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Indlæser... The Writings of Marcel Duchampaf Marcel Duchamp
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In the twenties, Surrealists proclaimed that words had stopped playing around and had begun to make love. Nowhere is this more apparent than in the writings of Marcel Duchamp, who fashioned some of the more joyous and ingenious couplings and uncouplings in modern art. This collection beings together two essential interviews and two statements about his art that underscore the serious side of Duchamp. But most of the book is made up of his experimental writings, which he called "Texticles," the long and extraordinary notes he wrote for The Bride Stripped Bare By Her Bachelors, Eben (also known as The Large Glass ), and the outrageous puns and alter-ego he constructed for his female self, Rrose Sélavy ("Eros, c'est la vie" or arouser la vie", drink it up" celebrate life"). Wacky, perverse, deliberately frustrating, these entertaining notes are basic for understanding one of the twentieth century's most provocative artists, a figure whose influence on the contemporary scene has never been stronger. No library descriptions found. |
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As I was becoming increasingly neurotic in the mid-'10s, even before gaining awareness of my autism, my tastes have changed. I like to read this volume as a collection of poetry (except, for instance, those articles on fellow artists), poetry in the expanded field, if you will. Unlike Tzara, Duchamp was never interested in anything resembling traditional poetry. But texts such as the one on "the" or the four cards with supposed extracts from a bigger text that does not actually exist - these can be read as conceptual poetry today (alongside stuff from Fluxus and Oulipo).
The notes around the "Bride", which include opaque technical instructions full of dry humor (and stuff that I am not sure to what degree passes acceptable nowadays according to feminists, with or without trusting the likes of Deleuze) but also other miscellaneous stuff, remain still so puzzling to me - at the time, I was still not completely aware of Ulises Carrión, despite having some notion of what an artist's book is, so I found here an amazing example of how a traditional book needs not to be always the way to publish, and that writing can not only jump between functional genres, but also refuse to settle on particular ones.
6 years later, I still return occasionally to this - its novelty is still fairly enduring, despite my tastes perhaps slowly making way for a slant return of more lyrical or traditionally literary approaches. ( )