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{{Short description|Parodistic -ism}}
<!-- Unsourced image removed: [[Image:Apt 6 montreal 1983.jpg|thumb|Street action at the 6th Neoist Apartment Festival in Montreal, 1983]] -->
'''Neoism''' is a [[parodist]]ic [[-ism]]. It refers both to a specific subcultural network of artistic performance and media experimentalists, and, more generally, to a practical underground philosophy. It operates with collectively shared [[pseudonym]]s and [[Cultural identity|identities]], [[prank]]s, [[paradox]]es, [[plagiarism]] and [[counterfeit|fake]]s, and has created multiple contradicting definitions of itself in order to defy categorization and historization.

==Background==

Definitions of Neoism were always disputed. The
main source of this is the undefinable concept of Neoism which created
vastly different, tactically distorted accounts of Neoism and its
history. Undisputed, however, are the origin of the movement in the late 1970s Canada. It was initiated by Hungarian-born Canadian performance and media-artist [[Istvan Kantor]] (aka [[Monty Cantsin]]) in 1979, in Montreal. At around the same time the open-pop-star identity of Monty Cantsin was spread through the [[Mail Art]]ist [[David Zack]]
<ref>Kantor, Istvan (editor). ''Amazing Letters: The Life and Art of David Zack'', 2010, The New Gallery Press, Calgary, Alberta, Canada.</ref> (born New Orleans, June 12, 1938, died presumably in Texas ca. 1995) with the collaboration of artists Maris Kudzins and performance artist Istvan Kantor.

Schisms followed in the mid-1980s. Questions and concerns arose about whether the "open pop star" Monty Cantsin moniker was being overly associated with certain individuals. Later, writer [[Stewart Home]] sought to separate himself from the rest of the Neoist network, manifesting itself in [[Stewart Home|Home's]] books on Neoism as opposed to the various [[#External links|Neoist resources in the Internet]]. In non-Neoist terms, Neoism could be called an international subculture which in the beginning put itself into simultaneous continuity and discontinuity with, among others, experimental arts (such as [[Dada]], [[Surrealism]], [[Fluxus]] and [[Concept Art]]), [[Punk subculture|punk]], [[industrial music]] and [[electropop]], political and religious [[Freethought|free-spirit movements]], [[science fiction]] literature, '[[pataphysics]] and speculative [[science]]. Neoism also gathered players with backgrounds in [[graffiti]] and street performance, language writing (later known as [[language poetry]]), [[experimental film]] and [[video art|video]], [[Mail Art]], the early [[Church of the Subgenius]] and [[homosexual|gay]] and [[lesbian]] culture. Neoism then gradually transformed from an active subculture into a self-written [[urban legend]]. As a side effect, many other subcultures, artistic and political groups since the late 1980s have—often vaguely—referred to or even opposed Neoism and thereby perpetuated its myth.

Since the gradual disappearance of Neoism in the 1990s, brief offshoots have appeared including [[The Seven By Nine Squares]], Stewart Home's frequent use of [[Karen Eliot]] (as well as [[Sandy Larson]], [[Luther Blissett (nom de plume)]] and others) to replace Monty Cantsin as the embodiment of the open pop star concept. "This project... confuses the restrictions that both define and delimit individual identity.... Changing details, such as biographical particulars... are usually considered indispensable {{sic}} in securing the signature of an individual."<ref>Priest, Eldritch. ''Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure''. Bloomsbury Academic Publishing Plc, London, 2013: 216–17.</ref>

