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In her Autobiography of Alice B. Toklas, in 1933, Gertrude Stein told a famous anecdote :«All of a sudden down the street carne sorne big cannon, the first any of us had seen painted, that is camouflaged. Pablo stopped,he was spell-bound. C’est nous qui avons fait        .he said, it is we that have created that, he said. And he was right, he had. From Cézanne through him they had come to that. His foresight was justified ».Is it only an anecdote ? What if the broken shapes of Cubism were not only a formal evolution, linked far instance to the discovery of African art, but also a kind of premonition of the war to come ? Premonitions are, after all, ene of the artist’s privileges. We will explore that path, which is not in contradiction with the usual history of Modernism, but could be usefully complementary.

Didier Semin. Bom in Haguenau, Alsace, France, in 1954. After graduating in art history at the University of Strasbourg, he began working as a conservator, initially at the Musée des Sables d’Olonne,then at the Musée d’art moderne de la Ville de Paris, and lastly at the Musée national d’art moderne (Centre

Pompidou), Paris, where he was responsible far the collection of contemporary art until 1998. Since 1999 he has been teaching at the École nationale supérieure des beaux-arts de Paris. Recent publications:

Duchamp : the Paradigm of the Cartean, Cully,Verlag für moderne Kunst, KMD -Kunsthalle Marcel Duchamp 1 The Forestay Museum of Art, 2015. Le Film et le champ de bataille, Samuel Fuller, The Big Red One, Paris, L’Échoppe, 2017. Duchamp centre Picasso, Paris, L’Echoppe, 2019

Ruta 104, Km 4,5 / Manantiales
Free Entrance / The conference will be done in english with translation in Spanish.


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