Table Of Contentco
NT R
Gérard Titus-Carmel, Jean-Luc Nancy, Claire Denis
"To encounter is to find, to capture, to steal,
but there is no method for finding other
than a long preparation."
GILLES DELEUZE
Gérard Titus-Carmel, Jean-Luc Nancy, Claire Denis
ZSUZSA BAROSS
ACADEMIe
PRE S S
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Copyright © Zsuzsa Baross, 2015.
The right of Zsuzsa Baross to be identified as Author of this work has been asserted in
accordance with the Copyright, Designs and Patents Act 1988.
2468 1097 5 3 1
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British Library Catalogtting in PNblication Data
A CIP catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Pztblication Data
Baross, Zsuzsa.
Encounters : Girard Titus-Carmel, Jean-Luc Nancy, Claire Denis / Zsuzsa
Baross.
pages cm
ISBN 978-1-84519-663-9 (hbk: alk. paper)
ISBN 978-1-84519-715-5 (pbk: alk. paper)
1. New and old in art. 2. Arts-Philosophy. 3. Creation (Literary, artistic,
etc.) 4. Human body (Philosophy) 5. Human body in literature. 6. Human
body in motion pictures. 7. Titus-Carmel, Girard, 1942- Suite Grünewald.
8. Nancy, Jean-Luc. Il y a du rapport sexuel. 9. Denis, Claire. 1. Title.
BH301.N48B37 2015
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Acknowledgements VI
Abbreviations Vll
Illmtrations VUI
In Place of a Preface 1
159+ 1 Variations or Painting Becoming Music 17
Il Y a du Rapport Sexuel 64
The Body in the Cinema of Claire Denis and theWd ting
of Jean-lue Nancy
v
Three persons l need to thank for their indispensable contribution to this
book project:
Jean-Luc Nancy, for participating in and giving shape to the confer-·
ence that inspired the second essay here. Despite obstacles, he tirelessly
supported the encounter l was organizing with Claire Denis, which took
place, with the tide '''Il y a du rapport sexuel': le corps du cinéma de
Claire Denis et de l'écriture de Jean-Luc Nancy," at the Collège
International de Philosophie with the support of the Médiathèque
Marguerite Duras in Paris on March 9, 2013. The second essay, with the
same tide partially translated into English, develops the materials l pre
pared for the conference.
Joan Titus-Carmel, who since our very first contact-an email from
me to the Collège des Bernardins where the first exhibition of the Suite
Grilnewald took place-has played the indispensable role of intermediary,
mediator, facilitator, advisor; she took charge of the correspondence,
copied and transmitted aIl the image materials, sent me catalogues, rele
vant sources in the literature .. And wh en the first draft of my study of
the Suite was ready, she enthusiastically shared it with other writers in the
field whose work l deeply respect.
To Gérard Titus-Carmel l am indebted for his friendship, for the
"guided tour" of the second exhibition of the Suite at the Musée
de Soissons in 2010 and later in his studio. l am grateful for his generous
conversations, for guiding my gaze to "pregnant mOll1ents" in the draw
ings, for his intimidatingly erudite discussions, not just on the subject of
the work, but also its rich references in art history, literature, and poetry.
TC also made available in digital format the entire Suite of 159+ 1
images, as weIl as over two dozen ofhis work notes, texts and designs that
have informed my understanding of the work; and kindly permitted the
reproduction of his work in the book and on the cover ... l regret that
we were not able to include more than 18 color plates.
Here l also wish to express my gratitude to the Musée Unterlinden in
Colmar for permission to reproduce the central panel of Grünewald's
altarpiece, Crucifixion.
vi
D: Jacques Derrida, La Dissémination (Paris: Editions du Seuil, 1972).
IT: Jacques Derrida, Le ToucherJJean-Luc Nancy (Paris: Galilée, 2000).
DI: Gilles Deleuze and Claire Parnet, Dialogues, trans. Hugh Tomlinson
and Barbara Habberjam (New York: Columbia University Press,
1987).
DR: Gilles Deleuze, Difference and Repetition, trans. Paul Patton (New
York: Columbia University Press, 1994).
PS: Gilles Deleuze, Proust and Signs, trans. Richard Howard (Minneapolis:
University of Minnesota Press, 2000).
C: Jean-lue Nancy, Corpus (Paris: Editions Métailié, 2000).
C : Jean-lue Nancy, Corpus, trans. Richard A. Rand (New York: Fordham
University Press, 2008).
1: Jean-lue Nancy, LJlntrtls (Paris: Galilée, 2000).
RBA: Jean-lue Nancy,"Rühren, Berühren, Aufi-uhr," Wien,
Tanzquartier, 2010, MS.
IF: Jean-lue Nancy, "Icon of Furry: Claire Denis's Trouble Every Day,"
Pilm-Philosophy, 12 (2008), "Icone de l'acharnement, Trouble Every Day
de Claire Denis," Trafic, 3 (2001).
Films of Claire Denis
SFM: SJen fout la mort, 1990.
JPS:JJai pas sommeil, 1994.
NB: Nénette et Boni, 1996.
TE: Trouble Every Day, 2001.
VS: Vendredi soir, 2002.
1: LJlntrusJ 2005.
WM: White Material, 2009.
vi i
s
III
Cover illustration: Gérard Titus-Cannel, Suite Grünewald, no. 73,
décembre '94.
Frontispiece (opposite): Black and white photograph (Fig. 1): The view
of the exhibition of Gérard Titus-Carmel, Suite Grünewald, held at the
Collège des Bernardins, in Paris, 19 March-June 7,2009.
The colour plate section (after page 22).
In the text, figure numbers appear in bold; TC's work notes by their
number preceded by the # sign; drawings are referenced by their number
in the tide, in roman font.
Color plate (Fig. 2): Reproduction of Grünewald's Crucifixion and the
single painting, closing the variation Suite Grünewald.
Color plates (Figs. 3-19) reproduce a selection of drawings from the
159 variations of Suite Grünewald: individually, in blocks as they appeared
at the 2009 exhibition, and in clusters and combinations thereof in
support of the analysis carried out in the text.
The entire work appeared in the catalogue of the exhibition: Gérard
Titus-Carmel, Suite Grünewald, Paris: Collège des Bernardins, 2009.
vi i i
