Ready Made

This book explores the readymades of Marcel Duchamp from different perspectives in three parts: In the “Ready- made Index,” we study the origins and consistency of Duchamp’s  concept  during  the  first  50  years  of  the ‘Readymade Century’ from 1914 to 1964. In the second part, “Readymade Exposition,” we follow the reception history of that concept, which still continues long after Duchamp’s death. A hinge between these two halves of the ‘Readymade Century’ is offered by Duchamp’s edition of his readymades as multiples, as well as Andy Warhol’s exhibition of his Brillo Boxes. Simultaneously yet independently, these two events in 1964 mark a turn- ing point midway through the ‘Readymade Century.’ They  still  have  a  direct  impact  on  today’s  artistic practices of the “already made,” even on artists that may not see themselves in the tradition of Duchamp’s readymades. The development and expansion of the readymade concept is discussed in the book’s epilog, “Readymade Contemporary.”"

With a contribution by Olaf Nicolai

Graphic Designer: Dan Solbach, http://dansolbach.ch/

It is a pilot study, part of a thesis, where we attempted to find out emotional intelligence's four construct's, Self-emotional awareness, recognizing others' emotions and use of it, Identifying, Managing and Use of Emotions, Regulation of Emotion. Relationship with the leadership behaviours amongst the mid-level managers of readymade garments Bangladesh. The research used quantitative methodology, adopted survey method for collecting data. Four hundred and seventy (470) managers and same numbers (470) of workers who worked under those managers had been surveyed through structured questionnaires in fifty RMG factories at Dhaka. Ten managers and ten workers were selected at random from each factory making it a total 940. We used SPSS to analyse the data. The result showed Use of Emotions had no significant role in determining the type of leadership behaviours likely to be practiced by mid-level managers of the RMG Bangladesh.

Idées à contempler : Les pratiques conceptuelles dans l’art et la littérature, colloque organisé par Figura, le Centre de recherche sur le texte et l’imaginaire et ERIC LINT, Université du Québec à Montréal, 27-28 octobre 2011.

[ Le Ready-made de Marcel Duchamp est une source majeure de l'art conceptuel des années 1960, du fait de la dématérialisation de l'œuvre à laquelle il conduit, faisant intervenir le langage, et devant amener, par sa réflexivité, à une interrogation sur la définition même de l'art en relation avec ses médiations institutionnelles. Dans quelle mesure la « poésie ready-made », qui se développe notamment au cours des années 1960-1970 peut-elle être qualifiée de « conceptuelle » ? A l'instar de l'art conceptuel, cette poésie mène à un questionnement réflexif, selon des modalités qui sont cependant propres au statut prétendument « allographique » (Nelson Goodman) de cet art. En effet lorsque l'art conceptuel conduit, dans le domaine plastique, à une dématérialisation de l'œuvre, la poésie ready-made invite au contraire à la prise en considération des propriétés matérielles du poème.]

This paper analyses architecture created through appropriating
existing materials while focusing on strategies of intertextuality.
It argues that the meaning of an architectural object does not
derive from itself, or its poetic concepts, but rather from its
relationship with other architectural objects, other art works as
texts, cultural texts, and everyday practices. My aim is to show
various theoretical problems of the theory of architecture and
art, which as a network of overlapping texts of culture, surround
the architectural production of Alexander Brodsky. Here I use
different and varied theoretical concepts, selecting two case
studies by Brodsky – The Pavilion for Vodka Ceremonies and
Rotunda – upon which the paper is based as an interdiscursive
study.

This article deals with the fundamental question of movement in the work of Marcel Duchamp. It attempts to show that far from being a passing phase, it was present throughout his career, adopting different perspectives and explanations. Taking into account the actual words, notes and comments of the artist, it sets to establish a continuum, a link from one work to another. This helps to affirm that however revolutionary Duchamp might have been, his research about movement, optics and cinema lies solidly on painting.
Keywords: retinal art, precision painting, crono¬photography, optics, ready made, fourth dimension, image, movement.

Este artículo aborda el tema del movi¬miento, crucial en la obra de Marcel Duchamp. Inten¬ta mostrar que lejos de ser una fase temporal, estuvo presente a lo largo de su carrera, ya que empleó dife¬rentes perspectivas y explicaciones para investigarlo. Tomando en cuenta las declaraciones, notas, apun¬tes y comentarios propios del artista, se busca en este texto establecer un hilo conductor, una suerte de enlace entre una obra y otra, lo cual ayuda a afir¬mar que por muy revolucionario que Duchamp haya sido, su investigación sobre el movimiento, la óptica y el cine se asienta de manera sólida en la pintura.
Palabras clave: arte retiniano, cronofotografía, pin¬tura de precisión, óptica, ready made, cuarta dimen¬sión, imagen y movimiento.

À partir de l'exemple de La carte et le territoire de Michel Houellebecq, cet article propose d'étudier les réactions critiques face aux accusations de plagiat. Il est pertinent de se demander pourquoi fait-on du plagiat un crime littéraire alors qu'en même temps, on reconnaît généralement que les pratiques plagiaires font partie du geste créateur. En analysant les textes publiés sur l'affaire Houellebecq, on comprend que le scandale repose au moins autant sur le statut problématique du texte copié par l'écrivain que sur le plagiat en tant que tel.

