“Everything important that I have done can be put into a small suitcase.”
— MARCEL DUCHAMP
When Marcel Duchamp arrived in New York in the summer of 1942, he reconnected with his friend André Breton, the leader of the Surrealist movement. Together they created an exhibition, the First Papers of Surrealism, opening on October 14, 1942 in Manhattan. Duchamp ran twine throughout this exhibition that forced the viewer to look through different angles and pathways, composing many different points of view. Seen below, Duchamp's mischievous installation of the exhibition - known as "his twine"- suggests the complexity of his escape from Europe as well as the many independent transatlantic crossings taken by both Marcel and George as they pursued their dreams or fled from wars.
Blow, blow them into air,
silky little rings
Oh little smoke rings I love
Please take me above with you.
- THE MILLS BROTHERS, lyrics 1933
Ocean journeys offered time to dream and invent. Battered or elegant, these ships became background characters in our protagonists' lives. Here are a few of the ships they took, expanding your understanding of Duchamp's Pipe.
Where do they go?
The smoke rings I blow each night
Oh what do they do those circles of blue and white?
Duchamp left Paris for New York in 1915 on the SS Rochambeau, seen above. In New York, he was invited into the salon of art collector and critic Walter Arensberg and his wife, Louise. where he met poets Wallace Stevens and William Carlos Williams. He became close friends with artists Man Ray and Beatrice Wood, and with Henri-Pierre Roché, a diplomat and writer (and the author of Jules et Jim, 1952, later the subject of a film by François Truffaut.)
Where do they end, the smoke rings I send on high?
Oh where are they hurled, when they've kissed the world goodbye?
Let me tell you that I'd give my life to laugh at this strife down here below below below
— SAM COOKE, lyrics 1963
This abbreviated chronology of Duchamp and Koltanowski's ocean voyages combines their stories with images of the ships they took.
“A smoking reproach against staid scholarship—juxtaposing biography, industrial history, literary history, photography, and other disciplines to produce a fairy tale about chess and friendship, and a meditation on the contradictory role of the gift in the world of art.”
—LINDSEY BANCO, author of Travel and Drugs in Twentieth-Century Literature and associate professor of English at the University of Saskatchewan