Journal articles: 'Marcel Duchamp'

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Judovitz, Dalia. "Marcel Duchamp." Dada/Surrealism 22 (October 29, 2018): 1–18. http://dx.doi.org/10.17077/0084-9537.1346.

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Read, Peter, Klaus Beekman, and Antje von Graevenitz. "Marcel Duchamp." Modern Language Review 86, no. 2 (April 1991): 475. http://dx.doi.org/10.2307/3730612.

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Ghanem, Nadia. "Marcel Duchamp. Biographie / Marcel Duchamp. La vie à crédit." Marges, no. 07 (June 15, 2008): 126–27. http://dx.doi.org/10.4000/marges.610.

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Rustad, Hilde. "Marcel Duchamp og postmoderne improvisasjonsdanstradisjoner, brudd og kontinuitet." Nordic Journal of Dance 10, no. 1-2 (December 1, 2019): 4–15. http://dx.doi.org/10.2478/njd-2019-0002.

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Abstract Artikkelen drøfter sammenhenger mellom Marcel Duchamp (1887–1968) sin tenkning og danseimprovisasjon og kontaktimprovisasjon som tradisjoner. Forskningsprosjektet er tuftet på erfaring utøvere av danseimprovisasjon og kontaktimprovisasjon har gjort, og undersøker forbindelser mellom Duchamp og post-moderne improvisasjonsdanstradisjoner, og på hvilke måter bevissthet om slike forbindelser kan ha betydning for tradisjonenes utøvere. Forfatteren anvender Lindholm og Gadamers (1900–2002) tradisjonsbegrep som analytisk blikk og fortolkningsperspektiv, og får fram hvordan deler av Duchamps tankegods som kan forstås som overlevert via John Cage, Merce Cunningham og Robert Rauschenberg til dansekunstnere som var ansvarlig for oppstarten av postmoderne dans, og som i dag kan forstås som inkorporert i danseimprovisasjon og kontaktimprovisasjon. Tradisjonsperspektivet bidrar videre til å belyse hvordan utøvere kan få en økt forståelse av hva det innebærer å tilhøre en tradisjon, og hvilken betydningen det har å kjenne tradisjonen man tilhører best mulig. I tillegg synliggjøres hvordan postmoderne improvisasjonsdanstradisjoner ved Duchamp har europeiske røtter i tillegg til de amerikanske, og dette gir et utvidet perspektiv og bidrar til et mer komplekst bilde av tradisjonene både innholdsmessig og geografisk.

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Daniels, Dieter. "THE SECOND HALF OF THE READYMADE CENTURY (1964–)." Nordic Journal of Aesthetics 28, no. 57-58 (June 21, 2019): 141–57. http://dx.doi.org/10.7146/nja.v28i57-58.114853.

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The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with very few exceptions, not survived until the present day as ‘original.’ A variety of forms, in- cluding documentary photos, objects chosen and approved later by Duchamp as well as remakes of the historical objects comprise the readymades’ legacy. Duchamp’s remakes of his readymades as a limited edition of multiples from 1964, commemorating the 50-year anniversary of his selection of the Bottle Dryer in 1914, mark the beginning of the second half of the “Readymade Century.” In contrast to their widespread visibility, the paradoxical ‘construct- edness’ of these objects is rarely discussed. The representational impact and the conceptual specificity of these multiples goes far beyond the oeuvre of Marcel Duchamp, and can be seen as a pre- monition of artistical appropriation strategies from the 1980s to the present day.

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Han, Eui-Jung. "Marcel Duchamp as Parrhêsiast." Sookmyung Research Institute of Humanities 5 (February 28, 2020): 47–69. http://dx.doi.org/10.37123/th.2020.5.47.

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Alliez, Éric. "Duchamp Within and Against Lacan." Theory, Culture & Society 37, no. 7-8 (October 27, 2020): 329–53. http://dx.doi.org/10.1177/0263276420959415.

