W1siZiIsIjIyNjMyMSJdLFsicCIsImNvbnZlcnQiLCItcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQBox in a Valise (From or by Marcel Duchamp or Rrose Sélavy) (1935-41) 

1.d4 Cf6 2.Cf3 d5 3.c4 e6 4.Cc3 Bb4 5.Bd2 O-O 6.e3 c5 7.a3 Bxc3 8.Bxc3 Ce4 9.Dc2 cxd4 10.Bxd4 Cc6 11.Bd3 Cxd4 12.exd4 Cf6 13.c5 a5 14.O-O a4 15.Ce5 g6 16.Bb5 Da5 17.De2 Dc7 18.Tac1 Cd7 19.f4 f6 20.Cd3 Cb8 21.Cb4 Bd7 22.c6 bxc6 23.Cxc6 Db6 24.Tc5 Ca6 25.Bxa6 Txa6 26.Tfc1 Taa8 27.h4 Rg7 28.Cb4 Tae8 29.Da6 Db8 30.Tc7 Tf7 31.Dd6 Tee7 32.Txd7 (1-0)

Marcel Duchamp / Milton Loeb Hanauer (Nova Iorque, 1952)


c-sam-shawFotografia por Sam Shaw (Nova Iorque, 1942)

1.e4 c5 2.Cf3 e6 3.d4 cxd4 4.Cxd4 Cf6 5.Cc3 Bb4 6.e5 Cd5 7.Bd2 Cxc3 8.bxc3 Bf8 9.Bd3 d6 10.f4 g6 11.h4 dxe5 12.fxe5 Bg7 13.h5 Bxe5 14.Dg4 Cc6 15.Cxc6 bxc6 16.hxg6 hxg6 17.Txh8+ Bxh8 18.Re2 Dd5 19.Th1 Bf6 20.Tf1 e5 21.Dg3 De6 22.Be4 Ba6+ 23.Bd3 Bc4 24.Rd1 Bg7 25.Dh4 Bxd3 26.cxd3 Tb8 27.c4 Tb1+ 28.Bc1 Ta1 29.a3 Dd6 30.Dh3 f5 31.Rc2 e4 (0-1)

H. Grimme, H. Luuring, H. Ree, T. Krabbe / Marcel Duchamp (Correspondência, 1961)


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Marcel Duchamp . Designs for Chessmen

1.e4 c5 2.Cf3 Cf6 3.Cc3 d5 4.exd5 Cxd5 5.Bb5+ Cc6 6.CxCd5 DxCd5 7.O-O Bg4 8.Be2 e6 9.c4 Dd7 10.h3 Bh5 11.b3 Be7 12.Bb2 O-O 13.g4 Bg6 14.Ce5 CxCe5 15.BxCe5 Td8 16.Bc3 Bd3 17.Te1 Bg5 18.f3 Dd6 19.Bf1 Bh4 20.Be5 Dc6 21.Te3 BxBf1 22.RxBf1 Bg5 23.Te4 Txd2 24.De1 Td8 25.h4 Be7 26.Bc3 Td3 27.Rg2 TxBc3 28.DxTc3 Bf6 29.De1 BxTa1 30.DxBa1 Td2+ 31.Rg3 Dd6+ 32.De5 DxDe5 33.TxDe5 b6 34.a3 Td3 35.b4 Txa3 36.bxc5 Ta5 37.cxb6 axb6 38.Tb5 TxTb5 39.cxTb5 Rf8 40.Rf4 Re7 41.Re5 f6+ 42.Rd4 Rd6 43.f4 e5 44.fxe5+ fxe5+ 45.De4 g6 46.g5 Rc5 (0-1)

F. Dann / Marcel Duchamp (Pasadena Art Museum, 1963)


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“Ströbeck is a village near Magdehurg in which everyone of the 1252 inhabitants (Census 1933) plays chess. The houses are ornamented with chess designs. The street pavements acquire aspects of chess tables. Trees are cut to resemble chess figures. Natives walk in pairs, always ready for a game. Each year at the Easter examinations the school organizes a chess race with six chess boards as prizes. In the year 1011 a Count Gunnelin was made prisoner by Arnold von Alherstadt and locked in the Tower. To distract his jailers and also pass the time, the Count taught them a new game. He took a hoard, divided it in 64 fields, sculpted the pieces, and soon it struck the village like a real epidemic. For centuries its chief industry was, of course, the manufacturing of chess hoards. Since 1011 the Ströbeckians acquired an aptitude for the game, but they never achieved exceptional skill. Yet, once, at a tournament, when the two famous masters, Lasker and Tarrasch, put their talents against the Strobeckians, three of them left the battlefield victoriously. All three belonged to the same family: the proprietor of the only hotel To the Chess Game, his aunt and his Grandmother.”

A Chess Village (1944) . Texto de Steffi Kiesler que acompanha uma das
suas fotomontagens submetidas à exposição The Imagery of Chess


rXenia Cage . Chess Table (1944) / Max Ernst . Chess Set and Board (1944)

“When The Imagery of Chess opened the evening of December 12, 1944, at the Julien Levy Gallery, on view was an exceptional collection of works by some of the most creative people of the era. The announcement for the show included a statement, On Designing Chessmen, wich had laid down a challenge to the artists and designers. Decrying the Staunton and French-style chess sets, the standard playing sets used internationally since the mid-nineteenth century, as stodgy and lacking in utility, it called for new designs that were more harmonious to the touch and sight and more adequate to the role the figure has to play in the struggle… The proposition was alluring to the émigré Surrealists, in New York waiting out World War II, because it offered a challenge that was both dynamic and contradictory: create a beautiful, functional design for a non-functional activity. Along with the Europeans, some of the American artists, including Isamu Noguchi, Alexander Calder, David Hare, and John and Xenia Cage, valued communal and creative play as an artistic stimulus; hence, the concept for the show dovetailed perfectly with their aesthetic practices. It was an exploration of Max Ernst’s belief that art is not produced by one artist, but by several. It is to a great degree a product of their exchange of ideas one with another.

Larry List in The Imagery of Chess Revisited Exhibition Brochure (The Noguchi Museum, 2005)


5.jpgJosef Hartwig . Chess Set (1924)

“The Bauhaus Chess Set is unique in this exhibition [The Imagery of Chess] as it was not created for the show, nor is it contemporaneous with the other works in the exhibition. Rather, this set was designed two decades earlier while Hartwig was an instructor at the Bauhaus, the famed German art school that promoted a unification of art and craft. Its curriculum immersed its students in all manner of design, particularly in such traditionally marginalized media as cabinetry, metalwork, and textiles. In the cabinetry workshop, for example, students were encouraged to distill a chair down to its material essence, eliminating that which is unnecessary in order to emphasize the elegance of simplicity in design. The same aesthetic approach can be seen in Hartwig’s chess set, in which the pieces are fashioned from identical wooden cubes. The Bauhaus philosophy of maximizing utility is also evident in this set, as the pieces are distinguished from each other by being representative of their respective moves on the board. Levy’s exhibition featured an early prototype of this set loaned by the psychiatrist Dr. Gregory Zilboorg.”

World Chess Hall of Fame