Machine Tournez Vite (1916-1918) by Francis Picabia

Picabia's and Duchamp's eroticized diagrams of machinery are perfect illustrations of the vacuousness of modern culture, which qualifies as culture only insofar as the negation of culture is now the hegemonic definition of culture.

Tournzvite takes it moniker from one of Picabia's better-known anti-masterpieces, a painting that depicts what was once sacralized as communion reduced to the joyless, repetition-compulsive meshing of cogs: a depiction of the simultaneous debasement of sex, art, and modern subjectivity.

This site brings together a collection of notes that I hope to transform into a study of art's fundamental dependence on the sacred and, therefore, also of the sterilizing effect of art's modern dissociation from the sacred.