pl
Oryginalny artykuł naukowy
Ikonotheka

Another Form of Blindness – a Symptom of an Artistic Viewpoint: Glossing the Work of Marcel Duchamp

2019, 29

Antje von Graevenitz

University of Cologne, Germany

DOI

10.31338/2657-6015ik.29.3

Data publikacji

16.09.2020

Model publikowania

open access

Rodzaj licencji

CC BY 3.0 PL

Dziedzina

Dziedzina nauk humanistycznych

Dyscyplina

nauki o sztuce

Język publikacji

angielski

Pliki do pobrania

PDF 408 KB

Artykuł

Liczba wyświetleń:214

Liczba pobrań:49

Cytowania Crossref:0

Wynik Altmetric:0

Abstrakt

Not blindness itself, but blindness as a symptom for an inner seeing and as a counterforce against a one-sided fixation on beauty and taste were the reasons why Marcel Duchamp from 1916 onwards was occupied with the theme of blindness. Two volumes of The Blind Man were displayed in 1917 on the exhibition of the Society of Independent Artists in New York. The second volume contained comments about the fact that Duchamp’s contribution of a Fountain, his now so famous ready-made Urinoir, signed “R. Mutt”, was rejected by the apparently jury-less committee. This means that the theme of blindness was expressed twice: no one could see the work and so his theoretical opposition against beauty and taste could not be illustrated by the Urinoir either. How Duchamp from then on also challenged the other senses, so as to avoid focusing only on the eyes, will be dealt with in this article as well. Arguments from the biography, philosophy, mythology, and iconography will be used to underpin the article’s main thesis. In this sense the question may be asked whether Duchamp was inspired in this group of his works by humorous etymological and literary references. In the end it will become clear that the theme of blindness in his work and artistic theory is highly paradoxical.

Słowa kluczowe:

blindness,Medusa,The Fountain,a blind soldier,The Blind Man,Hegel,Tu m’,A. Klang,Smell,Taste,Feeling,Touch

Bibliografia

Exh. Cat. 100 Fragen – 100 Antworten, Archiv C. Stauffer, Ed. Staatsgalerie Stuttgart, Susanne M. J. Kaufmann, Munich, New York, 2018.

Exh. Cat. Marcel Duchamp, Ostfildern-Ruit, 1999.

Exh. Cat. Marcel Duchamp, Palazzo Grassi, Venice, 1993.

Exh. Cat. Marcel Duchamp, Centre Georges Pompidou, Paris, 1977.

Exh. Cat. Marcel Duchamp, ed. A. D’Harnancourt, K. McShine, New York, 1973.

Exh. Cat., In Memory of Katherine S. Dreier 1877–1952. Her Collection of Modern Art, Yale University Art Gallery, 1953.

Ades, D., Cox, N., Hopkins, D., Marcel Duchamp, London, 1999.

Affron, M., The Essential Duchamp, New Haven, London 2018.

Albrecht, Th., The Medusa Effect. Representation and Epistomology in Victorian Aesthetic, New York, 2007.

Amaya, M., Art and Artists, 1966, vol. 1, no. 4.

Banz, S., Louis Michel Eilshemius und sein Einfluss auf Marcel Duchamp, Vienna, 2016.

Banz, S., Marcel Duchamp: Richard Mutt’s Fountain, Cully, 2019.

Baudelaire, C., Les fleurs du mal (ed. 1861), Paris, 1996.

Baudy, G., “Blindheit und Wahnsinn. Das Kultbild im poetologischen Diskurs der Antike: tesichoros und die Homerische Helena”, in: Die Unvermeidlichkeit der Bilder, eds. G. von Graevenitz, S. Rieger, F. Thürlemann, Tübingen 2001 p. 32–57.

Belting, H., Der Blick hinter Duchamps Tür. Kunst und Perspektive bei Duchamp, Sugimoto, Jeff Wall, Köln, 2009.

Berlot, U., Duchamp and the Notion of Optical Tactility, PhD Thesis, University of Lubljana 2011.

Bexte, P., Blinde Seher. Die Wahrnehmung von Wahrnehmung in der Kunst des 17. Jahrhunderts, Dresden, 1999.

Blunck, L., Duchamps Readymade, Munich, 2017.

Bohn, W., Apollinaire on the Edge. Modern Art, Popular Culture and the Avant-Garde, New York, 2010.

https://doi.org/10.1163/9789042031098

Bradley, B., “Duchamp’s Fountain: The Baroness Theory debunked”, Burlington Magazine, 2019, 161, pp. 805–810.

Brisset, J. P., La science de Dieu ou la création de l’homme, Paris, 1900.

Brisset, J. P., Oeuvres complêtes, ed. M. Décimo, Dijon, 2001.

Cabanne, P., Entrétiens avec Marcel Duchamp, Paris, 1967.

Camfield, W., Marcel Duchamp, Fountain, Houston, 1989.

Charbonnier, G., “Six entretiens avec Marcel Duchamp”, RTF France-Culture, 9.12. 1960–13.1.1961.

Clair, J., “Duchamp and the Classical Perspectivists”, Artforum, March 1978, pp. 40–49.

