Review of

"Francis Picabia, Singulier idéal"

@ the Musee d'Art Moderne de la Ville Paris


by Joseph Nechvatal



The almost splendid retrospective exhibit "Francis Picabia, Singulier idéal"

just opened at the Musee d'Art Moderne de la Ville Paris. This is the first

presentation of Francis Picabia's oeuvre in Paris since the Grand Palais

retrospective of 1976. Picabia (1879-1953), of course, was principally a

jocund painter - but he also was a poet (in 1918 he published a book of

poems and drawings entitled "Poèmes et dessins de la fille née sans mère"

("Poems and drawings of the girl born without a mother")), pamphleteer,

enfant terrible, and avant-garde publisher of such reviews as 391 and



Picabia (born François Marie Martinez Picabia) became friendly with

Guillaume Apollinaire and Marcel Duchamp, associated with the artistic group

which met in Jacques Villon's studio in the village of Puteaux in 1911-12,

and later (1918) was allied with the Zürich Dadaists, specifically

associating with Tristan Tzara. 1915 saw the emergence of Picabia’s

machinist period when he discovered industrial design as a pictorial source.

See for example the painting in the show from The Peggy Guggenheim

Collection, Venice called "Très rare tableau sur la terre" ("Very Rare

Painting on the Earth") (1915).


Picabia eventually blended this machinist aesthetic with representations of

the human body, creating his significant auto-erotic (and dea ex machina)

mechanomorphic period - the strongest work in the show. By this artistic

amalgamation, prevailing cyber-sensations were admirably hypothesized in

advance.  Indeed, one immediately thinks of the contemporary paintings of

Gerwald Rockenschaub, with their hard-edge metallic geometric renderings of

computer scenes and/or creatures. Yes, through Picabia we may trace the

movement from mechanomorphic art into infomorphic art.


Painting in a dry but radiant, even combustible, style (for example in the

painting "Parade amoureuse" (Love Parade) (1918)) Picabia raises the issue

of a bottomless contemporary dilemma - the interface/dialectic between body

and machine. If in cyberspace our ontologies are adrift vis-a-vis how

personal subjectivity was once understood, Picabia's central idea in "Parade

amoureuse" leads us right up to that slippery elocution between mechanical

embodiment and subjectivity - between physical embodiment and machine

assistance/circumvention - where we viractually teeter this very moment.

Undoubtedly, with the Dada mechanomorphic period Picabia illustrates nicely

our spatialized digital paradigm by mixing implied bodies with mechanical

schematics. Here the cyborg body receives an ecstatic capability through the

repetitions of machinery. Of course what "disappears" or is "disembodied" is

not the material body but an abstract notion of the self. This

de-presentation is followed by a reconstruction of embodiment into what is

now commonly known as the posthuman condition.


But after viewing at length "Francis Picabia, Singulier idéal" one wonders;

should belief in the body’s semi-obsolescence as depicted in the

mechanomorphic period be theorized as an expression of narcissistic

cybernetic post-flesh - or, rather, as a refusal of technocratic control in

that the intractability of the body would no longer be so central an issue?

Still not sure, but what we recognize in his mechanomorphic paintings is

that by entering into the repetitions of the machine the subject may fuse

into gyrating repeats in a complex and cryptic way. Here flesh is no longer

the grounds for subjectivity. At the same time the subject is licensed

through a décadent extension into self-motorized possession as the subject

achieves disembodiment within high technology. Persuasive simulated worlds

can exist for us as "real" because we can perceive them through the

techno-apparatus of our body spliced into the cybernetic circuit. I

understand this anti-materialist lurch towards liberty in terms of

self-transcendent race and gender collapse.


Even without citing the efficacious theoretical influence of Donna Haraway's

cyborg-theory, the depictions of post-flesh in "Parade amoureuse" and

"Magneto anglaise" (English Magnet) (1922) seem to courageously facilitate

an inebriated subjectivity by constructing an imaginative space of

accommodation for an intensely onanistic existence. Here flamboyant

self-reliant relationships between the protoplasmic body-image and mechanic

spatial conceptions are visualized as self-prosthesis. This makes Picabia’s

mechanomorphic avant-garde period impressive in philosophical terms, as

fairly recent contemporary thought has been concerned with the

poststructuralist deliberation on the notion of the subject in order to

question - and unlasso - its traditionally privileged epistemological

status. Particularly in respect to the techno realm there has been a

sustained effort to question the role of the subject as the intending and

knowing autonomous creator - as coherent originator. Again, Picabia’s

mechanomorphic period informs us here. In fact, for me, this period of his

work has become emblematic of this rigorously scrutinizing of the subject

which Jacques Derrida has described as ‘logocentrism’: the once held

distinctions between subjectivity and objectivity; between public and

private; between fantasy and reality; and between the unconscious and the

conscious realm.


