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    Who is Claude Cahun and what is the cause of her death

    Claude Cahun death

    Lucy Renee Mathilde Schwob is another name for Claude Cahun. Cahun, who was born on October 25, 1894, in Nantes, France, came from a long line of Jewish writers in France. They lived until December 18, 1954, when they died at the age of 60.

    What was Claude Cahun known for?

    Photographer, writer, surrealist, and performance artist who was mostly ignored until her photos were included in a Surrealist photography exhibition in 1986 in the late 1980s. They are well-known for their ambiguously gendered self-portraits. They are also writers.

    Was Claude Cahun a nonbinary?

    Even though Claude had a lesbian relationship with Marcel Moore until their deaths, Claude was a nonbinary. It was difficult to pinpoint the gender with which they identified. They related to butch lesbians, genderqueer people, and trans people.

    1995.41n Who is Claude Cahun and what is the cause of her death

    Claude Cahun

    What did Cahun identify as?

    Identity was a movable or unstable concept for Claude. They showed themselves in their self-portraits as a man, a woman, and an androgynous mix of the two, at times so extensively made-up and costumed that it was impossible to tell which gender they were.

    What pronouns did Claude Cahun use?

    “It depended on the situation,” Cahun wrote in their autobiography, Disavowels. “Neuter is the only gender that always suits me,” they added. Cahun prefers “they” pronouns and alternates between “she” or “he”.

    What is the cause of Claude Cahun’s death?

    Marcel Moore, Cahun’s lesbian girlfriend, devised a suicide plan. They (two of them) administered barbiturates in a succession of doses. They (two of them) were apprehended and sentenced to death after three years.

    Cahun and Moore married in 1937 while both in prison. They both had no criminal records, even though their lover’s murderer was executed. The two were found guilty of a crime that resulted in their deaths by a jury.

    It’s unknown whether Claude Cahun’s death was caused by suicide or illness. The artist died of a heart attack, according to his death certificate, indicating that he had cardiac disease.

    There’s also speculation about his committing suicide. A narcotic overdose could have been the reason for the suicide. If this is the case, the reason for death is unknown. It could be the result of a drug or alcohol overdose.

    Read also: Cobra Kai: Who is Albert Omstead? What happened to Albert Omstead?

    Childhood of Claude Cahun

    Lucy had a brother named George and an uncle named Marcel Schwob, who was a well-known Symbolist writer. Marcel Schwob was well-known in Paris and was a close friend of Oscar Wilde. Cahun’s grandfather, David Leon Cahun, was an important intellectual figure in the Orientalist movement, therefore the artist was already steeped in a creative and intellectual milieu when he was a child.

    Cahun’s mother had severe mental illness to the point of being institutionalized, and Cahun was raised primarily by their blind grandmother. Cahun was moved to boarding school in Surrey, England for a brief time due to his mother’s illness and an anti-semitic event at school in France. Cahun, like their mother, struggled with anorexia, suicidal ideation, and chronic sadness as a teenager.

    Fortunately, it was also around this time that Cahun met Suzanne Malherbe, his eventual life partner. This meeting was later described as a “thunderbolt encounter” by Cahun, and their friendship became a crucial forming force in Cahun’s life and art. Malherbe became Cahun’s stepsister after Cahun’s father married Malherbe’s mother. Despite this, Cahun and Malherbe fell in love and travelled to Paris in 1919, at the height of Dada’s popularity, when they acquired the gender-neutral aliases Claude Cahun and Marcel Moore.

    Early Training and Work of Claude Cahun

    Cahun and Moore began to link themselves with the small number of members of the Parisian avant-garde who were also experimenting with gender at the time, and their attempt at gender-neutrality was of course quite controversial. Marcel Duchamp debuted the creative identity of Rrose Selavy, his feminine alter-ego, around 1920. Cahun and Moore, on the other hand, chose new names not to change their gender, but to break free from such artificially built relationships.

    Cahun attended the Sorbonne in Paris to study literature and philosophy. Cahun and Moore began hosting salons and events in their home in the early 1920s, inviting avant-garde writers and artists. Cahun had been fascinated in photography and self-portraiture since he was about 12 years old, but it wasn’t until the 1920s that he began to explore extensively with the medium, producing some of his most charismatic and iconic photos.

    Cahun was on the margins of the Surrealist movement at the time, but not closely associated with it. Cahun and Moore also met Pierre Albert-Birot, the director of Le Plateau, an experimental theatre where Cahun performed and Moore made stage sets and costumes. In the 1920s, Cahun focused on writing as well as photography. Cahun released the novel Heroines in 1925, as well as Aveux Non-Avenus (1930), a compilation of texts and photo collages in a limited edition of 500 copies.

