F u n d a c i ó n P R O A Marcel duchamp: a work that is not a work «of art»

M a r c e l D u c h a m p R o u e d e b i c y c l e t t e (Bicycle Wheel), 1913/1964 © Sucesión M D , 2 0 0 8 , A D A G P/ P a r i s , PROA AUTVIS/Sao Paulo Exhibition General Directors Abbreviations Marcel Duchamp: a work that Jorge Helft BK Bibliothèque Kandinsky Centre de Documentacion et de Recherche du MNAM-CCI is not a work “of art” Adriana Rosenberg C.DF D a v i d F l e i s s C o l l e c t i o n , P a r i s Fundación Proa, Curator C.FK F r e d e r i c k a n d L i l i a n K i e s l e r P r i v a t e Buenos Aires. Elena Filipovic Foundation Collection, Viena 22.11.08 - 01.02.09 General Coordinator C.JMM J a c q u e l i n e M a t i s s e M o n n i e r C o l l e c t i o n C.LZ Luizella Zignone Collection - Cintia Mezza C. M M Moderna Museet Collection, Stockholm TENARIS - TERNIUM Production D B L e s F i l m s d e l ´e q u i n o x e . F o n d s ORGANIZACIÓN TECHINT Iara Freiberg p h o t o g r a p h i q u e D e n i s e B e l l o n - Exhibition Design IUAM I n d i a n a U n i v e r s i t y A r t M u s e u m , B l o o m i n g t o n . P a r t i a l g i f t o f W i l l i a m H . C o n r o y ’s w i f e Secretaría de Cultura de la Caruso-Torricella M D M a r c e l D u c h a m p Presidencia de la Nación architetti, Milan-Paris MMVP M u s é e d ´A r t M o d e r n e d e l a V i l l e d e P a r i s - Preparators M N C P M u s é e N a t i o n a l d ´A r t M o d e r n e Ministerio de Cultura del Sergio Avello 1990 C e n t r e P o m p i d o u , P a r i s - C e n t r e d e C r é a t i o n Industrielle - Achat 1990 Gobierno de la Ciudad Gisela Korth M N C P M u s é e N a t i o n a l d ´A r t M o d e r n e Autónoma de Buenos Aires Lighting 2005 C e n t r e P o m p i d o u , P a r i s - C e n t r e d e C r é a t i o n - Matteo Fiore Industrielle Dépôt du Siège national du Embajada de Francia en Didactics P a r t i C o m u n i s t e f r a n ç a i s , 2 0 0 5 P.c P r i v a t e C o l l e c t i o n la Argentina Rodrigo Alonso P M A P h i l a d e l p h i a M u s e u m o f A r t Cintia Mezza RS R o g e r S c h a l l , P a r i s Graphic Design S.MD S u c c e s s i o n M a r c e l D u c h a m p V i l l i e r s Guillermo Goldschmidt s o u s G r e z , F r a n c e ZB C o r t e s í a Z a b r i s k i e G a l l e r y Jorge Lewis Laura Escobar Assistants Malvina Bali Andrea Cavalletti Andrea Rocchi F u n d a ció n P r o a Av. Pe d r o d e M e n do z a 1929 [C1169AAD] Buenos Aires Argentina [54-11] 4104-1000 www.proa.org i n fo@ proa.org The exhibition original pieces of carefully crafted painting and their challenge to the very foundations Elena Filipovic, Curator or sculpture to be looked at. The invention of of art, then and still to this day. the readymade was not, however, Duchamp’s Marcel Duchamp: A work that is not a Marcel Duchamp: A work that is not a only groundbreaking gesture in this same work “of art” brings to Latin America many work “of art” takes its title from a question period: among other activities, he invented rare and exceptional works for an historic that Marcel Duchamp wrote down one day a new system of measurement, declaring the event possible thanks to loans from major in 1913: “Can one make works that are not experiment “art,” he created multiple photo- museums and Private collections, including ‘of art’?” The question announced a radical graphic copies of his notes, he used chance to the Philadelphia Art Museum, the Moderna shift in the practice of the Frenchman, who make music, and he first used photography Museet in Stockholm, and the Duchamp had mostly been a painter until that time: and perspective to redefine painting—all Estate in France. it signaled the beginning of his defiance between 1913 and 1914. And over the years, of traditional ideas of what counts as an Duchamp continued his diverse experi- artwork and it laid the foundations for what ments, many represented in this exhibition would make him the most influential artist (in some cases through studies, replicas, or of twentieth and twenty-first centuries. reconstructions). His insistent rethinking of the work “of The presentation of the selected art- art” is the focus of this first-ever major solo works on display structures made up of jag- presentation of Duchamp in Latin America, ged, irregular lines and offering no singular, featuring 123 pieces of each form of media fixed, or chronological path, underlines the artist worked in from 1913 to the end of the way in which traditional notions like his life. continuity and aesthetic “progress” make The exhibition begins with the moment little sense in relation to Duchamp’s oeuvre. when Duchamp wrote his famous question, Instead the pieces are organized in group- which coincides with the period in which he ings that reveal the connections between began to conceive of mass-produced “ready- and the persistent return of such seem- made” objects as potential artworks by sim- ingly diverse preoccupations in Duchamp’s ply being selected by the artist (an ordinary work as readymades, optics, perspective, bottle-drying rack he bought at a local hard- transparency, chance, humor, reproduction, ware store, for example). The gesture marked performativity, erotics, and display. In so do- a revolution in art history by refusing the ing, the exhibition points to the complexity idea that art could only be unique and of a set of central ideas in Duchamp’s oeuvre, Readymades questioned the definitions of the work of art In 1913, Duchamp attached a bicycle wheel and the role of the institutions that judge to a stool and watched it spin in his studio. them. The history of art would be changed Room Two years later, he gave it and objects like it forever by the gesture. (a bottle dryer, a snow shovel, among others) None of the “original” readymades exist a name: “readymade.” Those industrially today as all were lost, thrown away, or 2 produced items became artworks by being broken in their early years of existence; only chosen by the artist and extracted from replicas that Duchamp made and authorized their function as useful things. Their during his lifetime are shown in museums selection was not supposed to be subjective and