31 enero, 2015

Las siete diferencias entre Frida Kahlo y yo.


Cuando estaba internada, se ponía esos hermosos tocados con flores y moños en la cabeza, enormes y se hacia gruesas trenzas, y siempre se sacaba selfies y se pintaba a si misma, y era joven y hermosa y parece que todo le dolía mucho y se dejaba el bigote finito, peluzon de milk, para que se notara que no era una india, porque las indias son lampiñas y las señoronas no.
Y no es cosa de que te confundan, y menos en Mexico lindo, tan clasista, como dicen los que fueron.

No se como mierda tenia el pelo hermoso, sensual, que da ganas de ser lesbiana para tocarlo, si al rato de estar acostada todo se te apelmaza, y mas en esos tiempos que el baño diario seria una locura de insanos.
Y tenia talento para la pintura pero también para sufrir, dos cosas que me faltan. El sufrimiento no es lo mio y el talento solo lo necesario para tener este blog y poco mas.
Pero como dios reparte, asi, a la que te criaste, no le fue dado el arte de tener hijos, deseandolos,  si es que eso existiera, o estaba mas rota por adentro que por afuera y yo me mantuve enterita por adentro el tiempo necesario para ser madre entonces no me pintaria nunca demasiado rota aunque me rompa ahora, ya esta, destino, no te avivaste antes, fuiste, perdiste, alpiste malos hados.
Estaba obsesionada con su imagen sino no se explica, y debía ser bastante puta o divertida o no se.Mas quejona que la sirena, seguro, que sin embargo es muy poco estoica. O se cagaría en todo el mundo y harìa lo que le venia en ganas sin pensar lo que pensarían los demás, si jodía a alguien, y no se si eso es cosa de ángeles o demonios.
 O tal vez era una buena mina, que sabe nadie!!!.
Aca todas tenemos bigote y recurrimos a la cera española
todas  obsesionadas con nuestra imagen, aun yo, que no me miro en el espejo ni siquiera la cara, aunque me pongo cremas demasiado caras (no muy caras, sino "demasiado" en el sentido antiguo del termino, en estos tiempos tergiversado)

A diferencia de Frida no me saco selfies, es verdad, y mis fotos me gustan cuando ya pasaron unos años de tomadas. Necesito tiempo para reconciliarme
esos piquetitos de alfileres, o de clavos miguelitos, y esa rotura por dentro.... Yo tal vez me rompa para arreglarme (no hay enigma, en unos dias me hacen una cirugia y no me pondre tocados con moños y espero que el ketorolac haga su tarea amansando los alfileres del dolor) Claro que iré con el bigote afeitado y no  podre estar con moñas o flores en la cabeza, pero seguro oleré mas bonito, tengo todavía un poquito del perfume que me regalo marcela y seguro que me baño en un mes, mas veces que frida en un año.
Cuidame Frida, no es lindo estar rota, vos sabes.  A vos te lucia el melodrama, el irte de la linea, pero mi nieta se asusta si me ve vendada, si me duelen los piquetitos no voy a poder escribir una puta linea y no estoy asustada.
Bah, un poco.
No es nada, ya pasa,
ya està.


28 enero, 2015

Comprensión lectora

Carta # 1

La muerte de una persona, siempre causa dolor y pérdida entre sus seres queridos, y consternación en el resto. El suicidio provoca, además, en todos los casos, primero: estupor, y después: interrogantes. ¿Qué fue lo que llevo a una persona a tomar la terrible decisión de quitarse la vida?.

En el caso del ¿suicidio? del Fiscal a cargo de la causa AMIA, Alberto Nisman, no sólo hay estupor e interrogantes, sino que además una historia demasiado larga, demasiado pesada, demasiado dura, y por sobre todas las cosas, muy sórdida. La tragedia del atentado terrorista más grande que se produjo en la Argentina.

Carta #2

Los espías que no eran espías. Los interrogantes que se convierten en certeza. El suicidio (que estoy convencida) no fue suicidio.

IXX-ene2015

...y las interpretaciones:







25 enero, 2015

Libro El zelote de Reza Aslan



El zelote - Reza Aslan (2014
Sinopsis

Hace dos mil años, un predicador itinerante recorrió Galilea, reclutando seguidores para establecer un «reino de Dios». El movimiento revolucionario que creó representaba una amenaza tan importante para el orden establecido que ese hombre fue capturado, torturado y ejecutado como un criminal. Décadas después, sus seguidores lo llamaban Dios.

Desentrañando siglos de mitos, el historiador Reza Aslan ofrece una nueva luz sobre uno de los personajes más influyentes y enigmáticos de la historia, examinando a Jesús a través de la lente de la tumultuosa época en la que vivió. Confrontando al Jesús de los Evangelios con las fuentes históricas, Aslan describe a un hombre lleno de convicciones y pasión, y a la vez plagado de contradicciones. El zelote es una biografía fascinante, provocativa y meticulosamente documentada que trae una nueva perspectiva sobre la naturaleza, la vida y la misión de Jesús de Nazaret.

