NZZ Art & Literature Saturday, November 20, 1999

Late Greetings from Marcel Duchamp; 
The Readymade Under Inspection 
by Thomas Zaunschirm 
excerpt translated by Thomas Girst 


[...] The long term strategies of Duchamp are more and more difficult to see through. Everyone wonders that he was silent about his true intentions and obviously did not care about being understood in his lifetime. From today's perspective he seem, first and foremost, like an autistic handyman. A technically well versed craftsman who is an expert in photo development and various printing processes. An artist whose achievement moves further and further away from the notorious thought of the Readymades. Abstract thinking doesn't help interpretation any further, what counts are specific and detailed examinations. Why until today, no one has examined the simple fact that a lot of the torn notes in the various boxes do fit together. The Frenchman Hector Obalk pursued this ephemeral trace, which among things proves that both titles of the major works by Duchamp, the Large Glass and the posthumous installed unknown master work, did from the very beginning form a unity: La Mariée mise à nu par ses célibataires, même. Etant donnés: 1. La chute d'eau 2. Le gaz d'éclairage...

[...] It is safe to say that Duchamp produced the postcard for his readymade L.H.O.O.Q. (Mona Lisa) and Pharmacy all by himself. Rhonda Roland Shearer for the first time has tracked down all different traces systematically. Regardless of remaining doubts, her project hits bulls eye. CONTINUED>>