exhibitions around the world. On view and was instead guided by the “beauty of here are various replicas of the readymades indifference,” thus taking art out of the that the artist made in 1964. aesthetic realm and out of a question of either good or bad taste. By being mass- produced and able to be duplicated, they could avoid what the artist called “the cult of uniqueness, of art with a capital ‘A’.” With the readymade, Duchamp proposed that the creative act did not lie anymore in the crafting of an object or in that object’s singular originality, but rather in its selection and in its transfer from everyday life to the art world—through the signature of the artist, its title, and its display in an art institution. Fountain, the name he gave to the porcelain urinal that he signed with the pseudonym R. Mutt and attempted to exhibit at the Society of Independent Artists Exhibition of 1917, was rejected for not being art. It went on to become, in time, the most famous example of the way Duchamp 1 Fountain, 1 9 1 7 / 1 9 6 4. 7 R o u e d e b i c y c l e t t e (Bicycle Wheel), 1 4 B o x o f 1 9 1 4, 1913-14. Commercial Porcelain urinal, 1913 / 1964. Metal wheel mounted cardboard photographic 3 6 x 4 8 x 6 1 c m , C. L Z o n p a i n t e d w o o d s t o o l supply box containing photographic 1 2 6.3 x 6 4.1 x 3 2 c m , I U A M facsimiles of 16 manuscript notes, 2 Marcel Duchamp, Beatrice Wood 3.8 x 25.1 x 19.9 cm, PMA. Gift of Mme. and Henri-Pierre Roché The Blind 8 Trébuchet (T r ap), 1917 / 1964. M a r c e l D u c h a m p , 1 9 9 1 Man, N o. 2, N e w Y o r k , M a y 1 9 1 7. C. D F W o o d a n d m e t a l c o a t r a c k , 1 8.9 x 1 0 0 x 1 2 c m , I U A M 15 M a r c e l D u c h a m p (Reconstruction 3 A l f r e d S t i e g l i t z , Photograph of by Jean-Hubert Martin and Julio Fountain, 1 9 1 7. 9 A b r u i t s e c r e t (W i t h H i d d e n N o i s e), Villani), Sculpture de voyage Vintage gelatin silver print, 1 9 1 6 / 1 9 6 4. B a l l o f t w i n e, b r a s s (Sculpture for Travelling), 2 3,5 x 1 8 c m , S . M D p l a t e s , m e t a l , s c r e w s a n d p a i n t 1918 / 2008. Wool strong, pins, 1 1.4 x 1 3 x 1 3 c m , I U A M plastic bathing caps, dimensions 4 Porte-bouteilles ou Séchoir à v a r i a b l e, P.c bouteilles (B o t t l e D r y e r) ca. 1 0 P l i a n t … d e v o y a g e (Traveler’s 1921. Galvanizad iron, Folding Item), 1 9 1 6 / 1 9 6 4. 16 M a n R a y, Ombres portées de 5 0 x 3 3 c m , P.c Varnished cloth Underwood readymades, 1917. Vintage gelatin t y p e w r i t e r c o v e r, 2 3 x 4 3 x 5 c m , C. L Z s i l v e r p r i n t, 6 ,1 x 3,9 c m , C. L Z 5 Porte-bouteilles ou Séchoir à bouteilles (B o t t l e D r y e r), 1 1 W h y N o t S n e e z e R r o s e S é l a v y ?, 1914 / 1964. Galvanized iron bottle 1921. Thermometer, cuttlebone, d r y e r, 5 9 x 3 6.8 c m , I U A M and 152 marble cubes in the shape of sugar lumps in a small birdcage, 6 I n A d v a n c e o f t h e B r o k e n A r m , 1 3.5 x 2 4 x 1 8.7 c m , C. L Z 1915 / 1964. Aluminum, sheet metal a n d w o o d , 1 2 1.3 x 3 5. 2 x 8.9 c m , I U A M 12 M a n R a y, Why Not Sneeze Rrose Sélavy?, 1 9 2 1. V i n t a g e g e l a t i n s i l v e r p r i n t, 2 3 x 1 8 c m , C. L Z

13 Possible, 1 9 1 3 / 1 9 5 8. Facsimile of one of MD’s notes, 3 2.5 x 2 5 c m , C. L Z Transparency / Perspective 1 7 P i s t o n d e c o u r a n t d’a i r (Draught 25 M D o r K a t h e r i n e D r e i e r, A regarder Duchamp’s intense reading of 17th century P iston s), 1 9 1 4 / 1 9 6 5. P r i n t o n (l´autre côte du verre) d´un oeil, de perspectival and scientific treatises deeply c e l l u l o i d , 2 9.9 x 2 3.7 c m , C. L Z p r è s , p e n d a n t p r e s q u e u n e h e u r e (To informed his production starting in the 1910s. Be Looked at (from the Other Side of 1 8 P i s t o n d e c o u r a n t d’a i r (Draught t h e G l a s s) with One Eye, Close to, Combining an interest in optics, geometry, P iston s), 1914. Gelatin silver print, f o r A l m o s t a n H o u r), 1 9 1 8. and perspective, he used classical perspective 5 8.8 x 5 0 c m , P.c Vintage gelatin silver print, to test out the possibility of representing 7,5 x 8 ,8 c m , C. L Z the 3rd and 4th dimension onto flat, often 1 9 F r e s h W i d o w , 1920 / 1964. Miniature transparent, surfaces. The results of this reproduction with wood stand and experimentation are seen most clearly in his covered with leather, studies for and final rendition of theLarge 7 7.5 x 4 5 c m , C. L Z Glass. Indeed veils, diaphanous materials, 20 Air de Paris (50cc of Paris Air), and glass appear everywhere in Duchamp’s 1919 / 1964 Glass ampoule, works over the years: from the dotted mesh 14.5 x 8.5 cm, C.LZ he used to make Draft Pistons, to the glass and Kodac lens in To be looked at …, to the 2 1 A p o l i n è r e E n a m e l e d , 1917 / 1964. shadows cast on a wall from his ready-mades, Paint and pencil on cardboard, to the webbing of string in his Sculpture for 2 4.4 x 3 3.9 c m , P.c Traveling, to the water and gas of Duchamp’s 2 2 P e i g n e (Comb), 1916 / 1964. Steel “Bride.” Instead of focusing vision on the comb, with box comprised of wood and surface, transparent materials allow the f e l t, 7.9 x 1 8.4 c m , I U A M gaze to traverse it and thus include, as part of the visible “image,” whatever happens 23 Transition, N o. 2 6 , N e w Y o r k , W i n t e r to be behind the glass (or gas or smoke or 1937. Cover of the magazine by MD, shadow) at the time. More than that, when 2 1.5 x 15.5 c m , P.c light passes through glass, for instance, an 24 Suzanne Duchamp / Jean J. Crotti, image painted on it can be projected into the M a r c e l D u c h a m p’s Unhappy Readymade, space of the room, exhibition space, or view in c. 1919-1920. Vintage gelatin front of which it might stand, bringing the flat silver print, 11 x 7 cm PMA. Gift of second dimension into the realm of the third Virginia and William Camfield, 1983 dimension. Large Glass enigmatic visual epic of failing machinery 30 La Mariée mise à nu par ses Its first perspectival sketches date to and frustrated sexuality. Now permanently Célibataires, même (“Marcel 1913 but Duchamp actually began the installed in the Philadelphia Museum of Art, Colorav it”) (The Bride Stripped physical labor in 1915 on what would be the Large Glass was replicated in several Bare By Her Bachelors, Even [“Marcel Coloravit”]), 1958. Hand colored considered by many as his magnum opus life-size copies, including the one shown in photograph in a cardboard stand before abandoning it in 1923, when he this exhibition. created by MD, signed 8 times at the considered that it had reached a final bottom, in white ink, pencil and red stage of incompletion [definitivement pencil, protected with glass, on two inachevé]. La Mariée mise à nu par ses 26 M D ( R é p l i c a d e U l f L i n d e, H e n r i k metal bases as stands célibataires, meme, also known as the S a m u e l s s o n y J o h n S t e n b o r g ), 3 0.8 x 2 1. 