22 enero, 2015

Charlie Hebdo, la extrema derecha y la xenofobia

En los días que siguieron a la matanza de los periodistas de Charlie Hebdo, en artículos de prensa y en redes sociales se ha empezado a debatir acerca de si los contenidos publicados por este periódico eran racistas o xenófobos, más que para justificar los hechos, para tratar de entenderlos.
Por ejemplo, en Colombia, José Antonio Gutiérrez publicó en Las2Orillas una entrada donde califica a Charlie Hebdo de periódico racista con tinte de colonialismo. La semana del ataque el semanario Voz replicó un artículo publicado originalmente por El Mundo de España en 2013 en el que Charb, director de la publicación y una de las víctimas fatales de la masacre, y Fabrice Nicolono, caricaturista del medio herido en el ataque, explicaban lo absurdo que les resultaban las acusaciones de racismo en contra de la publicación.
Si bien uno puede no estar de acuerdo con todo lo que publica Charlie Hebdo, pareciera que quienes hacen estas acusaciones de racismo no han tenido un número de la revista en las manos o, si lo tuvieron, no entendieron cuáles eran los “blancos” del sentido del humor de los periodistas.
¿Quiénes son los caricaturistas de Charlie Hebdo?
Los primero es recordar de dónde vienen estos periodistas. Algunos, los mayores, eran directamente de la generación del 68, mientras que los más jóvenes, como Charb, eran “hijos del 68”.

jueves, 22 de enero de 2015
EN EL "ESPACIO MENTE ABIERTA"; ENTENDER CHARLIE HEBDO
http://indecquetrabaja.blogspot.com.ar/2015/01/en-el-espacio-mente-abierta-entender.html






Esta referencia al año 68 dice muchas cosas: eran muy izquierdistas, universalistas, abiertamente ateos y totalmente irreverentes. Sin embargo, a pesar de los chistes y de las caricaturas que emanaban de esta irreverencia, tenían en filigrana algo más serio que es la defensa de los valores republicanos. De hecho, me parece interesante recordar que el día de esta terrible matanza en Charlie Hebdo, los miembros asesinados del Comité Editorial de este periódico estaba trabajando sobre cómo luchar contra el racismo en Francia.
Esta defensa de los valores republicanos fue seguramente su motivación para atacar a todas las religiones que veían como una amenaza a los valores laicos de la sociedad francesa. En estos ataques a los fanatismos religiosos algunos ven una forma de racismo, sin embargo ninguna religión está asociada a un origen étnico. Las religiones por supuesto tienen sus orígenes en algunos sitios del mundo (a veces el mismo) y tienen creyentes que no están uniformemente repartidos entre los pueblos, pero confundir ataques a la religión y su fanatismo con racismo, es algo bastante aproximativo. Un dato elocuente: hasta 2012 Charlie Hebdo había tenido en su contra 14 procesos instaurados por asociaciones católicas, algunas muy cercanas a la extrema derecha en Francia, y uno solo (que ganó) instaurado por dos asociaciones musulmanas.
Por lo que sí podría criticarse a los periodistas de Charlie es porque en defensa de los valores republicanos es posible que, como muchos franceses, tuvieran una visión estrecha de la laicidad. La laicidad en Francia fue, en su origen, construida sobre la religión católica, lo que es problemático por algunos detalles prácticos. Por ejemplo, en las administraciones públicas en Francia no se pueden exhibir signos religiosos, lo que resulta más fácil para un católico que puede esconder su cruz por debajo de su camisa, que para una musulmana que quiere cumplir con las reglas del Islam y cubrir su cabeza con un chador. Es posible que los periodistas de Charlie Hebdo fueran “republicanos extremistas”, pero eso es el reflejo de una parte de la sociedad francesa en general.

