2026.10.06
Live and Let Die or The Tragic End of Marcel Duchamp
 
 
 
 
Gilles Aillaud Eduardo Arroyo Antonio Recalcati Vivre et laisser mourir ou la fin tragique de Marcel Duchamp 1965
Eduardo Arroyo went into exile in Paris in 1958 and there he became one of the most important members of the European Figuration narrative movement. His paintings explored and critiqued the political situation in Spain during the later years of the dictatorship, and also the role of the artist and the meaning of the avant-garde languages, which by then had become conventions. The picture he painted with Gilles Aillaud and Antonio Recalcati in 1965, entitled Vivre et laisser mourir ou la fin tragique de Marcel Duchamp (Live and Let Die or the Tragic End of Marcel Duchamp), is considered a true manifesto and declaration of the pictorial intentions of its authors. The painting defends collective authorship, as opposed to the individualism of abstraction, the dominant trend during that period. With it, the artists also reveal their intention to embody a figurative alternative that enabled them to express their rejection of the paradigms of the historic avant-garde, as languages that were by that point canonical. This prompts them to depict the death of Marcel Duchamp, whose burial services are being performed by artists involved in the new trends, such as: Rauschenberg, Oldenburg, Martial Raysse, Warhol, Restany and Arman. This “assassination” of Marcel Duchamp, considered at the time to be the father of the modern avant-garde, produced a real scandal in French intellectual life, so much so that the surrealist group signed a statement against the three authors of the painting. This work represents a turning point in this current, whose approach to the new conditions of image representation is informed by the contemporary visual universe, which encompasses theatre, poetry, photography and cinema.
Museo Nacional Centro de Arte Reina Sofía
A sojourn within the multiverse, I suppose.
2024.10.06
451 Rhawn Gallery
reenacting the largest painting in the world
2017.10.06
zero nine five
Virtual Painting 470
Virtual Painting 471
2003.10.06
Re: Jason Rhoades
...sperm - n - egg are dancin' that's why horse is prancin'...
excerpt from "The sound of your negative reminds me of purple you steak" (perhaps the first and only poem with a flip side) within 2=odd, Dick.
Virtual Museum
   
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1999.10.06
Reigning Queens Absolut Clarity
1986.10.06
Battery Park City
1984.10.04
1965.10.06
1965. Wednesday, Paris
The series of eight canvases entitled Vivre et laisser mourir au la fin tragique de Marcel Duchamp, painted by Messieurs Aillaud, Arroyo and Recalcati and exhibited in "La figuration narrative dans l'art contemporain" at the Galerie Creuze, induces an immediate reaction. Marcel has been asked to visit the gallery by his friends, just before the opening. When he sees the painting he isn't at all upset; in fact it rather amuses him. He signs the guest book. However, his friends André Breton, Robert Lebel, André Pieyre de Mandiargues and Arturo Schwarz are among fifty who sign the tract, "Le 'Troisieme Degré' de la Peinture," condemning what it refers to as "a loathsome crime disguised as a ritual assassination".
Ephemerides
1953.10.06
1953. Tuesday, New York City
Marcel cables Arensberg that Man Ray was in Philadelphia on Saturday for the opening of "Before Columbus: Pre-Columbian Sculpture from the Arensberg Collection", and sends his love to them both.
Ephemerides
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