2 c m , P.c La Mariée mise à nu par ses Large Glass, is the name Duchamp gave Célibataires, même [The Large 31 MD (Replica by Richard Hamilton), to his transparent “precision painting” G l a s s], 1 9 15 - 2 3 / 1 9 9 1 - 9 2. Oculist Witnesses, 1914-15 / 1968. made of such uncommon materials as lead O i l a n d l e a d w i r e o n g l a s s Silvered mirror on laminated glass wire and dust as well as oil and varnish, 3 2 1 x 2 0 4,3 x 1 1 1,7 c m , C. M M w i t h m e t a l b a s e, 6 3.5 x 5 1 c m mounted between glass and divided onto P M A . G i f t o f E d n a a n d S t a n l e y C. two panels placed above one another. 27 La Mariée mise à nu par ses T u t t l e m a n n , 1 9 9 4 Constructed in the same period that the Célibataires, même (The Bride artist was selecting readymade objects, Stripped Bare By Her Bachelors, 32 M D ( R e p l i c a b y R i c h a r d H a m i l t o n , Even) [first perspectival drawing and involving the results of his research on s i g n e d “ d’a p r è s M a r c e l D u c h a m p ”), o f T h e L a r g e G l a s s], 1913. Pencil on Sieves, 1914-15 / 1968. Screenprint perspective, optics, chance, and time, the t r a c i n g c l o t h , 3 0.5 x 2 4.5 c m , P.c on laminated glass, 63.5 x 51 cm, P.c massive and complex glasswork departs considerably from traditional painting. 28 M D a n d M a n R a y, E l e v a g e d e p o u s s i è r e 3 3 N i n e M a l i c M o u l d s , 1 9 1 4 - 15 / 1 9 3 8 - 6 4. The Large Glass was only “finished” when (D u s t B r e e d i n g), 1 9 2 0 / 1 9 6 4. Miniature on celluloid encased in a it cracked during transportation in 1926, G e l a t i n s i l v e r p r i n t, wooden frame, 16.8 x 27.3 cm, former after which Duchamp decided that the 2 4 x 3 0.5 c m , P.c collection Julien Levy, C.DF accident was part of the work. The hundreds 29 M a n R a y, Oculist Witnesses, 1920. of notes Duchamp scribbled to accompany V i n t a g e g e l a t i n s i l v e r it are necessary to decipher its story of an p r i n t, 2 3 x 1 8 c m , C. L Z unattainable “Bride” in the top panel and the bevy of “Bachelors” below and the gasses, fluids, and devices that circulate in this Chance / Chess / Humor 3 4 E r r a t u m M u s i c a l , 1913 / 1934. 41 Anony mous, P o r t r a i t o f M a r c e l Humor, game-playing, chess, and chance Reproduction of original D u c h a m p i n h i s s t u d i o, 1 9 4 5. frequently turn up in Duchamp’s work, m u s i c a l s c o r e o n d o u b l e s h e e t o f V i n t a g e g e l a t i n s i l v e r p r i n t, bringing lightness to an oeuvre that so m u s i c p a p e r, 4 8 x 3 8 c m , C. L Z 2 5.3 x 2 0.4 c m , C.F K many would like to incorrectly think of as 3 5 3 s t o p p a g e s é t a l o n (3 Standard 4 2 P o c k e t C h e s s S e t, 1943. Leather completely serious and coldly conceptual. Stopp ages), 1 9 1 3 - 1 4 / 1 9 6 4. pocket chessboard, celluloid, pins, The laws of chance were used in many Box with wood pieces, 129,2 x 28 cm, 1 6 x 1 0.5 c m (c l o s e d ), 1 6 x 2 2 c m , P.c pieces, including in his musical composition a n d 1 1 9.4 x 6.1; 1 0 9.1 x 6. 2; Erratum Musical and 3 stoppages étalon. 1 0 9.8 x 6.3 e a c h p i e c e, C. L Z 43 MD and Vitaly Halberstadt, His creation of a hand-made fake check L’Opposition et les cases conjugées to pay his dentist Tzank Chèque or a 36 Obligations pour la Roulette de sont reconciliées, Bruselas, Monte-Carlo (M o n t e C a r l o B o n d), 1 9 2 4. L’ E c h e q u i e r, 1 9 3 2. photocollaged bond for his gambling Photocollage on letterpress, B o o k a b o u t c h e s s , 3 5 x 2 5 c m , P.c business Monte-Carlo Bond hint at the ways 3 1.5 x 1 9.5 c m , P.c Duchamp played with art’s relationship to 44 M a n R a y, Vitaly Halberstadt and MD, commodification. For him, chess escaped 37 M a n R a y, C h è q u e T z a n c k (d e n t i s t e), ca. 1932. Vintage gelatin silver this conundrum, “I am still a victim of 1919. Vintage gelatin silver print, p r i n t, 1 8 x 2 3 c m , C. L Z chess. It has all the beauty of art–and much 2 3 x 1 8 c m , C. L Z more. It cannot be commercialized…” he 45 A n o n y m o u s , D u c h a m p i n B u e n o s A i r e s , once said, perhaps explaining why he spent 38 S h i g e k o K u b o t a , M a r c e l D u c h a m p a n d 1 9 1 8 - 1 9 1 9. V i n t a g e g e l a t i n s i l v e r John Cage, 1970. Limited edition book p r i n t, 1 6 x 1 8 ,3 c m , P.c so much time playing it. It was a subject including a 33 1/3 phonograph, with a of many of his pieces, and when he was in sound recording of Reunion, the 1968 46 Marcel Duchamp and Man Ray playing Buenos Aires during his “chess maniac” c h e s s m a t c h b e t w e e n M D a n d J o h n C a g e chess, P a r i s , 1 9 2 6. S c e n e f r o m R e n é period, he even carved a set of chess pieces 2 2. 2 x 1 6.3 x 2 c m , P.c Clair’s filmE nt r’acte (1 9 2 4), with only the more complicated knights 16mm film transferred to DVD, black made by a local cabinetmaker, Buenos Aires 39 B u e n o s A i r e s C h e s s P i e c e s , 1 9 1 8 - and white, silent, 22 minutes, short Chess Set. 1919. Set of 32 wooden chess pieces, film fragment featuring MD projected b e t w e e n 1 0,3 y 6 ,3 c m h i g h , P.c i n a l o o p

