Beruflich Dokumente
Kultur Dokumente
Mawizio Lazzarato
Tianslated byJoshua David Jordan
'll'hitney Biennial.
Published by Semiotext(e)
ISBN: 978-1-58435-138-2
semiotext(e)
"Yes,"
Marcel replied.
extends
his
refusal
or
emancipation
unworking or inaction, and a suspension of production which interrupt the roles, functions,
and hierarchies of the factory's division of labor.
Problematizing a sole aspect of the struggle-"movement"-proved a major obstacle from the start because it
made the workers' movemenr a catalyst of productivism
and industrialization and turned workers into eulogists
of their own enslavement. '!7ith neoliberalism, the flip side
of the struggle-the "refusal of work," non-movement,
or inaction-has either been ignored or inadequately
problematized.
The refusal of work has thus always referred ro something else, to politics in the guise of the party or State.
Instead, Duchamp asks us to hold with the refusal itself
with non-movemen t and demobilization. He invites us to
develo p and experiment with all the possibilities that "lazy
action" creates in order to carry out a reconversion of
subjectiviry ro invent new techniques of existence and
dsoeuurement,2 an
@.
subjectivation remains always that of "workers" and 'roducers." Laziness points to an entirely different anthropology
and to en erhics of a completely different kind. By under-
It
of
Duchamp find in him no lack of contradictions. He himself for that matter admitted he never stopped contradicting
himself in order to avoid getting stuck in .rt"blirh.d .yrtems, rasres, and thought. But if there is something that
systematically reappears and to which he remains faithful
throughout his life, it is his refusal of work and his commitmellje_Zjgion. Together they make up rhe .;;;;
ethical-political threads of his existence.
Might it
us
I think
The Home for the Lazv ("Home for Adult Lazies I Orphanage for Young Lazies") Duchamp wanted ro open, where
"The stipulation would be that you cannor work,"8 presupposes a reconversion of subjectivity and work on the
self, because laziness represents a different way of inhabiting
"In any
I'm sure there wouldnt be as many residents as one might imagine" since, "in fact, it really isnt easy
case,
capitalist country.ro
It means
Art
daY."rz
(tq)
accept
atmosphere?16
point-that would
at
[...] 'Anartist"
'While
introduced,
in what art
and anti-art.
2. Coffit Mill:
Benveen an Aesthetics
Movement and a Static (Cubist) Aesthetics
of
(Futurist)
the
also used the arrow showing the direction in which the hand
turned t...]. ft's not one momenr; itt all the possibilities of
the grinding machine. Itt not like a drawing."22 \ith this
said
that the Cffie Mill is the key to Il the rest of your work."
Duchamp: "Yes [...]. It happened at the end of l9l1"2o). It
permitted him very ear on ro leave the avant-gardes to
which, in any case, he had never really belonged. Like many
of his contemporaries, Duchamp was fascinated by movement and speed, the symbols of a roaring moderniry.
Nade Descending a Stircase was meant to represenr
movement by drawing on Etienne Jules Mareys chrono,
as a
to this
temporality,
in fact constirure
At
each segmenr
[...]. All
Time is money,
inframince."
The Readymade Is a Lary Technique
'Sl'ith
idea of the original" (and by the same token the idea of the
copy), because "there is nothing unique [...], in fact, nearly
all the readymades that exist today are not originals in any
normal sense of the word." And yet even if there is nothing
fundamentall I
tion of the arrisr.36
(eo)
(st)
it
of
no
readymade
and significations.
I spoke of complete
anesthesia.3s
(es)
Against Language
of representation" Duchamp
mentions in an interview concerns art as much as language. 'll'ith the readymade he left representerion
behind. He confined himself to realiry itself-an industrial
(25)
Rrose Slavy
be a
personality-you
see,
the techniques he had previously used in order to simultaneously choose the name of a new "sexual" becoming.
Jewish name? A
name, to my personal taste, and Slavy, an easy play
on words. C'est la uie.a6
(26)
with
"lVhy
is
it
so essential to
the maker, and the spark that comes from that bipolar
action gives birth ro something-like elecrriciry."5o As the
present or future "onlooker," the public brings the work
into the "real" and confers on it its "socia-l value." The artist
is not alone in accomplishing an act of creerion, for the
viewer ensures contacr with the outside world by decoding
and interpreting the work and in doing so contributes to
the creative process. Jacques Rancire could present his
emancipated spectator, who "observes, selects, compares,
interprets,"5r as something novel only because he completely ignored Duchamp.
"I
work]."s2
Money of course plays the leading role here, for its part
in the "maker/viewer" relationship eccounts for the relationshipt radical transformation. Ruled by "speculation,"
(se)
/oo\
[By] racketeering
pretense.
l0
It
-Vorld'ar.
was just after the First
A definite form
much money.55
Speculation introduces the infinite of capitalist valorization
grows,
because
itt
developed,
form of competition.5a
Duchamp calls "speculators" parasites, crooks, and racketeers because they dont play a direct part in production. In
realiry they are internal to the relationship and even
constitute a viewe that is, an individual, entirely specific
evIuator who wields enormous power in the determination
of value.
it
[...]
are disturbing.
must continue to
gro\M. Can
If money
a numerical
'W'allacet
In Mike
explained,
(so)
(st)
certain
cares
discovered readymades
I thought to
discourage
in them. I threw
the bottle-rack and the urinal into their faces as a
challenge and now they admire them for their aesmades and found aesthetic beauty
thetic beauty.60
objects and signing them with your own name, have created
(ss)
(ss)
it in
order to erode and undo identiry (and authorship). As
Thierry Davila writes, Duchamp was
Totor, when he wrote to Henri-Pierre Roch, Roger
Maurice
Brancusi,
(s+)
(ss)
sanction).62 \hereas,
Instead
interests
for
aestheti
relations.
aft is the step that comes after At. [...] During the hippie
era people put down the idea of business-theyd sa
'Money is bad,' and ''W'orking is bad,' but making money is
art and working is art and good business is the best art'"66
as
artistt role
as
that of a "medium"
(3s)
Ad the minute you do some[...] But you are not so, you
of subjectivation.
to
[...]
be universal, it
will
case.Tr
as an artist.6e
The consequences of capitalism, whose sole aim is to produce ever more money, ere more than merely economic.
