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Gula, Eller Bukformationer Hos Bosch Och Bruegel

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Gula, Eller Bukformationer Hos Bosch Och Bruegel http://www.diva-portal.org Postprint This is the accepted version of a chapter published in Gæstfrihed i kunst og politik / Hospitality in Art and Politics / Hospitalité en art et en politique: Festskrift til Carsten Juhl. Citation for the original published chapter: Bäcklund, J. (2016) Readymade og Fake In: Mikkel Bolt, Peter Borum, Else Marie Bukdahl, Ettore Rocca (ed.), Gæstfrihed i kunst og politik / Hospitality in Art and Politics / Hospitalité en art et en politique: Festskrift til Carsten Juhl (pp. 179-198). Copenhagen: Basilisk N.B. When citing this work, cite the original published chapter. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-92565 Readymade og Fake Jan Bäcklund Det ubehjælpeligt færdiglavede Da den amerikanske maler Douglas Gorsline i 1964 havde købt et flasketørrestativ, lige som Robert Rauschenberg og Daniel Spoerri tidligere havde gjort, skrev han til Duchamp og spurgte om han monstro ville kunne signere det for ham. Duchamp svarede: “Jeg har netop indgået en aftale med Schwarz i Milano, der autoriserer ham til at lave en edition af alle mine få readymades, inklusive flasketørrestativet. Jeg har derfor pålagt mig selv ikke længere at signere nogle readymades for at beskytte denne edition. Men signeret eller ej, dit fund har den samme ‘metafysiske’ værdi som en hvilken som helst anden readymade. Det har ovenikøbet den fordel at det savner enhver kommerciel værdi.”1 Måske ikke ligefrem hvad Gorsline havde håbet på at høre. Men spørgsmålet for os må ikke desto mindre blive, af hvad vil denne ‘metafysiske værdi’, som Duchamp refererer til, bestå? Den mest fascinerende kendsgerning omkring Fountain er det næsten fuldstændige fravær af enhver reception fra den 5. maj 1917 frem til at den begynder at dukke op i 1 Francis M. Naumann: The Art of Making Art in the Age of Mechanical Reproduction (Gent: Ludion Press, 1999), p. 245. — 1 — litteraturen efter Anden Verdenskrig.2 Det bliver ofte skrevet – begyndende med Camfield i 1991 – at Stieglitz’ fotografi først blev reproduceret i en artikel af Harriet og Sidney Janis i Duchamp-nummeret af View 1945,3 men det var allerede blevet diskuteret og reproduceret af Georges Hugnet i 1932 med billedteksten “« FONTAINE », PAR R. MUTT (MARCEL DUCHAMP), EXPOSÉE AU PREMIER SALON DES INDÉPENDANTS A 2 “Regrettably, Picabia’s letters at the time contain no reference to Fountain […] After May 1917, no references to Fountain have been found in the letters or records of anyone associated with the lively debate during April and early May that year – not even in the records of Arensberg, who supposedly purchased it.” William Camfield: “Marcel Duchamp’s ‘Fountain’. Its History and Aesthetics in the Context of 1917”, Rudolf E. Kuenzli & Francis M. Naumann (red.): Marcel Duchamp (Cambridge, Mass.: MIT Press, 1989), pp. 85–86. At Picabia, i et vist omfang, var informeret omkring sagen er tydeligt fra to sjældent citerede noter i hans tidsskrift 391. På bagomslaget til nummer 5 (New York, July 1917), under rubrikken “Marcel Duchamp” læser man: “Professeur de langue française à Washington Square University a donné sa dimission de membre du comité des Indépendents” og i nummer 8 (Zürich, February 1919), ligeledes på bagomslaget, læser man “Marcel Duchamp parti à Buenos-Ayres [sic] pour y organiser un service hygiénique de Pissotières. — (Rady-Made) [sic].” 3 Harriet & Sidney Janis: “Marcel Duchamp Anti-Artist”, View, vol. 5, no. 1 (1945), pp. 18– 19, 21 24 og 53–54. Jeg har ikke selv set denne udgave, men teksten blev genudgivet, dog uden illustrationer, det samme år i London af tidsskriftet Horizon. A Review of Literature and Art (October 1945), pp. 257–268. “Moreover, Fountain was rarely mentioned in the 1920s and 1930s, and, to my knowledge, was not even reproduced again until the Duchamp issue of View in 1945—28 years after the Independents controversy!” William Camfield: “Marcel Duchamp’s Fountain: Aesthetic Object, Icon, or Anti-Art?”, Thierry De Duve (red.): The Definitively Unfinished Marcel Duchamp (Cambridge, Mass.: MIT Press, 1991), pp. 154–55. — 2 — NEW-YORK, 1917 (PHOTO STIEGLITZ).”4 Fire år efter udgivelsen af Duchamp-nummeret af View, spurgte Sidney Janis Duchamp om han måtte købe et urinal til sin Duchamp- udstilling det følgende år, hvilket han kunne, og han installerede den, ikke liggende på ryggen, som på Stieglitz-fotografiet, men ‘korrekt’ i forhold til dens brug, om end temmelig lavt, tæt på gulvet, “således at små drenge kunne bruge det”,5 som Duchamp senere kommenterede installationen. Tre år senere, ved udstillingen “Dada, 1916– 1923”, konciperede Sidney Janis en endnu mere ekstravagant installation da han hang urinalet ovenover en dørkarm sammen med en tistel, lidt på linje med hvordan det var placeret i et af Duchamps atelierfotografier, også det reproduceret i Janis-parrets View- artikel.6 Fra og med 1959, med Robert Lebels Duchamp-monografi, begynder Stieglitz- fotografiet at blive reproduceret, først langsomt, senere i en alt hidsigere takt. I 1963 løskøbte Ulf Linde, jeg tror uden at spørge Duchamp om lov, et brugt urinal fra en 4 Georges Hugnet, “L’Esprit Dada dans la Peinture. I. – Zurich & New York”, Cahiers d’art, no. 1–2 (1932), p. 62. Som billedteksten antyder, så havde Hugnet, fra et eller andet sted, fået den originale idé, at Fountain rent faktiskt var udstillet under en kort periode: “Pour éprouver l’impartialité du jury des Indépendants, Duchamp, qui en faisait partie, avait envoyé sous un nom d’emprunt, cet urinoir, symbole pour lui de son dégoût de l’art et de son admiration spontanée pour les choses toutes faites (Ready Made) et parce que le jury retourna, au bout de quelques heures d’exposition, cet envoi, Duchamp donna sa démission.” (p. 64). 