Cohen, F., “Le ready-made: à quel titre?”, Cahiers philosophiques, 2012, 4, no. 131, pp. 37–48.

https://doi.org/10.3917/caph.131.0037

Cottegnies, L., Gheeraert, T., Venet, G., La Beauté et ses monstresdans l’Europe baroque 16e–18e

siècles, Paris, 2003.

Dalrymple Henderson, L., Duchamp in Context. Science and Technology in the Large Glass and Related Works, Princeton, New Jersey, 1998.

Dalrymple Henderson, L., The 4th Dimension and Non-Euclidean Geometry in Modern Art, (PhD MIT Boston 1975), 1983.

Daniels, D., Marcel Duchamp und die anderen. Der Modellfall einer künstlerischen Wirkungsgeschichte in der Moderne, Cologne, 2001.

Daniels, D., Ready-Made Century, Leipzig, 2019.

Décimo, M. ed., Marcel Duchamp et l’érotisme, Dijon, 2008.

Diderot, D., Lettre sur les aveugles à l’usage de ceux qui voient, London, 1749.

Didi-Huberman, G., L’Image sur vivante. Histoire de l’art et temps des fantômes selon Aby Warburg, Paris, 2002.

Doerstel, W., Augenpunkt, Lichtquelle, Scheidewand. Die symbolische Form im Werk Marcel Duchamps, Cologne, 1989.

de Duve, Th. ed., Picturaler Nominalismus. Marcel Duchamp. Die Malerei und die Moderne, Munich 1987.

de Duve Th. ed., The Definitely Unfinished Marcel Duchamp, MIT, Boston, 1991.

Duchamp, M., Briefe an/Lettres à/Letters to Marcel Jean, trans. H. Molderings, Munich, 1987.

Duchamp, M., Marcel Duchamp, à l’infinitif. The typosophic society, a typotranslation by Richard Hamilton and Ecke Bonk of Marcel Duchamp’s White Box, Cologne, 1999.

Duchamp, M., Notes, ed. P. Matisse, Boston, 1983.

Filipovic, E., The Apparently Marginal Activities of Marcel Duchamp, Cambridge Mass., London, 2016.

Flemming, H. T., “’Immer spielt Magie hinein’. Interview mit Marcel Duchamp”, Die Welt, 18.10.1965, p. 7

Foucault, M., Raymond Roussel, Frankfurt, 1989.

Franklin, P. B., “Object Choice: Marcel Duchamp’s Fountain and the Art of Queer Art. History”, Oxford Art Journal, 2000, vol. 23, 1.

https://doi.org/10.1093/oxartj/23.1.23

von Graevenitz, A., “Duchamp as a Scientist, Artifex and Semiotic Philosopher, His Notes of the ‘Infra-Mince’“, in: Duchamp and the Forestay Waterfall. Symposium, Concert, Interventions, Exhibitions, ed. S. Banz, Zürich, 2010, pp. 216–231.

Gammel, I., Baroness Elsa: Gender, Dada and Everyday Modernity – a Cultural Biography, MIT, Boston, 2002.

https://doi.org/10.7551/mitpress/1517.001.0001

Gioni, M. ed., Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, Even, New York, 2019.

Gold, L. S., A Discussion of Marcel Duchamp’s Views on the Nature of Reality and Their relation to the Course of His Artistic Career, B. A. Diss., Princeton University, May 1958.

Gough-Cooper, J., Caumont, J., Ephemerides on and about Marcel Duchamp and Rrose Sélavy 1887–1968, Venice, 1995.

Grüne, S., Blinde Anschauung, Frankfurt a. M., 2009.

Hahn, O., “Marcel Duchamp interviewed”, L’Express, Paris, 1964, no. 684, pp. 22–23.

Hamilton, R., Le Grand Déchiffreur. Sur Marcel Duchamp. Une sélection d’écrits, d’éntretiens et de lettres, Affoltern, 2000.

Hegel, G. W. F., Phänomenologie des Geistes (1807), Frankfurt a. M., 1973.

Herz, R., Marcel Duchamp, le Mystère de Munich, Munich, 2012.

Hofmann, W., Tag und Nachträume. Über die Kunst die wir noch nicht haben, Munich, 1994.

Houssez, J. F., Marcel Duchamp. Biographie, Paris, 2006.

Jansen, B., Chacun son Marcel? Meerduidigheid in het werk van Marcel Duchamp, PhD Thesis, Leiden, Amsterdam, 2015.

Kraus, E.-Ch., L’Exposition internationale du Surréalisme, 1947. Display-Strategien und kuratorisches Präsentation. Diss. Uni. für angewandte Kunst, Vienna, Munich, Vienna 2010.

Krüger, R., Das Zeitalter der Empfindsamkeit. Kunst und Kultur des späten 18. Jahrhunderts in Deutschland, Leipzig, 1972.

Kuenzli, R., Naumann, M., Marcel Duchamp. Artist of this Century, Cambridge, London, 1987.

Kuh, K., The Artistic Voice – Talks with Seventeen Artists, New York, 1962.

Lebel, R., Sur Marcel Duchamp, Paris, 1959.