Taking as its starting point Michel Houellebecq's The Map and the Territory, this article aims to study various critical reactions pertaining to plagiarism accusations. It is pertinent to think about why plagiarism is perceived as being a literary crime when it is also generally recognized that plagiarism practices are an inherent part of the creative process. Through an analysis of several texts concerning the Houellebecq controversy, it is made clear that the scandal deals with both the problematic status of a text being copied by the author and the concept of plagiarism itself.

This paper is a reading of The Sound of Silence by Alfredo Jaar and Enjoy Poverty, Episode 111 by Renzo Martens; viewed as a Duchampian gesture.  It proposes that the photographers within both works might be viewed as commodities and that the art of Jaar and Martens might consequently be regarded as a readymade. In doing so it seeks to position The Sound of Silence and Enjoy Poverty in an art historical context.

Jaar and Martens have been coupled, as they both seemingly present a critique of globalisation. This is accentuated when exploring an economy of images of suffering; how the art is produced, consumed and then distributed, it is mirrored within this paper with the developing themes of self-referentiality, geo-political dislocation or globalisation and dissemination. Jaar and Martens both focus on economic disparity, but suffering, rather than being the subject, is something in which the photographers within the works and ultimately the viewers are implicated. In turn it is the photographers who become commodities, who travel and accrue value.

This paper has taken, as a pivotal strand to its argument, the fact that everyday news coverage of suffering is representative of a Duchampian readymade; it is a mass-produced object.

Existing scholarship of contemporary image culture to date has tended to focus on the theoretical framework of T. J. Demos who posits contemporary art in a documentary context or Julian Stallabrass who highlights the works as making a political statement.  Current research has tended to ignore any direct art historical reference. A critical analysis which couples The Sound of Silence and Enjoy Poverty and brings into play a Duchampian methodology is thus far absent and one this dissertation intends to address.

It is hoped that by considering the specifics from abstractions the bigger truth can perhaps be understood, by studying the micro the macro may be brought into focus.

Öz: Hazır bir nesnenin olduğu gibi veya belirli bir müdahaleden sonra, bağlamından kopartılarak, bir sanat eseri olarak yeniden sunulmasının üzerinden yaklaşık bir asır geçti. Sanatla hayatı birleştirme ütopyasının en radikal önerisi olan hazır-nesne kullanımı hazır-imge kullanımını da kapsamakta hatta daha önce başlayarak sanat eserinde düşüncenin estetiğin önüne geçmesinin yolunu açmıştır. Bu makalede, hazır-imge kullanma tavrının avangard kökenleri incelendikten sonra çağdaş dönemde fotoğrafta hazır-imge kullanan sanatçılar incelenmiştir. Hazır malzemenin yüzyıllık süreç içindeki değişimi ve dönüşümü de makalede sorunsallaştırılmış dijital teknolojinin kullanımıyla değişen unsurun sadece malzeme olduğu belirlenmiştir. Çağdaş sanatın başlangıcı 1960'lı yıllar olarak kabul edilmiş, örneklendirmeler Pop Sanat ile başlanmış, Postmodern Sanat, Eleştirel Kavramsal Sanat, Çağdaş Savaş Fotoğrafı ve Vernaküler Fotoğraf ile sınırlandırılmıştır. Konuyu en iyi yansıtan örnek eserlerin derinlemesine incelemesinde de anlaşıldığı üzere, hazır-imge kullanımı çağdaş fotoğrafta oldukça yaygın durumdadır ve bunun nedenleri ile sonuçlarını anlamak bakımından çalışmanın oldukça yararlı olacağı düşünülmektedir.
Anahtar Sözcükler: Avangard, Hazır-nesne, Çağdaş Sanat, Hazır-imge, Çağdaş Fotoğraf, Kendine Mal Etme.

From the 1960s, the distinction between commercial and fine art, usually expressed as ‘low’ and ‘high’ art, has been regarded as obsolete, and in that same process cultural expertise has lost its authority and was replaced by the cultural power of media corporations. Yet, if fine art had lost its distinctive status entirely, it would become redundant; and, indeed, the distinction is still intact within the art world’s common practice: the art market’s business model and the legitimacy of not for profit art institutions depend on it. The more surprising is that the art world’s critical discourse is taking the obsolescence of that distinction for granted. Apparently, then, there is a gap between discursive claims and real-life practices. The aim of this article is to cast some light on the distinction’s historical emergence as a result of cultural interactions between Europe and the US during the 19th and 20th century and to encourage a discussion about its multi-layered meaning.
The article was originally written in German to accompany the exhibition, conceived by its author, America! Disney, Rockwell, Pollock, Warhol, to be held at the Bucerius Kunst Forum Hamburg from October 19 2019 through January 12 2020. The author would like to express his gratitude to Andrew Boreham for the permission to publish his superb translation.