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Critical reception of Marcel Duchamp since the 1970s has tended to elevate him into the very figure of the Artist he sought to attack. One aspect of this domestication has involved neglecting Duchamp’s fin de siècle ‘eroticism’ with its sexual innuendos and double-entendres. Yet this very readymade vulgarity allows us to recover a Duchamp still capable of disrupting the genres of Art and the gendered Artist, by revealing a theory embedded in his work which continually reverses and displaces phallocentrism in a game consisting of the confusion of genders and genres. We argue that Duchamp’s disruption of the discursive typologies of the genre of art can be profitably read through this apparently trivial sexualized wordplay, particularly in the transgender passage into Rrose Sélavy. Reading this aspect of Duchamp after, i.e. within and against, Lacan demonstrates how Duchamp’s singular regime of signs governed by equivocity and indetermination subverts the ‘phallic function’ of the signifier.

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Capela, Carlos Eduardo Schmidt. "Étant donnés: Raúl viu a vulva (¡Ave María!)." Boletim de Pesquisa NELIC 18, no. 29 (September 5, 2018): 5–20. http://dx.doi.org/10.5007/1984-784x.2018v18n29p5.

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Tanto na edição argentina, Maria con Marcel (Duchamp en los trópicos), de 2006, quanto na brasileira, Maria com Marcel (Duchamp nos trópicos), de 2010, ambas versões de um dos livros-chave assinados por Raúl Antelo, comparece uma fotografia do autor “atrás do Pequeno vidro de Marcel Duchamp”, como nelas informado, indicação a que segue a referência: “Museum of Modern Art, Nova Iorque, 2004. Foto A.G.” Tal fotografia constitui o porto de partida para a proposição de um conjunto de reflexões acerca das potências anartísticas, desdobradas de uma série de coincidências duchampianas, dispostas pelo exercício anarcrítico anteliano ao longo daquele mesmo livro tornado outro de si.

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Franco Taboada, Manuel. "Análisis geométrico del Moulin à café de Marcel duchamp." EGA Revista de Expresión Gráfica Arquitectónica 24, no. 35 (April 8, 2019): 96. http://dx.doi.org/10.4995/ega.2019.11549.

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<p>El presente artículo estudia el aparato geométrico de la obra de Marcel Duchamp (1887-1968), Moulin à café o Molinillo de Café, también conocido por La Amoladora o su denominación inglesa, The Coffee Grinder, de 1911. Esta obra, (considerada seminal por el propio Duchamp), será fundamental para el desarrollo de la La Mariée de 1912 y de La Marièe mise à nu par ses cèlibataires meme, 1915-1923, (La novia puesta al desnudo por sus solteros, incluso), también conocida como Le Grand Vérre, El Gran Vidrio, o The Large Glass. Para la elaboración de este estudio ha sido fundamental la publicación De ou par Marcel Duchamp par Ulf Linde. (Aman y Birnbaum, 2013). Para poder contextualizar este estudio, en su tiempo, en las artes y la arquitectura, recomiendo leer mi anterior trabajo sobre la cuestión, titulado, Crítica del análisis geométrico realizado por Ulf Linde acerca de la obra de Marcel Duchamp. (Franco, 2017) 1, del cual, éste es continuación.</p>

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Cometti, Jean-Pierre. "À quoi sert Marcel Duchamp ?" Cahiers philosophiques 131, no. 4 (2012): 9. http://dx.doi.org/10.3917/caph.131.0009.

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De Nijs, Pieter. "Marcel Duchamp and Alfred Jarry." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 10, no. 1 (June 21, 2016): 77. http://dx.doi.org/10.18352/relief.926.

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Velescu, Cristian-Robert. "Marcel Duchamp et le futurisme." Ligeia N° 109-112, no. 2 (2011): 66. http://dx.doi.org/10.3917/lige.109.0066.

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Rivais, Yak. "Les tautologies de Marcel Duchamp." Ligeia N° 149-152, no. 2 (2016): 118. http://dx.doi.org/10.3917/lige.149.0118.

