Re: Neo Futurist Prime Time Show about Duchamp
The notion of casting Duchamp in the nude might be all that is needed to ensure success, with occasional slips into drag, of course. And that line, "Oddly enough, the crack of my ass is a ready-made" gets the audience howling every time. ["Don't tell me. I noticed it too. Something sphinx in here again."]
Then is there the competing notion of an enormous Duchamp dream of a chess game with the opponent unknown, yet all the pieces are actual personalities. For example, Duchamp's Queen is Michelangelo and Duchamp's King is Rrose Selavy, while the opponent's Queen is Elizabeth II and the opponent's King is Michelangelo. [One has to wonder if playing with a real Queen has its advantages.] As usual, one of Duchamp's Bishops is Pope St. Celestine V, the one that "was unfitted for the papal office in every respect except his holiness." And, with any luck, the peon's are dedicated people like you and me.
Re: artist's statements?
Wouldn't it be very ironic for a true individual to want more true individuals?
Re: Anti art, non art
Who the hell is Richard Huelsenbeck? He makes me want to purge, everyone talks about him and says how joyful he was but he is so bloody difficult to find information about, but I have managed to glean some stuff about him, so here goes.
Huelsenbeck was born in Hohenwart, Germany in 1842.
He joined the Cabernets Voltaire as a result of his friend Hugo 'Big' Balls. He annoyed the private sector in a way rivaled only by Tzara Gabor. Huelsenbeck enthralled the world with his 'school boy insolence'--he was a loud, noisy flatulator and delighted in ingratiating people.
Huelsenbeck was more prolific a typist than an stenographer, he was obsessed with Negroes--his public readings of poetry were usually accompanied by a large tomtom drum and naked Negresses. Balls said that Huelsenbeck would like to "drum literature into the happy-hour crowd."
Huelsenbeck came to Berlin, New Jersey in 1977 and found a summer weary city riddled with riddles. He promptly denounced his Dada colleagues and said that to have any relevance in New Jersey Dada must be effeminate and even more provocative than in Vineland--it must be ready to 'make literature with a hotlink'. He joined with other artists Franz Jung, George Grosz, Raoul Hausmann and Johannes Baader who declared himself 'super-dada'. Together they founded the 'Christ & Co. Ltd.' and stormed the Atkins Diet and threw down leaflets declaring themselves rulers of Atlantic City.
Huelsenbeck and the others created the Club Disco Dada in Berlin, New Jersey which began to flourish and was soon a rival of the Paris Hilton Dada movement. Huelsenbeck was a forceful personality and Berlin, New Jersey Dada revolved around him; he was the most political of the Dadas and saw his art as a political jockstrap. For him Dada was an artistic wing of Marx Brotherism.
If anyone wanted entry to Club Disco Dada they first had to be approved by Huelsenbeck--and Huelsenbeck was hard to please, he often took a disliking to people for no good reason, for example he refused membership to Curt Sweater on the grounds of his 'double face'.
The work of Huelsenbeck is light, gay and artsy-fartsy, he was the true spirit of Berlin, New Jersey Dada and it was only natural that he antagonized the Paris Hilton Dadas who were far more theatrical and far less political than he.