Las acusaciones de racismo
Al ser herederos del movimiento de 68 (la revista nació en 1969), es contradictorio calificar a estos periodistas de racistas, pues tradicionalmente el racismo en Francia ha surgido más por el lado de la derecha y de la extrema derecha que de la izquierda. Los lectores de Charlie Hebdo conocen muy bien todos los artículos en contra de la extrema derecha en Francia o, en general, en contra de los gobiernos de turno que promovían políticas de inmigración restrictivas, por ejemplo.
Sin embargo, es cierto que Charie Hebdo tiene opiniones fuertes contra lo que ve como los extremismos religiosos y su injerencia en la política de los estados. El punto de estos periodistas es que no hay ninguna razón para dejar la crítica de la política de colonización del estado de Israel, o de la violación de los derechos humanos en algunos países del medio oriente, a los “racistas patentados”.
Como caricaturistas querían denunciar eso, pero el hecho de denunciarlo no los hace racistas. Para ellos atacar a los fanatismos religiosos con pluma y caricatura es una manera de luchar contra la extrema derecha, lo que a su juicio favorece en particular a los musulmanes, quienes son, vale la pena recordarlo, las primeras víctimas de los integristas islamistas.
Hace poco el humorista y escritor francés Nicolas Bedos, también amenazado por sus comentarios humorísticos, decía: “uno puede reírse de todo, con todo el mundo, pero cuando uno no es cualquier persona”. En otras palabras, un mismo chiste o una misma caricatura será interpretada de manera distinta si quien lo hace es alguien que se sabe que no es racista o si es un racista declarado. Precisamente por esto fue despedido un periodista de en Charlie Hebdo durante el año 2008 cuando se dieron cuenta de que sus diatribas en contra del Estado de Israel eran motivadas por su antisemitismo y no por razones legítimas como la defensa de los derechos humanos de los palestinos.

La sátira francesa en contexto
Es importante recordar que en la tradición satírica francesa se hace mucho uso de lo que se llama el “segundo grado”, es decir, que el chiste no se encuentra en el primer plano (sentido), sino que es un poco más “sofisticado”. A este respecto hay muchos debates interesantes sobre las diversas manera de interpretar la primera portada de Charlie posterior a esta matanza que tiene una caricatura de Mahoma con una lágrima diciendo “Todo está perdonado”. En lugar de dar estas interpretaciones acá, invito a los lectores a proponerlas en los comentarios.
Mucho de lo escrito sobre esta masacre pone en evidencia el dilema que se presenta entre dos principios, ambos legítimos pero difíciles de aplicar al mismo tiempo: el de la libertad de expresión y el del respeto por lo sagrado, en general asociado a las religiones y sus prácticas. Para muchos el “más sagrado” puede ser la libertad de expresión, pero hay todo el lugar a discusión.


 Como dijo la semana pasada el escritor colombiano Juan Gabriel Vásquez, “minimizar o relativizar la gravedad de los asesinatos terroristas con el argumento de que las víctimas ‘abusaron de la libertad de expresión’, o con el argumento de que ‘occidente también ha matado’, me parece de una cobardía moral repugnante”.
Muchos critican la cobertura asimétrica por parte de los medios de comunicación de la masacre de Charlie Hebdo y las masacres cometidas por Boko Haram en Nigeria esos mismos días. Seguramente Charb y sus compañeros habrían criticado con sus caricaturas esta situación y este tratamiento asimétrico de los eventos.

 Marcela Meléndez
Por David Bardey. Una versión de esta entrada apareció en La Silla Vacía

Un crimen fríamente calculado...

La noche era oscura y lluviosa; el sicario se desplazó sin llamar la atención y estacionó su auto negro frente al edificio. No levanto sospechas a los policías que en gran número vigilan la zona ya que el vestía de negro, justamente para no levantar sospechas, "en un auto negro y con ropa negra nadie se fijará en mí", pensó.
El asesino bajo con naturalidad. Se había asegurado llevar puesto un antifaz negro también, para no ser reconocido por las mil setecientas cuarenta y cinco cámaras de seguridad. No llamó la atención de la prefectura que cuida la entrada y salida de la zona, tampoco había motivos ya que era la madrugada y son miles los asesinos que se mueven a esas horas por el lugar.

21 enero, 2015

Por qué soy kirchnerista

Encontré esta nota de 2013 casi por casualidad y en tiempos tan virulentos (los que han pasado recientemente y los que pronto están por venir, si acaso podemos sustraernos de este presente revoltijo) es más que necesario atender a este tipo de argumentaciones para intentar la comprensión de un otro que no está representado públicamente. No lo vemos en los medios, no lo vemos en los shopping o en los encuentros clasemedieros burgueses porque no se pueden mostrar tan lúcidos todos para contar esto mismo, porque son maltratados en las radios y los odian los taxistas. Porque una vez instalado un "malo" ya no tiene cabida su expresión y se lo conduce a la marginación. Pero están aunque no puedan expresar su ideología con tal claridad, están en nuestros servicios, en los colectivos, en el interior, en los bailes del finde, Escuchan calladamente (no necesariamente con respeto) mientra escupimos sueltos de cuerpo y sin contemplaciones todo nuestro odio a la "yegua-cretina-y-ojala-el-otro-se-la-lleve-con-él" y por no saber escuchar llegamos a creer que es verdad únicamente lo que decimos, y así nos va...
Como bien expresa el editor del blog Unlargo, no es para estar en todo de acuerdo sino para saber que existe y porqué existe.