Peru is an eminently archaeological country and the Lambayeque region, unlike others, is characterized by the wealth of pre-Hispanic heritage: more than 840 archaeological centers that in ancient times were connected and followed by Moche concepts that allowed the balance between different landscape units. However today, these pre-Hispanic centers are seen as "false hills", "black holes", "barriers" in a territory of growth and extraction. The purpose of this thesis is to propose a heritage protection infrastructure in La Pava (Mochumi, Lambayeque) an archeological complex in degradation with similar characteristics to others in Lambayeque but one of the most vulnerable. Through this case, the problem and its possible solution will be analyzed by collecting field data, documents and interviews with specialists. This thesis is important in architecture to generate a new intervention alternative for the Lambayeque heritage through its unveiling and proposal of a new meaning as if it were a "ready-made". This new kind of intervention as an work of art is composed by a component palette whose main element is a new layer, a clearly artificial architecture, guided by the reinterpretation of moche concepts, that appears to give life, protect the heritage and establish new connections between society (community, visitor and archaeologist) and landscape units. In addition, after having analyzed the data collected and having interviewed experts in the field, it is feasible to intervene in heritage areas under specific intervention strategies with the main objective of mitigating their degradation and protecting historical values. It is necessary to reflect on new intervention alternatives, such as this research, to promote its use and thus protect the Lambayeque heritage.

1920 sonrası Dadaist grubun getirdiği yeni önermeler ve sanatın tanımını genişleten akımlar, sanat nesnesinin statüsünü yeniden biçimlendirmiş ve nesnenin farklı kullanımlarına olanak vermiştir. Günümüz çağdaş sanatı da, seri üretim nesnelerini çeşitli mekan değerlendirmelerinde, performans ya da video sanatlarında kullanmaya devam etmektedir. Bu kullanımlarda sıradan nesnelerin sanatçı tarafından gördüğü müdahale şekli sınırsızdır. Nesne, üzerine yazı yazma, resmetme veya seçilen nesneye başka bir nesne ekleme gibi farklı fiziksel müdahalelerle biçimlenir. Çalışmanın konusu, makale boyunca hazır yapım olarak anılacak ready-made'lerin sanat tarihi içindeki kısa oluşum sürecinde, nasıl bir gelişim göstererek dönüşüme uğradığına bakmak ve dönüşüme uğramış nesne'lerin günümüz sanatında izini sürmek olacaktır.

Hazır yapım'ın detaylarından ve dönüşüme uğramış nesne ile olan farklılıklarından bahsetmeden önce, hazır yapımın anlamına kısaca değinmek gerekir: "Seri üretim mallarından herhangi birinin, çevresinden soyutlanarak tek başına 'sanat yapıtı' olarak sergilenmesi" tanımıyla bilinen hazır nesne terimi, ilk defa 1938 yılında André Breton ve Paul Eluard tarafından hazırlanan Kısaltılmış Sürrealizm Sözlüğü'nde yayınlandı. Marcel Duchamp bu sözlükte hazır nesneyi; "Sanatçı tarafından sadece seçilerek sanat nesnesi sıfatına terfi eden sıradan nesne" olarak tanımlamıştı....

* Aynı ismi taşıyan yüksek lisans tezi, İstanbul Üniversitesi, Sanat Tarihi Anabilim Dalı öğretim üyesi Doç. Dr. Uşun Tükel danışmanlığında 2003 yılında tamamlanmıştır.

Investigación de la obra del filósofo norteamericano Arthur Coleman Danto acerca del concepto de Arte a través de la historia, dando cuenta de una primera etapa donde no existía un concepto de Arte y Artista, una segunda etapa donde aparece y se desarrolla este concepto, que parte en el Renacimiento y culmina con los ready-made de Andy Warhol. Y finalmente una etapa poshistórica del Arte en la cual todas las manifestaciones artísticas conviven sin que ninguna intente invalidar a las otras.

conférence donnée dans le cadre du séminaire doctoral « Création, media, médias » (org. Jean-Pierre Bobillot, Yves Citton,  Isabelle Krzywkowski ), Université Stendhal – Grenoble 3, 6 avril 2016.
Publiée dans le n°10 de la revue GPS, "Poésies expérimentales", dossier coordonné par Jean-Pierre Bobillot, janvier 2017

Los nuevos sentidos estéticos que el arte ha ido adquiriendo hasta presentarse tal y como lo conocemos ahora, son producto de una constante mutación de formas y materiales empleados como códigos por los artistas para comunicar un mensaje a un público. Esto supone la intervención de aspectos técnicos, intelectuales y sociales según Francastel, P. (1998). Partiendo de este precepto este articulo intenta situar al cubismo entre las categorías de la Pintura de historia y el Arte Conceptual.

Beyond traditional art historical practice and its haptophobia with experimental, subjectivist, or speculative methods, what we have already begun to learn from Marcel Duchamp can be further established with the philosophies of Henri Bergson and Roger Caillois. An up-to-date philosophy of art might thus be one that combines the potentialities of intuition and a bold imagination with the need for precision and strict controls. In the light of that ‘logic of the imaginary’ which Caillois brought onto the scene with his ‘diagonal sciences,’ art and its attendant histories and theories are no longer about substantive messages, but rather about questioning their contingent effects and affects upon a particular environment or beholder. Seen from this angle, philosophy of art might have to deal with unstoppable transformations of dominant structures of knowledge, outpacing self-referential interpretations in favour of a protean field of reciprocal actions and attractions, which can be cultivated by anyone willing to join the game.