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Kennedy, Jake. "Marcel Duchamp (review)." William Carlos Williams Review 28, no. 1-2 (2011): 174–77. http://dx.doi.org/10.1353/wcw.2011.0000.

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Chalupecky, Jindrich, and Paul Wilson. "Marcel Duchamp: A Re-Evaluation." Artibus et Historiae 6, no. 11 (1985): 125. http://dx.doi.org/10.2307/1483262.

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Cordeiro, Flávia Dutra. "Percorrendo o labirinto com Marcel Duchamp." Revista Digital do LAV 4, no. 4 (October 25, 2010): 096. http://dx.doi.org/10.5902/198373482204.

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Demonstrar como as obras do artista Marcel Duchamp se inserem na Arte Contemporânea e como a existência de vários dos seus fragmentos, esboços e estudos são pontos centrais para a construção de mundos de devaneios que trazem conceitos intercalados de forma labiríntica. Os estudos e obras de Duchamp são parte integrante de um labirinto que percorre o espaço-tempo e cujas marcas estão fortemente associadas ao modo de se pensar a Arte Contemporânea quando inclui o outro. O que perpassa pela abrangência do outro como co-artista carrega em si algo de subjetivo, o que tornou possível aproximarem-se várias correntes de pensamento, fazendo com que eles se encontrassem através desta pesquisa cujos conceitos foram sendo delineados durante a sua realização. Analisar e pesquisar faz parte do processo desenvolvido e traz consigo a proximidade entre as obras de Duchamp e o que tenho feito durante alguns anos através da Arte.Palavras-chave : Arte Contemporânea. Marcel Duchamp. Labirinto. Androgenia.

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Arbex, Márcia. "Anémic Cinéma: uma experiência do avesso da linguagem." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 89–98. http://dx.doi.org/10.17851/2317-2096.8..89-98.

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Resumo: Este trabalho apresenta uma experiência cinematográfica de vanguarda, Anémic cinéma, realizada por Marcel Duchamp, e tem por objetivo demonstrar que tal experiência resulta de uma reflexão, aprofundada e subversiva ao mesmo tempo, sobre a linguagem, tendo o artista absorvido a poética de Mallarmé, Roussel e Brisset.Palavras-chave: vanguarda; cinema; discos óticos; jogo de palavras; Duchamp.Abstract: This paper presents an avant-garde cinematographic experience, Anémic cinéma, undergone by Marcel Duchamp, who has assimilated Mallarmé’s, Roussel’s and Brisset’s poetics. The experience results from a simultaneously deep and subversive reflection on langage.Keywords: avant-garde; cinema; puns; optical discs; Duchamp.

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Adams, Gavin. "Duchamp's Erotic Stereoscopic Exercises." Anais do Museu Paulista: História e Cultura Material 23, no. 2 (December 2015): 165–85. http://dx.doi.org/10.1590/1982-02672015v23n0206.

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ABSTRACT: This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made Stéréoscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between Stéréoscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's Stéréoscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.

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Carriquiry, Andrea. "Duchamp según Jean Clair vs Arthur Danto, a 100 años de la Fuente." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 182. http://dx.doi.org/10.7203/laocoonte.0.4.10287.

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Este trabajo se centra en la discusión que la figura de Marcel Duchamp -cuya famosa Fuente cumple cien años en 2017- genera en sendos trabajos del conspicuo filósofo norteamericano Arthur Danto y de Jean Clair, ex director del Museo Picasso de París. Se muestra los problemas que Duchamp trae a ambos críticos, y a partir de ese debate se trazan algunas derivaciones a la cuestión de la definición del arte, considerado uno de los problemas centrales de la estética contemporánea. El objetivo es intentar contribuir a la comprensión de las raíces de dicha cuestión tomando como referencia la práctica artística, en particular el caso de Marcel Duchamp, considerado detonante del problema.

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ORT, THOMAS. "ART: TO BE “INSIDE” OR “OUTSIDE” CULTURE." Modern Intellectual History 15, no. 1 (July 4, 2017): 243–60. http://dx.doi.org/10.1017/s1479244317000233.