IXX-ene2014
   

20 enero, 2015

Noam Chomsky: Todos somos... (llene el espacio)

El mundo quedó horrorizado después del brutal ataque que sufrió la revista satírica francesa Charlie Hebdo. En las columnas del New York Times, el corresponsal Steven Erlanger, presente desde hace mucho tiempo en Europa, describió de forma sobrecogedora las repercusiones inmediatas de lo que muchos describen como el “11 septiembre” francés. Fue “una jornada durante la cual se sucedieron sirenas ruidosas con los ires y venires de los helicópteros. Una jornada de frenesí mediático, de cordones policiacos, de muchedumbres en pánico y de niños alejados de las escuelas por cuestiones de seguridad. Una jornada, como las dos que le siguieron, de sangre y de horror en París y sus suburbios”. El inmenso repudio mundial provocado por el atentado fue acompañado por una reflexión sobre las raíces profundas de esta barbaridad. “Muchos son los que ven en estos hechos un choque de civilizaciones”, anunciaba un título del New York Times.

18 enero, 2015

El otro no me importa Por Bernardo Kliksberg *


Imagen mamvas.blogspot.com
Exabruptos sociales
De acuerdo con un informe de la ONU, el crecimiento continuo de las desigualdades no sólo es “intrínsecamente injusto”, sino que afecta “la calidad de las relaciones”. En un mundo donde un 1 por ciento de la población está llegando a concentrar casi el 50 por ciento del producto bruto mundial, y el 50 por ciento tiene menos del 1 por ciento, florecen las coartadas para justificar el statu quo y los exabruptos sociales.

El mito del trabajo


Ningún mito ha sido más importante en la teoría económica que el de la existencia del mercado laboral. Para la plácida ideología del capitalismo contemporáneo, plasmada en la teoría económica ortodoxa, esta fábula se usa para explicar la determinación del salario y el fenómeno del desempleo (o negar la existencia de desempleo involuntario). Es también el fundamento para recomendar la completa flexibilidad en el mercado de trabajo, es decir la eliminación de obstáculos al movimiento de los salarios para realizar el ajuste en este peculiar mercado. Este es el fondo de la llamada reforma laboral en México y en muchos otros países.

Unhappy Readymade Marcel Duchamp

Marcel Duchamp’s Experimental Geometry


1983 by Princeton University Press
mathematics, geometry, non-Euclidean geometry, Marcel Duchamp
http://members.iif.hu/visontay/ponticulus/britannicus/unhappy.html



One of Duchamp’s last specific comments on geometry was hisUnhappy Readymade of 1919. At the time of the marriage of his sister, Suzanne, to Jean Crotti, the artist sent instructions to the couple in Paris to suspend a geometry book by strings on their balcony. Duchamp later described the intended results:


“The wind had to go through the book, choose its own problems, turn and tear out the pages… It amused me to bring the idea of happy and unhappy into readymades, and then the rain, the wind, the pages flying, it was an amusing idea.”*

*Duchamp, as quoted in Cabanne, Dialogues, p. 61

In the Unhappy Readymade the more familiar irreverent Duchamp appears to have replaced once again the scholar revealed in the A l’infinitifnotes. Duchamp’s days of concentrated geometric scholarship were largely over by the time he left France in 1915 and were certainly so by 1919. Still, it is not the new geometries that the Unhappy Readymade subverts, for the geometry text hung on the balcony deals with Euclidean plane geometry. In fact, the result of action by the wind and rain would be non-Euclidean: the inevitable buckling and tearing of the pages would produce non-Euclidean deformations of the Euclidean diagrams in the text.





**

Unhappy Readymade
or Readymade Malheureux

The Box in a Valise version
Original Version:1919, Buenos Aires
lost/ destroyed
geometry textbook hung outside
and exposed to elements
readymade?
no dimensions recorded
A geometry textbook, this Readymade was literally exposed to the elements. It was opened face up, suspended in midair and rigged to the corners of an outdoor porch. The book was left suspended in this manner for an extended length of time and the weather took its toll on it. The wind tore its pages, the rain drenched it, and the sun bleached and faded its ink over time. Unhappy Readymade was made in this manner not by Duchamp, but by his sister Suzanne. She was instructed to make it through written correspondence with her brother. Ramirez notes that this Readymade was in fact to be her wedding present (45).
Harriet and Sidney Janis explain that this "treatise seriously got the facts of life" (Masheck 37). It "epitomizes the conflict between human knowledge and the eternal verities. Duchamp accepts as inevitable the action of the forces of nature, the changes which time effects, its proclivity for corroding, destroying, reducing to rubbish all that man builds, is its haste in covering all human traces with dust" (Masheck 37-8).
Marcel Duchamp's Unhappy Readymade, 1920
oil on canvas, Suzanne Duchamp
The title clearly illustrates Duchamp's personification of the textbook by assigning it human feelings. Just like a human, it is not happy to be left outside in the unpredictable weather for an extended length of time. Similar personification may be seen in a number of other Readymades as well, including Fresh Widow.
This Readymade also addresses Duchamp's interest in chance, for no one can ever precisely predict the weather and how it will affect atextbook. In a sense, just like in Three Standard Stoppages, chance is the true artist of this Readymade. However, authorship is, of course, a complex issue here as well. After all, Duchamp and his sister both may seem to be the artist.
In a 1966 interview, Duchamp provided the following explanation of this unique Readymade:




