Artaud the Moma:
In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud...
Gespeichert in:
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Columbia University Press
[2018]
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| Schriftenreihe: | Columbia Themes in Philosophy, Social Criticism, and the Arts
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| Schlagworte: | |
| Online-Zugang: | FHA01 FKE01 FLA01 UPA01 UBG01 FAW01 FAB01 FCO01 Volltext |
| Zusammenfassung: | In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself Mômo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums, while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida . . . will present a lecture about Artaud's drawings."For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida—and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Sep 2018) |
| Beschreibung: | 1 online resource |
| ISBN: | 9780231543705 |
| DOI: | 10.7312/derr18166 |
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| 520 | |a In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself Mômo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums, while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida . . . will present a lecture about Artaud's drawings."For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida—and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist | ||
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Datensatz im Suchindex
| _version_ | 1804179073821310976 |
|---|---|
| any_adam_object | |
| author | Derrida, Jacques |
| author_facet | Derrida, Jacques |
| author_role | aut |
| author_sort | Derrida, Jacques |
| author_variant | j d jd |
| building | Verbundindex |
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| dewey-full | 792.028092 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 792 - Stage presentations |
| dewey-raw | 792.028092 |
| dewey-search | 792.028092 |
| dewey-sort | 3792.028092 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| doi_str_mv | 10.7312/derr18166 |
| format | Electronic eBook |
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| indexdate | 2024-07-10T08:14:04Z |
| institution | BVB |
| isbn | 9780231543705 |
| language | English |
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| publishDate | 2018 |
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| publisher | Columbia University Press |
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| series2 | Columbia Themes in Philosophy, Social Criticism, and the Arts |
| spelling | Derrida, Jacques Verfasser aut Artaud the Moma Jacques Derrida New York, NY Columbia University Press [2018] © 2017 1 online resource txt rdacontent c rdamedia cr rdacarrier Columbia Themes in Philosophy, Social Criticism, and the Arts Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Sep 2018) In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself Mômo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums, while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida . . . will present a lecture about Artaud's drawings."For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida—and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist In English Artaud, Antonin Criticism and interpretation Cabañas, Kaira M. Sonstige oth Kamuf, Peggy Sonstige oth https://doi.org/10.7312/derr18166 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Derrida, Jacques Artaud the Moma Artaud, Antonin Criticism and interpretation |
| title | Artaud the Moma |
| title_auth | Artaud the Moma |
| title_exact_search | Artaud the Moma |
| title_full | Artaud the Moma Jacques Derrida |
| title_fullStr | Artaud the Moma Jacques Derrida |
| title_full_unstemmed | Artaud the Moma Jacques Derrida |
| title_short | Artaud the Moma |
| title_sort | artaud the moma |
| topic | Artaud, Antonin Criticism and interpretation |
| topic_facet | Artaud, Antonin Criticism and interpretation |
| url | https://doi.org/10.7312/derr18166 |
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