40 Anony mous, MD in his studio, pipe i n h a n d , 1945. Gelatin silver print, 2 5. 2 x 1 8.9 c m , C.F K Optics 47 MD (Replica by Per Olof Ultvedt and Duchamp tried to save art from what he Magnus Wibom), Rotary Glass Plates called the “retinal,” that long-standing (Precision Optics), 1920 / 1961. Metal Room emphasis on the purely visual aspect of frame, motor, glass plates, paint, p l e x i g l a s s , 1 4 6 x 2 0 2 x 1 1 6 c m art. He insisted instead that artistic value C.MM. Gift from Per Olof Ultvedt, stemmed from conceptual as much as—if Magnus Wibom, and Pontus Hulten, 3 not more than—visual perception. This 1961 thinking led him, paradoxically, to intense experiments on the manipulation of vision. 48 M a n R a y, A t e l i e r M a r c e l D u c h a m p , In the 1920s and ‘30s, Duchamp constructed 1920. Vintage gelatin silver print, several quite elaborate optical machines, 1 2 x 1 0 c m , P.c calling them “precision optics,” and also 49 M a n R a y, Marcel Duchamp with Rotary made one film, Anémic Cinéma, and aborted Glass Plates (Precision Optics), another for which only 2 stereoscopic film 1 9 2 0. V i n t a g e g e l a t i n s i l v e r p r i n t frames remain. He followed this with the 2 3,3 x 1 8 c m , C. L Z official patenting of his Rotoreliefs in 1935, consisting of colored discs with graphic 50 M a n R a y, Rotative Demi-Sphere, 1925. geometrical designs, which Duchamp V i n t a g e g e l a t i n s i l v e r presented at a trade fair where inventors p r i n t, 2 3 x 1 7,5 c m , S . M D presented their discoveries. These, like his 51 M D a n d M a n R a y, F r a m e s f r o m a other optical devices, produce a hypnotic P r o j e c t e d S t e r e o s c o p i c F i l m , illusion of space and depth that suggests 1920 / 1973. Edition of a stereoscopic expanding movement and three-dimensional image with green and red spirals on space when set on motion. With them, two negatives, fitted in a wood case, Duchamp not only blurs the border between 1 1 x 2 4.8 x 1 7 c m , C. L Z scientific invention and art object, but also 52 Mantlepiece in Cadaquès, 1968. reveals his keen preoccupation with how we Two photograms mounted on carton, perceive forms, motion, and, ultimately, the and two photographs composing two work of art. handmade stereopticon slides; 1st. group 7 x 10.2 cm each; 2nd. g r o u p 2 3 x 1 8.5 c m e a c h , C. L Z 53 MD, Man Ray and Marc Allégret, Eroticism Performativity Anémic Cinéma, 1925-1926. Film Duchamp often called eroticism “the basis of In 1920, Duchamp decided he wanted to t r a n s f e r r e d t o D V D, 7 m i n u t e s , P.c everything” and the single most important create an alter-ego for himself, posing in influence on his work. Indeed, the name make-up, a woman’s hat and fur coat for 54 W i l l i a m C o p l e y, S.M.S., New York, April 2, 1968. Magazine published by of his female alter ego, Rrose Sélavy, who his friend Man Ray’s camera to consecrate William Copley with cover designed made her debut in 1920, is based on the his incarnation as Rrose Sélavy. “She” not b y M D, 2 7.5 x 1 7.5 c m , P.c phrase Eros c’est la vie (Eros is life). This only appeared in photographs, but also eroticism took many different forms–from signed her name to a book of lewd puns, 5 5 M i n o t a u r e , Vol. 2, No. 6, Paris, Duchamp’s early paintings that take the was the declared author of Anémic Cinéma, Winter 1934-1935. Magazine with front theme of the virgin Bride as their subject, to and, much later, appeared as a mannequin and back covers designed by MD, the provocative, molded objects like Feuille in the 1938 Exposition International du 3 2.5 x 2 6 c m , C. D F de vigne femelle and Coin de chasteté that Surréalisme, wearing Duchamp’s jacket and 56 Cahiers d’Art, V o l . 1 1, N o. 1 - 2, he made in the 1950s while he was secretly shoes with her name signed at her naked Paris, 1936. Cover of the magazine by building his massive erotic tableau, Etant crotch. Duchamp made an appearance as M D, 3 1.5 x 2 4.5 c m , P.c donnés… Perhaps the most complex and one other female just long enough for Man cryptic manifestation of Duchamp’s interest Ray to create the ideal marketing photograph 57 Rotoreliefs (Optical disks), 1935 / in eros, however, can be found in his notes to grace the outside of Duchamp’s unique 1965. Set of 6 cardboard disks (from for The Large Glass, which describe the creation of a perfume bottle, Belle Haleine: the 1963 edition), printed on both relationship of sexual desire and unrequited Eau de violette. This performative side to sides in color offset lithography, mounted on a wooden box covered in love between a motor/Bride and her nine Duchamp’s work–the confusion of male- velvet, motor 220v. (5 replicas + 1 masturbating molds/Bachelors. female roles, the playfulness, and the o r i g i n a l e x h i b i t e d ), P.c implicit eroticism—present throughout his oeuvre is also visible in Duchamp’s one theatrical appearance as “Adam” stripped bare in Rene Clair’s Relâche in 1924. 58 L.H.O.O.Q., 1919 / 1930. Pencil on 6 6 C o u p l e o f L a u n d r e s s’ A p r o n s , 1959. 71 M a n R a y, M a r c e l D u c h a m p a s B e l l e printed reproduction of Leonardo Da Two potholders (“male” and “female”) Haleine, 1921. Vintage gelatin silver Vi n ci’s Mona Lisa 61.5 x 49.5 cm, print m a d e o f c l o t h a n d f u r, 2 0.3 x 1 7.7 a n d p r i n t, 1 7,5 x 1 2,5 c m , P.c 4 8 x 3 3 c m , M N C P 2 0 0 5 2 0.5 x 1 9.8 c m , P.c 72 M a n R a y, P o r t r a i t o f R r o s e S é l a v y ?, 59 Feuille de vigne femelle (Female Fig 6 7 À l’I n fi n i t i f [ T h e W h i t e B ox], 1967. 1921 / 1924-25. Gelatin silver print L ea f) [ p a p e r r e p r o d u c t i o n], 1 9 6 6. P l e x i g l a s s c o v e r e d b o x c o n t a i n i n g with cut corners, hand-retouched H a n d - c o l o r e d c a r t o n c u t - o u t e n v e l o p e s w i t h 7 9 f a c s i m i l e n o t e s with black ink and pencil by MD, 10.5 x 15.5 cm, C.LZ dating from 1912-23, 7.6 x 33.3 1 3.5 x 1 0.7 c m , P.c x 2 9. 2 c m , P.c 6 0 C o i n d e c h a s t e t é (W e d g e o f C h a s t i t y), 73 R a o u l U b a c , Mannequin surréaliste 1954. Two part sculpture: Galvanized 68 M D a n d G e o r g e s H u g n e t, N o n V o u l o i r, (Rrose Sélavy, mannequin dressed plaster for the wedge and dental no. 4, Paris, 1941. Publication b y M a r c e l D u c h a m p), 1938. Gelatin plastic for the lower part, i n c l u d i n g M D’s f r o n t i s p i e c e, s i l v e r p r i n t 2 3. 