Le « ready-made illusionniste » prend sa source dans une critique de la « théorie des indiscernables » proposée par le philosophe Arthur Danto dans La transfiguration du banal (1981). En effet, « la fin de l’art » tel que postulé par Danto, se caractérise par une nouvelle appréhension des conditions d’appartenance d’un objet à l’art qui ne passerait plus en ses critères extérieurs. En procédant ainsi, le philosophe relègue au second plan la perception pour des déterminations purement conceptuelles. Je voudrais montrer qu’il nous faut être davantage prudent, en proposant le concept de « ready-made illusionniste », à partir de cette même « Boîte Brillo » qui vient soutenir à l’argumentaire de Danto. En effet, il n’y a pas une boite Brillo, mais une centaine, parmi d’autres boites de produits divers. Cette mise en scène prend la forme d’une répétition outrancière, d’une exagération dans la mimèsis. Et c’est cet excès dans la répétition qui marque l’exposition de 1964 à la Stable Gallery, comme elle marque également la pratique des séries, si caractéristique du Pop art. Mais ce geste de répétition est en même temps geste de transformation, puisque l’excès introduit la distance ironique, la profusion des objets quotidiens se donnant comme une sorte de faux réalisme (ou mimèsis inversée).

Nous pouvons dire que Warhol propose au spectateur un trompe-l’œil et compose une facétieuse « vanité » du monde contemporain. Le fait que le spectateur doive se promener dans les travées en regardant ces boites accumulées jusqu’à l’absurde, montre à quel point la répétition n’est pas simple importation mais création d’un sens nouveau. Le trompe-l’œil assouvit le faux-semblant de l’image, mais surtout, il renvoie à des jeux d’emboîtements particulièrement ambigus concernant le cadre (on pense au travail précurseur et singulier de Jospeh Cornell dans la confection de ses « boîtes surréalistes »). C’est aussi un moyen de définir le trompe-l’œil non pas seulement dans la profondeur d’un espace plan, mais dans la surface des illusions optiques prônées par Clement Greenberg et Michael Fried. Ainsi, le trompe-l’œil nous permet de passer – du moins métaphoriquement – d’une illusion de profondeur à une illusion de surface. Tout comme l’illusionnisme optique des espaces picturaux de l’abstraction n’empêche aucunement la trace référentielle (le mythe) ou la présence d’un certain réalisme (comme chez Pollock), le réel de Warhol est subsumé par cette ligne de partage entre figuration et abstraction. L’illusionnisme de Warhol est l’écran d’un anti-illusionnisme que l’usage du médium vient confirmer comme un renversement de la mimèsis classique de l’art. De cette façon, l’image n’est pas située hors du réel, mais dans un réel qui fait écran jusqu’à faire retour au réel par le principe de répétition.

Actas de la Jornada  "El futuro desde las humanidades" del Laboratorio de Investigación en Ciencias Humanas de la Escuela de Humanidades (LICH) de la Universidad Nacional de San Martín, celebrada el 2 de mayo de 2019 (Auditorio Lectura Mundi, Campus Miguelete (Av. 25 de Mayo y Francia, San Martín): //noticias.unsam.edu.ar/2019/04/15/jornada-el-futuro-miradas-desde-las-humanidades/ Anticipo de un artículo en curso producido en el marco del proyecto de investigación UNSAM G174:  "Las definiciones del arte. Continuación" (2017-2019).

»Katharsis«, »Sublimation«, »Hypnotisierung durchs Spektakel« – erinnert sich eigentlich noch jemand daran, dass dem Ästhetischen einmal mit großer Selbstverständlichkeit eine Entlastungs- und Entspannungsfunktion zugesprochen wurde? Manche haben das als Passivität verdammt, andere als Kontemplation geschätzt. Vorbei. Wann hat es angefangen, dass man sich ästhetisch überhaupt nur anstrengen kann? Da gilt es, »ästhetische Erfahrungen« zu machen, da gibt es unzählige Kunstwerke, an denen man »partizipieren« oder durch die man »aktiviert« werden soll. Kunstaktivisten finden sich reihenweise, wo hätte man jemals einen Kunstpassivisten gesehen?
Überlegungen anhand von Reckwitz, Groys, Rancière, Foucault, Wilde, Loos.

1960 sonrası Postmodern sanat pratikleri ile "her şey sanat" ve "herkes sanatçı" olarak kabul edilir. Buna göre bir sanatçı, sanat amacı ile üretilmemiş herhangi bir şeyi sanat olarak sergileyebilir. Öyle ki bu şeyin sanatçı tarafından üretilmiş olması da gerekmez. Her şeyin sanat olarak sunulduğu çağdaş sanatta sanatçı, sanat eseri, mekân ve izleyici/alımlayıcının konumu da değişir. Tüm bu değişkenler sanat eserinin ne olup olmadığını da kökünden sarsmıştır. O halde; "bu şey sanattır", "bu kişi sanatçıdır" denildiğinde ne kastedilmektedir? Sanat eseri olarak sunulan bu şeyi diğer şeylerden ayıran nedir? Sanatçı mı, kavram mı, mekân mı, yoksa piyasa mı? Bu sorular bağlamında makalede, sanatçı-sanat eseri, sanat eseri-izleyici, sanat eseri-kavram, sanat eseri-mekân ve sanat eseri-piyasa ilişkisi çağdaş sanat eserleri ile örneklendirilerek incelenmiştir.