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In the opening pages of his remarkable book about Marcel Duchamp, Jerrold Seigel writes that the French artist “cared more about his personal independence than he did about art itself. Beneath the succession of avant-garde movements there had always lurked an impulse of radical individualism, and no one represented it better than Marcel Duchamp” (PW, 10). Given the subject matter of this essay—the place of art in Seigel's thinking—it may seem odd to say so, but in one respect Seigel's attitude to art mirrors that of Duchamp: he cares less about art itself than about the impulse of radical individualism in modern society revealed through it.

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Arias, Albeiro. "Álvaro Barrios recíproco: Los ReadyMade de Duchamp como objetos re-encontrados." Estudios Artísticos 5, no. 7 (June 19, 2019): 193–207. http://dx.doi.org/10.14483/25009311.14988.

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Este artículo se deriva de la investigación de tesis doctoral, Álvaro Barrios: cita y apropiación de los ready-made de Marcel Duchamp de 1978- 2013, que tiene como propósito analizar, caracterizar y categorizar los discursos, estrategias y procedimientos usados por el artista conceptual y dibujante colombiano Álvaro Barrios (Cartagena de Indias, 27 de octubre de 1945) cuando incursiona en la cita y apropiación iconográfica de los readymade de Marcel Duchamp en la producción de sus obras.

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Henderson, Linda Dalrymple. "The Large Glass Seen Anew: Reflections of Contemporary Science and Technology in Marcel Duchamp's “Hilarious Picture”." Leonardo 32, no. 2 (April 1999): 113–26. http://dx.doi.org/10.1162/002409499553091.

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Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) of 1915–1923 is a unique image-text system in which the physical object is complemented by hundreds of preparatory notes the artist considered to be as important as the object itself. Although Duchamp talked of “Playful Physics” in his notes for the Glass, much of his humor and the breadth of his creative invention was obscured for later audiences when, after 1919, the popularization of relativity theory eclipsed the late Victorian ether physics that had fascinated the public in the early years of the century. Indeed, drawing upon contemporary science and technology, among other fields, Duchamp had created in the Large Glass a witty, multivalent commentary on the age-old theme of sexual desire, presented in the very newest verbal and visual languages. These ideas are explored in this article, reprinted from the conclusion of the author's book Duchamp in Context: Science and Technology in the Large Glass and Related Works.

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Davila, Thierry. "Duchamp with Mallarmé." October 171 (March 2020): 3–26. http://dx.doi.org/10.1162/octo_a_00376.

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The poet Stéphane Mallarmé was always a key figure for Marcel Duchamp and a major ally in the quest to invent the art of the future. In this essay, Thierry Davila essay focuses in particular on three aspects of this relationship: the window (translucency), an object celebrated by the poet and the artist; the life of fluids (smoke, wind); and nothingness. Through these themes, the text also proposes an interpretation of the readymade and the infra-thin.

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Peters Núñez, Tomás. "Sociología del arte de Marcel Duchamp." Revista Temas Sociológicos, no. 14 (January 25, 2017): 125. http://dx.doi.org/10.29344/07194145.14.246.

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ResumenEl presente artículo realiza una breve discusión sobre cómo la sociología y el arte se aportan mutuamente para la comprensión e interpretación de las manifestaciones de la modernidad. Con el objetivo de aportar elementos a esa discusión, se realizó una revisión bibliográfica sobre los análisis desarrollados por la sociología en torno a la obra del artista francés Marcel Duchamp. En una primera parte del artículo, se entregan elementos generales de lo dicho por la sociología sobre el artista dadaísta. En una segunda parte, se presentan los análisis que realizaron los sociólogos Zygmunt Bauman, Pierre Bourdieu y Niklas Luhmann sobre la obra del artista y de cómo ella sirve para comprender la modernidad.Palabras clave: Duchamp, sociología, arte, modernidad, conocimientoAbstractThis article presents a brief discussion about how the sociology and the art contribute to the understanding and interpretation of the manifestations of modernity. In order to provide elements to this discussion, this article reviews the literature on the analysis developed by sociology about the work of the French artist Marcel Duchamp. In the first part of this paper, we present general elements that sociology has thought about the Dada artist. In the second part, we present the analysis conducted by sociologists Zygmunt Bauman, Pierre Bourdieu and Niklas Luhmann on the artist’s work and how it helps to understand the modernity.Key words: Duchamp, sociology, art, modernity, knowledge

