Three. “Narcissus and Narcissus”: Claude Cahun and Marcel Moore

2019 ◽  
pp. 68-104
Keyword(s):  
Claude Cahun

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

scholarly journals Aimer, s’aimer à s’y perdre? Les jeux spéculaires de Cahun-Moore

2011 ◽  
pp. 87-114
Author(s):  
Andrea Oberhuber
Keyword(s):  
Claude Cahun ◽  
Alter Ego

Que penser d’une jeune artiste qui se présente tantôt en Méduse ou en beauté orientale, tantôt en bouddha, en haltérophile ou en Gretchen? Que penser de cet autoportrait dédoublé « en damier » qui fait écho au portrait d’une femme « en rayures », celui-ci également dédoublé? Comment décoder des photomontages — tous plus énigmatiques les uns que les autres — conçus en collaboration avec cette même femme « en rayures », et qui se retrouvent intercalés dans un texte intitulé Aveux non avenus? Que signifie « aimer », lorsque l’être aimé est notre alter ego? Cette histoire d’amour entre soi et la projection de soi peut-elle éviter l’abîme? Cet article propose de réfléchir sur la notion d’« aimer » chez Claude Cahun et Suzanne Malherbe alias Marcel Moore, en interrogeant le côté « narcissique » et autoréflexif que révèlent la plupart des autoportraits, l’autobiographie et les photomontages, d’une part, et le désir lesbien stigmatisé à l’époque comme un « faux masque », d’autre part. Dans un deuxième temps, il s’intéressera à ce couple symbiotique que forment l’auteure-photographe Cahun et la graphiste-peintre Moore, symbiose artistique qui leur permet de créer des oeuvres à leur image.

LA SALOMÉ DE CLAUDE CAHUN

2017 ◽  
pp. 435-448
Author(s):  
Cristina Ballestín Cucala
Keyword(s):  
Claude Cahun

Claude Cahun, l'effacement et l'énigme

2010 ◽  
Vol 12 (1) ◽  
pp. 158 ◽  
Author(s):  
Sophie Mendelsohn
Keyword(s):  
Claude Cahun

A Dialogue with Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror

2021 ◽  
pp. 194-201
Author(s):  
Sarah Pucill
Keyword(s):  
Female Subjectivity ◽  
Time And Space ◽  
Creative Practice ◽  
Art Forms ◽  
Tableaux Vivants ◽  
Claude Cahun ◽  
Tableau Vivant

In this chapter, the artist filmmaker Sarah Pucill elucidates her artistic dialogue with the Surrealist lesbian artist Claude Cahun (1894-1954), whose photographs and manuscripts are constitutive of her films Magic Mirror (2013) and Confessions to the Mirror (2016). Pursuing Pucill’s earlier interest in the intersubjectivity between women, the films re-enact Cahun’s photographs in the form of tableaux vivants, creating new connections between the French artist’s visual and written work and Pucill’s own creative practice. Drawing on Ágnes Pethő’s theoretical writing on the intermediality of the tableau vivant in film, the artist analyses how her re-enactment of Cahun’s photographs as tableaux vivants creates a sense of indecipherability caused by the overlaying of the original ‘ghost’ photograph with its re-staging in colour and with sound. The reworkings of Cahun's texts and photographs in the films conjoin different art forms and authors, interrogating questions of queer female subjectivity across time and space.

Imaging the Actor: the Theatre of Claude Cahun

2006 ◽  
Vol 29 (1) ◽  
pp. 1-24 ◽  
Author(s):  
Miranda Welby-Everard
Keyword(s):  
Claude Cahun
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