{"id":53037,"date":"2026-05-27T18:06:46","date_gmt":"2026-05-27T18:06:46","guid":{"rendered":"https:\/\/lifestylemag.com\/?p=53037"},"modified":"2026-05-27T18:06:46","modified_gmt":"2026-05-27T18:06:46","slug":"o-homem-que-quebrou-a-moldura-marcel-duchamp-no-moma","status":"publish","type":"post","link":"https:\/\/lifestylemag.com\/pt-br\/the-man-who-broke-the-frame-marcel-duchamp-at-moma\/","title":{"rendered":"O Homem Que Quebrou a Moldura"},"content":{"rendered":"
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\n\nDuchamp no MoMA<\/span>\n\n\n\n
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O Homem Que Quebrou a Moldura.<\/p>\n<\/div>\n\n<\/div>\n\n

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\n\nMarcel Duchamp retorna ao MoMA com quase 300 obras e a quest\u00e3o que ainda inquieta a arte: onde termina o objeto e come\u00e7a a ideia?<\/span>\n\n<\/div>\n\n
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<\/div><\/div>\n\n\nFonte, de Marcel Duchamp, 1917.<\/span>\n\n<\/div><\/div>\n\n
\n\nEm 1917, Marcel Duchamp<\/a><\/strong> Apresentou um urinol de porcelana padr\u00e3o, modelo Bedfordshire, para a exposi\u00e7\u00e3o do Sociedade de Artistas Independentes em Nova York<\/a><\/strong>. Ele a girou noventa graus a partir de sua posi\u00e7\u00e3o funcional, assinou-a com \u201cR. Mutt\u201d e deu-lhe um t\u00edtulo. Fonte<\/a><\/strong>, e a apresentou como escultura. O j\u00fari, apesar de sua pol\u00edtica declarada de aceitar todas as inscri\u00e7\u00f5es, recusou-se a exibi-la. O original se perdeu. A ideia que ela desencadeou, por\u00e9m, nunca deixou de funcionar. Todo artista conceitual, toda instala\u00e7\u00e3o, toda cr\u00edtica institucional, todo momento em que um espectador se encontra diante de um objeto em um museu e questiona \u201cPor que isso est\u00e1 aqui?\u201d<\/em> carrega a consequ\u00eancia do que Duchamp iniciou numa loja de materiais hidr\u00e1ulicos na Quinta Avenida.<\/span>\n\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n
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\n\nPorta-garrafas, de Marcel Duchamp, 1914.<\/span>\n\n\n\n
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\n\nA \u00faltima vez O Museu de Arte Moderna <\/a><\/strong>Uma retrospectiva completa de Duchamp foi organizada em 1973, em coprodu\u00e7\u00e3o com o Museu de Arte da Filad\u00e9lfia<\/a><\/strong>, apenas cinco anos ap\u00f3s a morte do artista. Richard Nixon<\/a><\/strong> estava no Casa Branca<\/a><\/strong>. A Guerra do Vietn\u00e3 se aproximava do fim. O mundo da arte ainda assimilava as implica\u00e7\u00f5es de um homem que passou meio s\u00e9culo desmantelando as premissas sobre as quais se baseava. Agora, cinquenta e tr\u00eas anos depois, Duchamp retorna ao MoMA. A exposi\u00e7\u00e3o, em cartaz de 12 de abril a 22 de agosto de 2026, no Centro Steven e Alexandra Cohen para Exposi\u00e7\u00f5es Especiais<\/a><\/strong>, A exposi\u00e7\u00e3o re\u00fane quase trezentas obras de pintura, escultura, cinema, fotografia, desenho e material impresso, abrangendo seis d\u00e9cadas de uma pr\u00e1tica que rejeitou todas as categorias que lhe foram oferecidas.<\/span>\n\n<\/div><\/div>\n\n
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<\/div><\/div>\n\n\nRoda de bicicleta, de Marcel Duchamp, 1913.<\/span>\n\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n
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<\/div><\/div>\n\n\nExposi\u00e7\u00e3o de Duchamp no MoMA, 2026.<\/span>\n\n<\/div><\/div>\n\n
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\n\nOs objetos encontrados continuam a surpreender porque s\u00e3o t\u00e3o banais. Eles obrigam o espectador a perguntar o que, exatamente, um museu lhe pede para ver.<\/span>\n\n<\/div>\n\n\n
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\n\nA exposi\u00e7\u00e3o est\u00e1 organizada cronologicamente, e suas primeiras galerias podem surpreender os visitantes que conhecem Duchamp apenas como o provocador do ready-made. O jovem artista era tecnicamente competente, at\u00e9 mesmo convencional: pinturas de sal\u00e3o submetidas a exposi\u00e7\u00f5es oficiais francesas, desenhos e caricaturas que demonstram uma flu\u00eancia que ele mais tarde pareceria determinado a abandonar. O ponto de virada \u00e9 Nu Descendo uma Escada (n\u00ba 2), a pintura de 1912 que causou sensa\u00e7\u00e3o na Armory Show de 1913 em Nova York e tornou Duchamp, aos vinte e cinco anos, uma das figuras mais controversas da arte moderna. A tela, emprestada pelo Museu de Arte da Filad\u00e9lfia, n\u00e3o era exibida no MoMA h\u00e1 d\u00e9cadas.