I argue that not only is the avant-garde at crucial points influenced by the art of social movements, but that the Dadaists in Berlin attempt to imagine new forms of ‘activist-art’ which synthesise avant-garde and social movement performance and object-art in disobedient performances and performative disobedient objects.

I set out a theoretical frame of ‘affective composition', in order to place avant-garde artistic production in relation to the art of social movements, whose production operates outside the institutions of art. Secondly, I examine one particular form of this refusal: the engagement with social movements amongst Dadaists in Berlin. I argue that for the avant-garde this took the particular form of a thematic engagement with the refusal of work.

First, through a critique of Peter Bürger's Theory of the Avant-Garde, I attempt to place the use of the idea of ‘autonomy’ by the avant-garde in its critical historical context not only in the negative sense of separation, but in the positive sense of freedom from restraint.

This article aims to explore the notion of activist-art, identifying it as a distinct tendency in Modern art through a re-examination of historical and theoretical approaches to the radical avant-garde, drawing on autonomist Marxist and materialist post-structural perspectives. The book is structured in the form of a historical-theoretical narrative, starting from the interpretation of the avant-Garde and Communism as the two great epic narratives of the 20th century, and telling of the rebellions, dreams, conflicts, victories and defeats of those who wanted to radically change the society and art of their epoch. The policies of the Yugoslav avant-gardes are considered in the context of European avant-garde currents and ideational struggles on the left cultural front, as well as in the light of the development of Marxist aesthetics and the attitudes organised Communism assumed towards modern art. Bearing in mind that the Yugoslav avant-gardes were politically oriented towards the radical left, and considered the aesthetic revolution an integral part of the social revolution, the book explores the modes of manifestation of the ideas of Marxism and anarchism in the programmes and activities of the avant-gardes, ranging from Expressionism, through Zenitism, Dadaism, Hipnism, Constructivism to Surrealism. Avant-Garde and Revolution in Yugoslavia 1919 – 1932, is the first study to focus on the Yugoslav avant-gardes from the perspective of the history of left-wing political ideas.

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