ellauri069.html on line 45: You can make anti-art—Duchamp’s “Fountain,” (posliininen kusilaari jossa lukee tää on taidetta) for example—only when everyone still has some conception of authentic, stand-alone, for-its-own-sake art. Warhol’s work is not anti-art. Finding no quality on which to hang a distinction between authentic art and everything else, it simply drops the whole question.
ellauri145.html on line 77: Avec Marcel Duchamp, Breton fonde la revue VVV et Pierre Lazareff l’engage comme « speaker » pour les émissions de la radio la Voix de l’Amérique à destination de la France. Jacqueline le quitte pour le peintre David Hare.
ellauri145.html on line 745: Sitä voisi epäillä, että tää jo riittäisi herättämään hänen pelottavan läppänsä: "Minä puhun alleni." Subrealistista pälinää, eikö mitä? Kaikki sanojen kokoonpanon tarjoamat resurssit käytetään häikäilemättä sanaleikistä alkaen, Nouveaun, Rousselin, Duchampin ja Rigautin myöhemmin käyttämään, kaikkiin muihin tarkoituksiin kuin huvitteluun, pikemminkin päinvastoin: kun hänet kuskattiin kuolemaisillaan Dubois´n taloon, Corbière kirjoitti äidilleen: Olen Dubois´ssa, josta arkkuja tehdään. (Du bois = puusta, honaazä? LOL)
ellauri160.html on line 209: The Pounds settled in Paris around April 1921 and in December moved to an inexpensive ground-floor apartment at 70 bis Rue Notre-Dame-des-Champs. Pound became friendly with Marcel Duchamp, Fernand Léger, Tristan Tzara, and others of the Dada and Surrealist movements, as well as Basil Bunting. He was introduced to the American writer Gertrude Stein, who was living in Paris. She wrote years later that she liked him but did not find him amusing; he was "a village explainer, excellent if you were a village, but if you were not, not".
ellauri210.html on line 385: New York’s first encounter with modern art had come four years earlier with the seminal Armory Show, at which Duchamp’s Nude Descending a Staircase caused an almighty rumpus. This time, Duchamp presented Fountain, the urinal that changed art history. Having witnessed Cravan’s work back in Paris, Duchamp and Picabia invited Cravan to deliver one of his anti-art lectures at the exhibition. He didn’t disappoint. On the day, he stood half cut in front of his audience, swore at them, waved his cock around, and was promptly arrested.
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Marcel Duchamp: aphorisms (also found in The Writings of Marchel Duchamp)


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Duchamp oli se häiskä joka teki taidetta kusilaarista liimamalla sen päälle lapun "The Fountain". Olipa nokkelaa. Duchamp oli Anteron parhaita kavereita, sixi se pääsi mukaan tähän luetteloon vaikkei ollut kovin hauskakaan. Millaisia olivat sen muut töräyxet? Ses plus belles pensées?
ellauri210.html on line 833: Tristan Tzara captured the inspired lunacy in his 1921 Dada Manifesto on Lukewarm Love. Marcel Duchamp’s “Readymades,” or Francis Picabia’s canvases of human figures as functionless machines belong here. Dada began as a limited franchise, with key outposts in Zurich, Berlin, Paris, and New York. Preceding the Surrealist movement by several years, and often inspired by the Communist Party (though not tied to it), its origins lay in a militant nostalgia for a pre-war lost Eden. Dadaists sought “an art based on fundamentals to cure the madness of the age and a new order of things that would restore the balance between heaven and hell." (Jean Arp).
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Duchamp Hauhontiellä

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Duchamp Hauhontiellä


ellauri211.html on line 199: Huomaan kyllä mihin nuoli osoittaa. Duchamp oli 1/45 Piha-Antero Bretonin nuaareista humoristeista. Siltä lähti mm. tälläsiä aforismeja:
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