2 x 1 7. 2 c m M u s é e d’A r t 6 x 8.6 x 4. 2 c m , P.c m u stache, and bea r d of L.H.O.O.Q. M o d e r n e d e l a V i l l e d e P a r i s 9.5 x 1 4.6 c m , P.c 6 1 O b j e c t - d a r d (Dart-Object), 1951. 74 M a y a D e r e n , Storefront of the Gotham Galvanized plaster with inlaid lead 69 L.H.O.O.Q. 1 9 1 9 / 1 9 6 4. P e n c i l o n B o o k M a r t, New York. MD working for r i b , 7.5 x 2 0.1 x 6 c m , P.c printed reproduction of Leonardo Da the presentation of Arcane 17, 1945. Vi n ci’s Mona Lisa; printed lettering G e l a t i n s i l v e r p r i n t, 2 5.5 x 2 1 c m , B K 6 2 F e u i l l e d e v i g n e f e m e l l e (Female Fig obscured in white gouache. Inscribed L ea f), 1950. Painted plaster, bottom center, below printed title 75 M a y a D e r e n , Storefront of the Gotham 9 x 1 4 x 1 2.5 c m , P.c L a J o c o n d e, in pencil: L.H.O.O.Q., B o o k M a r t, New York, 1945. Gelatin edition of 38 replicas printed to s i l v e r p r i n t, 1 1.7 x 1 8.7 c m , B K 63 Moule à pièces pour “Feuille de b e i n s e r t e d i n P i e r r e d e M a s s o t’s vigne femelle” (Mold in pieces for Marcel Duchamp, propos et souvenirs 76 M a y a D e r e n , Storefront of the Gotham “ F e m a l e F i g L e a f ”), 1 9 5 0 - 5 1. P l a s t e r 3 0.1 x 2 3 c m , P.c B o o k M a r t, New York, 1945. Gelatin m o l d i n 5 p i e c e s , 1 3.5 x 2 7 x 2 3.5 c m , s i l v e r p r i n t, 15,7 x 1 2 c m , B K M N C P 1 9 9 0 70 M a n R a y, Untitled [P h o t o g r a p h o f M D a n d B r o n j a P e r l m u t t e r a s A d a m a n d 7 7 T h e B e c A u e r, 1968. Copper etching on 65 Marcel Duchamp and Mimi Parent, Eve in Relâche], 1924. J a p a n v e l l u m 5 0.5 x 3 2.5 c m , P.c Boîte Alerte!, 1 9 5 9. C a t a l o g u e f o r Vintage gelatin silver print, the 1959 Exposition Internationale 2 5.7 x 2 0 c m , C. L Z d u S u r r é a l i s m e, 2 5 x 2 1 c m , P.c 7 8 E a u e t g a z à t o u s l e s é t a g e s , 83 A n d r é B r e t o n , Yves Tanguy par André Originality/ Reproduction 1958. Linen-covered box with loose Breton, 1946. Book published by the Throughout his life, Duchamp questioned the reproductions of MD, 35 x 26.8 x 8 cm, P i e r r e M a t i s s e G a l l e r y, N e w Y o r k . idea that something could only be considered P.c D e s i g n a n d t y p o g r a p h y b y M D, an artwork by being unique and auratic. 3 5 x 2 2.8 c m P.c 79 Charles Henri Ford, View, vol. 5, He did this by elevating ready-made store no. 1, New York, March 1945. Magazine 84 Bouche-Évier, 1 9 6 4 / 1 9 6 7. bought items to the status of art but also by w i t h c o v e r b y M D, 3 0.5 x 2 3 c m , P.c P o l i s h e d b r o n z e s i n k s t o p p e r blurring the distinction between the copy Edition of 100 copies 7.5 cm. and the original. In 1919, he bought a cheap 80 A n d r é B r e t o n , Y o u n g C h e r r y T r e e s d i a m e t e r x 0.5 t h i c k , C. D F reproduction of Leonardo Da Vinci’s Mona S e c u r e d A g a i n s t H a r e s ,New York, Lisa on which he drew a moustache and a 1946. Text by André Breton; cover and 8 5 S t u d y f o r “ T h e B r i d e ” i n É t a n t beard and added his own signature and a j a c k e t d e s i g n b y M D, 2 4 x 1 6 c m , P.c donnés: 1. La chute d’eau / 2. Le gaz new title, L.H.O.O.Q. In 1931, he famously d’écla i ra ge (Given: 1. The Waterfall 81 D a v i d H a r e, VVV, Almanac for 1943, / 2. T h e I l l u m i n a t i n g G a s), 1 9 5 0. repeated the gesture, thus turning mass n o. 2 - 3, N e w Y o r k , 1 9 4 3. M a g a z i n e G o u a c h e o n t r a n s p a r e n t p e r f o r a t e d reproductions of one of art history’s most with special issue by André Breton, p l e x i g l a s 9 1.3 x 5 5.9 c m , C. J M M famous artworks into iconic, multiple, signed MD, and Max Ernst. Cover by MD with Duchampian “originals.” Even before that chicken wire and cardboard cut out though, in 1913, Duchamp began what would 2 8.5 x 2 2 x 1.5 c m , C. D F be a long effort to copy his own entire artistic output, first in the form of the photographs 82 David Hare, VVV, Almanac for 1943, n o. 2 - 3, N e w Y o r k , 1 9 4 3. M a g a z i n e that Duchamp took of his notes, collected in with special issue by André Breton, the Box of 1914. Then, for most of the 1930s, MD, and Max Ernst. Cover by MD with he was busy making exact facsimiles of his chicken wire and cardboard cut out scribbled notes, collecting them in the so- 28.5 x 22 x 1.5cm, C.LZ called Green Box. Immediately after this, he turned to making a “portable museum,” La Boîte-en-valise, with miniature copies of almost every artwork he had ever made. Duchamp took great pains to craft 300 tiny porcelain urinals or reduced-size versions of his Large Glass on celluloid, often using obsolete artisanal methods to make paradoxically hand-made reproductions. And 8 6 M i n i a t u r e o f L a M a r i é e Reproduction 9 2 T h e L a r g e G l a s s [m i n i a t u r e during the process, Duchamp issued several o f M a r i é e (1 9 1 2), 1 9 3 7. C o l l o t y p e reproduction], 1944. Pochoir on of the reproductions, miniature copies of reproduction on paper, with a postage celuloide, mounted between two Mariée or Nude Descending a Staircase, for stamp signed by MD at the bottom glass pieces on a wooden base 3 3,8 x 1 9,5 c m , C. D F 3 7,5 x 2 3,5 c m , P.c instance, as new bonafide artworks in their own right. As if to confuse the line between 8 7 M i n i a t u r e o f L a M a r i é e Reproduction 93 M a n R a y ? F o t o g r a f í a s d e l a B o î t e - original and copy further, each of the deluxe o f M a r i é e (1 9 1 2), 1 9 3 7. C o l l o t y p e en-valise de Marcel Duchamp, 1941. models made for special friends and patrons reproduction on paper, varnished and V i n t a g e g e l a t i n s i l v e r p r i n t included one original artwork fitted on the attached to canvas 30,5 x 20,5 cm, 2 3 x 1 8 c m , C. L Z inside of the suitcase, like the self-portrait C.DF composed of hair he made for Roberto 94 De ou par Marcel Duchamp ou Rrose 88 Miniature of Nu descendant un Sélavy, [Boîte-en-valise], Matta’s Boîte-en-valise. Finally, in the 1950s escalier, 1 9 3 7. B r a s s p r i n t i n g p l a t e s 1935-41 / 1946. (Box-in-a-valise) and 1960s, he made multiple editions of used to make the reproduction of Nu Boîte-en-valise series A. Deluxe replicas of his original readymades. Thus, d e s c e n d a n t u n e s c a l i e r n º 2 (1 9 1 2) edition: XIII/XX, red leather valise until the very end, the effort he began in the 2 9,5 x 2 0,5 c m , C. D F filled with 69 items and one original 1910s to shake the distinctions between the i n s c r i b e d t o R o b e r t o M a t t a original and the copy—and the institutions 89 Miniature of Nu descendant un 4 1 x 3 8.5 x 9.8 c m , P.c like the museum meant to uphold these escalier R e p r o d u c t i o n o f 1 9 3 7. o f N u distinctions—continued. descendant un escalier nº 2 (1912). 