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Peters Núñez, Tomás. "Sociología del arte de Marcel Duchamp." Revista Temas Sociológicos, no. 14 (January 25, 2017): 125. http://dx.doi.org/10.29344/07196458.14.246.

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ResumenEl presente artículo realiza una breve discusión sobre cómo la sociología y el arte se aportan mutuamente para la comprensión e interpretación de las manifestaciones de la modernidad. Con el objetivo de aportar elementos a esa discusión, se realizó una revisión bibliográfica sobre los análisis desarrollados por la sociología en torno a la obra del artista francés Marcel Duchamp. En una primera parte del artículo, se entregan elementos generales de lo dicho por la sociología sobre el artista dadaísta. En una segunda parte, se presentan los análisis que realizaron los sociólogos Zygmunt Bauman, Pierre Bourdieu y Niklas Luhmann sobre la obra del artista y de cómo ella sirve para comprender la modernidad.Palabras clave: Duchamp, sociología, arte, modernidad, conocimientoAbstractThis article presents a brief discussion about how the sociology and the art contribute to the understanding and interpretation of the manifestations of modernity. In order to provide elements to this discussion, this article reviews the literature on the analysis developed by sociology about the work of the French artist Marcel Duchamp. In the first part of this paper, we present general elements that sociology has thought about the Dada artist. In the second part, we present the analysis conducted by sociologists Zygmunt Bauman, Pierre Bourdieu and Niklas Luhmann on the artist’s work and how it helps to understand the modernity.Key words: Duchamp, sociology, art, modernity, knowledge

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Polách Balonová, Markéta. "Topinkovo souznění aneb Nacházení francouzských stop v tvorbě Miloslava Topinky." Bohemica litteraria, no. 2 (2022): 58–72. http://dx.doi.org/10.5817/bl2022-2-4.

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Miloslav Topinka's artistic work has been strongly associated with the francophone environment since its beginnings in 1965. Miloslav Topinka acknowledges his affinity with the French parasurrealist group Le Grand Jeu, which is reflected, among other things, in his publishing activities and translations. Links to the work of the French artist Marcel Duchamp can be also found. The paper reflects related elements of the work of Miloslav Topinka, the group Le Grand Jeu, and Marcel Duchamp as well as the natural ties between the French and Czech cultures.

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Garson, Claire. "L’hors-d’œuvre d’art, de Marcel Duchamp." L'en-je lacanien 32, no. 1 (2019): 75. http://dx.doi.org/10.3917/enje.032.0075.

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Velescu, Cristian-Robert, and Maria Ţenchea. "Autobiographie et création chez Marcel Duchamp." Ligeia N° 133-136, no. 2 (2014): 7. http://dx.doi.org/10.3917/lige.133.0007.

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Kauffman, Alexander. "The Anemic Cinemas of Marcel Duchamp." Art Bulletin 99, no. 1 (January 2, 2017): 128–59. http://dx.doi.org/10.1080/00043079.2017.1249255.

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Tamayo, Alejandro. "Marcel Duchamp: la escritura en reversa." El Ornitorrinco Tachado. Revista de artes visuales, no. 10 (October 25, 2019): 103. http://dx.doi.org/10.36677/eot.v0i10.13217.

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Renart González, Diego. "Marcel Duchamp, Diario de un Seductor." Ars Bilduma, no. 7 (June 12, 2017): 167–85. http://dx.doi.org/10.1387/ars-bilduma.15583.

