It’s official: Marcel Duchamp is more contemporary!
By: Nicole Esterolle –with permission from our partners @ Micmag
1. Marcel Duchamp was much less good at painting as his two brothers Jacques and Raymond and his sister Suzanne, but much smarter and malicious them. And it is also the proven towards his siblings that we owe the famous formula Marcel jealousy ” stupid as a painter “, which was complemented by André Breton:” Marcel Duchamp the most intelligent of the first half of the 20th century man “without one could know if it was a sincere compliment or worst treachery from the master of surrealism.
The young Marcel therefore hesitated a moment between painting he considered stupidity itself and cartoon that matched his best joker temperament, his natural inclination for a merry and mischievous his intelligence … Some today , say it has nothing selected at all, and he knew very smart indeed reconcile while playing paint the most gigantic farce of human history since Cro-Magnon.
How to become”the most important artist of the 20th century” as it is written in all good art books? Where does this global awareness prophet of a new religion artistic? How to become a guru of this huge cult metastatic worshiper’s bottle holder or bicycle wheel? How to achieve such an “important” feedback effect from a small amount of work carried out: a urinal, a bicycle wheel, a bottle holder, a box in case, a glass, a shovel, a coat rack, a deposit of dust under glass, naked down the stairs, a Mona Lisa with a mustache, a wooden door with a hole through which you can see a naked woman spreading her legs, and a few other small crafts? How can someone who has almost nothing fucking of his life (not his activity a dandy and gigolo nothing freeloader among the aristocracy of New York), produced nothing, nothing written, said nothing (except a few jokes as hollow qu’alambiquées few sentences enigmatic Sphinx cigar, even more indecipherable they have nothing to read, and a posthumous puzzles, crypto-débilo-esoteric-preposterous, with a title of a mouthful: “As given: 1 e the Waterfall 2 e the light “gas , which means absolutely nothing, but why did sink cube scholarly exegesis km) theorized nothing, nothing studied, given nothing, nothing analyzed, anything constructed, nothing fit, invented nothing, created nothing in the end … may be called “the most important artists of the 20th century” before Picasso example that produced him forty thousand works? By what devilish mechanism, with whom, why, in favor of which took place this amazing reversal of the meaning of things?
It is these questions that answer, I hope the next issue of the Magazine Artension in a large dossier on Duchamp. Folder where I was asked to intervene with a text of a leaflet designed to put a little mustard in the historical record.
2. For a trophy “Marcel” in contemporary art
In this text I provided Artension and entitled “My Prix Marcel Duchamp,” I propose to ADIAF ((International Association for the Defense of French Art), an association of French Speculo-rich collectors, awarded the Prix Marcel Duchamp 2013 young emerging artist Breton, Régis Perray, and create a ceremony of “Marcel” of contemporary art as a urinal in gold as it is the “Caesar” film as a compression whatever … Régis Perray is indeed an artist obsessed cleaning, a gifted technicality surface of a compulsive Karcher deep addicted to Cilly Bang, who received the congratulations of the Jury his diploma in Fine Arts, for beautifully etched the steps of the Ecole des Beaux-Arts de Nantes. was seen on the video (which I will attach a picture), acquired by the FRAC Pays de Loire , sweeping the road to the same pyramid Kephren … And it is possible to discover its main cleanup actions around the world on the site: www. regisperray . eu /
And so I propose to ADIAF deliver its prestigious trophy this frenetic sweep, is that I think it may help that finally expresses the inherent or congenital ability to Duchamp’s thinking s self-scan or self-annihilating term.
3. About a pissoire desecrated in urine!
About the self-annihilation of programmed contemporary Duchampiste guy, I assume he will issue, in the same general summary of Artension file, acquisition, made by MAMAC Nice, the pissoire Duchamp broken by Pinoncelli after it has urinated into it.
A muséifiante acquisition which I think is important symbolically because it appears as a sacred act désacralisateur or as the institutionalization of institutionalization, i.e. as the beginning of the end of all-Duchamp, struck by an institutional population fed exclusively on this for thirty years, and am getting a little tired of the ready-made puff at every meal.
