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• W1177604872 abstract "DUCHAMP DU FILM: DUCHAMP IN THE FIELD OF FILMCentre Pompidou, Paris, FranceSeptember - October, 2014As the performance artist Bruce McClure, a participant at the Duchamp du Film show in Paris, said after the film ended, cannot let it go. I have to touch it. By emphasizing the material of film and the artist's hand-the machine and the human-this statement revealed important themes in the Centre Pompidou series of screenings. These screenings were a re-interpretation of American and European avantgarde film practices from the perspective of Marcel Duchamp's readymade, as well as from the artist's passions and strategies, made all the more resonant because of their re-contextualization. On a rainy night in October, the lower level screening room in Paris was filled. And as the assembled crowd watched the films on this third night of a six-week series, the show of the famed artist's work inhabited one of an upper floor of the formidable structure of the Pompidou itself. To an American, the show and the screenings were impressive events, and the ideas came fast and furiously. This is of course the Duchampian project in a nutshell: art to inspire thought, to be more than a play for the eyes. The conclusions made by the film screenings curated by Jonathan Pouthier and Enrico Camporesi were multiple, but the feeling was to re-engage, to see again, and in the end, to hold dear the idea of film.The first three screenings of the series look specifically at the Duchampian readymade in relationship to film. To understand the significance of these film screenings, and the contribution they make regarding the re-evaluation of past and current avantgarde film practices, we must ask the question, What is the Duchampian readymade? or better still, Why the Duchampian readymade?In one sense, the readymade has a simple definition; in another, its many interpretations have been discussed, debated, and re-defined across the 20th and into the 21st century. Simply (or seemingly so), the readymade comes into being through an action by the artist as he/she selects a mass-produced object, one of no apparent aesthetic value, and re-contextualizes it, giving it the status of a work of art. But not all selections by the artist, that is, by any artist, have this power. The combination of elements, and the internal clash that results-opening up to new ideas-is its defining feature. And to answer the question Why the readymade? perhaps it is because the readymade has points of comparison to film itself, engaging issues of mechanical reproducibility, authorship, and aesthetic value.The first night's screenings was entitled Readymade: Material Unconscious. On this evening, the films presented do not employ photographic realism. Instead, reality is registered on the often-traumatized material surface of the found footage films. Scraps of chemically damaged or burned footage, for example, as in Palindrome (1969) by Hollis Frampton, or Bad Burns (1982) by Paul Sharits, create non-representational swirls of color and light that rival many abstract paintings. …" @default.
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• W1177604872 title "Duchamp Du Film: Duchamp in the Field of Film" @default.
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