95 La Mariée mise à nu par ses Collotype reproduction on paper, Célibataires, même (The Bride varnished and attached to canvas 34 Stripped Bare By Her Bachelors, x 2 0,5 c m , C. D F E v e n [T h e G r e e n B o x]), 1 9 3 4. G r e e n - flocked cardboard box containing 90 Air de Paris (50cc. of Paris Air), 9 3 f a c s i m i l e n o t e s , d r a w i n g s , a n d 1919 / 1939. Glass miniature of the photographs by MD. Deluxe edition original, made for the Boîte-en- of 20 copies bears “MD” in copper on valise 4 x 2.5 x 2.5 c m , C. D F o u t s i d e a n d c o n t a i n s o n e o r i g i n a l n o t e 3 3. 2 x 2 8 x 2.5 c m C. L Z 91 Fountain [first cast porcelain m i n i a t u r e m o d e l o f u r i n a l f o r t h e Boîte-en-valise, inscribed R . M U T T / 1 9 1 7], 1 9 3 8 G l a z e d p o r c e l a i n a n d p a i n t 7.6 x 5.8 x 4.5 c m P.c 96 La Mariée mise à nu par ses Duchamp as “curator” Célibataires, même (The Bride Crucial to Duchamp’s practice lies a Stripped Bare By Her Bachelors, preoccupation with the exhibition and E v e n [T h e G r e e n B o x]), 1 9 3 4. G r e e n - room display—how objects occupy space, how flocked cardboard box containing 93 facsimile notes, drawings, and they transform and are transformed by their photographs by MD. Edition of 300 context, and how they shift or condition c o p i e s 3 3. 2 x 2 8 x 2.5 c m , P.c 4 desire and perception. A tribute to what could be called his role in them as “curator” 9 7 G r e e n B o x P a p e r s (O r i g i n a l P l a t e s), culminates this exhibition even as it reveals 1934-35. Printing plates used to concerns that were present throughout his make the facsimiles contained in entire oeuvre—from his 1910s positioning T h e G r e e n B o x 6 8 x 4 6 x 7.5 c m , P.c of readymade objects in his apartment, to 9 8 S o m e F r e n c h M o d e r n s S a y s M c B r i d e , his design of the exhibition spaces from 1922 Texts and compilation by Henry the 1930s to ’60s for the Surrealists, to M c B r i d e. L a y o u t a n d d e s i g n b y M D, his creation of portable museums of his 3 0 x 2 5.5 x 3 c m , C. L Z artworks, to his final project for a museum, Etant donnés, 1° la chute d’eau, 2°le gaz 9 9 S o m e F r e n c h M o d e r n s S a y s M c B r i d e , d’éclairage. 1922. Texts and compilation by Henry McBride. Layout and design by M D, 3 0 x 2 5.5 x 3 c m , S . M D 1935–1942: Boîte-en-valise Overlapping with his designing of exhibition 100 A n o n y m o u s ? F r e d e r i c k K i e s l e r ? spaces for the Surrealists, Duchamp C u t o u t o f M D h a n d p r i n t, 1945. conceived of a project to produce 300 copies P h o t o g r a m 2 1.5 x 1 8 c m , C.F K of a miniature exhibition of nearly his entire artistic output. For it, he made elaborate and 1 0 1 S e l f- P o r t r a i t i n P r o fi l e , 1 9 5 7 painstaking copies on paper and miniature / 1967. Serigraph of original sculptural replicas of what he considered c o l l a g e, S h e e t 2 9.5 x 2 3 c m I m a g e 1 4.9 x 1 2.8 c m , C. D F his major artworks (including the Large Glass, Fountain, and the Nude Descending a Staircase), gathering them into a complex architecture in a box. Calling it his “portable museum,” Duchamp took on the role of 1917–1918: Duchamp’s Atelier. 33 West 103 Henri Pierre Roché, Untitled [Series curator, envisioning the display systems, 67th Street. of 7 photographs of Marcel Duchamp’s museum-like labels for each reproduction, One could say that Duchamp’s studio was, studio, 33 West 67th Street, New and creating deliberate connections between throughout his life, a place not only of artistic York], 1916–1918 Vintage gelatin s i l v e r p r i n t s 4. 2 x 6.8 c m e a c h , P.c the artworks through their order and display. production but also of experimentation The thoroughly modern idea of reproducing and display. Photographs of one of his early 104 Henri Pierre Roché, U n t i t l e d [M a r c e l th his artworks in a mini retrospective extends studio spaces at 33 West 67 Street in Duchamp’s studio at 33 West 67th Duchamp’s insistent questioning throughout New York reveal, for instance, that in the S t r e e t, N e w Y o r k], 1 9 1 7 – 1 9 1 8 his oeuvre of authorship, authenticity, and period in which Duchamp is “inventing” Vintage gelatin silver print conventional exhibition displays. the readymades, a shiny porcelain urinal 6.9 x 8. 2 c m , S . M D was hung over a doorway, a coat rack was 1 0 5 U n t i t l e d [suite of three studies nailed to floor, and a bicycle wheel spun on 102 De ou par Marcel Duchamp ou Rrose f o r T r é b u c h e t f o r t h e B o î t e - e n - a stool in the middle of the room. His atelier v a l i s e], 1 9 1 7 - 1 9 1 8 / 1 9 4 0. O n e Sélavy, [Boîte-en-valise] 1935-41 / appeared to be in careless disorder but the 1966-1971. Boîte-en-valise series retouched photograph, including a placement of some utilitarian objects was D. Outside green linen, contains 68 line drawing; “Trébuchet” printed items Edition of 30 boxes 41.6 x 38.5 highly meaningful. By testing out ways of on gummed paper, cut out and i n s e r t e d ; o n e p r o o f w i t h p o c h o i r x 9.9 c m , e x - c o l . A n d y W a r h o l , P.c displaying the mass-produced objects so that their use value was denied, and their role as coloring labeled “mòdele” Retouched objects to be noticed—even contemplated— photograph 19 x 26.6 cm, line drawing 7.5 x 11.2 cm, gummed paper 12 x 21.4 was emphasized, Duchamp turned his studio c m (T B C); p r o o f 1 2 x 2 1.4 c m , S . M D space into a kind of primordial space of exhibition. Years later, when he wanted to repro- duce an image his readymade Trébuchet [trap, also meaning “to trip”], for instance, he turned to a photo he had of his New York studio and manipulated it so as to under- score the distinctive strangeness of the posi- tioning of the readymade on the floor—which is, after all, what made an ordinary coat rack into a trap to be tripped over. 1938: Exposition internationale 106 R o g e r S c h a l l , Installation views 1942: First Papers of Surrealism du surréalisme o f t h e e x h i b i t i o n , 1938 / c. 1950. October 14-November 7, 1942 Whitelaw Reid January 17-February 24, 1938 C o n t a c t s h e e t w i t h g e l a t i n s i l v e r Mansion. 