Significant in this regard, the presence of Catherine Millet and Olivier Kaeppelin, the attachment of pissoire desecrated the ceremony MAMAC Nice discussion. What’s more tasty indeed to hear Mrs. Millet, his little voice Sainte Nitouche ingénue – who knocked yet extremely intellectually and sexually-, praising the action pinoncellien when we know how fierce she was pro-Duchamp for 40 years the head Artpress. Nothing is more exciting than repentance Keappelin Olivier, former Minister of Fine Arts, leaving his duties Duchampistes admitting that his ministry had “got it all wrong” and that he now had to take into account the diversity of creation current .satisfaction What finally see these two, learn that Pinoncelli had broken the urinal with the agreement of their idol Duchamp, as if he had programmed himself the end of his reign … and theirs.
4. Even more Duchampiste Duchamp!
André Rusty is already hilarious show-room parisart.com on the internet with a fortnightly always Croquignol editorial. This is a critical new generation criticizing faster than the shadow of his brain, and has an electric taser gun to words and concepts to take corners and simultaneously back and forth … An ace the procedural and discursive trigger.
His recent editorial is devoted to another hilarious Mosset, the monochromiste motorcyclist exposing huge 10 monochrome (different colors) at the RMCA Sérignan (This equipment with all the scientific and technical requirements radiates throughout the Languedoc-Roussillon region and well above)… It reads: “repetitive neutralities Mosset have paradigmatic evidence that did not have the ready-made Marcel Duchamp including the transformation of ordinary objects into works of art depended on the language and device institutional”
And this I ask you to read aloud articulating well: “It is a measure of the theoretical and aesthetic radicalism of a painting that has never ceased to be deployed at the ends of the painting. At a point where theory and practice merge, where the absolute flatness replaces representations density reflections on painting, the act of painting and the actual production conditions and diffusion. La repetition was the solution adopted by Olivier Mosset to place his painting in the order of evidence and neutrality. This is a critique of the painting by painting, specifically the practice of another painting in the painting … For repeat- neutrality of the same archetypal table, which abolished the concepts of evolution, progress, skill, individuation, and of course those of uniqueness, originality and novelty, thwarted the main constituent mechanisms of symbolic values aesthetic and economic traditionally associated with painting. ”
Note: The motorcycle artist, sent specially from Los Angeles, will be presented in the appendix of this exhibition
5. Heater, Marcel!
Or how to fuck the mouth of the people … with the money of the people themselves
“The Frac Languedoc-Roussillon offered during the summer of 2006 an important event “Heater, Marcel!”In twenty sites in the region. From the works of his collection and those of other public institutions, but also inviting artists of all generations, the Frac LR intends to share with a wider audience the diversity of approaches that build the vitality of contemporary art. To build this course the tutelary figure of Marcel Duchamp was convened … The diversity of practices inspired a multitude of artists who found in him, sometimes even in their opposition, a driving force in their own journey and an incentive to freedom and independence. “… freedom and independence, my eye! When we know that the artists involved have all been selected for their formatting to Duchamp-contemporary standard by institutional poultry fed exclusively conceptual puree large Duch.
But the most extraordinary in the case of Marcel heater is that it’s me, Nicole, who will be accused of populism and démagogisme flinguant in the guinea fowl and turkeys cultural CIPAC, while they make a maximum in the population and grime vulgarity, with reference to the heavy accordion in “john” dances country, who are sometimes asked to “warm up” the atmosphere already “stinks of sweat” … It is not funny, this is cynical, it is contemptuous of the “people” and it gives an idea of psycho-mental decay bureaucratized followers of the sect of worshipers of Marcel Duchamp with a volaillère offspring would be ashamed, yes, and it should now be free of administrative coop to let frolic freely in fresh and broad meadows of living art.
7. It’s official: the gallery of Noirmont is more contemporary!
We learn, in the chronicle of Judith Benamou economic newspaper Les Echos, the very contemporary gallery Duchampo-Jérôme de Noirmont will close, and you can read the following explanation on the part of Madame de Noirmont “art becomes this market where you’re talking billions, where bling is king. We want to return to more human values. We want to act differently by specific actions, charitable, in collaboration with other galleries or local authorities for example. Put art in a social project. ”
Thus, Jerome Noirmont which was nevertheless well within the galleries bling internationally oriented, threw in the towel. Probably too human, inhuman or not enough to survive in this world of high finance killers artistic … So is true what I said earlier: the Duchampo-bling for billionaires and senior officials of the international art begins devaluing morally before financial devaluation, will happen eventually, when the super mega gallery explode and annihilate themselves in the interstellar void … amid loud laugh of the divine spirits Marcel.
