Rocky Balboa vs. Marcel Duchamp Artistic Work and Consumption in Late Capitalism
The article analyzes the contemporary reception of Marcel Duchamp’s work and the reading that we can make in retrospect of the imagery of effort, consumption, and achievement in films about boxing, especially the Rocky saga, begun in 1976, shortly after the great retrospective dedicated to Duchamp....
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | México |
| Institución: | UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO |
| Repositorio: | Interpretatio. Revista de Hermenéutica |
| Idioma: | español |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/357 |
| Acceso en línea: | https://revistas-filologicas.unam.mx/interpretatio/index.php/in/article/view/357 |
| Access Level: | acceso abierto |
| Palabra clave: | Marcel Duchamp Rocky contemporary art immaterial work administrative aesthetics arte contemporáneo trabajo inmaterial estética administrativa |
| Sumario: | The article analyzes the contemporary reception of Marcel Duchamp’s work and the reading that we can make in retrospect of the imagery of effort, consumption, and achievement in films about boxing, especially the Rocky saga, begun in 1976, shortly after the great retrospective dedicated to Duchamp. Both phenomena are examined in the light of the transformations of the new spirit of capitalism, whose acceleration, produced by the crisis of raw materials and the subsequent conversion of the dollar into fiat currency, meant the abandonment of the backing of gold and the emergence of the creative economy at the time of the enthronement of conceptual art. The ascent up the steps of the Philadelphia Museum of Art, one of the most remembered sequences of Rocky (1976), offers the common thread to analyze the figuration of the ascent in the case of Rocky Balboa and the entry “of the anyone in the supreme” (Badiou) in the case of Marcel Duchamp. It seeks to lead a new reading, in which Duchamp’s existential strategies represent an exit door to self-exploitation and precariousness in artistic work in our days. |
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