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La vida-obra de Marcel Duchamp es factible gracias a la posibilidad, a su expansión. Como artista clandestino conciliador de opuestos, amplía la cotidianidad a través de la imaginación, de la ironía, incorporando en objetos de arte obsesiones de nuestro permanente interés. Una de ellas es la erótica, y al igual que en el ámbito de la ironía, Sören Kierkegaard y el Diario de un Seductor se convierten aquí en cómplices para configurar una secuencia plástica de incierto precedente visual, que será la clave, sin embargo, para el desarrollo de su futura expresión.

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COOK, ALBERT. "The "Meta-Irony" of Marcel Duchamp." Journal of Aesthetics and Art Criticism 44, no. 3 (March 1, 1986): 263–70. http://dx.doi.org/10.1111/1540_6245.jaac44.3.0263.

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Honold, Astrid. "Marcel Duchamp: nothing but a masterpiece." World Art 6, no. 2 (December 10, 2015): 203–31. http://dx.doi.org/10.1080/21500894.2015.1116462.

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Cook, Albert. "The "Meta-Irony" of Marcel Duchamp." Journal of Aesthetics and Art Criticism 44, no. 3 (1986): 263. http://dx.doi.org/10.2307/429736.

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Bailey, Bradley. "Dada Meets Dixieland: Marcel Duchamp Explains Fountain." October, no. 182 (2022): 61–96. http://dx.doi.org/10.1162/octo_a_00470.

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Abstract In a 1953 recorded conversation with Harriet, Carroll, and Sidney Janis that was never published, Marcel Duchamp gave his earliest and most detailed description of the origin and submission of the readymade Fountain to the first exhibition of the Society of Independent Artists in 1917. In addition to featuring several notable revelations about the Fountain episode, the interview is also remarkable for the light it sheds on another nearly contemporary account of the story of Fountain, published in 1956 in the book Modern Art USA by the art and music historian Rudi Blesh. Passionate advocates for Ragtime and the Dixieland jazz revival, Blesh and Harriet Janis were frequent writing partners, publishing several music and art books, and together founded a record label to record traditional jazz artists. Through Harriet and Sidney Janis's extensive artworld connections, Blesh became a close associate of Duchamp, whose impact on Blesh's formulation of Modern Art USA has not been given adequate consideration by scholars. This article presents an analysis of both the Janis and Blesh accounts of Fountain, which together comprise the most comprehensive narrative description of this iconic work of art from Duchamp's perspective.

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Alliez, Eric. "Guattari with Duchamp, or Du champ from One Sign to the Other." Deleuze and Guattari Studies 16, no. 4 (November 2022): 579–99. http://dx.doi.org/10.3366/dlgs.2022.0495.

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Taking as the focus of enquiry the engagements of Félix Guattari with Marcel Duchamp, namely, those rare passages in Schizoanalytic Cartographies and Chaosmosis, the question of the encounter is posed in the field of the sign, but of a sign ‘destructured’ (as Duchamp du signe), in the sense also that Guattari started by destructuring Lacan (from Psychoanalysis and Transversality to Anti-Oedipus). Introduced by the relationships between Guattari and Foucault to better play in between the early and the late Guattari, Guattari’s key insight into the Bottle Rack readymade as an existential function is critically discussed from a reopening to enunciation through the ‘Duchamp effect’. If the latter seems to privilege language contrary to Guattari’s own semiotics, it is to derail it as a machinic unconscious. Duchamp’s writings on his readymades and other machinations are analysed, with the role of Raymond Roussel for Duchamp (and Deleuze-Guattari via Foucault), as well as the implications of a trans-Duchamp, his alter-ego Rrose Sélavy, as an opening to a machinic alterity undoing and queering gender binarity and phallic centricity, recovering the singularity of the bachelor machine and its rupture of subjectivation. The article shows how it could be transversally returned to the very middle of the Guattarian trajectory.

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Carlsen, Jørgen. "”Her rulles” – Om Georg Wilhelm Friedrich, Max, Søren, Verdensåndens Valseværk og Filosofiens Rullestue." Slagmark - Tidsskrift for idéhistorie, no. 4 (January 30, 2018): 28–45. http://dx.doi.org/10.7146/sl.v0i4.103395.

