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- W2069417360 abstract "In his biography of Jusep Torres Campalans, a fictitious Catalan cubist painter and alleged friend of Picasso, the Spanish exile Max Aub plays artful games by questioning the difference between forgery and an original. His work caused a scandal in the international art scene in the early sixties and poses even today a challenge to interpretation. What are the textual strategies by which the apparently traditional “biography” displaces the acknowledged coordinates of the European Avant-garde? The text undermines the center of the modernist master-narrative by systematically upgrading its ex-centric margins (“Chiapas” instead of “Paris”!). By making the “paratexts” of the artist’s biography (the prologue, the acknowledgements, the chronology, the catalogue etc.) the real locus of enunciation – in analogy to the Avantgarde’s growing consciousness that the picture frame is as an aesthetic intervention – Aub’s composite text “frames” the history of the Avant-garde in order to open space for a more complex perception of aesthetic modernity." @default.
- W2069417360 created "2016-06-24" @default.
- W2069417360 creator A5062490649 @default.
- W2069417360 date "2005-07-01" @default.
- W2069417360 modified "2023-10-06" @default.
- W2069417360 title "“Paris … gibt’s das noch?” Max Aubs (Ent-)Rahmungen der historischen Avantgarde" @default.
- W2069417360 doi "https://doi.org/10.1515/arca.2005.40.1.79" @default.
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