==History==

Neoism, as a name for a different context, was coined in 1914 by the American satirist [[Franklin P. Adams]] as a parody of modern arts.<ref>Franklin P. Adams, 'The Neo-Neoism', in: By and Large, Doubleday 1914, p. 82,  [https://archive.org/stream/byandlarge00adamgoog facsimile at archive.org]</ref> [[Sydney J. Bounds]] used the word as the name of a planet in his 1977 science fiction story ''No Way Back''.<ref>Philip Harbottle (ed.), The Best of Sydney J. Bounds, vol. 2: The Wayward Ship and other stories, Cosmos Books, 2003, {{ISBN|1-58715-517-6}}, p. 190, [https://books.google.com/books?id=i3-1-TXPTH8C&dq=sydney+j.+bounds+neoism&pg=PA191]</ref> In 1980 Monty spent two weeks at mail artist [[Ginny Lloyd]]'s San Francisco Storefront,<ref>Lloyd, Ginny. ''Storefront: A Living Art Project''. 1984. Fault Press.</ref> a one year living art project holding art events and installations in a storefront window. He lived in the space, compiled writings and launched his Blood Campaign.

Neoism quickly spread to other places in America, Europe and Australia and involved up to two dozens of [[Neoists]]. Until the late 1980s and before the mass availability of the [[Internet]], the [[mail art]] network continued to be used as the main communication and propaganda channel for Neoism.<ref>Kramer, Florian and Home, Stewart. Words Made Flesh: Code, Culture, Imagination, Rotterdam: Media Design Research, Piet Zwart Institute, Willem de Kooning Academy Hogeschool Rotterdam, 2005</ref>

Neoists refer to their strategies as "the great confusion" and "radical play". They were acted out in semi-private [[Apartment Festivals]] which took place in North America, Europe and Australia between 1980 and 1998 and in publications which sought to embody confusion and radical play rather than just describing it. Consequently, both Neoist festivals and Neoist writing  experimented with radical undermining of identity, bodies, media, and notions of ownership and truth. Unlike typical [[postmodern]] currents, the experiment was practical and therefore existential. Monty Cantsin, for example, was not simply a collective pseudonym or mythical person, but an [[identity (social science)|identity]] lived by [[Neoists]] in their everyday life.

For these purposes, Neoists employed [[performance]], [[video]], small press publications (such as ''[[SMILE (magazine)|Smile]]'', the international magazine of multiple origins) and [[computer virus]]es, but also food ([[Chapati]]), flaming steam irons and metal coat hangers (used as telepathic antennas). Borrowing from [[Thomas Pynchon]], Neoism could be more suitably called an "[[anarchist]] miracle" of an international network of highly eccentric persons collaborating, often with extremist intensity, under the one shared identity of Monty Cantsin and Neoism.

In 2004, Neoism was cited by [[Javier Ruis]] in response to the [[National Assembly Against Racism]]'s condemnation of [[anarchism|anarchists]] disrupting the Third [[European Social Forum]] session on anti-      m and anti-racism in [[London]] ([http://antisystemic.org/pga/PGA_Considered_As_Neoist_Invisible_Theatre.htm PGA Considered As Neoist Invisible Theatre]).

In the early 1980s, the Neoist [[Neoists|Reinhard U. Sevol]] founded [[Anti-Neoism]], which other Neoists adopted by declaring
Neoism a pure fiction created by Anti-Neoists. The Dutch Neoist [[Neoists|Arthur Berkoff]] operated as a one-person-movement 
"Neoism/[[Anti-Neoism]]/[[Pregroperativism]]". Similarly, [[Blaster Al Ackerman]] declared himself a "Salmineoist" after Sicilian-American actor [[Sal Mineo]], and [[John Berndt]] was credited by Ackerman as having given Neoism the name "Spanish Art," circa 1983. In 1989, following the post-Neoist "Festival of Plagiarism" in [[Glasgow, Scotland]], artist [[Mark Bloch (artist)|Mark Bloch]] left [[mail art]] and after publishing "The Last Word" remained defiantly silent on Neoism for almost two decades. In 1994, [[Stewart Home]] founded the [[Neoist Alliance]] as an occult order with himself as the magus. At the same time, [[Italy|Italian]] activists of the [[Luther Blissett (nom de plume)|Luther Blissett]] project operated under the name "Alleanza Neoista".

