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Duchamp
Marcel Duchamp 1887-1968
Anne Sanouillet and Marcel Duchamp, New York, 1963
Marcel Duchamp in Andy Warhol's studio
Perhaps no one was less dogmatically dadaist, yet more spiritually dada, than Marcel Duchamp. While the dada-surrealist explosion was for many the catalytic agent of a discovery -- for example, for the prime movers of the review Littérature -- and was for so many others a break which gave them a literary life rather cheaply, it is evident that, through dada and surrealism, Duchamp has remained himself. His interior evolution, begun even before cubism, bears the mark of no known influence. In Duchamp are joined the essential elements of the dada revolt: a total absence of principles or prejudices, things moveover being equal and permitted. "There is no solution," says Duchamp, "because there isn't any problem." This sense of "umor" is dada, as well as the affection for puns and spoonerisms which are so perfectly suited to transcending the comic. "My irony," says Duchamp, "is that of indifference: meta-irony."
Michel Sanouillet, The Writings of Marcel Duchamp, 1989
Dada was an extreme protest against the physical side of painting. It was a metaphysical attitude. It was intimately and consciously involved with 'literature.' It was a sort of nihilism to which I am still very sympathetic. It was a way to get out of a state of mind--to avoid being influenced by one's immediate environment, or by the past: to get away from cliches—to get free. The 'blank' force of dada was very salutary. It told you 'don't forget you are not quite so "blank" as you think you are.' Usually a painter confesses he has his landmarks. He goes from landmark to landmark. Actually he is a slave to landmarks—even to contemporary ones.
Dada was very serviceable as a purgative. And I think I was thoroughly conscious of this at the time and of a desire to effect a purgation in myself. I recall certain conversations with Picabia along these lines. He had more intelligence than most of our contemporaries. The rest were either for or against Cézanne. There was no thought of anything beyond the physical side of painting. No notion of freedom was taught.
Marcel Duchamp, in The Museum of Modern Art Bulletin, New York: The Museum of Modern Art, 1946.
The Museum of Modern Art (MoMA) – The Collection –––- An impressive slideshow of 38 works by Duchamp.
Marcel Duchamp Tonsure - photo par Man Ray - (1921)
MARCEL DUCHAMP, iconoclaste et inoxydable
presented by Aube et Oona Elléouët and Win Win Studios
A film (2009) by Fabrice Maze (180 minutes + 90 minutes of interviews) on a DVD in the
« PHARES » collection with an 88 page booklet.
Depuis sa mort en 1968, l'oeuvre et l'influence de Marcel Duchamp n'ont cessé de s'imposer dans le paysage de l'art contemporain. Du futurisme au cubism, du dadaïsme au surréalisme, l'art de Duchamp a toujours accompagné les grandes aventures esthétiques du XXe siècle. Mais c'est surtout à partir des années soixante que son oeuvre s'est imposée comme une source incontestable d'inspiration pour les nouvelles générations d'artistes.
On a beaucoup écrit, commenté et disserté sur l'oeuvre de Marcel Duchamp, mais on s'est peu intéressé à sa vie. Seuls certains ont compris, comme son ami Henri-Pierre Roché qui a écrit que « sa plus belle oeuvre est l'emploi de son temps ». Cette première biographie filmée nous offre un nouveau regard sur cet homme énigmatique, mystérieux, souvent indéchiffrable.
En bonus, il y a 90 minutes d'entretiens avec Monique Fong, Jean-Jacques Lebel, Paul Matisse, Patrice Quéréel, Arturo Schwarz et Michael Taylor.
To order : Send your name and address with a cheque (to the order of Studios Win Win)
for 23 euros + 5,50 euros postage to
Studios Win Win
12, rue Claude Genin
38100 Grenoble
(04 76 47 67 47)
Jerrold SEIGEL - The Private Worlds of Marcel Duchamp
Desire, Liberation, and the Self in Modern Culture
A scholarly book readable online. Nine chapters with illustrations.