"It was a geometry book, which he had to hang by strings on the balcony of his apartment in the rue Condamine; the wind had to go through the book, choose its own problems, turn and tear out the pages. Suzanne did a small painting of it, 'Marcel's Unhappy Readymade.' That's all that's left, since the wind tore it up. It amused me to bring the idea of happy and unhappy into readymades, and then the rain, the wind, the pages flying, it was an amusing idea…" (61).

http://www.toutfait.com/unmaking_the_museum/Unhappy%20Readymade.html



**

les Duchamps :  combined play, cheating or secrets

MAGDELEINE DUCHAMP (1898- ? )
Magdeleine is 11 years younger than Marcel. We know conspiciuously little about her. She was painted in September 1911 by Marcel “…déchiquetée” and another time in October “A propos…”. On New Year’s Day of 1913 she played along with Marcel’s ‘Erratum musical’. Magdeleine and Yvonne inherit Suzanne’s apartment in 1963. In 1967 they were present at the inauguration of a plaque on the parental house in Rouen.
.
.
YVONNE DUCHAMP
 (1895- ? )
Yvonne is 8 years younger than Marcel Duchamp. In 1911 painted by Marcel in “…déchiquetée”. She also plays in Marcel’s ‘Erratum musical’ on New Year’s Day 1913. She studies English and Marcel accompanies her for a couple of months while on a language course in England in the summer of 1913. Yvonne Duchamp marries Eugène Alphonse Duvernoy in 1923. They move to Sanary-sur-mer, a seaside resort on the Côte d’azur. In 1947 Suzanne and Crotti pay them a visit.
.
.
SUZANNE DUCHAMP
 (1889-1963)
Suzanne is 2 years younger than Marcel. She graduates at the Ecole des Beaux-Arts in Rouen (1905). She marries a pharmacist in 1911 whom she divorces in 1913.  Her first exhibition is held in the Salon des Independants in 1911, probably thanks to her much older brothers. In 1916 she becomes a Dadaïst. In 1919 she marries the artist Jean Crotti. They both develop a “Style Mecanomorphique” and in 1923 start the “mouvement TABU”. They often exhibit together. Suzanne Duchamp also regularly exhibits in America. In 1923 organised by Katherine Dreier. In 1952 there is the exhibition “Duchamp, frères et soeur” in The Rose Field Gallery, NY. Suzanne Duchamp wasn’t very famous. She hid erotica in her drawings and paintings. So did Jean Crotti.

Intimité

(1911, Rouen)
From the time of her first marriage. The hidden, erotic drawings have a childlike style. The woman’s blouse is a glans, the hat could be a tongue? The little girl, in her entirety, is an opposite variant to Marcel’s favourite shape, the triangle with the sloped sides. Now seen from Suzanne’s position.
Le Cirque
(1913, Paris)
After her divorce Suzanne moves to Paris, where Marcel lives as well. Do they work together? The entrance to the circus on top of the painting is a glans. In the girl with the balancing stick we see a male profile near a vagina. In addition erections. The lioness is a vagina, the lion a penis. Maybe all of this has to do with their star signs: Marcel is a Lion, Suzanne’s is Libra (Balance). Was this why in their games she was the acrobat hanging in the air while he was the clawing lion on the ground?
    

1916 – Suzanne meets Jean Crotti, who came back from New York and brought news about Marcel to the Duchamp family.
1918 – Marcel flees to Argentina. Yvonne Chastel, Crotti’s ex-wife accompanies him. She leaves for Paris as soon as the war is over.
1919 – Marcel travels to Paris and meets Suzanne, now Madame Crotti. He also sees Yvonne again.
1920 – Marcel leaves for New York again to finsih his ‘Grand verre’.

Radiation de Deux Seuls Eloignés

(1916-18-20, Paris)
This work probably refers to the above mentioned facts. The title has double meanings: The “emission” or “effacing” of two “isolated” individuals or of two “estranged” individuals? A first visual analysis shows (well-known) urine-and-fart situations. But also a bottle of perfume.
  
Only one year later in New York “Belle Haleine” can be admired and Crotti’s ex gets the bottle.