451 Madison Avenue, New York Galerie Beaux-Arts. 140, rue du Faubourg p r i n t s , p r i n t e d l a t e r 3 0 x 4 0 c m , R S After having arrived in New York from war- Saint-Honoré, Paris 107 A n o n y m o u s , Untitled [Visitors torn France with many emigrating artists, For the first Exposition internationale du v i e w i n g w o r k s b y fl a s h l i g h t a t t he Duchamp was asked by André Breton to again surréalisme to be held in Paris, Surrealist Exposition, 1938. Gelatin silver design the space of a Surrealist exhibition. leaders André Breton and Paul Eluard asked p r i n t 1 4.6 x 1 0.5 c m , C o u r t e s y Z G Called First Papers of Surrealism, a sly Marcel Duchamp to design the exhibition reference to the immigration papers that the space. Duchamp didn’t belong to the Surrealist 108 D e n i s e B e l l o n , Installation view of artists had to file upon entering the US, the movement but he did often agree to show the exhibition, 1938 / 2004. Gelatin show was meant to benefit the French Relief silver print, printed later, format his art in their group shows and, for the Society. In response to the invitation and 2 4 x 3 0 c m , i m a g e 2 1.5 x 2 2.5 c m , D B first time on this occasion he played the role the meager means at his disposal, Duchamp of “generator-arbitrator” of ideas for the 109 D e n i s e B e l l o n , Installation view of devised a very simple but striking exhibition exhibition. The result was no ordinary hanging the exhibition, 1 9 3 8 / 1 9 8 0 G e l a t i n design that can not help make one think of paintings on the wall. Duchamp turned silver print, printed later, format of many of Duchamp’s previous artworks, the posh interior of the Galerie Beaux-Arts in 2 4 x 3 0 c m , i m a g e 2 1.5 x 2 2.5 c m , D B including the lines of cracks in his Large to a grotto-like environment. He hung 1200 Glass or the suspended lines of Sculpture for coal sacks over the entire ceiling, installed Traveling. For the exhibition, he installed the department store revolving doors in the center exhibition’s paintings on free-standing white of the exhibition rooms, and turned out the panels and then suspended a web of ordinary lights in the space. Duchamp’s transformations store-bought string across and throughout inspired other artists to carpet the floor with the elegantly gilded space. The string criss- dirt and dead leaves, to create a small marsh crossed in front of and between the artworks, in the center of one room, and install a row of blocking access to them, much to the dismay mannequins, each dressed by the participating of many participating artists. For the opening artists, along the entrance corridor. For the night, Duchamp asked some children to play opening, visitors brought into the darkened ball in the middle of the exhibition during space made their way through the exhibition the opening. When they were asked to stop and could view the artworks by the light of or questioned, they had been instructed to flashlights handed out at the entrance. answer: Marcel Duchamp said it was all right. 1 1 0 F i r s t P a p e r s o f S u r r e a l i s m , N e w 1947: Le Surréalisme en 1947 116 W i l l y M a y w a l d , Installation view of York, 1942. Catalogue to accompany July 7-September 30, 1947 Frederick Kiesler’s Anti-Tabu with the exhibition, 26.6 x 18.4 cm, C.DF Galerie Maeght. 13, rue de Teheran, Paris M D’s L e R a y o n v e r t, 1947. Gelatin For Le Surréalisme en 1947, held at the silver print 111 A n o n y m o u s , Untitled [Swiss cheese], 2 6.8 x 2 3.5 c m , C.F K 1942. Vintage gelatin silver print Galerie Maeght in Paris and marking the used in the exhibition catalogue Surrealists return to Europe after the war, 117 D e n i s e B e l l o n , D e t a i l o f L e R a y o n c o v e r, 2 5 x 2 0 c m , C. D F André Breton turned to Duchamp once again v e r t b y M D, Galerie Maeght, Paris, to conceive of the design of the exhibition 1947. Gelatin silver print 18 x 24.5 112 J o h n D. S c h i f f, Installation space. Although he remained in New York, c m , D B view of the exhibition showing Duchamp conceived of an exhibition space Duchamp’s Sixteen Miles of String that included a room with “alters” designed 118 W i l l y M a y w a l d , Installation view Installation, 1942. Gelatin silver o f M D´s a l t a r R e f a i r e l e p a s s é , 1947. by participating artists, a Billiard table and print 19.3 x 25.4 cm, PMA. Donación G e l a t i n s i l v e r p r i n t, de Jacqueline, Paul y Peter continuously falling water in the middle 2 9.5 x 2 3.5 c m , C.F K Matisse en memoria de su madre of one of the rooms, and green fabric lined Alexina Duchamp walls throughout. His own contribution included one of the alters and, Le Rayon 113 A r n o l d N e w m a n , MD, 1942. Gelatin vert [The Green Ray], a peephole through silver print 24.1 x 15.8cm, PMA which one could see an optical illusion, Donación de R. Sturgis y Marion B. although most visitors didn’t notice the F. I n g e r s o l l , 1 9 4 5 hole in the wall at all. Architect Frederick 114 F r e d e r i c k K i e s l e r, D u m i r a g e d e s Kiesler and painter Roberta Matta went r é s e a u x c i r c o m fl e x e s e n p e i n t ure , to Paris to execute the design. From New 1 9 4 5. P u l l- o u t p a g e f r o m V i e w York, Duchamp designed the unusual cover magazine, special MD issue (2 copies for the deluxe edition of the catalogue, e x h i b i t e d ), 3 0.5 x 2 2.5 c m , C.F K hand-painting 999 false foam breasts and attaching them with velvet to the catalogue 115 Maya Deren, Meshes of the Afternoon covers with the help of Surrealist Enrico 1943. 