A one-time Fauvist, Cubist, Dadaist, and Surrealist, but an eternal chess player, Marcel Duchamp remains the avant-garde figure beyond all avant-garde figures of the past century. Provocative and brilliant, he radically challenged and changed accepted notions of art and its manufacture, and of the relationship between art and life. Marcel Duchamp, published on the occasion of an exhibition at the Jean Tinguely Museum in Basel under the curatorship of Harald Szeeman, endeavors to trace the different periods of Duchamp's oeuvre by means of a selection of his work focused mainly on those aspects that influenced Tinguely's own oeuvre. Additionally, the publication contains statements by Duchamp and essays by renowned Duchamp scholars on such topics as the emergence and development of the ready-made concept and its impact on the art of the 1960s.
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One of the most controversial and influential artists of the 20th century, Marcel Duchamp, a.k.a. Rrose Sélavy and R. Mutt, was born in 1887 in Blainville, France. The brother of artists Raymond Duchamp-Villon and Jacques Villon, Duchamp himself began to paint in 1908. After producing several canvases in the current mode of Fauvism, he turned toward experimentation and the avant garde, producing one of his most famous works, the cubist "Nude Descending a Staircase, No. 2" (1912), which caused a furor in New York at the 1913 Armory Show. He painted very little after 1915, with the notable exception of his most challenging work, "Bride Stripped Bare by Her Bachelors, Even" (1915-1923). Perhaps his most important legacy was the ready-made, a radical rethinking of the artwork initiated by Duchamp with his "Fountain" (1917), which consisted of a mass-produced ceramic urinal, turned upside down, signed "R. Mutt," and exhibited in a gallery setting. After his brief creative period, Duchamp virtually retired from the art world and spent the remainder of his life playing chess. He died in Paris in 1968.
Text: English, Italian (translation)
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