Laboratorio Soluna

We aspired to a new order which might restore the balance between heaven and hell

We aspired to a new order which might restore the balance between heaven and hell

In particular, as Naumann and Antliff have each noted, Man Ray initially asserted his own individuality-or, as I would put it, performed his own avant-garde masculinity-by associating himself with anarchism

Soldiers Credulous repeat the good occasion welcoming republican Three times one time more An idea nothing but an idea of candid animal cry Trompe-l’oeil baptized discredits moving muscles The day steals health life Hatred of infants in the war Siren’s music cold kingdom of overloads Productive cultures horrible lamb of the crazed

avid constraint Of desperate attitudes the sick wall of the Feminine sex.97 In Picabia’s poem the soldier, who is ?rst and foremost described as “credulous,” is forced to repeat the “good occasion” demanded by the republic’s repeated siren call; productive cultures and the artist/soldiers who represent them are submitted as sacri?cial lambs to the “crazed, avid constraints” of the war, the true horror of their “desperate attitudes” and compromised masculinity explicitly symbolized by the image of them smashed against “the sick wall of the Feminine sex.” As New York Dada scholar Nancy Ring has noted, the syntax of the poem “becomes more incoherent” as it progresses, its incoherence climaxing in the irrationality of feminine sexuality.98 Ring concludes that the poem represents the war as “a traumatic destabilization of gender identity,” which is certainly in line with my analysis fuck marry kill. The smashing-and the feminization-are both of and by Picabia.

MAN RAY’S EQUIVOCATION In August war broke out in Europe. We ?gured that our plans to go abroad would have to be postponed. . . . Wall street was booming; speculators were reaping fortunes in a day. . . . It was like a great holiday [in the city], all the pro?ts of war with none of its miseries. Walking home in the evening . . . I felt depressed. . . . There must be a way, I thought of avoiding the calamities that human beings brought upon themselves. – Man Ray, 196399 As far as we know, Man Ray never publicly or directly discussed the possibility of ?ghting in the war, though clearly (and understandably) avoidance was his primary strategy of dealing with its looming presence on the international scene and in New York in particular.

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