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Artaud Versus Kant: Annihilation of the Imagination in Deleuze's Philosophy of Cinema1
CINEMA 6! 137 ARTAUD VERSUS KANT: ANNIHILATION OF THE IMAGINATION IN DELEUZE’S PHILOSOPHY OF CINEMA1 Jurate Baranova (Lithuanian University of Educational Sciences) Immanuel Kant (1724-1804) and Antonin Artaud (1896-1948) present two different poles of the possibility of thought: 1) that of critical sharpness and 2) a possible inability to concen- trate on thinking at all. The first author is known as a famous critic of all forms of reason, whereas the second stands out as the author of the theatre of cruelty, a poet, playwright, es- sayist, novelist, theatre and film actor, producer, theoretician of the theatre, and artist who spent about nine years in various asylums, diagnosed with schizophrenical delirium. How it is possible for them to have some relation at all? Philosophy is a paradox, writes Deleuze in Difference and Repetition. These two, at the first sight incommensurable thinkers, as Michel Foucault would have said — meet at the realm of discourse — in the philosophy of Deleuze. In 1963, Deleuze published the book Kant’s Critical Philosophy (La philosophie critique de Kant). He never wrote a book or any special text on Artaud as, for instance, Jacques Derrida did in “La Parole soufflée,” “Le Théâtre de la cruauté et la clôture de la représentation,”2 and “For- cener le subjectile.”3 Adrian Morfee nevertheless made a hasty conclusion when he re- proached Deleuze for “grandiloquent championing of Artaud in his article “Le Schizophrène et le mot,” where he declares he would not sacrifice one page of Artaud for all of Carroll, in fact only half a page out of fifteen are given over to discussing Artaud. -
EL MURO DE JORGE OTEIZA Un Sistema Para Proyectar En El Espacio
EL MURO DE JORGE OTEIZA Un sistema para proyectar en el espacio Joaquín Lizasoain Urcola 2017 (cc)2017 JOAQUIN LIZASOAIN URCOLA (cc by-nc-nd 4.0) INDICE INTRODUCCIÓN ..................................................................................................................... 4 PREPARACIÓN DEL MURO .................................................................................................... 10 Los inicios exploratorios. Entre el objeto y el relieve (1927‐1934) ............................................... 10 Escultura, pintura y arquitectura en los años de formación ...................................................................... 11 Primeros acercamientos a la arquitectura ................................................................................................. 11 La importancia de la pintura ...................................................................................................................... 14 La búsqueda de un camino personal en la escultura ................................................................................. 16 Primeras propuestas escultóricas .............................................................................................................. 18 La aproximación a la estética. José Ortega y Gasset y Wilhelm Worringer ............................................... 19 Maduración artística y estética para una propuesta teórica de muro (1935‐1944) ....................... 23 El contexto artístico americano y sus influencias ...................................................................................... -
Sergi Aguilar, Andreu Alfaro, Manuel Ángeles Ortiz, Tonico
Sergi Aguilar, Andreu Alfaro, Manuel Ángeles Ortiz, Tonico Ballester, Emiliano Barral, Alfons Blat, Joan Brossa, Carmen Calvo, Joan Cardells, Teresa Cebrián, Eduardo Chillida, Martín Chirino, Nacho Criado, Jordi Colomer, Ricardo Cotanda, Elisa Díez García de Leániz, Pepe Espaliu, Ángel Ferrant, Esther Ferrer, Julio González, Cristina Iglesias, Eva Lootz, Ángeles Marco, Aurelia Muñoz, Joan Miró, Salvador Montesa, Juan Muñoz, Miquel Navarro, Jorge de Oteiza Embil, Roberto Otero, Pablo Palazuelo, Rafael Pérez Contel, Francisco Pérez Mateo, Alberto Sánchez, Anatole Saderman, Soledad Sevilla, Fernando Sinaga, Susana Solano, Antoni Tàpies, Ricardo Ugarte, Moisés Villelia, Jose Mª Yturralde Nacho París Mi padre me dejó en una libertad total. Yo hacía cosas muy extrañas y él jamás las discutía. A él le ocurrió otro tanto con su tío abuelo, el pintor romántico Luis