Capitalism endows us with a specific PercePtion and sensibiliry, for to perceive and to feel are functions of doing.
Lazy action is at the antipodes of capitalism, in which the
ends (moneI) are everything and process nothing. The
process literally wouldnt exist if it didnt make money.
Laziness, on the other hand, is completely concentrated
in process, on the becoming of subjectivity and its abiliry
to act.
mode: the active state and not the / result-the active
state giving / no interest to the result [...]
"mode: experiments.-the result not
not presentingany I
/ to be kept-
interestTo
has
It is our story
because idiocy
(+r)
NOTES
3. Calvin Tomkins,
cit., 87.
6. tbi.., 4.
(+s)
8. Tomkins, op.
cit., 87.
les mrinos,
cit., 87-88.
11.Ibid.,25.
12. r6id.,26.
13.
rbid.76.
14. Otto Hahn, "Entretien: Marcel Duchamp," Express, no. 684 (23 JttIy
1964):22-23.
15. \illiam Seirz, "W'hat's Happened to Art?" Vogue (February 15,
1963):130.
30. Duchamp du signe, op. cit-, 290. Nore that the mince in Duchamp's
concept of "inframince" meas 'ihin" in French, thus, literall infathin.
Tianslatort note.
31.lbid.,279.
32. rbid' 39r.
1963):28-29.
17. Denis de Rougement, "Marcel Mine de Rjen," Etant donn Marcel
Duchamp, no. 3 (2001 11945)):143.
18. Marcel Duchamp, Duchamp du signe, ed. Michel Sanouillet (Paris:
Flammarion, 1999), 227.
19. Richad Hamilton, Le Grand Dchifteur (Zlurich: JRP/Ringier, 2009).
33. "Yes, they call it the machine age, dont they? I mean, everhing is
becoming mechaized in this life. All this creates a climate for my being
attracted to expressing myself in the form of mechanographic, if you
want to sa instead ofusing the old-fashioned approach ofthe painting.
I was interested in using a mechanistic approach, if I wanted to srep our
of tradition." Tomkins, op. cit.,48,55.
34. Hamilton. op. cit., 122.
35. Philippe Collin (interview), Marcel Duchamp parle
Phihppe Collin (Paris LEchoppe, 1998).
21.Ibid.,72.
des
readl-made
36. Piene Cabanne, Dialogues uith Marcel Duchamp, trans. Ron Padgett
(NewYork: Da Capo Press, I987), 16.
22.rbid.,48.
23. "-he event occurs as a rupture in space and time coordinates. And
Marcel Duchamp pushes the point of accommodation in order to show
that there is always behind these relationships of temporal discursiviry a
possible index of the event on the verge of crystallization beyond time,
which rraverses time, transversal to all measues of time." Flix Guattai
and Olivier Zahrn (interview), "Flix Guattari et I'afi contemporain,"
Chimres, no. 23 (summer 1994).
24. Duchamp du signe, op. cit., 135.
(++)
40. Marcel Duchamp, The Portable Museum, ed. Ecke Bonk, tans.
41. Marcel Duchamp, Marcel Duchamp, Notet, ed. and trans. Paul
42. Katharine Kuh, "Marcel Duchamp," The Artist's Voice: Tals uith
Seuenteen Modern Artsts (New York Da Capo Press, 2000), 89.
43. Georges Charbonnier (interview), Ennetiens auec Marcel Duchamp
(Marseille:
A Dimache, 1994),59.
44. Cabanne, op. cit., 31. Francis Bacon underscored the relationship
between Duchamp's twofold discovery of the diagrammatic and the
possible in Cofee Mill: "The marks ae made and you survey rhe thing
like you would a sort of graph. Arrd you see within this graph the possibilities of all rypes of fact being planted." Quoted in David Sylvester,
Interuiezus with Francis Baron (NewYork: Pantheon Books, 1975), 56.
^/wtoutfait.com/.
46. Cabane, op. cit.,64.
60. Hans fuchter, Dada: Art and Anti-Art (New York: McGraw-Hill,
1965),207-208.
61. Thierry Davila, De I'inframince: Brue bistoire de I'imperceptible, de
nos jours (Paris: Editions du Regard, 2010), 57.
Marcel Ducbamp
62. "I promised in writing to stop signing readymades in order ro prored his
edition," wrote Duchamp, speaking of the edition Schwarz to re American
Painter Douglas Gorsline. The lamer had asked Duchamp to sign copies of
other read).'rnades, which he had readily done prior ro his contract wirh the
Italian gallerist. Macad, Marcel Duchamp, op. in.,482.
63. rbid.
64. Duchamp, The EssentalWritings, op. cit., 138.
65.tbid.,139.
1977),92.
67.
66.
Andy'Varhol,
cit., 31.
cit.,55-56.
71. rbid.
cit.,34.
'S?allace
cit.,92.
(+o)
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