B. Mathios, I. Chol, S. Linares (dir.), Livres de poésie : jeux d'espace (Programme Spatialisation des textes poétiques, ANR LEC), Paris : Champion, 2016, p.600-620 (sous presses)

[Les poèmes collages et ready-mades procèdent d’un acte de prélèvement puis de déplacement d’éléments usuels – énoncés, imprimés, images, objets – dans un espace nouveau. Issues des arts plastiques, ces pratiques impliquent, par l’action même de découpe, une relation d’ordre plastique au langage, mais aussi à la page et au livre qui deviennent supports à part entière. Par-là, ces œuvres entrainent une double transgression de l’espace livresque : à l’irruption  du « n’importe quoi » (J. Blaine) dans un espace réservé se conjugue la relativisation du caractère « allographique » (Goodman) de l’œuvre littéraire. Envisageant l’espace livresque dans chacune de ses facettes, nous montrons en quoi cette transgression participe également d’une exhibition de la spatialité du livre.]

Reflexão desenvolvida por uma artista visual em busca de discernir formas práticas — plásticas — de instaurar eixos favoráveis à causa urgente dos ameríndios guarani-kaiowá, que vivem numa atmosfera trágica no estado do Mato Grosso do Sul, Brasil. Para tanto, comparam-se dois objetos litúrgicos em forma de cruz, a cruz processional cristã e o pau de chiru — manejado por rezadores indígenas. Destaca-se, com isso, a noção de pessoa “adornada” (“nua”), a qual é relacionada à circunstância de “abrir brechas no tempo presente”. Esta sintaxe é averiguada em práxis dadaístas e, também, em operações realizadas nos anos 60, numa corrente chamada por Hal Foster de Neovanguardismo. / Reflection developed by a visual artist seeking to discern practical — plastics — ways to establish axes favorable to the urgent cause of the Guarani-Kaiowá Amerindians, who live in a tragic atmosphere in the state of Mato Grosso do Sul, Brazil. For this, two cross-shaped liturgical objects are compared, the Christian processional cross and the «chiru» stick — handled by Indigenous prayers. Thereby, the notion of “adorned” (“naked”) person is highlighted and related to the circumstance of “opening gaps in the present time”. This syntax is verified in Dadaist praxis as well as in operations performed in the 1960s, in a stream called Neo-Avant-Garde by Hal Foster.

Nadja Cohen, Céline Pardo, Anne Reverseau (dir.), Poésie et médias au XXe siècle, Paris, Nouveau Monde éditions, 2012, p.113-130

[Dans cet article qui reprend une partie de notre travail de thèse, la relation entre poésie et médias est interrogée à travers les processus de transfert d’un medium à l’autre que présuppose le poème ready-made lorsqu’il est publié.]

Seit den 1960er Jahren wird die Unterscheidung kommerzieller von freier Kunst als überholt angesehen. Gleichzeitig hat Expertise im kulturellen Sektor an Autorität verloren und wurde ihr Platz eingenommen durch die kulturbestimmende Macht der Medienkonzerne. Hätte jedoch freie Kunst ihren Sonderstatus gänzlich verloren, dann gäbe es sie schon nicht mehr. Tatsächlich bestimmt er immer noch die alltägliche Praxis der Kunstwelt: Das Geschäftsmodell des Kunstmarktes gründet auf ihm und die Legitimität der öffentlichen Kunstinstitution hängt davon ab. Umso erstaunlicher ist, dass der, in der Kunstwelt vorherrschende kritische Diskurs die Aufhebung des Unterschieds als selbstverständlich voraussetzt. Es gibt da offensichtlich eine Lücke zwischen diskursivem Anspruch und alltäglicher Praxis. Ziel dieses Artikels ist, die historische Entstehung dieser Unterscheidung aufgrund von kulturellen Wechselwirkungen zwischen Europa und den Vereinigten Staaten im Laufe des 19. und 20. Jahrhunderts nachzuzeichnen und eine Diskussion seiner vielschichtigen Bedeutung anzuregen.
Der Artikel wurde ursprünglich als theoretische Grundlage der, durch seinen Autor konzipierten Ausstellung Amerika! Disney, Rockwell, Pollock, Warhol verfasst, die vom 19. Oktober 2019 bis zum 12. Januar 2020 im Bucerius Kunst Forum Hamburg stattfindet.

Hg. von Gabriele Mackert, mit Texten von René Block und Martin Glaser, Nicole Fritz, Melitta Kliege, Gabriele Mackert, Antje von Graevenitz und Matthias Weiß. (german/ english)

Tagung anläßlich des 50jährigen Jubiläums von Block Beuys in Darmstadt bietet einen Überblick über zentrale Fragestellungen der Forschung zum Werk von Joseph Beuys. Die ausgewiesenen Beuys-Kenner*innen widmen sich in ihren Beiträgen unterschiedlichen Objekten aus Block Beuys, den der Künstler im April 1970 als weltweit größten Werkkomplex installierte.

Insert von Nicole Six und Paul Petritsch

Sprache: deutsch / english

ISBN: 978-3-926527-02-7 (Hessisches Landesmuseum Darmstadt)
978-3-7533-0073-3 (Verlag der Buchhandlung Walther und Franz König)

(English)
Is the work of art an entity ? Duchamp would agree on one condition : that we could assume that such an entity is a void. It is a void that emerges as the result of the difference between what the artist intended to make and the spectator’s interpretation. Duchamp called this disjunction “the art coefficient”. Based on Duchamp’s text “The Creative Process” we propose here the hypothesis of a correspondence between the inadequacy of Art and the inadequacy of the structure of the speaking being (parlettre). Following Duchamp we revise Freud’s notion of inadequacy in relation to the reality of the unconscious as well as Lacan’s formalisation of the subject’s inadequacy via the concept of separation and alienation. The intersection between these theoretical elaborations allows us to consider the possibility of a relation of equivalence between Duchamp’s art object and Lacan’s object-cause of desire.