1995: University of California Press
Dalia JUDOVITZ - Unpacking Duchamp: Art in Transit
Excellent introduction to Duchamp in five chapters with illustrations, readable online.
Berkeley: 1995: University of California Press
This film records an in-depth interview with Duchamp which took place five years before his death, at the time of his first ever one-man show (at the Pasadena Art Museum). It records for posterity Duchamp talking in French about his life, his ideas on art, why he chose to continue living in America after fleeing France in 1915, and why he virtually abandoned his work as an artist in 1923. An engaging dialogue takes place between Duchamp and film-maker Jean-Marie Drot as they go around the Pasadena show, with the artist commenting on the exhibits and using them to explain the various stages of the development of his work. This is punctuated by the games of chess, which were for Duchamp a passion and a metaphor for the mental discipline he applied to his art. In this film we gain a rare glimpse of him talking with humour and insight about his ideas, and living up to the myth of the artist-philosopher that has grown up around him.
Jeu d'échecs avec Marcel Duchamp was filmed late 1963 in Pasadena and New York for the Radio Télévision Française (RTF); first broadcast on 8 June 1964 and then shown at the International Festival of Artistic Films and Films of Art (Bergamo, 19 September 1964). The English version was presented in a television broadcast in September 1964 in the 'Art and Man' Series.
"The goal of chess is to mate. We can thus see this picture as the record of a tableau vivant of a word play. Since Freud, vulgar theorists have held that chess and art, to pick two examples, are sublimations of sex. Given Duchamp's attitude towards wordplay versus theory, it is better to see his life long interest in chess and eroticism as a sublimation of this picture's wordplay! Given that the double meaning of "mate" does not exist in French, at last we have a satisfactory explanation of why Duchamp had to emigrate to America. In other words: in the beginning was the word; in the center the pun."
From: A Pun Among Friends by Steven B. Gerrard
Marcel Duchamp (1963) in UbuWeb Sound
La Légende du Grand verre
A film in progress directed by Pascal GOBLOT
This film is a documentary / fiction: a chess game designed as a detective story between Marcel Duchamp and the actors of his work. The spectator will find himself plunged into an initiation into Duchamp's major effort, La Mariée mise à nu par ses célibataires, même... best known under the name of le Grand verre.
An impressive collection of extraordinary videos on or about or with Duchamp (and sometimes Maya Deren!) on YouTube.
Marcel Duchamp in his Own Words (1978)
Fifteen short videos from the Ideologic atelier liber de idei
Duchamp's comments on his life, ideas and "art", a feast for the eye and for the ear.
Segment from Making Sense of Modern Art, a guide to modern and contemporary works in SFMOMA's permanent collection. The program's rich-media format enables you to "zoom in" on full-screen details of individual artworks, explore excerpts from archival videos and films, and listen to commentary by artists, art historians, critics, and collectors.
San Francisco Museum of Modern Art
Duchamp, Man Ray and Picabia at Tate Modern
Video from YouTube.
The Creative Act (7:28)
A paper presented to the convention of the American Federation of Arts in Houston, Texas, April 1957
The Creative Act (3:54)
Background by Marcin Stanisław Góralski (Diploma A.S.P. 2009 with distinction) on YouTube with links to several other videos on Duchamp.
Some Texts from à l'infinitif (4:06)
Written 1912-20. Read in New York 1967
An Interview (11:04)
By George Heard Hamilton, 1959
An Interview (21:24)
By Richard Hamilton, London 1959
Interview, 1961 (French)
Alain Jouffroy, Marcel Duchamp: rencontre.
Film on Chris Dennis's blog, The Soul Map strikes back.
Silent video with Duchamp (YouTube)
Marcel Duchamp - John Cage Concert
Teeny Duchamp, Marcel Duchamp and John Cage in Toronto, 1968
Unpublished poster of the meeting. This concert of electronic music was organized around a game of chess between Marcel Duchamp and John Cage at the Toronto Ryerson Institute (Canada) on March 5th, 1968.
Printed in black on light yellowish cardboard.
45 x 28 cm.
Private collection.
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