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The participants summarise their talks

  • The freethinker
    Fernando Savater
    All thought that it is not free should not be named thought but aspiration or repetition. For thinking, irreverence and audacity is inexcusable, and its only submission should be to reason, this is, to the well-argued thought itself.
  • The dandy
    Félix de Azúa

    A magnificent invention from the late romanticism, the dandy is another of the multiple figures built by the bourgeoisie to replace the values of a decapitated aristocracy. That society that was left decapitated advanced by trial and error along the industrial revolution, when democracy and its corresponding technical control were still blooming and lacked any media support. This is, from the eyes and mouth of the monetary society.

    This why the dandy is part of the extensive romantic family of the trivial heroes that show the masses of people their inadequacy for the system, either under the shape of the rebel, the dammed, the objector or the living-room revolutionary, in substitution of the old religious and ecclesiastic models of saint, martyr, or chose one. Its integration capacity was what triggered the market of fashion.

    The figure, nevertheless, does not wear out in the late romantic archetype but prolongs until occupying the entire 20th century through what is called the "artist of vanguard" or the "compromised intellectual", which still crawls moribund in our own 21st century.

  • Bohemians and damned
    Luis Antonio de Villena
    Bohemians and cursed will be an attempt to intertwine through some emblematic characters two of the trends that are part of the rich lattice of art and literature from the "in-between-centuries" (the way that the time period basically between the end of the 19th century and the beginning of the 20th century is currently known). The cursed refers to the formulation of the total anti-system period (including moral), while the bohemian is, in its several branches, a complainer of the useful art, going from late romanticism to the late bohemians that the bourgeois identified as miserable losers or supplicants. Did they still think in the bohemian ideal? In this presentation, among the many that were, we will not forget of names like Rimbaud or Gauguin, and also the Spaniards like Alejandro Sawa or Pedro Luis de Gálvez. We will not question ourselves if there were also cursed or bohemians who were rich, even millionaires. There were some. This will also be addressed in the conference, but it is  better not to reveal anything yet...
  • Esthetes
    José Carlos Llop

    We know that aesthetics are deeply related with beauty and with art, which do not necessarily mean the same. In some occasions -the lesser- the real aesthete founds a new beauty. Depositing his sight over it, he claims the attention of others; on other occasions he supports in the tradition to recreate his own aesthetically canon. In the first case, only some -aesthetes too- capture, adopt and propagate this new form. In the second it is society -in its most snobbish and fleeing strata, that of fashion- who immediately is reflected in that creation.

    Names? Each of us have our own particular list. In mine we find Visconti, Beistegui, Praz o Anthony Blunt. Some may span from Manolo Blanik to Peter Greeneway, and going through Andy Warhol. But the aesthete, is he so for all of his life (a life destined to be somehow a work of art)? Can the nature of the aesthete be ephemeral? Starting from the models mentioned, my conference will focus on a little known period of Llorenç Villalonga, the one between wars.

Fundación Juan March
Castelló, 77 – 28006 MADRID – Spain
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