16mm film transferred to DVD, black and white, silent, 14 minutes Donati and entitling them Prière de toucher Short film fragment featuring MD [Please Touch]. p r o j e c t e d i n a l o o p 1959: Exposition internationale du 119 Adrian Dax, Publication de 1946–1966: Etant donnés… Surréalisme d o c u m e n t s g r a p h i q u e s d e c a r a c t è r e Duchamp spent the last two decades December 15, 1959-February 15, 1960 scientifiques, p.1intitulée of his life, from 1946 to 1966, secretly “Aménagement”, 1959. Manuscript Galerie Daniel Cordier. 8, rue Miromesnil, building a elaborate erotic tableau vivant lettre from Adrian Dax to André Paris Breton regarding the preparations entitled, Etant donnés: 1° la chute d’eau, For the “Eros” theme of the Exposition f o r t h e 1 9 5 9, 2 6.9 x 2 0.9 c m , B K 2° le gaz d’éclairage, which only became internationale du Surréalisme at the known to the public (and even to many Galerie Daniel Cordier in Paris, Duchamp 120 R o g e r V a n H e c k e, Accrochage Galerie of the artist’s closest friends and family), conceived of the pulsating “breathing” green Cor dier, installation view of the according to Duchamp’s instructions, after velvet-lined walls that served as the main exhibition, 1959. Gelatin silver his death when it entered a museum. The p r i n t, 2 4 x 1 8.3 c m , B K passageway into the darkened exhibition installation, now permanently displayed space that was meant to be a kind of vaginal- 121 D e n i s e B e l l o n , Installation view of in the Philadelphia Museum of Art, is a corporeal interior. Working with architect the exhibition, 1959 / 1980. Gelatin mixed-media diorama in a room closed off Pierre Faucheux and several participating silver print, printed later, signed by a large wooden door and visible through members of the Surrealist movement, b y B e l l o n o n t h e b a c k 2 4 x 3 0 c m , D B two small eye-holes made in the door. Duchamp’s ideas for the exhibition design Through them, one sees a hyper-realistic emerged after long discussions about how 122 P i e r r e F a u c h e u x , Plan of the scene including a life-size female nude to transform the throbbing movement of Galerie Daniel Cordier, 1 9 5 9. I n k sculpture lying with her legs spread and a n d c o l o r c r a y o n s o n c a r t o n , w i t h the Rotoreliefs into an architectural scale. holding a gas lamp in a landscape with a n o t e s o n t h e b a c k b y A n d r é B r e t o n The air was perfumed, the floor was lined “Premier projet de Pierre Faucheux” shimmering waterfall behind. Arguably one with sand, and speakers emitted the sound 3 5. 2 x 6 6 c m , B K of the twentieth century’s most unusual and of artist Radovan Ivsic’s recording of enigmatic artworks, Etant donnés… and the women’s heavy breathing throughout. With particular experience of it are inseparable artist Mimi Parent, Duchamp designed the from the container in which it is installed exhibition catalogues entitled Boite Alerte!, (the museum, that stately conservative and for the deluxe copies reserved for the institution of “masterpieces”). As a viewer, participating artists, he had “male” and bent and peering into the eye holes, one “female” pot holders made. cannot help feeling like a voyeur peeping at a nude that could be another manifestation of the Large Glass’s “Bride,” still unreachable to the “Bachelor” (embodied by the viewer), blocked by the door. In his final artwork, Duchamp brought together many of his persistent themes, including the nude, the waterfall, gas, optical illusion, perspective, photography, eroticism, and exhibition display. A projection with a virtual reproduction of the piece is on view in this exhibition to give spectators some idea of the last spectacle that Duchamp left behind.

123 M D (Virtual reproduction by Yukio Fujimoto and Yukihiro Hirayoshi), Étant donnés: 1. La chute d’eau / 2. L e g a z d’é c l a i r a g e (Given: 1. The W a t e r f a l l / 2. T h e I l l u m i n a t i n g G a s), 1 9 4 6 - 6 6 / 2 0 0 4. V i d e o a n d s t e r e o pair photogram, C o r t e s í a P M A .

Denise Bellon, Portrait of MD with chess board, at h i s s t u d i o o f 1 1 r u e L a r r e y, 1938. © L e s F i l m s d e l ´e q u i n o x e . F o n d s p h o t o g r a p h i q u e D e n i s e B e l l o n Exhibition Lenders Marcel Duchamp Catalogue F u n d a c i ó n P R O A _Bibliothèque Kandinsky, Editorial Board A v. P e d r o d e M e n d o z a 1 9 2 9 Paris Elena Filipovic [C1169AAD] Buenos Aires _Centre Pompidou, Musée Cintia Mezza Argentina National d’Art Moderne, Adriana Rosenberg [54-11] 4104-1000 Centre de Creation Coordination www.proa.org Industrielle, Paris Debbie Grimberg i n fo@ proa.org _David Fleiss Collection, Texts - Paris Gonzalo Aguilar, Thierry Opening Hours _Indiana University Art de Duve, Marcel Duchamp, O p e n T u e s d a y – S u n d a y s Museum, Bloomington Elena Filipovic, Rosalind a n d p u b l i c h o l i d a y s _Austrian Frederick and Krauss, Octavio Paz, 1 1 a m – 7 p m Lilian Kiesler Private Hugo Petruschansky Last admission 30 minutes Foundation, Vienna Regina Texeira de Barros b e f o r e c l o s i n g t i m e. _Les Films de L’Équinox, Translations Mondays closed Fonds Photographique Denise Jaime Arrambide, Marcelo - Bellon, Paris Canossa, Elena Donato, Admission _Jacqueline Matisse Monnier, Max Gurian, Guillermina G e n e r a l : $ 1 0 Villiers Sous Grez Rosenkratz S t u d e n t s: $ 6 _Moderna Museet, Stockholm Corrections Senior Citizen: $ 3 _Musée d’Art Moderne de la Jaime Arrambide Ville de Paris, Paris Magdalena Rodríguez _Passage de Retz, Paris Documental and _Philadelphia Museum of Art, Photographic Research Philadelphia Cintia Mezza _Jean-Frédéric Schall Graphic Design Collection, Paris Mario Gemin / Mariano Morales _Succession Marcel Duchamp, Graphic Production Villiers Sous Grez Mario Gemin, _Zabriskie Gallery, New York Guillermo Goldschmidt _Luisella Zignone Pre-press Collection, Proietto & Lamarque Strona Biellese Printer Mundial S.A. ISBN 978-987-21336-7-2