Ferrant, que le dejó hacer lo que quiso. Nadie puede darse cuenta de lo que esto vale.1 Ángel Ferrant El escultor lo que quiere es saber de escultura, aprender escultura para fabricar esculturas, a mí me su- cede totalmente distinto, yo he hecho esculturas para saber de qué trata la escultura, para ser escultor; y cuando me he hecho escultor pues he dejado la escultura… ¡para qué las quiero!2 Jorge Oteiza 1. PREÁMBULO La exposición Escultura infinita reúne el trabajo de cuarenta y dos artistas de nacionalidad española a través de noventa y dos obras procedentes, fundamentalmente, de las colecciones del Institut Valencià d’Art Modern (Valencia), del Museo Nacional Centro de Arte Reina Sofía (Madrid), del Museo Patio Herreriano (Valladolid) y de la Fundació Antoni Tàpies (Barcelona). Esta exposición propone una mira- da, un relato posible entre aquellos que la museografía actual ofrece, sobre la escultura española en el núcleo central del siglo XX. -
* Kiki from Montparnasse for More Than Twenty Years, She Was the Muse of the Parisian Neighbourhood of Montparnasse. Alice Prin
Blog Our blog will be a place used to tell you in detail all those museum's daily aspects, its internal functioning, its secrets, anecdotes and curiosities widely unknown about the building and our collections. How does people work in the museum when it is closed? What secrets lay behind the exemplars of our library? What do the “inhabitants” of our collections hide?... On this space the MACA completely opens its doors to everyone who wants to know us deeper. Welcome to the MACA! • Kiki de Montparnasse (Kiki from Montparnasse) | MACA's celebrities • Miró y el objeto (Miró and the object) | Publications • Derivas de la geometría (Geometry drifts) | Publications • Los patios de canicas (Marbles patios) | MACA's secrets • La Montserrat | MACA's celebrities • Una pasión privada (A private passion) | Publications • Estudiante en prácticas (Apprentice) | MACA's secrets • Arquitectura y arte (Architecture and art) | Publications • Nuestro público (Our public) | MACA's secrets • Gustavo Torner | MACA's celebrities • René Magritte y la Publicidad (René Magritte and Advertising) |MACA's celebrities * Kiki from Montparnasse For more than twenty years, she was the muse of the Parisian neighbourhood of Montparnasse. Alice Prin, who was commonly and widely called Kiki, posed for the best painters of the inter-war Europe and socialized with the most relevant artists of that period. Alice Ernestine Prin, Kiki, was born on the 2nd of October 1901 within a humble family from Châtillon-sur-Seine, a small city of Borgoña. Kiki visited Paris for the first time when she was thirteen and when she was fourteen her family send her to work in the capital. -
Spanish Painting During Developmentism
Spanish Painting during Developmentism From 1960 on, Spanish art consolidated the ground it had gained over the previous decade, in which informal- ism had managed to make itself noticed on the international scene through official promotion and awards given to artists like Antonio Saura and Antoni Tàpies. At the same time, a more lyrical side emerged, which, along with other members of this generation of varied aesthetic options, would set Cuenca’s Museum of Spanish Abstract Art in motion. tinued with what was called “veta brava” Informalism, international recognition was achieved by artists like Antoni Tàpies (1923-2012), who abandoned surrealist figuration in favour of a material informal- ism, Eduardo Chillida (1924-2002), an example of informalist sculpture, and José Guerrero (1914-1991) Spain’s represent- ative of the New York School. Others such as Fernando Zóbel (1924-1984), Gustavo Torner (1925) and Gerardo Rueda (1926- 1996), went on the form part of the central core of what was called the Cuenca Group, representatives of an abstract form that became known as lyrical. These three art- ists shared a sense of aesthetic perfection In the late Fifties and throughout the Sixties, Spain opened up to what lay beyond Fran- and purity of surfaces, producing reflec- co’s regime, so as to modernise the Spanish economy according to the liberal capitalism tive painting, with a very controlled feeling model, resulting in what were known as the Development Plans. One result of the end of far from spontaneity, thereby producing Spain’s isolation was a prolific period for Spanish art, which came into contact with the something that could be called “fake in- international scene for the first time. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
