Artaud the Moma (Columbia Themes in Philosophy, Social by Jacques Derrida,Peggy Kamuf,Kaira M. Cabañas

By Jacques Derrida,Peggy Kamuf,Kaira M. Cabañas

In 1996 Jacques Derrida gave a lecture on the Museum of recent paintings in big apple at the social gathering of Antonin Artaud: Works on Paper, one of many first significant foreign exhibitions to give the avant-garde dramatist and poet's work and drawings. Derrida's unique identify, "Artaud the Moma," is a attribute play on phrases. It alludes to Artaud's calling himself Mômo, Marseilles slang for "fool," upon his go back to Paris in 1946 after 9 years in a number of asylums whereas taking part in off of the museum's nickname, MoMA. however the name was once no longer deemed "presentable or decent," in Derrida's phrases, by means of the very establishment that selected to show Artaud's paintings. as a substitute, the lecture used to be marketed as "Jacques Derrida . . . will current a lecture approximately Artaud's drawings."

For Derrida, what used to be at stake used to be what it intended for the museum to show Artaud's drawings and for him to lecture on Artaud in that institutional context. pondering over the performative strength of Artaud's paintings and the relation among 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 fight opposed to illustration to try to carry the museum answerable for attempting to confine Artaud inside its different types. Artaud the Moma, as lecture and textual content, finds the problem that Artaud posed to Derrida—and to paintings and its institutional background. a strong interjection into the museum halls, this paintings is an important second in Derrida's notion and an insightful, unsparing examining of a hard author and artist.

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