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f unld'lncs IUVd rc3r80 ruvdNOtlfncouINl

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HIdOMS!10b| N:tlH

eq] lo urstqord aql rsuraruotr lo 3]er ^!un4

sLdur€qrnc ernld n3s l9Alsod roi

suolP]Idr! 6! qtrP3r-rE] e^"q plnot arlsep]o s6ur6EF p3qnop qcns ar]rErd

sdurpqrno ur palcauuor arE &LpotLruotr aql lo arnlE 3ql puP lpoq 3qi lo sclora

aql ]Eq+ sFe66ns $peurlpPar ar.l+ lo serrrdsr 3q1pLr? sarnld n3s rlora ap€ur

-pupq aleu4ur 3q+ +o l1u xord Produa] 3qf ?^ordde sdui?qrnc ol palqns sEA

)iroM esoLt/!\ s!€srle uE|l€ll trq pauers llsnouoqe arsr\ sErrldar sssql pocnp

-ord sseu lnq butqlue ara^ s096I aql lo sapeu^ppar aql e)oqtr s,lspE aql

qbnorql p" ol! peLurolsuP4 pue FqrP 3q1lq peseqrrnd 'slreiqo patrnpord-ss€trr

uasq p"q sapeLr,{pEar pul6ro aq} q6noq}v sapPur{pe3r }sol{[so!u 'uaL]]',slq lo

]es e spruq€l ol2rP^ q.s ornlv Fzrroqlne dLrPqsnc'sl]3ho rtora aerLl] 3ql

palot p3 ple aPEu peq eq rsue srsal Pra€s'tg6L ul'stuuopiuerf )1lo^ sno

-ualslu lsouJ puP lsElsrq o] saqureard srar laq] leLl]rEal3 sure3eq ] 'aurrr ur

pup suo+!pa ur parnpordsr,{l}usnbasqns ara^ rcql sarn}dlnrs.4ore ^ueap

pu€

'a^]nurul|p 'r+eufiLra 33rql apeu durEqrno'so96l lrea 6ql6uDnc'sora s€ u/sou)i sa 6rau3 3soq1

tF puP lpoq aqi ro suralqord puE sarns€ad aql ur Faosq€ FqrP uP se'eroLrl

r4'arou pue'6uruP3ui papusssu€4 ol surP3 s,+rP lo.rlr]] ro ]s Enldaruo3

,oiord E sE sse ss6raura dueqtrnO - squrop lu€]f pue'spalqo sDors aarql3q]

'as€ -ue a]log a\I - ieal rPr lsod slq ]o s)iroM roJEU aql uro4 sepeurlpEar

sduEqrnc palErEdas sPq ]€ql dP6 3q16u 6p!rq Ig auri^lalur LerL6o ouaurouaLld

aq+ puE rqtr{sd aql }o spg3rq} aq} sraqM qa^ ? ! lLl6nEr usuo srrsaar^ aq}

pup:qrnoi ueunq ]o s33Pr+ roqreLl sp r3]€t! :eurq3Etu aq+ lou ^poq

3ql sa^Lo^u!

!ot]3d3r qr qM uIsauo+lralaau lno satleF a./nldlnes red ]3atqa ued P4

s!93Lr urqs a^rl€rElr sLql s6! q] ol puP lpoq aql ol srrsap 6u puq sal aq] u

]$raiur burprqP uP 6u nend rasrPr srq lo sapErap pu4 3q] luads oqa's0q6L

eqi lo durPqrnc aql ol suaa] a$ lo dureqrnc p3lraLlur epec aq] uro4l€ae

uolruaue qjrqs tPql alo tuols raqlouP sllal arrrolrrs ped lJalqo tta'anD r 13 leuo[n] ]sul puE

