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During the nineties, two theoretical positions constructed a series of relations between the artist Marcel Duchamp’s and the philosopher Immanuel Kant’ works. In this paper, those positions are questioned to formulate a case in which a third scheme can be traced, making visible a political condition that connects them. The political condition stems from the philosophical work of Hannah Arendt, who interpreted it as a “silent sense” in Kant’s work. Since Arendt did not make any reference to the French artist, the responsibility is assumed in this writing, which takes into consideration sources that enable the political power in Marcel Duchamp’s work. Political power that can be related to the “silent sense” that Arendt postulates in Kant’s., Este ensayo pretende problematizar dos posturas teóricas que, en la década de los noventas, construyeron una serie de relaciones entre la obra del artista Marcel Duchamp y el filósofo Immanuel Kant. Esto, con el propósito de formular un estado de la cuestión sobre el cual trazar una tercera vía, al afirmar una condición política que los articula. Esa condición política se desprende del pensamiento de Hannah Arendt, quien la interpretó en Kant como un “sentido silencioso”. Dado que Arendt no dedicó una sola palabra al artista francés, este escrito asume el deber de esos desarrollos, tomando en consideración una serie de fuentes que posibilitan ver el vigor político en la obra de Marcel Duchamp, y que lo hacen susceptible de relacionarse con ese “sentido silencioso” que postula Arendt al respecto de Kant.

A groundbreaking reading of Duchamp's work as informed by Asian ?esoterism, ? energetic spiritual practices identifying creative energy with the erotic impulse.Considered by many to be the most important artist of the twentieth century, the object of intensive critical scrutiny and extensive theorizing, Marcel Duchamp remains an enigma. He may be the most intellectual artist of all time; and yet, toward the end of his life, he said, ?If you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual or cerebral.? In Marcel Duchamp and the Art of Life, Jacquelynn Baas offers a groundbreaking new reading of Duchamp, arguing in particular that his work may have been informed by Asian ?esoterism, ? energetic spiritual practices that identify creative energy with the erotic impulse. Duchamp drew on a wide range of sources for his art, from science and mathematics to alchemy. Largely overlooked, until now, have been Asian spiritual practices, including Indo-Tibetan tantra. Baas presents evidence that Duchamp's version of artistic realization was grounded in a western interpretation of Asian mind training and body energetics designed to transform erotic energy into mental and spiritual liberation. She offers close readings of many Duchamp works, beginning and ending with his final work, the mysterious, shockingly explicit Étant donnés: 1° la chute d'eau 2° le gaz d'éclairage, (Given: 1. The Waterfall, 2. The Illuminating Gas).Generously illustrated, with many images in color, Marcel Duchamp and the Art of Life speculates that Duchamp viewed art making as part of an esoteric continuum grounded in Eros. It asks us to unlearn what we think we know, about both art and life, in order to be open to experience.

This article is derived from the doctoral thesis, “Álvaro Barrios: Citation and Appropriation of Marcel Duchamp's Ready-Mades from 1978 to 2013”, which aims to analyze, characterize and categorize the discourses, strategies and procedures used by the Colombian conceptual artist and cartoonist Álvaro Barrios (Cartagena de Indias, October 27, 1945) when he ventures into the iconographic citation and appropriation of Marcel Duchamp's ready-mades in the production of his works., Este artigo é derivado da investigação da tese de doutorado, Álvaro Barrios: citação e apropriação dos ready-made de Marcle Duchamp de 19782013, que tem como propósito analisar, caracterizar e categorizar os discursos, estratégias e procedimentos usados pelo artista conceitual e cartunista colombiano Álvaro Barrios (Cartagena das Índias, 27 de outubro de 1945) quando incursiona na citação e apropriação iconográfica dos ready-made de Marcel Duchamp na produção de suas obras., Este artículo se deriva de la investigación de tesis doctoral, Álvaro Barrios: cita y apropiación de los ready-made de Marcel Duchamp de 1978- 2013, que tiene como propósito analizar, caracterizar y categorizar los discursos, estrategias y procedimientos usados por el artista conceptual y dibujante colombiano Álvaro Barrios (Cartagena de Indias, 27 de octubre de 1945) cuando incursiona en la cita y apropiación iconográfica de los readymade de Marcel Duchamp en la producción de sus obras.

This essay addresses the collection of print series of Álvaro Barrios “Grabados populares” in order to establish their origins, development and contributions to the history of Colombian engraving. We will take a tour through some of the better-known series to define the concept of “grabado popular”, popular engraving, its main characteristics and departures from traditional engraving. We will then elucidate how it “expands” the concept of engraving and seek to estab-lish a conceptual relationship with Marcel Duchamp’s ready-mades, Cet essai porte sur la collection de séries d’impressions d’Alvaro Barrios « Grabados populares » afin d’établir leurs origines, leur développement et leur contribution à l’histoire de la gravure colombienne. Nous ferons un tour dans certaines des séries les plus connues pour définir le concept de « gravure populaire », ses caractéristiques principales et ses différences avec la gravure traditionnelle. Nous verrons ensuite comment ce concept « élargit » celui de gravure et chercherons à établir une relation conceptuelle avec les Ready-made de Marcel Duchamp, Este ensaio aborda a coleção de séries impressas de Álvaro Barrios “Grabados populares”, a fim de estabelecer suas origens, desenvolvimento e contribuições para a história da gravura colombiana. Faremos um tour por algumas das séries mais conhecidas para definir o conceito de “gravura popular”, suas principais características e desvios da gravura tradicional. Vamos então elucidar como isso “expande” o conceito de gravura e procuraremos estabelecer uma relação conceitual com os ready-mades de Marcel Duchamp, El presente ensayo, aborda los Grabados populares de Álvaro Barrios para establecer sus orígenes, desarrollo y aportes a la historia del grabado colombiano. Para ello, se hará un recorrido por algunas de las series más conocidas para definir el concepto de Grabado popular,sus características principales y diferencias frente al grabado tradicional, dilucidar cómo “expande” el concepto de grabado y establecer la relación conceptual con el ready-made de Marcel Duchamp