deconstruction of form and Futurism on speed and dynamism, Simultaneism would have sought to capture the simultaneity of sensory and emotional experiences. This movement could have challenged both Cubism and Futurism by integrating not only the visual but also the auditory, tactile, and emotional into a single work of art. Complementarily, it would have expanded the concept of simultaneity to include a polyphony of perceptions, reflecting the complexity and richness of contemporary human experience.
The Impact of Failed Movements: Lost Opportunities and Possibilities to Explore
Hypothetical artistic movements not only expand our understanding of what art could have been; they also allow us to reflect on lost opportunities and untaken directions in the history of art. Every failed movement represents a vision that never materialized, a path that art did not follow, and therefore, a cultural reality we did not experience. Reflecting on these possibilities leads us to consider how they could have changed our current perceptions of art, culture, and society.
If movements like Scientism, Magism, or Simultaneism had gained traction, contemporary art might be radically different.
Scientism, for example, could have led to a deeper integration between art and science, blurring the boundaries between the aesthetic and the scientific. This could have resulted in a greater appreciation of art as a tool for research and discovery, rather than being seen simply as a medium of subjective expression. In a world where Scientism had prevailed, art galleries could be filled with works that not only excite but also educate and explore complex scientific principles through form, color, and structure.
Magism, on the other hand, could have transformed our relationship with art by introducing esoteric and ritual practices into the creative process. If Magism had profoundly influenced the history of art, perhaps today we would see art not only as a visual experience but as a spiritual or magical practice that connects the viewer with transcendental dimensions. This approach would have challenged the established categories between art, religion, and science, creating a cultural synthesis where the symbolic and the real, the spiritual and the material, intertwine in new and unexpected ways.
Simultaneism could also have revolutionized our understanding of time and space in art. If it had succeeded in influencing the vanguards of the 20th century, it is likely that today multidimensional art, which simultaneously incorporates multiple viewpoints, emotions, and times, would be the norm. Works of art could be immersive and polyphonic experiences that challenge linear perceptions of time, fostering greater awareness of the complexity of reality and our human experience.
These failed movements, by not materializing, show us the limitations of the historical path we have followed. However, by speculating on them, we can revalue aspects of art that have been marginalized or underestimated. The impact of these failed movements is therefore twofold: on the one hand, they reveal what we have lost; on the other, they offer us the opportunity to recover and revitalize ideas and practices that can still be explored in the present.
Expanding the Possibilities of Art
Imagining these parallel artistic worlds is not just an intellectual exercise; it is a way to expand our understanding of art and its possibilities. These past futures, although nonexistent in historical reality, invite us to rethink what is possible in contemporary art. By exploring what was not, we can discover new ways of seeing, creating, and understanding art in its relationship with time and history.
This process of speculation and counterfactual creation opens a space for artistic innovation in the present. By considering what could have been, we free art from the constraints imposed by known historical trajectories and allow new ideas and forms to emerge. These counterfactual exercises not only enrich our perception of the past but also provide us with tools to imagine and build the future of art.
Ultimately, these hypothetical movements and the counterfactual works they inspire teach us that art history is neither fixed nor inevitable. It is a constantly evolving field, shaped by both what happened and what did not. By opening ourselves to these alternative possibilities, we not only enrich our understanding of the past but also broaden the horizon of what art can become in the future.
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