(Français)
Y a-t-il une entité de l’art ? Pour Duchamp oui, à condition d’en faire une entité vide, produit d’une non-coïncidence entre l’intention de l’artiste et l’interprétation du spectateur. Plus cet écart est accentué, plus l’objet artistique porte ce qu’il nomme « le coefficient d’art ». Nous proposons l’hypothèse d’une correspondance entre l’inadéquation propre au coefficient d’art duchampien, et l’inadéquation propre à l’inconscient. Pour l’argumenter, nous travaillerons le texte « Le processus créatif », et parcourions les moments chez Freud où quelque chose de l’inadéquation est en jeu dans la structure de l’inconscient. Ensuite, nous verrons chez Lacan l’une de ses formalisations pour une inadéquation fondatrice du sujet : aliénation et séparation. Le résultat de cette analyse nous permettra d’argumenter une certaine équivalence entre l’objet artistique selon Duchamp et l’objet cause du désir chez Lacan.

Henri Bergson is generally recognized as one of the most influential philosophers in the history of historical avant-gardism. Nevertheless, it has been widely neglected that Bergson's philosophy also played a crucial role for the radically new concept of art that Marcel Duchamp developed based on his critical attitude towards the avant-gardes. First and foremost, this is apparent in view of Duchamp's paintings The Passage from Virgin to Bride and Bride of 1912, as they both feature an idea of transition laying the foundation for his Large Glass and associated works. But there is also another cross-connection that one wouldn't expect at the first glance. As this paper argues, Duchamp paradoxically also draws on Bergson's ideas with his ready-mades, pointing to that productive interplay of intuition and intellect, which Bergson defined as a vital source for any kind of imagination and agency. Thus, Duchamp's idea of choosing his ready-mades in terms of a "rendezvous with fate," which he also reflected in his writing experiments The and Rendezvous, can be closely linked to his declared interest in Bergson's "primacy of change," leading him to explore the idea of "plastic duration."

No-literatura: aproximación a la ontología débil de la literatura después del fragmentarismo

La llegada del siglo XXI ha contemplado la difusión de una serie de prácticas conceptualistas literarias cuyo origen se remonta a las primeras vanguardias. El fragmentarismo característico del cambio de siglo ha dado paso a una concepción del arte verbal que sabotea los pilares de la poética moderna. Así pues, textos convencionales no literarios se presentan como literarios siguiendo las técnicas habituales del apropiacionismo artístico. Este fenómeno emergente en la praxis literaria del siglo XXI desborda los principios sólidos de la teoría literaria (ficción, literariedad, estilo, género) y está fundamentado sobre una ontología diferente y alternativa que se aleja de una concepción belletrística de la literatura. El propósito de este artículo pasa, por lo tanto, por aproximarnos a las señas de identidad propias de una ontología débil de la literatura después del fragmentarismo. Sobre la base de la dicotomía aristotélica esencia/accidente se abordarán obras emblemáticas del conceptualismo literario en el ámbito hispánico (Peicovich, Katchadjian, Fernández Mallo, Cussen, Zambra, Mora) para ilustrar el concepto de no-literatura que aquí se introduce para designar y agrupar aquella literatura que sin acabar de serlo no deja por ello de manifestarse como arte verbal.

Non-Literature: An Approach to the Weak Ontology of Literature after Fragmentarism

The early 21st century has witnessed the spread of a number of literary conceptualist practices that originated in the first avant-garde movement. The fragmentarism typical of the turn of the century has led to a conception of verbal art that sabotages modern poetic foundations. Hence, conventional non-literary texts are presented as literary works following the usual techniques of artistic appropriation. This emerging phenomenon in the literary praxis of the 21st century goes beyond the solid principles of literary theory (fiction, literariness, style, genre) and is based on a different and alternative ontology that moves away from a belletristic conception of literature. Therefore, the purpose of this article is to approach the hallmarks of a literary weak ontology after fragmentarism. On the basis of the Aristotelian essence/accident dichotomy, emblematic works of literary conceptualism in the Hispanic area (Peicovich, Katchadjian, Fernández Mallo, Cussen, Zambra, Mora) will be approached to illustrate the concept of non-literature introduced in order to designate and group together that literature which, without being completely literary, is still verbal art.