The Dismembered Body in Antonin Artaud's Surrealist Plays
CHAPTER TWO THE DISMEMBERED BODY IN ANTONIN ARTAUD’S SURREALIST PLAYS THOMAS CROMBEZ In two of his surrealist plays, Antonin Artaud inserted a scene where human limbs rain down on the stage. The beginning of Le Jet de sang (The Spurt of Blood, 1925) features a young couple pathetically declaring their love for one another, when suddenly a hurricane bursts, two stars collide, and “a series of legs of living flesh fall down, together with feet, hands, heads of hair, masks, colonnades, portals, temples, and distilling flasks”1 (Artaud 1976a, 71). In a later scenario prepared for the Theatre of Cruelty project, La Conquête du Mexique (The Conquest of Mexico, 1933), the volley of human limbs is echoed almost verbatim. Human limbs, cuirasses, heads, and bellies fall down from all levels of the stage set, like a hailstorm that bombards the earth with supernatural explosions.2 (Artaud 1979, 23) These literal and, according to the theatrical conventions of the day, almost unstageable instances of “dismemberment in drama” point to a distinctive characteristic of Artaud’s work. He seemed to strive for a purely mental drama, to be staged for the enjoyment of the mind’s eye. The distinctly appropriative method he employed to write his mental play- texts may be labeled, borrowing an expression from Alfred Jarry studies, as “the systematically wrong style” (Jarry 1972, 1158). This expression has already proven its worth as the most concise term for Jarry’s linguistically grotesque plays, composed of Shakespearean drama, vulgar talk, heraldic language, archaisms, and corny schoolboy humor. The first part of my essay considers why the standard poststructuralist interpretation of Artaud’s œuvre is unable to provide a strictly literal reading of the human body parts that litter the stage. -
Spanish Painting During Developmentism
Spanish Painting during Developmentism From 1960 on, Spanish art consolidated the ground it had gained over the previous decade, in which informal- ism had managed to make itself noticed on the international scene through official promotion and awards given to artists like Antonio Saura and Antoni Tàpies. At the same time, a more lyrical side emerged, which, along with other members of this generation of varied aesthetic options, would set Cuenca’s Museum of Spanish Abstract Art in motion. Along with ex-members of the El Paso group (which broke up in 1960), rep- resented in this room by Antonio Sau- ra (1930-1998) and Manolo Millares (1926-1972), who continued with what was called “veta brava” Informalism, inter- national recognition was achieved by art- ists like Antoni Tàpies (1923-2012), who abandoned surrealist figuration in favour of a material informalism, Eduardo Chillida (1924-2002), an example of informalist sculpture, and José Guerrero (1914-1991) Spain’s representative of the New York School. Others such as Fernando Zóbel (1924-1984), Gustavo Torner (1925) and Gerardo Rueda (1926-1996), went on the In the late Fifties and throughout the Sixties, Spain opened up to what lay beyond Fran- form part of the central core of what was co’s regime, so as to modernise the Spanish economy according to the liberal capitalism called the Cuenca Group, representatives model, resulting in what were known as the Development Plans. One result of the end of of an abstract form that became known as Spain’s isolation was a prolific period for Spanish art, which came into contact with the lyrical. -
1 Centro Vasco New York