5 Camfield: “Marcel Duchamp’s Fountain” (1991), p. 156. 6 Camfield: “Marcel Duchamp’s Fountain” (1991), p. 156, ill. 4.2, 4.17–18. — 3 — restaurant i Stockholm til Duchamp-udstillingen i Galerie Burén samme år.7 Linde placerede urinalet efter Stieglitz’ forbillede og signerede det ”R. Mutt” med bogstaver fra et serifløst typesnit. Dette urinal blev udstillet i Milano det følgende år og Duchamp bekræftede ikke kun replikaen med sin egen og R. Mutts signatur (erstattende Lindes applicerede bogstaver med en håndskrevet signatur som mimede signaturen på Stieglitz’ fotografi), men valgte ovenikøbet også at indføje fire spulehuller fra Stockholm- replikaen, som ikke er tilstede i Stieglitz-fotografiet, til sin og Arturo Schwarz’ edition fra 1964, således at Duchamps og Schwarz’ edition i virkeligheden kom til at udgøre en slags ‘objekt-collage’. Hvis Sidney Janis’ fund ved et loppemarked og Ulf Lindes frikøb fra en restaurant er i overensstemmelse med den gængse forestilling om en readymade, så er Arturo Schwarz’ og Duchamps udgave, fra begyndelsen til enden, helt og holdent et produkt af traditionelt fabrikshåndværk, og desuden ingen ‘replika’, da produktet adskiller sig på flere afgørende punkter fra det ‘originale’ urinal fotograferet af Stieglitz. En rundspørgsel blandt 500 af kunstverdens ledende aktører kunne i december 2004 fortælle, at Fountain havde katapulteret sig op til det 20. århundredets mest indflydelsesrige værk,8 hvilket i sig selv ikke kan siges at være overraskende, da enhver bibliometrisk studie ville give det samme resultat. Det mest overraskende er snarere at 7 Ulf Linde: Marcel Duchamp (Stockholm: Rabén & Sjögren, 1986), p. 53. 8 Se fx. “Duchamp’s urinal tops art survey”, BBC News, 1 December 2004 (http://news.bbc.co.uk/2/hi/entertainment/4059997.stm) eller Charlotte Higgins: “Work of art that inspired a movement … a urinal”, The Guardian, Thursday 2 December 2004 (http://www.guardian.co.uk/uk/2004/dec/02/arts.artsnews1) — 4 — det 20. århundredets mest indflydelsesrige værk i dag ikke ville indbringe mere end omkring 1 million dollar, og på trods af at det eksisterer i en halv snes eksemplarer, er denne sum stadig kun en brøkdel (omkring 1%) af hvad man ville forvente af “det 20. århundredets vigtigste kunstværk”. Sagen er, naturligvis, at “det 20. århundredets vigtigste kunstværk” ikke er et stykke hård hvidvare signeret af Marcel Duchamp, men fordi the unassisted readymade er den nyere kunsts mest indflydelsesrige begreb. Det er i denne forskel, mellem kunstnerisk værdi på den ene side og bytteværdi på den anden, som Duchamps “metafysiske” værdi skjuler sig. Denne værdi er negativ, udtrykt ved det værditab som følger af en (måske sågar enhver) transaktion fra kunstværdi til bytteværdi eller fra koncept til objekt. Det første moment i dette værditab sker ved replikeringen af det singulære, i det at objektet produceres i en lille edition. Dette tab er udtrykt ved den konceptuelle transport fra original til kopi, fra unikum til serie. Men denne selvreplikering vil, strengt taget, kun forklare den første tiendel af værditabet. Mit argument i det følgende vil være at broderparten af Duchamps “metafysiske værdi” udgøres af en forestilling om negativ autencitet. På samme måde som readymade er blevet en terminus technicus i kunstverden, blev også den negative autencitet en terminus technicus som fake, kuriøst nok ved samme lejlighed som readymaden i 1916, nu ved udstillingen Exhibition of “Fakes” and Reproductions ved Pennsylvania Museum i Philadelphia,9 men, ligesom tilfældet var med readymaden, er det først i tiden 9 Edwin Atlee Barber (red.): Exhibition of “Fakes” and Reproductions (Philadelphia: — 5 — efter Anden Verdenskrig at denne terminus bliver almindelig og skrives uden citattegn.10 Schwarz-editionen fra 1964 er en artikulering af readymade-konceptet, men den mest prægnante artikulering af dette begreb blev udført samme år af Andy Warhol med hans udstilling af syv forskellige typer af kommercielle emballager for fødevarer og rengøringsmiddel i Stable Gallery, New York. Produktionsmetoden for Warhols emballage-skulpturer er slående identisk med den produktionsmetode som Duchamp og Schwarz brugte. Warhols skulpturer er ikke af pap, men af finér, motivet er ikke trykt, men serigraferet, motivet er kun reproduceret på fem af emballagens seks sider, og hvert objekt er manuelt reproduceret i et mindre produktionsværksted (The Factory).
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