Steven Le Priol
Hantologie III

Marcel Duchamp was perhaps never more of an artist than during the periods when he sought above all not to be one. Between giving up painting in 1913 and leaving for New York in 1915, Duchamp worked at the Sainte-Geneviève library. The discreet librarian explored this documentary collection with the appetite of an artist-smuggler, producing notes, sketches and projects that would first fill his green box and then fuel all his work.

For his part, the historian Aby Warburg built his own library to accumulate photographic documents in order to construct his Atlas Mnémosyne, a history of art through images based on correspondences and formal reminiscences, seeking to transcend historical classifications frozen by usage.

In both cases, the documentary collection is a source of reinterpretation based on form and image, which redraws new relationships between the works by eliminating the usual hierarchies.
Inspired by these two models, this residency period was built around the documentary collection, approached through the images it contains, their analogies and paronyms, in an attempt to highlight these unexpected similarities.
Hantologie III is an editorial form designed specifically for this residency and reflects this research.