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Cross, Lowell. "Reunion: John Cage, Marcel Duchamp, Electronic Music and Chess." Leonardo Music Journal 9 (December 1999): 35–42. http://dx.doi.org/10.1162/096112199750316785.

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The author chronicles his involvement in Reunion, a 1968 collaborative performance featuring John Cage, Marcel Duchamp and Teeny Duchamp, with electronic music by David Behrman, Gordon Mumma, David Tudor and Lowell Cross. After addressing some misconceptions about Reunion, the author outlines specific details about the conditions surrounding the performance and the sound-distributing chessboard he built, then offers an interpretation of the event.

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Gervais, André. "L’intertete Mallarmé/Duchamp (exemples)." Études littéraires 22, no. 1 (April 12, 2005): 77–90. http://dx.doi.org/10.7202/500889ar.

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Il s'agit d'indiquer, à partir de la notion d'intertextualité (selon Jean Ricardou et Michael Riffaterre), sept ou huit points d'ancrage précis entre tels poèmes et proses de Stéphane Mallarmé et telles oeuvres picturales (ready-mades) et littéraires (notes, aphorismes) de Marcel Duchamp, artiste et anartiste français et américain du XXe siècle. Comme quoi cela déborde nécessairement, au-delà de l'amitié de Mallarmé et de Manet, par exemple, et le siècle et l'enclos littéraire.

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Naumann, Francis M., and Marcel Duchamp. "Amicalement, Marcel: Fourteen Letters from Marcel Duchamp to Walter Pach." Archives of American Art Journal 29, no. 3/4 (January 1989): 36–50. http://dx.doi.org/10.1086/aaa.29.3_4.1557731.

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Duve, Thierry de. "On Periodization: What Does "Post-Duchamp" Mean?" ARS (São Paulo) 19, no. 42 (November 29, 2021): 83–108. http://dx.doi.org/10.11606/issn.2178-0447.ars.2021.188234.

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When we speak of a post-Duchamp art world, we raise a particularly vexing periodization problem. Marcel Duchamp’s readymades, and the famous/infamous urinal titled Fountain in particular, have signaled that a sea change has occurred in the art world, which was not a change in styles but rather in aesthetic regimes, not a change in art movements but rather in art institutions, a change which, mutatis mutandis, is as radical as the passage from monarchy to republic, yet a change which art history books have not recorded yet, as such. Without addressing it in full, my paper recalls the steps that made me aware of this periodization problem.

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Canales Contreras, Rodrigo. "Reseña: Desmontando el mito." Revista Actos 3, no. 5 (July 30, 2021): 135–38. http://dx.doi.org/10.25074/actos.v3i5.2019.

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Esta reseña aborda la reciente publicación de Paula Arrieta Gutierrez (Ed. Tiempo Robado), titulada Si muere Duchamp. En clave feminista y decolonial, la autora propone revisar distintas operaciones dominadas por el enfoque patriarcal, para lo que usa como soporte principal las dudas que se expresan respecto de la autoría de La Fuente, el famoso ready made fundacional atribuído a Marcel Duchamp.

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Franca-Huchet, Patricia Dias. "INFRA-MINCE ou um murmúrio secreto." ARJ – Art Research Journal / Revista de Pesquisa em Artes 2, no. 2 (September 25, 2015): 40–59. http://dx.doi.org/10.36025/arj.v2i2.7297.

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Texto investiga as Notas sobre o Infra-mince do artista Marcel Duchamp (1887-1968), redigidas em torno de 1935 e publicadas após sua morte por Paul Matisse, assinalando como foco de estudo as de número 01, 06, 16, 02, 46 e 03, nesta ordem. O Infra-mince é um enunciado de Marcel Duchamp na forma de um conjunto de notas, evocando aspectos sensoriais e envolvendo percepções da ordem do sensível, da sensação, da linguagem e da complexidade dos jogos de palavra. Duchamp, partindo sempre do devir imperceptível da sensação, legou-nos pelas notas do Infra-mince aquilo que considero o seu maior segredo. Esse conceito — Infra-mince — contém toda a potência de seu trabalho e induz a pensarmos em seu caráter plástico, teórico e mesmo histórico. Nas notas, observamos uma confluência entre o jogo, a palavra, a sensação e o erotismo. Destacamos a experiência sensorial como meio para a percepção do caráter lábil e flexível destas notas.

