By Duchamp, Marcel; Duchamp, Marcel; Demos, T. J.; Duchamp, Marcel
Marcel Duchamp was once a recognized expatriate, a wanderer, dwelling and dealing in Paris, long island, and Buenos Aires and escaping from each one in flip. yet exile, argues T. J. Demos during this leading edge interpreting, is greater than a truth in Duchamp's biography. Exile--in the artist's personal phrases, a "spirit of expatriation"--infuses Duchamp's whole creative practice.. Duchamp's readymade structures, his installations for surrealist exhibitions in Paris and big apple, and his "portable museum" (the suggestively named La boîte-en-valise), Demos writes, all appear, outline, and take advantage of the phrases of exile in a number of methods. Created whereas the artist was once dwelling variously in ny, Buenos Aires, and occupied France throughout the worldwide catastrophes of warfare and fascism, those works show the affliction of displacement and have a good time the liberty of geopolitical homelessness. The "portable museum," a suitcase containing miniature reproductions of Duchamp's works, for instance, represented a posh meditation--both serious and joyful--on smooth art's tendency towards itinerancy, while Duchamp's 1942 set up layout entangling a brand new York gallery in a mile of string introduced the dislocated prestige that many exiled surrealists needed to overlook. Duchamp's exile, writes Demos, defines a brand new ethics of autonomous lifestyles within the sleek age of nationalism and complex capitalism, delivering a precursor to our personal globalized global of nomadic topics and dispersed experience.
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Extra resources for The exiles of Marcel Duchamp
La boîte-en-valise, Duchamp’s “portable museum,” reconstructs this very system, self-administering the institutional forces on his own works of art. Its museum-like layout, reproduced status, and presentation techniques clearly reveal the eﬀects of this preprocessing. The Boîte has its own case for transport. Its miniaturized reproductions, reduced for easy mobility, already anticipate museum postcards. 4 Exposition surréaliste d’objets at La Galerie Charles Ratton, Paris, 1936. The Portable Museum 30 clearly identified in terms of title, date, and collection printed on small paper labels, all neatly categorized and arranged.
66 The notes for Sonata were typical, where Duchamp’s color notations carefully fill in the diﬀerent areas of the template. However, whenever possible, Duchamp did not hesitate to use high-quality reproductions from magazines or books directly in La boîte-en-valise. For instance, the color images of Dr. 67 In other words, reproductions went both ways, serving both as and for the original. 8 Marcel Duchamp, proof print with color notes for Sonata, circa 1935. © 2006 Artists Rights Society (ARS), New York/ADAGP, Paris/ Succession Marcel Duchamp.
43 This “calculation of eﬀectiveness,” obtained through “the techniques of production and distribution,” was perfectly exemplified by Malraux’s industrialization of culture achieved through photographic reproduction, which joined enlightenment to ideology in his imaginary museum. It remains a question, however, what interests were served and what eﬀects were released by Duchamp’s internalization of museum conventions. Could La boîte-en-valise have performed this internalization only as a self-defeating act of mimicry, or for its own critical purposes, even as a means of survival for Duchamp’s own independent existence?