    Mature Period of Claude Cahun

    During the 1930s, Cahun, like Moore, grew more engaged in politics, and the two of them joined forces to protest the advent of fascism in Europe. Cahun became a member of the ‘Association des Ecrivains et Artistes Revolutionnaires’ in 1932, where he met Andre Breton, one of the Surrealist movement’s founders.

    Cahun gave Breton a copy of Aveux Non-Avenus on their first meeting, and the experimental wording struck him. They became friends, and Breton once referred to Cahun as “one of our time’s most curious spirits.” Other prominent members of the Surrealist group, including René Crevel, Robert Desnos, and poet and painter Henri Michaux, with whom Cahun visited a psychiatric hospital, were inspired by Cahun’s literary work, which he created in cooperation with Moore. Those gatherings sparked a closer relationship with the Surrealists, and Cahun began to show with them, notably in the major Surrealist exhibitions in London and Paris in 1936.

    In terms of politics, the Surrealists and the French Communist Party broke in 1935, and Cahun and Moore supported Breton and Georges Bataille as they attempted to utilize art to stem the tide of war. Breton in particular inspired Cahun to write a counterattack to Louis Aragon, who had abandoned Surrealism in favour of Communism. Cahun’s piece, titled “The Bets are Open,” criticizes Aragon’s beliefs and supports a sort of art that spreads its message by “indirect action” rather than propaganda.

    Cahun and Moore relocated to La Rocquaise, a residence on Jersey, a British territory sandwiched between England and France, in 1937. Despite the fact that Cahun and Moore continued to make art (both photographic and literary), they had little interaction with the outside world after this, thus ending Cahun’s involvement in the Surrealist movement. Cahun and Moore began to use their actual names again at this time, and they became known as “les mesdames” to the rest of Jersey’s residents, earning a reputation for odd activities such as walking their cat on a leash while wearing trousers.

    Late Period of Claude Cahun

    In 1940, the Germans seized Jersey, the closest they ever got to mainland British soil, as the duo watched Nazism march across Europe. Cahun and Moore chose to stay and help the resistance by generating anti-Nazi propaganda rather than leave. They were not suspected of subversive activities at first because they were two older women. This provided them with plenty of opportunities to attend events where they would smuggle homemade flyers into the pockets of German soldiers in order to demoralize them and encourage them to desert.

    Cahun saw their resistance as an extension of the “indirect action” he espoused as a member of the Surrealist group, describing it as “militant surrealist activity.” Some art historians, such as Lizzie Thynne, claim that Cahun and Moore’s actions of resistance are an outgrowth of their radical artistic practice.

    The couple was captured in July 1944, charged with listening to the BBC and inciting the troops to revolt and sentenced to death. They were held in separate cells for almost a year, finally being released when the island was liberated in May 1945. When they returned home, they discovered that the Nazis had destroyed much of their artwork.

    Cahun received the Medal of French Gratitude in 1951 for his role in the resistance. Cahun died in 1954 following a long period of ill health, which was likely exacerbated by his time in prison.

    The Legacy of Claude Cahun

    Cahun’s artistic output, several personae, and odd personal life have made him a figure of inspiration and fascination for many subsequent artists. Cahun is relevant to both homosexual activists and feminists because of her gender-shifting self-presentation and non-heterosexual connection. Cahun’s use of photography in self-portraiture also marks the start of a significant new tradition among non-male artists.

    Cahun’s method taps into the need of an artist to investigate the intersections of gender, sexuality, and power. Gillian Wearing, for example, has lately created a series of pieces in response to Cahun’s work, including Me as Cahun Holding a Mask of My Face (2012). Wearing recreates Cahun’s renowned self-portrait from the I Am In Training Don’t Kiss Me series in this photographed self-portrait (c.1927). Wearing poses with a mask of Cahun’s face on one hand and another mask that is a perfect reproduction of her own features on the other.

    Cahun’s work has also influenced celebrities who are challenging gender stereotypes, such as David Bowie. In 2007, Bowie organized a show in New York featuring Cahun’s work. Cahun, remarked “You could call her a cross dressing Man Ray with surrealist inclinations, or you could call her transgressive. This task drives me insane, in the best possible manner. She has not received the amount of respect she deserves as a founding follower, friend, and worker of the original Surrealist movement outside of France and now the United Kingdom.”

    Source: Docupdates

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