8. Marcel Duchamp, artist and anthropologist?
Contemporary art does not he tends to his own destruction?
A text by Alain Boton
Published on the website MAUSS (anti-utilitarian movement in the social sciences)
Here is the link: http://www.journaldumauss.net/spip.php?article833
(The book contains the tight argument that supports the thesis of a Duchamp socratiquement mystifying his friends from the art world to be released in September.)
This effort to nothingness is not it what drives all contemporary art? To judge, it is essential to consider the significance of the artist perhaps most emblematic of modernity: Marcel Duchamp. His work suggests Alain Boton (previously signed “anonymous artist”) should be read as a rebus. A riddle that tells us that behind the “art”, there is a sociological experiment. It is “the viewer that makes the picture,” wrote Duchamp. Hence the translation of the riddle: “If the sociological law which requires an object created by an artist becomes a masterpiece of art it was initially rejected by a majority so shocked that a vocal minority can fondle self-esteem in the direction of hair growth by rehabilitating it is a “scientific” law, then my urinal, which however has no attributes which in 1913 are expected to characterize a work Art, become a masterpiece of art if started his career by a radical rejection and known to all. ”
Where the author, suggesting that Duchamp has mystified the world of art, says he reveals the truth: the vanity and emptiness. A discussion.
The nine-hundred works of the most stupid of the art world
You know, maybe this book: ” The percent of the world’s most expensive works “written by the expert critique of the art market, the pulpy Judith Benamou-Huet, great friend of Daniel Buren, groupie collectors and artists billionaires, and also author of the very recent and important work of reflection landmark in the history of art: ” Artists have always loved money “…. C’mon, my good lady!
I start to write a book that will stand as I hope and entitled: ” The hundred most con the world works “… (Who are often also the most expensive)? I have already chosen among contemporary production, dozens of quite startling idiocy.
If you know in the official category of contemporary art and a delightful stupidity, tell them to me, giving me such a link on the Internet that will allow me to have information about them. (Please do not send me works too odious, morbid, disgusting, as there are heaps, and unfortunately have no fun)
10. The “HAPPY ART” as an alternative to pessimism Duchampiste
Happy Art is a “unique” group of more than fifty artists around the founder Guy Senecal. The art “unusual” by spontaneous non-scientist popular character happy, playful, colorful, tripal, is particularly hated by people of cultural institutionalism that find it very disgusting and vulgar. And that is why the group Happy Art Expo is prohibited in art centers as if they were contagious plague and then they pay taxes giving them access to public buildings.
It is to fight against the stigma, they hear into a structured movement, as it exists in France 500 artists who can lay claim to this happy joyous and positive art, which has been in recent years an antidote to negativity toxicart ambient and official Duchampiste, this aesthetic wry headlock very anxiety, “questioner of society” and filling the pockets of wealthy collectors lovers most artistic calamities if ostres and terrible way to be financially profitable.
11. Place the djeunes!
It signals a landing next old grandpas fighters Fluxus, for April 6, at the Ecole des Beaux-Arts de Blois, the town of Lang Djack … The old situationist international old, old Tamalous institutionalized provocation, gathered around Grandpa Benjamin Vautier, aka Jaimal Hamonégo … some doubt in the air … Make fart viagra!
12. How to recognize a jerk Duchampiste
When you show the moon an idiot, he looks at your finger … When you show Anselm Kiefer to Duchamp official, he sees Bernard Venet … When you show him the Mona Lisa, he sees Orlan … When you show Soulages, he sees Buren … When you show him a Giacometti sculpture, he sees a bottle holder … Etc..
* Go on the internet!
You can find these columns by going to the following sites: www.schtroumpf-emergent.com
Duchamp can be hard for the novice to interpret. He can be hard for the expert as well. Here are some guidelines to interpretation of Duchampism in the modern world.