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Seves Deister de Sousa, Vanessa. "Olho por olho." Revista Estado da Arte 1, no. 2 (December 21, 2020): 1–18. http://dx.doi.org/10.14393/eda-v1-n2-2020-57525.

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O que aconteceria se Tunga e Marcel Duchamp jogassem xadrez? Ambos em suas fases maduras, cada qual com seu respectivo tabuleiro? A impossibilidade de respostas para essas perguntas enfrenta o diálogo mudo estabelecido por dois registros fotográficos que conversam através do tempo e do espaço. Um dos registros encontra-se no livro “Olho por Olho”, publicado pelo artista brasileiro juntamente com outros seis volumes na “Caixa Tunga” (2007). A fonte do outro registro se perdeu, mas poderia fazer parte de alguma série ready-made de Duchamp ou de sua “Caixa Valise” criada em 1941. A partir desse jogo de xadrez imaginário é possível refletir tanto sobre a poética, quanto sobre a cuidadosa forma como ambos os artistas construíram suas publicações. Este é o propósito do presente artigo: pensar na complexidade do pensamento de Tunga sob o fio condutor da obra “Olho por Olho”, que assume uma configuração completamente nova a partir de sua publicação no livro homônimo, tendo como interlocutora parte da poética de Marcel Duchamp.

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Doove, Edith. "Marcel Duchamp and the Art of Life." Leonardo 54, no. 2 (2021): 260. http://dx.doi.org/10.1162/leon_r_02027.

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Raymond, François. "Marcel Duchamp, la musique et les machines." Horizons philosophiques 5, no. 1 (1994): 1. http://dx.doi.org/10.7202/800961ar.

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Danto, Isabelle. "Que reste-t-il de Marcel Duchamp ?" Esprit Octobre, no. 10 (2014): 136. http://dx.doi.org/10.3917/espri.1410.0136.

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Johnson, Deborah J. "Marcel Duchamp, Rrose Selavy, and Gender Performativity." International Journal of the Arts in Society: Annual Review 1, no. 7 (2007): 191–200. http://dx.doi.org/10.18848/1833-1866/cgp/v01i07/57730.

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Masuko, Wallace Vieira. "Marcel Duchamp – Notas da Caixa de 1914." ARS (São Paulo) 15, no. 29 (April 30, 2017): 262. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.131650.

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Esta versão apresenta imagens em negativo das notas da “Boîte de 1914” de Marcel Duchamp e um envelope anexo contendo as notas da Caixa de 1914 por Wallace Masuko. A “Boîte de 1914”, uma edição de 3 exemplares, contém as reproduções em fotografias preto e branco de 2 desenhos e 16 notas manuscritas entre os anos de 1912 e 1914, todas coladas sobre um suporte de papel cartão de tamanho padrão (18 x 24 cm) acondicionadas em 3 caixas de placas fotográficas das marcas Jougla, Kodak e Lumière. Duchamp reuniu reproduções de notas manuscritas por ele em 3 caixas distintas, publicadas ao longo de sua vida: a “Boîte de 1914” em 1914, a “Boîte verte” (“La Mariée mise à nu par ses célibataires, même.”) em 1934 e a “Boîte blanche” (“A l’infinitif”) em 1966. Estas notas aparecem como uma espécie de intertítulo na obra do artista.

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Monteith, James F. "MARCEL DUCHAMP: WORK AND LIFE. Pontus Hulten." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 1 (April 1994): 39. http://dx.doi.org/10.1086/adx.13.1.27948623.

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Journal articles on the topic 'Marcel Duchamp'

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