https://open.spotify.com/track/53W98seKjvAwLoh2ylvR9k?si=ec73f7dc9bc443d6

Ну и конечно появление интереса к Моне в США так же произошло благодаря MoMA. В 1955 году, на пике абстрактного экспрессионзма, они первыми купили одну из "водяных лиллий".

Второе – на самом деле именно Гринберг “вписал” Моне в историю абстрактного экспрессионизма в качестве источника (главной была идея плоскости полотна) (см. его эссе 57го года “Поздний Моне”).

Пикчи:

1. L'Atelier Rouge, Matisse

2. Постер Second post-impressionist exhibition 1912 года

3-5. The Gargoyle Club (на одном из фото можно даже увидеть в отражении L'Atelier Rouge, но я не помню на какой)

1. Картина Large Red Intrerior Матисса 1948 года, продолжающая дело L'Atelier Rouge. Поздняя работа в период когда он опять ударился в радикализм

2. Поздняя работа Моне Le Saule pleureur начала 20х годов

3. the sheer scale работ Моне в музее Оранжери

4. Матисс в Нью Йорке жпг

"Maybe the real analytic philosophy was the friends we made along the way".

https://www.youtube.com/watch?v=TTAU7lLDZYU

There Lacan was striding and talking to the forest of microphones; behind him was a blackboard on which was written: “The essence of psychoanalytic theory is a discourse without words.” Precisely as I entered the room, Lacan launched into a disquisition about mustard pots, or to be precise, the mustard pot, l’pot d’moutard’. His delivery was irregular, forceful, oracular. The first sentences that I managed to jot down despite my postprandial stupor are the following:

This pot, I called it a mustard pot in order to remark that far from necessarily containing any, it is precisely because it is empty that it takes on its value as a mustard pot. Namely that it is because the word “mustard” is written on it, while “mustard” means here “must tardy be” [moult me tarde], for indeed this pot will have to tarry before it reaches its eternal life as pot, a life that begins only when this pot has a hole. Because it is in this form that throughout the ages we find it in excavation sites when we search tombs for something that will bear witness to us about the state of a civilization.

Here I was, facing an aging performance artist (Lacan was sixty-seven then) whose very garb had something of the cabaret comedian’s outfit, with a dandiacal Mao costume, a strange shirt, and the most tortured elocution one could imagine, broken by sighs, wheezes, and sniggers, at times slowing down to a meditative halt, at times speeding up to culminate in a punning one-liner. Curiously, he was being listened to in utmost silence by an audience intent on not missing one word.

I did not not know that Lacan came from a dynasty of vinegar makers and that one of their specialties was fine mustard. Much later, I found out that Lacan had punned not only on mustard and vinegar but also on the broader conceptual category of “condiment,” a word he would always use with the demonstrative ce, thus uttering “ce condiment,” a phrase which could be heard as ce qu’on dit ment: what one says is lying, we only say lies.

теперь надо делать ревизию папиры

я теперь теоретикал компьютер сайнтист

30:25 – я полчаса пытался найти версию этого выступления, но не получилось(((