Lippard, L. R., Tzara, Arp, Duchamp and others, New York, 1971.

de Man, P., Blindness and Insight. Essays in the Rhetoric of Contemporary Criticism, Oxford, 1971.

Lojkine, S., “Béauté aveugle et monstruosité sensible: Le détournement de la question esthétique chez Diderot (La Lettre sur les aveugles)”, in: La Beauté et ses monstres dans l’Europe baroque 16e–18e siècles, eds. L. Cottegnies, T. Gheeraert, G. Venet, Paris, 2003.

Mann, H. H., Marcel Duchamp: 1917, Munich, 1999.

Marcadé, B., Laisser pisser le mérinos. La paresse de Marcel Duchamp, Paris, 2006.

Molderings, H., Duchamp and the Aesthetics of Chance. Art as Experiment, trans. J. Brogden, New York, 2019.

Molderings, H. , “Die Entdeckung des geistigen Sehens. Marcel Duchamp in München 1912”, in: Marcel Duchamp in München 1912, ed. H. Friedel a.o. Lenbachhaus, Munich, 2012.

Molderings, H., Duchamp and the Aesthetics of Chance, trans. J. Brogden, New York, 2010.

https://doi.org/10.7312/mold14762

Molderings, H., Kunst als Experiment. Marcel Duchamps “3 Kunststopf-Normalmasse”, Munich, Berlin, 2006.

Molderings, H., Marcel Duchamp. Parawissenschaft, das Ephemere und der Skeptizismus, Düsseldorf, 1997.

Molderings, H., “Marcel Duchamps Schnitte durch den 4-dimensionalen Raum. (Fragments of a paper)”, in: Marcel Duchamp. Respirateur, ed. K. von Berswordt-Wallrabe, OstfildernRuit, 1995, pp. 119–169.

Naumann, F. M., Marcel Duchamp: Fountain, an hommage, ed. F. M. Naumann, New York, 2017.

Naumann, F. M., Marcel Duchamp: The Art of Making Art in The Edge of Mechanical Reproductions, New York, 1999.

Naumann, F. M., Obalk H., Affect Marcel: The Selected Correspondence of Marcel Duchamp, London, 2000.

https://doi.org/10.5117/9789061534402

Naumann, F. M., The Recurrent Hunting Ghost: Essays on Art, Life and Legacy of Marcel Duchamp, New York, 2012.

Neuburger, K., Die amerikanische Erfahrung, oder: Weshalb Marcel Duchamp in New York Werke ausstellen konnte, die keine Kunst sind, Cologne, 2017.

Paijmans, T., “Het urinoir is niet van Duchamp”, SeeAllThis (99 geniale vrouwen in de kunst), vol. 3, 10, 2018, pp. 18–29.

Parkinson, G., The Duchamp Book, London, 2008.

Paulhans-Bühler, U., Gegeben sei: Duchamps Flaschentrockner in der vierten Dimension, Hamburg, 2009.

Rabayé, J.-M., “Hauchdünnes Betastungsmaterial oder die Spur einer Spur. Über Duchamps faits divers”, in: Just not in Time. Inframedialität und Non-Lineare Zeitlichkeiten in Kunst, Film, Literatur und Philosophie, eds. I. Becker, M. Cuntz, M. Wetzel, Munich, 2011, pp. 99–119.

https://doi.org/10.30965/9783846748374_006

Richter, H., Dada: Art and Anti-Art, trans. D. Britt, London, 1965.

Roché, H. P., Victor. Ein Roman, trans. S. Werle, Munich, 1986.

Sanouillet, M., Marcel Duchamp. Duchamp du signe. Écrits, Paris, 1957.

Shambroom, D., Duchamp’s Last Day, New York, 2018.

Schwarz, A., The Complete Works of Marcel Duchamp, New York, 2000.

Seligmann, K., “Magic and the arts”, View, October 1945.

Stauffer, S. ed., Marcel Duchamps ready-mades. 180 Aussprüche aus Interviews, Zürich, 1973.

Stauffer, S., Marcel Duchamp. Die Schriften, Zurich, 1981.

Stauffer, S., Marcel Duchamp. Interviews und Statements, Graphische Sammlung Stuttgart, Ostfildern-Ruit, 1992.

Steiner, Th., Duchamps Experiment, Zwischen Wissenschaft und Kunst, Munich, 2006.

Sweeney, J. J., “Eleven Europeans in America”, The Museum of Modern Art Bulletin. 1946, XIII, 4–5.

Sweeney, J. J., A Conversation with Marcel Duchamp. Film of Robert D. Graff, 1955.

Thomkins, C., Marcel Duchamp, the Afternoon Interviews, III, New York, 1964, reprinted ed. by P. Chan, New York, Cologne, 2013.

Thompson, G., Duchamp’s Urinal? The facts behind the façade, Leeds, 2008.

Vogelaar, J., “Raymond Roussel – woordspelingen tegen de speling van het toeval”, Raster, 6, 1978, pp. 54–59.

Zaunschirm, Th., Bereites Mädchen Ready-made, Klagenfurt, 1983.

Podobne publikacje