In 1997, the critic [http://www.ccca.ca/performance_artists/k/kantor/kantor_perf18/neoism/books_about_neoism/pages/book-007.html Oliver Marchart] organized a "Neoist World Congress" in [[Vienna]] which did not involve any Neoists. In 2004, Istvan Kantor received the [[Governor General's Award]], and an international "Neoist Department Festival" took place in [[Berlin]].

==Influences on other artists and subcultures==

With [[Shopping cart#Conceptual detours of the shopping cart in art, design and consumerism|their design prank]] ''[[Shopping cart#Conceptual detours of the shopping cart in art, design and consumerism|CONSUMER'S REST]] [[Eames Lounge Chair|Lounge Chair]]'',<ref name=CH>{{cite web |url=https://collection.cooperhewitt.org/people/18044611/ |title=Stiletto Studios |author=Cooper Hewitt, Smithsonian Design Museum |accessdate=11 November 2022 |publisher=Smithsonian Institution}}</ref><ref>{{cite web | url=http://centuryofthechild.tumblr.com/post/28408868819/stiletto-studios-melina-the-artists-daughter | archive-url=https://web.archive.org/web/20161221203722/http://centuryofthechild.tumblr.com/post/28408868819/stiletto-studios-melina-the-artists-daughter | archive-date=2016-12-21 | title=Stiletto Studios. Melina, the artist's daughter... - 100 Objects from Century of the Child }}</ref><ref>{{Cite web| url=https://www.centrepompidou.fr/fr/programme/agenda/evenement/c4roraA| title=Berlin, les avant-gardes du mobilier}}</ref><ref>{{cite web | url=http://www.zfbk.de/portfolio/stiletto/ | archive-url=https://web.archive.org/web/20180627113033/http://www.zfbk.de/portfolio/stiletto/ | archive-date=2018-06-27 | title=AdA Object Talk: Stiletto, Short Rest &#124; ZFBK }}</ref> the "one-man artist group" ''{{ill|Stiletto (artist)|fr|Stiletto (artiste)|lt=Stiletto Studio,s}}''<ref>"Stiletto, who describes himself as an ‘antipreneurship expert’ and the ‘head of one-man artist group Stiletto Studio,s’, started Design Vertreib ''(Vertreib is a made-up term, deliberately misspelling Vertrieb (distribution), in order to take on the meaning of Vertreibung (expulsion – as in ... from a consumer's paradise) as a deconstructive means of processive disturbation. Also Vertreib is the second half of the German word Zeitvertreib (pastime, diversion). It also recurs to one of Duchamp's explanations of Readymades as pastimes attempting the disposal of art.)'' in the 1990s as an undertaking for ‘Beleuchtungskörperbau’. Building upon the Readymade principle of his 1980s design-critical artworks, he follows a modular construction principle, relying almost entirely on pre-existing standard industrial components, that he describes as ‘liberated from design’." (in: [[Vitra Design Museum]]: ''Atlas of Furniture Design'', Weil am Rhein, Germany, 2019, on ''CONSUMER'S REST Lounge Chair'' by ''Stiletto (Stiletto Studio,s)'', page 726)</ref><ref>{{Cite web| url=https://archive.aec.at/media/assets/b01f5bd9672a038b4001c9357b9cf4fa.pdf| title=TV diner| lang=de}}</ref><ref>{{Cite web| url=https://archive.aec.at/media/assets/ea120d03fefb6712f9423fbd6abe9528.pdf| title=TV diner (rough english translation without illustrations)| lang=en}}</ref> established a sub- as well as counter-culturally motivated connection between neoistically determined aspects of cultural consumption criticism and design consumption critical aspects of {{ill|Neues deutsches Design|de|lt=''Neues Deutsches Design'' (New German Design)}} at the ''9th Neoist Festival'' in [[Ponte Nossa]] in 1985 and at the ''Festival of Plagiarism'' in [[Braunschweig]]'s [[Braunschweig University of Art|University of Art]] in 1988.