Multiplication brisé et rétabli

(1918 – 1919, Paris)
About the period just before her marriage to Crotti? The reverse Eiffeltower that we see is really a “Bilboquet”, a ball-catcher. It is still unclear which erotic role this toy was playing. (Marcel gave a wooden bilboquet as a Souvenir de Paris to Max Bergmann in 1910.)
In Suzanne’s painting this bilboquet hides an erection, with masturbating hand. The arrow in the painting invites us to a visual game. Holding a mirror to this arrow we see many erotic scenes, something we know from Marcel’s work. But now it is from Suzanne’s viewpoint. In her work we find the same acrobatics: she is kneeling on his shoulders while peeing on his face, Marcel is peeing as well or he ejaculates. The bilboquet shape in combination with the globe-shapes and stars agree with what for Marcel would be a pond of urine between her legs, with bubbling farts? Clearly letters have been hidden as well.
But what about the texts? “And the mirror would break, the scaffold would collapse, the balloons would fly away, the stars would fade, etc….” all in the imparfaît. We understand links to her games with Marcel. Games that would disappear. Did they not disappear? Does she still desire Marcel that much? Or did they not disappear with Crotti’s appearance? And even “rétabli”? Do they do the same?    

1919 – Marcel, in Buenos Aires, receives news of Suzanne’s marriage to Jean Crotti. As a wedding gift he sends a maths book: his “Ready-made malheureux”. The book needs to be suspended from a balcony outside so that rain and wind find their own problems in it and tear out those pages. Marcel wants a photo of it.
Seen through their eyes, rain and wind can be… urine and farts. Does Suzanne need to find her urine-and-farts problem, solve it and then destroy it? Or is it Marcel’s urine-and-farts problem that needs to be destroyed?
The ready-made is installed, Marcel gets his photograph. He writes back about the ready-made that is bored on he balcony: “S’il est complètement déchiqueté, vous pouvez le remplacer.” Is she allowed to replace Marcel by Crotti?

Le Ready-made malheureux de Marcel

(1921, Paris)
Suzanne bases a painting on this picture. Their classical find-the-hidden-erotics puzzle. The profile is not very Marcel-like. And we see a naked breast. For the first time! The breast has a long nipple. It was sucked for a long time, and it certainly was not done by Marcel. The rain-and-wind problem has been ripped out. Marcel is replaced.
 
Later on Marcel Duchamp will include the picture of his ‘Unhappy Ready-made’ (AS-484) in ‘Boîte-en-valise’. He has touched up the maths book in the picture with a geometrical drawing, like in his 1913 ‘Combat de boxe’ (when he and Suzanne lived in Paris). Here the nose of the profile is in between two circles. These are not breasts but buttocks. The rain-and-wind problem has not been torn out here.

Portrait de Marcel Duchamp

(1920, Paris)
After her marriage, but drawn earlier than ‘Le ready-made malheureux de Marcel’.
Marcel is pictured as a Prince Charming but his shadow is that of a nasty, disgusting person. Portrait and shadow together can form yet another portrait, and a different story. That of an ugly old woman. Maid Clémence? Was she a little deaf? Is that hearing horn hers? Marcel’s eye is mesmerizing. Tilted to the right this eye can be a wide open vagina, it can be a penis, an arse, or the top plan view of a head between legs directed at a vagina. In the middle of the drawing a comic-like profile can be discovered with his nose between buttocks. At the bottom there is a strange, funny cat. Her head is shaped into a reverse “urinal”, or Marcel’s favourite image, seen here from Suzanne’s point of view. Her spread thighs with a penis in front. Probably peeing, filling their pond (see analysis for ‘Red Knight’, AS-427). Differently interpreted the lines show a blowing head between her thighs. Another analysis shows this cat as a devil! This reminds us of the Marcel devil in ‘Obligation pour la roulette de Monte-Carlo’ (AS-406), later on in 1924.
      

Suzanne Duchamp has continued hiding erotica.

.
.

.
RAYMOND DUCHAMP-VILLON or Raymond Duchamp (1876-1918)
Raymond is 11 years older than Marcel. He started studying medicine in Paris but became a sculptor and changed his name in 1900. He had his first own exhibition in 1902. He marries in 1903. He settles in Puteaux in 1907 where he becomes central to the ‘Puteaux group’. He is important as one of the few cubist sculptors. He went to the front voluntarily to nurse the wounded and died of blood poisoning in 1918 . He never got the chance to extend his oeuvre. He also hid erotica. In particular in ‘Grand Cheval’, for which Marcel Duchamp will supervise an enlargement in 1966.

Grand cheval

(1914)
Raymond applies the classical principle of illusion here: that of “the vase or the hidden faces”. Or the exchange of empty space and tangible volume. This in combination with the sculpted forms result in the same sceneries we know from Marcel: nose near vagina, erection or masturbation, nose near arse… etc.
What is going on with those Duchamps?
  