Il museo è un luogo attraversato da intriganti trame e peripezie delle opere che racchiude, uno strumento di stimolo all’osservazione e educazione alla visione, lo spazio d’eccellenza dell’osservazione, da cui gettare lo sguardo verso l’altrove suggerito dall’opera d’arte esposta.
Il voyerismo, termine italianizzato dal francese “voyeurisme”, è una perversione sessuale consistente nel provare piacere esclusivamente, o quasi, alla vista delle nudità o degli atti sessuali altrui.
Definiti i termini utili ad affrontare la questione, museo e voyerismo, ci si chiede provocatoriamente …
Può il museo smascherare un certo voyerismo dei visitatori?
Può indurli a sbirciare, nel senso di guardare furtivamente, lì dove non si dovrebbe?
Evidentemente si ... Risponderebbe l’artista che ha elevato l’anormalità, intesa come rifiuto di qualsiasi norma e di tutto ciò che si reputa normale, a pratica sia di arte, sia di vita. Soprattutto pensando all’Incredibile Dispositivo Voyeuristico, che ha segnato il suo ultimo ritorno all'arte, dopo venti anni di partite a scacchi.
Capire di chi, l’artista, e di cosa, l’opera, si stia parlando è un motivo sufficiente per continuare a leggere?
La risposta a chi legge o non legge. Se però scegliete di leggere resistete all'impulso di soddisfare istantaneamente la curiosità andando cercare nel WEB, godetevi la suspense, l’informativa somministrata al rallenty. Al tempo stesso non vi scandalizzate della trasgressiva provocazione artistica di cui si parla.

El presente artículo pretende estudiar y discernir sobre la función comunicativa de los ready-made. Existen varias posturas que explican el fenómeno contemporáneo artístico a partir de una presunta función comunicativa, pretensión que se inserta en la semiótica estructuralista de gran parte del siglo XX. Un ejemplo representativo de tal tradición lo encontramos en el semiólogo Omar Calabrese para quien la función comunicativa "…no tratará de explicar «lo que quería decir el artista», sino, más bien, «cómo la obra dice aquello que dice»." 1 ; es decir que las intenciones del artista no son importantes sino que lo realmente significativo es el mensaje (la obra). Lo anterior nos demuestra que la interpretación del artista sobre su obra no es ni la única ni la más acertada sino que solo se trata de una definición más, como afirma Luciano Nanni "… ningún ensayo crítico es capaz de agotar la realidad de la obra." 2 Por otra parte, dentro de la tradición semiótica también podemos encontrar quienes no creen que la obra de arte contemporánea "comunique". Luciano Nanni afirma que la comunicación en sí (communicare, "poner en común") resulta casi imposible ya que el mensaje codificado y transmitido por el emisor es recibido por el receptor quien lo recodifica según sus propias experiencias, las cuales no son necesariamente las mismas que las del transmisor, antes de la ocurrencia de la obra. "Rigurosamente hablando, un discurso funciona, "comunica", si evoca algo que ya es común…" 3 Entonces podríamos hablar más que de comunicación de auto-evocación en la relación entre la obra y su intérprete. 1 Omar Calabrese, Lenguaje del arte. (España: Paidós Ibérica, 1991), 15. 2 Luciano Nanni, Della Poetica. Come nasce e vive un'opera d'arte. (Italia: Book Editore, 1999) 3 Luciano Nanni, De lo que sería deseable convertir antes y durante todo discurso sobre arte + un regaño, decidido, a un joven estudioso de estos temas, acceso el 1 de mayo de 2015,

Resumen: El presente artículo, a través del análisis formal, conceptual y narrativo de la obra objetual de Joan Millet (Gandía, 1958), pretende arrojar algo de luz sobre la situación en la que se encuentra el arte contemporáneo en general. Además, se lanzan ciertas cuestiones referentes al arte y a la sociedad actual, con la intención de incitar a la reflexión a cualquier consumidor artístico. Empleando como pretexto la producción artística de Joan Millet, el propósito último del presente escrito radica en sonsacar las claves conceptuales que permiten una potente actualización de la técnica denominada ready made.

Abstract: The present article, through the formal, conceptual and narrative analysis of the objectual work of Joan Millet (Gandia, 1958), expects to shed light on the situation in which the contemporary art in general is. In addition, some issues are proposed, regarding the art and today's society, with the intent to encourage any art consumer to reflect on them. Using as a pretext Joan Millet's artistic production, the final purpose of the present text lies in identifying the conceptual keys which allow a powerful update of the technique called ready made.

Özet Tarih boyunca ortaya konulan sanat faaliyetlerinde birçok nedene bağlı yenilikler meydana gelmiştir. Bu yeniliklerden biri sanatta "nesne" faktörüdür. Nesne; zanaat, süs ve işlevsel bir konumdan Minimalizm ile birlikte sanatsal bir konumda da kendine yer edinmiştir. Sanatta nesne kullanımının önemi vurgulanırken, nesnenin de sanatsız, yani öznesiz bir anlam ifade etmediği düşünülmektedir. Duchamp ile birlikte sanatta hazır yapıt olgusuyla gündeme gelen nesne, kavramsal sanat ile kendi varlığının ötesine geçmiş ve illüzyon, metafor, simülasyon olgusu çerçevesinde sürekliliğini korumuştur. Bir dönem durağanlığa uğrayan "sanat nesnesi" birçok sanatçı tarafından yeniden yapılandırılması gereken bir durum olarak görülmüştür. Postmodern dönem için Baudrillard nesneye imgesel (düşsel) bir anlam yüklemiştir. Bu makale de sanatta nesnenin ironi, illüzyon, düşsel anlamı doğrultusunda postmodern dönem ve günümüz sanatındaki kullanımı üzerinde durulmuş ve nesnenin görevinin ne olduğu ve ne üstlendiği konusu tartışılmıştır. Abstract Throughout history, there have been innovations due to many reasons in the art activities. One of these innovations is the "object" factor in art. Object; from a craft, ornamental and functional position, it has gained its place in an artistic position as well as Minimalism. While the importance of the use of objects in art is emphasized, it is thought that the object does not mean an artless meaning without a subject. With Duchamp, the object, which came to the fore with the phenomenon of ready-made work in art, went beyond its own existence with conceptual art and maintained its continuity within the framework of illusion, metaphor and simulation. The "object of art", which had been stagnant for a period, was seen by many artists as a situation that had to be restructured. For the postmodern period, Baudrillard has attributed an imaginary meaning to the object. This article focuses on the irony, illusion, imaginary meaning of the object in the postmodern period and its use in today's art, and the main subject of this article, what the object is and what it undertakes are discussed.

