« Une sorte de pédérastie artistique » : accouplement créatif chez Duchamp et Picabia

Duchamp a remarqué que l’un des aspects les plus notables du xxe siècle est que les artistes travaillent par deux. Il a décrit « Picabia-Duchamp » comme l’une de ces étranges associations qu’il a ensuite caractérisées comme « une sorte de pédérastie artistique » basée sur leur échange d’idées stimulant. Dans cet article, j’examinerai comment cette association ou accouplement queer d’artistes reflète l’interprétation de la nature intersubjective et ludique de la création artistique selon Duchamp. Remettant en question le mythe de l’artiste créateur en tant qu’origine unique de l’œuvre, il inscrit la créativité dans l’espace d’un échange dont les connotations érotiques font allusion à la multiplication et à la dissémination de la paternité de l’acte créateur. Je démontrerai que ce doublement de l’identité artistique suppose l’érosion de l’idée conventionnelle de l’artiste en repensant la production artistique comme acte d’appropriation plutôt que comme acte original. De plus, je montre que sa refonte queer de l’identité artistique suppose un rejet fondamental de l’essentialisme dans la mesure où il suppose non pas un changement d’identité mais une aspiration à la multiplicité.Duchamp observed that one of the most notable aspects of the twentieth century is that artists come in pairs. He described “Picabia-Duchamp” as one of these strange matches which he went on to characterize as “a sort of artistic pederasty” based on their stimulating exchange of ideas. In this paper I will examine how this queer pairing or coupling of artists reflects Duchamp’s interpretation of the inter-subjective and game-like nature of artistic creation. Challenging the myth of the artist creator as unique origin of the work, he inscribes creativity in the space of an exchange whose erotic overtones alludes to the multiplication and dissemination of authorship in the creative act. I will demonstrate that this doubling of artistic identity implies the erosion of the conventional idea of the artist recasting artistic production as an appropriative, rather than original act. Moreover, I show that his queering of artistic identity implies a fundamental rejection of essentialism insofar as it implies not a change of identity but an aspiration to multiplicity

Pushing the Boundaries of Amnesia and Myopia: A Critical Review of the Literature on Identity in Management and Organization Studies

The aim of this article is to review a selection of the literature on identity at work in Management and Organization Studies (MOS) in order to raise critical questions concerning what we see as the dangers of a certain amnesia and myopia. Insofar as some of the contemporary literature neglects to engage with the historical and multidisciplinary past and present, there is a tendency to leave common-sense understandings of identity unexamined, thereby reproducing everyday preoccupations with securing the self. By contrast with such rational individualism, we seek a more embodied understanding of identity, where it is a means of building our ethical engagements and capacities for community living. By failing to problematize identity, there is little recognition of how attempts to secure the self are invariably self-defeating if only because they are necessarily contingent on the other who is unpredictable and uncontrollable. The main contribution of the article is to show how this failure to interrogate identity is far from benign since it often results in reinforcing everyday preoccupations with the self that can turn into narcissism, and deflect and curtail alternative practices of embodied engagement. We trust that our deliberations will be helpful in advancing the ‘road less travelled’, where studies advance beyond taking identity for granted, and move instead towards more embodied understandings of ethical engagement

« Une sorte de pédérastie artistique » : accouplement créatif chez Duchamp et Picabia

Duchamp observed that one of the most notable aspects of the twentieth century is that artists come in pairs. He described “Picabia-Duchamp” as one of these strange matches which he went on to characterize as “a sort of artistic pederasty” based on their stimulating exchange of ideas. In this paper I will examine how this queer pairing or coupling of artists reflects Duchamp’s interpretation of the inter-subjective and game-like nature of artistic creation. Challenging the myth of the artist creator as unique origin of the work, he inscribes creativity in the space of an exchange whose erotic overtones alludes to the multiplication and dissemination of authorship in the creative act. I will demonstrate that this doubling of artistic identity implies the erosion of the conventional idea of the artist recasting artistic production as an appropriative, rather than original act. Moreover, I show that his queering of artistic identity implies a fundamental rejection of essentialism insofar as it implies not a change of identity but an aspiration to multiplicity