.
.
.
.
JACQUES VILLON or Gaston Duchamp (1875-1963)
Gaston Duchamp went to Paris when Marcel was seven. He planned to study law, but in 1895 he changed his name and became an artist instead: Jacques Villon. After the French poet, thief, killer, barroom brawler and vagabond François Villon (1431–1464)and “Jack” by Alphonse Daudet (a very moving social novel tracking the sinister progress of a childhood marred by the lightheartedness of his unworthy mother and and the wickedness of a sadistic stepfather).
In Paris Jacques Villon made engravings, especially the aquatint, and drew cartoons for satirical weeklies. Since 1903 he was co-organiser of the Salon d’Automne. In 1906 he chooses to be a painter and moves to Puteaux, where in 1911 he founds a discussion group of writers and painters that strive for “Lyrical cubism” They organise a lot of salons. He marries in 1913. In that year, during the Armory show in New York, his six contributions are sold. The next years Jacques Villon is relatively successful. In 1923 Marcel Duchamp organises a solo-exhibition of Jacques’ work in NY.

From 1937 Jacques Villon is officially acknowledged. He will receive many international awards. Two exhibitions will be organised of the three Duchamp brothers together: Yale University Art Gallery (1941, New Haven) and Guggenheim Museum (1957, New York). Jacques sells better in America than in Europe. He was the most well-known Duchamp. The works of Jacques Duchamp also contain hidden erotica.

Taureau et Gemaux

(1937)
Jeune fille au piano
(1912)
The same puzzle paintings like the ones from Marcel, but more colourful. And more abstract in the hidden drawings. The erotica seems to be more classic in his paintings: breasts, nipples, fucking, vaginas, erections and blowjobs. But also farts.
    

Nos Mécènes

(1901)
In the caricatures Jacques makes for L’Assiette au Beurre, he hides erotica like Marcel will do seven years later. But not that much in one picture. Here is an erection. And blowing at a vagina?
In fact the brothers and sister Duchamp all do the same thing!

Portrait of Emile Nicole

(1891)
Jacques is only 16 and portrays his grandfather, who taught him how to draw. In the good old grandpa’s face vaginas and penises are hidden.
Exactly like Marcel will do with Dr. Dumouchel (AS- 181) in 1910.
 
Was the grandfather aware of Jacques’ rigging out?
Or did the grandfather teach young Jacques the hiding game?
.
.
.
.
EMILE FREDERIC NICOLLE (1830-1894)
Emile Fréderic Nicolle makes his fortune as a ship broker in Le Havre and Rouen. In 1856 he marries the well-todo Marie Sofie Eugènie Gallet. That year Lucie Nicolle is born: Marcel Duchamp’s mother. Emile Nicolle paints and etches for fun. His first exhibition is in 1864 but his goal is not to sell his works. He keeps them all. Sometimes he will offer one to a family member or a friend. He teaches his grandsons how to draw and gives Gaston (Jacques Villon) an introduction in printing techniques. Emile Nicolle is co-founder of the first picture museum in France: Galerie d’Estampes et d’Histoire Locale.
In his work we see, through visual analysis, vaginas. Only the ‘vagina in between the legs”, one in every work. But always. The place of a poplar tree in the landscape, a church tower in a cityscape, or a ship’s mast in the harbour, is always very suggestive.

Did the grandfather notice it in the work of Courbet (1819-1877)? Is that why he started doing it as well? Did he teach this to his grandsons and those grandsons to their brother Marcel? And did Marcel teach this to his sister Suzanne?
Marcel and Suzanne must have had a lot of fun seeing their big brother’s charicatures in the satirical magazines. Did they see the hidden erections in the ‘Assiette au Beurre’s of 1901?
In 1902 teenager Marcel does it himself, a degree higher, with ‘Jeune fille dormante’.
 .
.
.
In number 8 of L’Assiette au Beurre (23.5.1901) Jacques Villon draws a cartoon about a war vet. It is funny that the man looks like father Duchamp. Same eyes, nose and beard, but with more hair on his head. This drawing has a lot of hidden erotic situations and they all refer to masturbation. And we also see how a girl masturbates an adult. A boy does this as well…
  