<ref>[[Kunstforum International]], Kunstperiodikum, vol. 82, 1986, ''Das deutsche Avantgarde-Design - Möbel, Mode, Kunst und Kunstgewerbe'', ed.: Christian Borngräber, pp. 130-143 (chapter "Stiletto")</ref><ref>Birgit Richard: ''Subkultureller Stil contra "Lifestyle" im Design. Zu den komplexen Verflechtungen von Jugendästhetik und Design'', pp. 74ff - 84ff [here especially explanations and illustrations of: ''Neue Deutsche Gemütlichkeit'' by Stiletto] in Stefan Lengyel and Hermann Sturm: ''Design Schnittpunkt Essen / Design Lines Meet in Essen'', (text: de/en), Verlag Ernst & Sohn, Berlin, 1990, ISBN 3-433-02539-8 (text document [https://web.archive.org/web/20101211170843/http://web.uni-frankfurt.de/fb09/kunstpaed/indexweb/publikationen/subculdesign.htm online])</ref><ref>[[Stewart Home]] on Stiletto's lecture performance workshop [http://www.stewarthomesociety.org/features/festplag2.htm ''Stealing and Copying as the Highest Form of Creativity in the Fight Against Design''] on the Festival of Plagiarism at the ''Hochschule für Bildende Künste Braunschweig'', June 8–10, 1988</ref> They also engaged in media consumption-critical public relations work in neoist collaborations and conspirations, especially with Neoism's foremost ''therrorist'' ''[[tENTATIVELY, a cONVENIENCE]]'' (cit.: "Neoism is a prefix and a suffix with no substance in between"<ref name="auto">{{cite web | url=http://idioideo.pleintekst.nl/Book1997Neoismus.html | title=1997. Neoismus }}</ref>) on the aspect of [[interpassivity#origin of the term|''Interpassivity'']], a neoist term coined by Stiletto. Since 1988 they had been consulted by ''{{ill|Gordon W.|de|lt=Gordon W.}}'' on a regular, from 1994 on predominantly interpassive basis as antineoist [[nutritionist]]s. In 1995 ''Stiletto Studio,s'' presented ''LESS function IS MORE fun'' as a post-neoist special waste sale of [[Détournement|design-defuncts]] in the [[Spätkauf|''Spätverkauf'']] project store by [[Laura Kikauka]] at the [[Volksbühne Berlin]].<ref>{{ill|Kurt Leiner|de|lt=''QRT''}}:''Handelskunst mit Angebots-Sondermüll'' (special waste offer), announcement and short review of the sales exhibition ''LESS function IS MORE fun'' as part of the ''Spätverkauf'' project by the artist group ''Funny Farm'' (Laura Kikauka and Gordon Monahan) at the [[Kiosk]] of the Volksbühne Berlin. (in [[030 (magazine)|(030) Magazin]], No. 25/1995, ''[030]'' Media Verlag, Berlin, December 1995).</ref><ref>{{Cite web|url=http://www.hi-beam.net/mkr/tac/tENTTriumph.html|title=The Triumph of NEOISM|website=www.hi-beam.net}}</ref><ref>''tENTATIVELY, a cONVENIENCE'' about the neoist [[Interpassivity#Origin of the term|''Interpassivity Project'']] ''TV Hospital'', 1994, [[Academy of Arts, Berlin|Akademie der Künste]], Berlin, in the entrance of which the phrase "ATTENTION: YOU ARE ENTERING A ZONE OF PSYCHOLOGICAL PLAYFARE! " was boldly warned; project descriptions 177 to 183 ff [http://www.thing.de/projekte/7:9%23/tent_mere_outline.html#outline177 ''Seven by Nine Squares'' homepage]</ref><ref name="cramer">{{Cite web| title=''tENTATIVELY, a cONVENIENCE'' on neoist interpassivity and Florian Cramer's relationship to neoism in a book review of Florian Cramer's book publication "Anti-Media."| url=http://idioideo.pleintekst.nl/Book2013Anti-Media.html| lang=de}}</ref>