<\/span>\n\n\n\nPartindo de "O Nu", a exposi\u00e7\u00e3o tra\u00e7a a inven\u00e7\u00e3o que definiria o legado de Duchamp: o ready-made. Ele descreveu o conceito em 1961 como "a ideia mais importante que surgiu do meu trabalho". O princ\u00edpio era enganosamente simples: designar um objeto manufaturado comum como arte atrav\u00e9s do ato de escolh\u00ea-lo, em vez de cri\u00e1-lo. Uma roda de bicicleta montada em um banco de cozinha (1913). Um porta-garrafas comprado em uma loja de departamentos parisiense (1914). Uma p\u00e1 de neve intitulada "Em Antecipa\u00e7\u00e3o ao Bra\u00e7o Quebrado" (1915). E "Fonte", a obra que fez do pr\u00f3prio ato de sele\u00e7\u00e3o o gesto criativo. Os ready-mades sobreviventes est\u00e3o reunidos aqui e, em sua presen\u00e7a simples e despretensiosa, permanecem genuinamente surpreendentes, objetos t\u00e3o comuns que for\u00e7am o espectador a confrontar o que, exatamente, um museu est\u00e1 lhe pedindo para observar.<\/span>\n\n\n\nParalelamente aos readymades, Duchamp dedicou oito anos a A Noiva Despida por Seus Celibat\u00e1rios (1915 a 1923), obra conhecida como O Grande Vidro, uma constru\u00e7\u00e3o em dois pain\u00e9is de vidro que libertou a pintura tanto da tela quanto da parede. A exposi\u00e7\u00e3o apresenta os estudos preparat\u00f3rios, anota\u00e7\u00f5es e desenhos t\u00e9cnicos que revelam a precis\u00e3o obsessiva por tr\u00e1s do que, \u00e0 primeira vista, parece ser um exerc\u00edcio de absurdo elaborado.<\/span>\n\n\n\nA se\u00e7\u00e3o Dada inclui LHOOQ (1919), a reprodu\u00e7\u00e3o em cart\u00e3o-postal da Mona Lisa na qual Duchamp desenhou um bigode e um cavanhaque, talvez o ato de desfigura\u00e7\u00e3o art\u00edstica mais reconhecido da hist\u00f3ria, ao lado do filme experimental An\u00e9mic Cin\u00e9ma (1926) e da persona de Rrose S\u00e9lavy, o alter ego feminino cujo nome, um trocadilho (diga em voz alta em franc\u00eas: Eros, c'est la vie), tornou-se uma obra conceitual em si. O MoMA tem uma liga\u00e7\u00e3o especial com esse per\u00edodo: foi o primeiro museu do mundo a adquirir uma obra de Duchamp, adicionando An\u00e9mic Cin\u00e9ma \u00e0 cole\u00e7\u00e3o da Film Library em 1938.<\/span>\n\n<\/div>\n<\/div>\n\n
\n\nMarcel Duchamp, Por que n\u00e3o espirrar, Rose S\u00e9lavy?, 1921<\/a><\/span>\n\n\n
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<\/div>\n\n\nDuchamp no MoMA, 2026.<\/span>\n\n<\/div>\n<\/div>\n<\/div>\n\n
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\n\nA galeria central apresenta uma das exposi\u00e7\u00f5es mais significativas de Bo\u00eete-en-valise (1935 a 1941), o \u201cmuseu port\u00e1til\u201d de Duchamp, uma mala de couro contendo sessenta e nove reprodu\u00e7\u00f5es em miniatura de suas obras mais importantes, cada uma fabricada \u00e0 m\u00e3o. \u00c9 o gesto definitivo de Duchamp: um artista criando um museu de sua pr\u00f3pria produ\u00e7\u00e3o, distribuindo-o em edi\u00e7\u00f5es numeradas, eliminando a distin\u00e7\u00e3o entre original e c\u00f3pia d\u00e9cadas antes de a quest\u00e3o entrar no discurso dominante.<\/span>\n\n\n\nA exposi\u00e7\u00e3o \u00e9 organizada por Ann Temkin, Michelle Kuo e Matthew Affron, com empr\u00e9stimos do Centre Pompidou, do Museu de Arte da Filad\u00e9lfia e de cole\u00e7\u00f5es particulares do mundo todo. O patroc\u00ednio \u00e9 do Bank of America. O cat\u00e1logo que acompanha a exposi\u00e7\u00e3o tem trezentas e quarenta p\u00e1ginas com quase mil ilustra\u00e7\u00f5es, um volume que, assim como as obras que documenta, recompensar\u00e1 visitas frequentes ao longo dos anos.<\/span>\n\n\n\nDuchamp nasceu em Blainville-Crevon, Normandia, em 1887. Morreu em Neuilly-sur-Seine em 1968, tendo passado a maior parte de suas \u00faltimas d\u00e9cadas em Nova York, jogando xadrez, dando entrevistas e insistindo, com crescente convic\u00e7\u00e3o, que havia parado de fazer arte. A retrospectiva sugere o contr\u00e1rio. Sugere que, para Duchamp, o trabalho nunca parou. Simplesmente passou do ateli\u00ea para a ideia, da m\u00e3o para a mente, do objeto para a quest\u00e3o que o objeto provoca.<\/span>\n\n<\/div><\/div>\n\n
<\/div>\n<\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":53057,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"tpgb_global_settings":"","footnotes":""},"categories":[5,41],"tags":[261,262,263,264,265],"edicao":[277],"class_list":["post-53037","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-culture","category-mix","tag-marcel-duchamp","tag-moma","tag-art","tag-modern-art","tag-exhibiton","edicao-the-vineta-hotel"],"acf":{"subtitulo_materia":"","tempo_leitura":"","creditos_texto":"","creditos_fotografia":"","creditos_beleza":""},"yoast_head":"\nThe Man Who Broke the Frame | Marcel Duchamp at MoMA<\/title>\n<meta name=\"description\" content=\"Marcel Duchamp returns to MoMA with nearly 300 works and the question that still unsettles art: where does the object end and the idea begin?\" \/>\n<meta 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