Is this the grown man Jacques? Is big brother doing it to his younger sister and brother?
Or is it indeed father Duchamp  who forced his sexual desires on his children?
That playful father next to Suzanne on the family picture of 1899 (AS-613)?
Is this the big secret behind ‘Etant donnés’?
Did the father abuse Suzanne?
Did he make the hole in her wall…?
Quelle famille!
But, do we want to know it all?
Hypotheses… hypotheses…
.
.
.
POSSIBLE SCENARIO part 4 and CONCLUSION
les Duchamps – combined play, cheating or secrets
There are at least 4.071.956 hypotheses about Marcel Duchamp. They are all very interesting. But an intensive, solely visual analysis was never made.
This visual analysis started from the two Keys  that Marcel Duchamp gave us: urine and farts. For the first time we were able to see very clearly, black on white, that Marcel Duchamp hid erotica in all his drawings, caricatures, paintings, sculptures and four-dimensional works. And that the erotica is a quite specific one. When the visual analysis also shows us that his sister Suzanne hides the exact same, specific erotica – but from the female position – then we can no longer speak of a coincidence. On top of that we can find in several works of Marcel– also with the help of visual analysis – the words “J’aime Suzanne”. Aren’t we allowed to be a little less hypothetical?
Marcel Duchamp has most certainly had a sexual relationship with his sister Suzanne. They were incredibly in love with each other. At least until Marcel turned 25 in 1912. What a scandal! But the perversities of his acts were even more scandalous. They were a real problem that had to be kept a secret. Most likely there were a few others in on the secret. In any case Duchamp’s family members. But everybody kept nicely silent.
Marcel dealt with his problem in his own way: he cultivated the secret in a visual manner. It meant the problem didn’t exist, neither did the solution to that problem, there was only art. Only his  art! Comprehensible only for him, fun only for him. Pure masturbation. Of course others enjoyed it in time. And praised his anti-art, for example. But Duchamp never made anti-art, and never “n’importe quoi”-art. Neither did he make art with a socio-artistic engagement. It was merely always farts and urine, presented four-dimensionally. That was his new contribution to art history: mental art. It was a super-rational art. Every detail was considered thrice. There was a reason and an explanation for everything. Although it was not immediately visible. It was exactly like in chess: the art of the strategy.
Marcel learned the visual hiding and chess playing as a very young boy from his older brothers. They in their turn got it from their grandfather Emile Nicolle. According to this visual analysis the parental house in Blainville must have been filled with the hidden vaginas of gramps. Maybe this is the simple message of ‘Etant donnés’? That “urine-and-farts” was a constant given in the Duchamp’s home. What an example it must have been for our little Marcel. Secretly his grandfather was a hero. But he could do better!
‘Les Duchamps’,  the exposition that was organised by Marcel Duchamp in Rouen in 1967, must have been terribly interesting. It was part of his outing. A harbinger of ‘Etant donnés': Jacques, Raymond, Marcel and Suzanne in visual conversation about their urine-and-farts. Was there work of Emile Nicolle? Marcel was indeed the best. He always was the superlative degree. Especially the joyful period of 1913-1923 is one of hyper-creativity, of many great risks and of a passionate pleasure in the game. This is an unparalleled peak in fine arts.
There are a lot of artists showing erotica in a vulgar way. Pornography (explicit eroticism that incites the viewer/reader to masturbate) existed before the invention of the word. The porn industry grows together with the rise of photography, its home base being Paris. Marcel Duchamp does not do pornography, he hides his explicit eroticism. There are of course a lot of artists who hide eroticism as well. They have been around for centuries. Every artist has done it. Because it is fun, an ‘inside joke’. In the early years of photography this was done on a large scale.
In those times a photograph was the new, disappointingly ugly, but true image of reality, as opposed to a drawing or painting, that could beautify reality. Because photography became a competitor, painters would interpret reality, deform it, abstract it and personalize it. Painting is no longer a craft but a completely free art. A lot of ‘-isms’ come into being. Art theory is at its height, as is art philosophy and art criticism. At their height as well are satirical magazines and the caricature. Good illustrators modify reality in a way photography is never able to do. Moreover their modifications are testimony to their intelligence.
And that is what it is about for Marcel Duchamp, playing his hiding games: the intelligence of looking. To show a reality that is not seen. His creativity will go a long way for it.
The whole family Duchamp was into it. Marcels good friend Francis Picabia also played the game sometimes. And Brancusi did. Maybe all of the Puteaux members hid erotica? Maybe that is why they have chosen the name “Lyrical cubism”?
Marcel Duchamp did it in every  piece of art. It was his own personal challenge: to show his perverse and disgusting desire in a fresh and original way. No one has seriously investigated that perverse side, because perversity was never taken seriously. Duchamp knew that of course. Who dared put the blame of perversity on him?  That person would get the blame right back at him. So everybody kept at a safe distance and did not want to see  it, for sure.
Even when Marcel Duchamp reaches out to us posthumously: “Dear friends, it is always and only about 1)the urine and 2)the farts of a woman, you see?”
Maybe this visual analysis has helped a little?
Then we can finally start looking.
.
.
.
.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
Ref.
Gorik Lindemans (© 2012)
les Duchamps :  combined play. cheating or secrets

1-2-3-DUCHAMP !  a visual analysis of Marcel Duchamponetwothreeduchamp.wordpress.com.
.
Se produjo un error en este gadget.