Важнейшая проблема левого искусства в эпоху исторического и нео-авангарда – отношение между методом и материалом, флагрантность которого необходимо было сохранить, организовав его с помощью конструктивного принципа. Если в Советской России 1920-х гг., эта задача наиболее оригинально решалась в литературе факта, опиравшейся на демократические медиа и сочетавшей «объективную фиксацию» действительных фактов с их «диалектическим монтажом», то во франкофонной культуре один из самых экстравагантных вариантов синтеза предложил Марсель Дюшан в своей технике реди-мейда, также основанной на выборе реальных объектов с их последующим «вмонтированием» в оптику художника. Несмотря на очевидные различия между широкой сетью рабкоров и селькоров, рапортующих о социалистическом строительстве на местах, и эстетом-одиночкой, выставляющим в 1917 писсуар в нью-йоркской галерее, теми, и другим двигал один и тот же авангардный импульс выявления и расшатывания институционального субстрата современного искусства/литературы и расширения привилегии авторства на аудиторию – литературы, создаваемой читателями, и картин, создаваемых зрителями («les regardeurs, qui font les tableaux»). Кроме схожего направления удара по институту искусства (отрицание притязаний на индивидуальную креативность), теоретиков «фактографии» и «редимейда» объединяло и само стремление к созданию неорганического произведения искусства и смешанная прагматическая стратегия - не стремиться произвести «целостное впечатление», но сохранять возможность самостоятельной семантической активности элементов и оставлять незамаскированным сам факт художественной манипуляции.

Политизация поля искусства: исторические версии, теоретические подходы, эстетическая специфика. Под ред. Т. А. Круглова, Ж. Сапиро. Екатеринбург: Кабинетный ученый, 2015.
В коллективную монографию вошли статьи, написанные на основе докладов конференции «Трансформации левой идеи в художественной культуре СССР и Франции» и «Политизация поля искусства: советские художники в поисках идентичности» (руководители — профессор Т. А. Круглова, Екатеринбург, и профессор Ж. Сапиро, Париж). 312 стр. ISBN 978-5-7525-3078-4 (Кабинетный ученый)

[Si, pour Duchamp, « ce sont les regardeurs qui font les tableaux », alors l'acte interprétatif acquiert une place centrale dans la constitution même de l'œuvre d'art, que le Ready-made, par l'apparente suppression du premier pôle qu'il opère, tend à exhiber. Cet article montre en quoi le poème ready-made amène à son tour à réévaluer la place et la nature de l'acte interprétatif tant sur le plan de la réception que sur celui de la création, les deux pôles tendant in fine à se confondre. Le poème ready-made, à l'instar de l'œuvre littéraire telle que la définit W. Iser dans L’Acte de lecture, n'est pas un texte mais un lieu de rencontre, un dispositif où le lecteur « ajoute sa propre contribution à l'acte créatif » (Duchamp).]

En 1977, Philippe Thomas (1951-1995) débute un travail qui se situe entre l’art et la littérature et qui conservera cette double dimension d’une œuvre procédant tant du voir que du lire. Il l’élabore en lui donnant une dimension narrative dont l’intermédialité, le réseau de ramifications intertextuelles et l’accumulation de travaux qui relèvent du dispositif construisent un récit à la forme discontinue. Participant d’une écriture des événements et s’appuyant sur une mise en parallèle de la présentation artistique et de l’énonciation, le projet de Thomas est celui d’une fiction du faire qui cherche à éprouver la frontière entre les mondes réel et fictionnel. Notre étude souhaite répondre aux objectifs d’une première monographie d’artiste et s’attache à décrire l’ensemble de l’œuvre de Thomas afin d’en reconstruire le parcours à l’aide d’un certain nombre de notions clés. Elle prend sa source dans la bibliothèque de cet artiste qui définit l’art comme un processus de recherche, comme une expérimentation du langage. C’est l’œuvre en train de se faire que nous observons, en nous intéressant à sa genèse et à ses conditions de réalisation. Et ce, afin de définir la posture d’auteur qui se dessine dans la spécificité d’une pratique artistique demandant la prise en compte tant de l’œuvre que de ses marges. Si le projet de Thomas met en place la disparition de l’auteur par le biais d’un protocole de signature de ses ready-mades, notre thèse rappelle qu’il s’agit d’une absence toute paradoxale : l’artiste caché par ses personnages demeure omniprésent et par là, participe de la redéfinition de l’auteur malgré la déclaration de sa mort une décennie plus tôt.

Résumé en ligne : http://www.theses.fr/2017PA040174