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Dalí and Duchamp, dialogue between giants of provocation

An exhibition in London celebrates the relationship between the two artists and confronts some of their iconic works

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Dalí and Duchamp, dialogue between giants of provocation

They were two artistic giants of twentieth century; On role radically different personalities which neverless engaged and maintained to end a nourished dialogue of common challenge to conventions of its time on art and life. The close relationship between Salvador Dalí (1904-89) and Marcel Duchamp (1887-1968) is starting point for an exhibition of London Royal Academy that confronts iconic works of both to explore aestic, philosophical and personal links between Overflowing genius of Cadaqués and far of conceptual art.

Under short title Dalí/Duchamp, (or Duchamp/Dalí, in design of its poster that one can invest) production of se two creative and irreverent talents is deployed in eight dozens of paintings and sculptures signed by Catalan artist at its apogee or in Duchamp's readymades pioneers, works executed with manufactured products that had an essential influence on contemporary art; In drawings, photographs, films and correspondence attesting to friendship, collaboration and admiration mutual.

A postcard sent by Duchamp to young Dalí (y separate m 17 years) announces in 1933 beginning of a friendship that was consolidated following immediate and first visit of French artist to fishing village of Cadaqués, in north-east of Catalunya. Both had already feelers before within framework of Surrealist group, but y sealed a permanent contact after decision of French artist to rent each summer an apartment ten minutes walk from house of Dalí in Portlligat. He was faithful to appointment from late 50s until his death, a period of exchanges in which this unstoppable machine of ideas that was Duchamp influenced deconstructions Dalinian of aestic beauty, while he surrendered himself to transgressions and Iconoclastic spirit of his Catalan colleague.

Enlarge photo ' bicycle wheel ', by Marcel Duchamp (1964). Ottawa, National Gallery of Canada/© Succession Marcel Duchamp/ADAGP, Paris and DACS, London 2017

The egocentric and exhibitionist character of a Dalí who would disguise himself under successive masks, in front of Duchamp's most cerebral and subtle mood, had one of his meeting points in that combination of humour and skepticism with which he despised any Limit and Taboo. The first room of exhibition, articulated in three matic sections, explores two disparate identities but with similar trajectories of youth when experimenting through different styles embodied in a collection of canvases, among which stand out King and queen surrounded by swift nudes (Duchamp, 1912) or first days of Spring (Dalí, 1929). In time y would also be complicit in ir questioning of role of artist from his public people. Dalí retakes in 1953 famous Mona Lisa to which Duchamp changed of genus Estámpandole moustache and knob, and it makes allowing photographer Philippe Halsman to insert his photo in a portrait of Gioconda with hands full of gold coins (a comb to Andre Breton which with it "The group of Surrealists for ir greed."

It integrates graphic material exhibited at seat of Museum of Piccadilly a series of photographs in which two protagonists and companion and muse of Dalí, Gala, are of picnic in Cap de Creus in 1933. The scene aroused Dalí 's "nutritious perversions", appetite for sex and food described in words and sketches in a manuscript lent by artist's foundation in Figueres. The two friends shared a fascination with eroticism that pervades explicit paintings, drawings and sculptures of section dedicated to body-to voyeursimo and carnal pleasure as engine of new artistic expressions-and object. The telephone-lobster ", with erotic connotation of genitals of crustacean on earpiece, is exhibited in a huge showcase accompanied by urinal ( fountain) that makes just a century Duchamp dared expose as work of art in a museum of new York, Changing direction of art.

The oil on Glass The bride undressed by her Bachelors (Duchamp) and Christ of St. John of Cross, of extraordinary Dalí painter, are stellar pieces in last section of exhibition devoted to works that play with perspective and ambiguities of Perception. It was anor of obsessions shared by Salvador Dalí and Marcel Duchamp, compadres in life, art and in his long chess games, whose unsuspected relationship stars one of great proposals of Londinse season until January 3.


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