Other artists who explicitly if vaguely credit Neoism are [[The KLF]], [[Luther Blissett (nom de plume)|Luther Blissett]], [[Alexander Brener]]/[[Barbara Schurz]], Lee Wells and [[Luke Haines]] (of [[The Auteurs]] and [[Black Box Recorder]]). The contemporary Dutch Artist [[Thomas Raat]] created a series of artworks based on Neoist manifestos and photographic documents.<ref>{{Cite web |url=http://www.spacestudios.org.uk/All_Content_Items/Exhibitions_Archive/Thomas_Raat:_MUMU_Malice_and_Misunderstanding/ |title=Gallery site on Thomas Raat |access-date=2009-12-24 |archive-url=https://web.archive.org/web/20090106145911/http://www.spacestudios.org.uk/All_Content_Items/Exhibitions_Archive/Thomas_Raat%3A_MUMU_Malice_and_Misunderstanding/ |archive-date=2009-01-06 |url-status=dead }}</ref>

==Quotes==
{{Copy to Wikiquote|section=yes}}
"Neoism is a prefix and a suffix with no substance in between" - tENTATIVELY, a cONVENIENCE

"Neoism is a movement to create the illusion that there's a movement called Neoism." "Come, join us. We want war with you." - John Berndt

"If Neoism didn't exist, we would have to NOT create it" - Artemus Barnoz

"It is not a matter of describing Neoism but of abolishing" - Luther Blissett

"Neoism doesn't exist except in the reactions it creates" - Roberto Bui ([[Wu Ming]] Yi)

"Time is not money and we have plenty of it" - Kiki Bonbon

"Plagiarism is Necessary. Progress Implies It. NO MORE MASTERPIECES!" - Karen Eliot

"Neoisms not just for Xmas, it's for life!" - Stewart Home

"We are the Neoists, do NOT listen to us" - Monty Cantsin

<ref>{{Cite web| url=http://sammelpunkt.philo.at/id/eprint/1980/1/sthome.htm| title=Neo-dadaistischer Retro-Futurismus| lang=de}}</ref><ref name="auto"/><ref>{{cite web | url=http://www.xcult.org/texte/cramer/glaube/glaube.html | title=Text und Spiel }}</ref><ref>{{Cite web|url=https://www.thing.de/projekte/7:9%23/text_index.html|title=Text}}</ref><ref>{{cite web | url=https://quotes.pub/the-art-strike-papers-and-neoist-manifestos-the-years-without-art-quotes | title=2 the Art Strike Papers and Neoist Manifestos: The Years Without Art Quotes & Sayings with Wallpapers & Posters }}</ref><ref>{{cite web | url=https://www.goodreads.com/author/quotes/29676.Stewart_Home | title=Stewart Home Quotes (Author of 69 Things to do with a Dead Princess) }}</ref>

==Selected books==
{{refbegin}}

* ''A Neoist Research Project'' (2010), ed. N.O. Cantsin, London: OpenMute, {{ISBN|978-1-906496-46-3}}, 246 pages; the first comprehensive anthology and source book of Neoist writing and images, documenting Neoist interventions, Apartment Festivals, definitions and pamphlets of Neoism and affiliated currents, language and identity experiments and Neoist concepts and memes.
* Touchon, Cecil (2008). ''New and Improved Neoist Manifesto—a Trans-Lingual Edition''. The Neoist Society in association with Ontological Museum Publications. {{ISBN|978-0-615-25881-2}}. Features Touchon's trans-lingual Neoist Manifesto with commentaries by Monte Cantsin and Karen Eliot.
* [[Oliver Marchart]]: ''Neoismus /Neoism'', Edition Selene, Klagenfurt – Wien 1997, ISBN 3-85266-038-6
{{refend}}

==See also==

* [[Artivism]]
* [[Church of the SubGenius]]
* [[Situationist International]]

==References==
<references />

{{Avant-garde}}

[[Category:Neoism]]
[[Category:Political art]]
[[Category:Social theories]]
[[Category:Humour]]
[[Category:Practical jokes]]
[[Category:Parodies]]