12 THE BASQUES OF NEW YORK: A Cosmopolitan Experience Gloria Totoricagüena With the collaboration of Emilia Sarriugarte Doyaga and Anna M. Renteria Aguirre TOTORICAGÜENA, Gloria The Basques of New York : a cosmopolitan experience / Gloria Totoricagüena ; with the collaboration of Emilia Sarriugarte Doyaga and Anna M. Renteria Aguirre. – 1ª ed. – Vitoria-Gasteiz : Eusko Jaurlaritzaren Argitalpen Zerbitzu Nagusia = Servicio Central de Publicaciones del Gobierno Vasco, 2003 p. ; cm. – (Urazandi ; 12) ISBN 84-457-2012-0 1. Vascos-Nueva York. I. Sarriugarte Doyaga, Emilia. II. Renteria Aguirre, Anna M. III. Euskadi. Presidencia. IV. Título. V. Serie 9(1.460.15:747 Nueva York) Edición: 1.a junio 2003 Tirada: 750 ejemplares © Administración de la Comunidad Autónoma del País Vasco Presidencia del Gobierno Director de la colección: Josu Legarreta Bilbao Internet: www.euskadi.net Edita: Eusko Jaurlaritzaren Argitalpen Zerbitzu Nagusia - Servicio Central de Publicaciones del Gobierno Vasco Donostia-San Sebastián, 1 - 01010 Vitoria-Gasteiz Diseño: Canaldirecto Fotocomposición: Elkar, S.COOP. Larrondo Beheko Etorbidea, Edif. 4 – 48180 LOIU (Bizkaia) Impresión: Elkar, S.COOP. ISBN: 84-457-2012-0 84-457-1914-9 D.L.: BI-1626/03 Nota: El Departamento editor de esta publicación no se responsabiliza de las opiniones vertidas a lo largo de las páginas de esta colección Index Aurkezpena / Presentation............................................................................... 10 Hitzaurrea / Preface......................................................................................... -
The Film Theory of Antonin Artaud 12/28/07 9:54 PM
The Lost Prophet of Cinema: The Film Theory of Antonin Artaud 12/28/07 9:54 PM contents great directors cteq annotations top tens about us links archive search The Lost Prophet of Cinema: The Film Theory of Antonin Artaud by Lee Jamieson Lee Jamieson is a lecturer in Theatre Studies at Stratford- upon-Avon College, England. His book, Antonin Artaud: From Theory to Practice, was published by Greenwich Exchange in May 2007 and covers the theatre work of this influential practitioner. He is currently directing Threshold, a site-specific theatre performance for Tensile Theatre in the UK. In the cinema I have always distinguished a quality peculiar to the secret movement and matter of images. The cinema has an unexpected and Antonin Artaud in Napoléon mysterious side which we find in no other form of art. – Antonin Artaud (1) On 4 March 1948, the body of Antonin Artaud was discovered at the foot of his bed. Before long, French film magazines were inundated with tender obituaries, commemorating his long acting career. Having appeared in more than twenty films between 1924 and 1935, Artaud was a renowned film actor, performing in many of the period’s most influential films including Abel Gance’s Napoléon (1926), Carl Th. Dreyer’s La Passion de Jeanne d’Arc (The Passion of Joan of Arc, 1927), and Fritz Lang’s Liliom (1933). Ironically, Artaud felt humiliated by his film-acting career. He regarded it as a necessary source of income with which to fund his more avant-garde poetry, theatre and film projects. As a writer and critic, Artaud despised the commercialisation of cinema, instead promoting his own radical concept. -
Surrealism-Revolution Against Whiteness
summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ...................... -
Cat151 Working.Qxd
Catalogue 151 election from Ars Libri’s stock of rare books 2 L’ÂGE DU CINÉMA. Directeur: Adonis Kyrou. Rédacteur en chef: Robert Benayoun. No. 4-5, août-novembre 1951. Numéro spé cial [Cinéma surréaliste]. 63, (1)pp. Prof. illus. Oblong sm. 4to. Dec. wraps. Acetate cover. One of 50 hors commerce copies, desig nated in pen with roman numerals, from the édition de luxe of 150 in all, containing, loosely inserted, an original lithograph by Wifredo Lam, signed in pen in the margin, and 5 original strips of film (“filmomanies symptomatiques”); the issue is signed in colored inks by all 17 contributors—including Toyen, Heisler, Man Ray, Péret, Breton, and others—on the first blank leaf. Opening with a classic Surrealist list of films to be seen and films to be shunned (“Voyez,” “Voyez pas”), the issue includes articles by Adonis Kyrou (on “L’âge d’or”), J.-B. Brunius, Toyen (“Confluence”), Péret (“L’escalier aux cent marches”; “La semaine dernière,” présenté par Jindrich Heisler), Gérard Legrand, Georges Goldfayn, Man Ray (“Cinémage”), André Breton (“Comme dans un bois”), “le Groupe Surréaliste Roumain,” Nora Mitrani, Jean Schuster, Jean Ferry, and others. Apart from cinema stills, the illustrations includes work by Adrien Dax, Heisler, Man Ray, Toyen, and Clovis Trouille. The cover of the issue, printed on silver foil stock, is an arresting image from Heisler’s recent film, based on Jarry, “Le surmâle.” Covers a little rubbed. Paris, 1951. 3 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35 illustrations and ornaments by Arp (2 full-page), integrated with the text.