Today we understand that these distinctions are breaking down under the

pressure of our speeding and omnipresent computer communications network

technologies. We are now part of an automated technologically hallucinogenic

culture that functions along the lines of a dream, free from some of the

classical strictures of time and space; free from some of our traditional

earthly limits which have been broken down by the instantaneous nature of

electronic communications (particularly with its crown jewel, immersive

virtual reality). The modernist existential concept of the singular

individual has been supplanted by the electronic-aided individual, in a way

liberating the body from linear time and vaporously placing it in a

technologically stored eternity (simulacrum-hyperreality). This quality of

phantasmagorical and perverse displacement has for some signified a

tightening spiral which formulates a new vision of existence - a vision

which Jean Baudrillard has called ‘pornographic’.


But too, I think that what interests me in the mechanomorphic Picabia as

harbinger was his connection to Raymond Roussel's mechanical line of thought

(in 1912 Picabia, along with Duchamp and Appollinaire, attended a

performance of Roussel's play "Impressions of Africa"). With them, it seems

to me the post-bachelor machine was already there, waiting for Deleuze and

Guattari to hook it up to the body-without-organs, to plug it into the logic

of the desiring machine so as to achieve a calculated interconnectivity with

the infoworld through schizo-capitalism.  Yes, Raymond Roussel too because

in his work he invents crazy machines that produced ecstatic results through

the use of repetitions and combination/permutations. An obsessional

machine-like logic provided his art with a seemingly pure spectacle of

endless variety of textual games and combinations flowing in circular form. 

I see this trend in the Dada mechanomorphic Picabia also.


I think that Roussel relates to Picabia’s search for a self-machine-location

beyond genital-identification because Roussel's themes and procedures

involved cryptograms and torture by language - all formally reflected in his

working technique with their inextricable play of double images,

repetitions, and impediments; all giving the impression of the pen running

on by itself through the dreamy usage and baroque play of mirrored form. 

Picabia’s mechanomorphic technique and the process he developed also lends

itself well to the creation of unforeseen, automatic and spontaneously

inventive movements which give me the feeling of prolonging action into

eternity through the ceaseless, fantastic constructions of the work itself,

transmitting an altered, exalted and orgasmic state of mind which after the

initial dazzling creates one predominant overall effect - that of creating

doubt through mechanical discourse.


Also, like Roussel, the image of mechanic enclosure is common with Picabia

in his Dada mechanomorphic period where a secret to a secret is held back,

systematically imposing a formless anxiety through the labryrinthian

extensions and doublings, disguises and duplications, which makes vision

undergo a moment of annihilation. For me, Picabia presents to us the model

of silent perfection of the eternally repetitive mechanical machine, which

functions independently of time and space - pulling us with the artist into

a logic of the infinite. Yea - Picabia is the mastermachine because his

mechanomorphic human-machines map out a mental infospace which is circular

in nature and thus an abstract attempt at eliminating time.


In Picabia’s mechanomorphic period the body - through a dismemberment of

traditional narrative subjectivity - is undone by a proscribed clamor it

cannot contain. Here trans-crystalline notions of the self reflect the

formational effect of webbed high technology. Here the kind of top-down

logic (with which we are all too familiar) is opposed by an intricate

interplay of complexity. There is no Debordian spectacular society where all

people are advertisements for the status quo portrayed here. Rather, Picabia

traces the tensions between human narrative and the mechanical spectacle.

Thus Picabia is the mythic oracle pointing us to an indeterminate but

artistic resolution between the two competing categories of being today –

the mechanic and the organic. For Picabia, mechanical penetration achieves

and performs direct bodily engagement. The subject's existence is enhanced

by his/her disappearance into technology-induced realms. The body's

dissolution may be empowering then.


But is Picabia just being Dada disingenuous by proposing this posture? Given

the period’s death, or explanation of, the mythic Father/God - alongside the

enduring wish of Western modern thought to trundle exterior reality - I

think not. Here, in the mechanomorphic operation, the paradoxically

simultaneous experiences of death and immortality that is fundamental to

Western religious practice is laid bare. Having explained God, Picabia

creates a post-flesh art by virtue of a relocation of

body/machine/consciousness. Actually, Picabia seems to address here how

technological consciousness infects people like a virus. That such a

semi-programmed Dada philosophy engages our contemporary fixations today is

not remarkable. All told, Picabia remains quite formidable in his versatile

span; a span which leaves many current cultural producers looking dismally




"Francis Picabia, Singulier idéal"

Musee d'Art Moderne de la Ville Paris

November 16th, 2002 – March 16th, 2003

11, Ave du President Wilson