)iroa pasEqirqderooloqd uoqE.L€ua6 sarnpE qloq ]o ss6LrslPqr aql qfa IIPU+

s!x3 pu€ !us!Pnld33uo3 srelus'rusLlPur urr'{ o}u spPaL tre dod ql^ su 6eq

tEqt uo s$r6ord eruolsrq-pe tEsu r3q1€r e ulplolun q spual apeu^pEar sq+

,o ]unortrP para)lurq lnq luPulurop 3ql'urnlu !o]trnpord €lrlsnpu joc60laql

s^ otlol {t36re pP l€AFod ur uol]ader ]o 33FErd pEardsap^ aq]]eqluo0ou

aql aM se palPprrosuo. sEq fE +srpurrurl r.lsnui l0 sernpsroro sno4[ao3r pue

s€ualEu te4snpureql puE L!BrpPled u"rduewnc epeLr-aurwEur I]r4s E jo

uoqe! q uor aqt pr.re Lt Iq ]re 6u fPur sEi,^ du€Lpn o l l rPM p roM rellE sspecap

sarql lr€eu rot'r3^aMoH sapEu^pEar sLdu?qtrno lo arnl€u pasnporo-ssEur

3ql uo A^Lsnpxa 1o ]LJ|od aql ol 'slsrsur a^ ]exEU srql srnrdlnrs lP^ lsoo lo$iroM 'puo[Ppunot ]a,( letr|pEr sP sapeu{pPar lres srq qPa4 }€q} du"qrnc

a.r€tl lo uorlPlardralur !E Lror] llroqinP sl lo p€d lPtus ou s3)iPl leq] ^xop

,oqtro u? 'arnldlncs tunluar-qlsrlu€Ml a]€l jo ul|€ pue adors aql,o sl!norr?

p€l€u Lrop 6uol a^Pq usrrPu.rrurt\ lo s]'raurarcrq.e tr+ oro aqf uP rP^qsoo lotuolslq aqi l€ Burloo to treM r^3u E asodord ol slsruE uFUauV puE !€edornS

Jo dnorb lraes p Io arnldLncs aql raqls6or s6u rq €rrrdtncs tted t.aha red

a

objeci the most predominant fom ol wh ch is the commodityithe siiLration ot

des re - and ihe inevitability of the displacement ol erolic desire onto ihe deslre

tor objectsi and a coniinual play with varlous forms ol rcproduction' rcplication,

and repeUtion creaie a fie d of aesthetic play for artlsts ol the postwar period ln

the work ol ihe artisis who expore this tripariiie field of play, one often flnds ihe

ernoi onal psychological, and phys cal effects of shaiteifg' a klnd of wild d s-

persalo{ the eroiic, as everywhere the presence of ihe body s let but nowhere

s it imaged. Th s genealogical strain o{ sculptufe is bound togelher by several

shared formal atiributes, slch that one often linds an exploration oi scu ptLrra

pracllces ihat are diminltive in scale and sculptufe made through the process oi

casUng. So too thls genealogy trafics in objects that are bound iogether by iheir

shared lndeterminacy - paintings may behave ke sculptures, sculPtures like

objects, and repetiiion generates the uniqLre Parl Obl'ect Pztt Sculpture chais

this voatile aesthetic and Psychic terfain

Duchamp was by no means aone in his preoccupation with eros and

objectsr the examples ol Louise Bourgeois and Alberto B!rri are !ndeniable'

Bourgeois's Personages animate ihe inanirnaie, bestowing upon objects the

psychic energy ol the human word B!rr's incLusion ol readymade objecis into

lhe pcture pane created a series of excruciaiing and ravishing analogues tor

sk ns and bodies. Llcio Fontana's eiaculato.y sprav oi gernstones and crushed

glass onto punctured canvases establishes the eroiic d mension oJ both the ad

object and adisUc activiiy. Other artists had thelr eario the ground, so io speak

Marcel Broodihaers was quick to grasp the erotc dimenson of DuchamP's work,

as his accumula|ons of mlsseL and eggshells offer a humorous and erotic ver

sion ol Kar [/an's not on ol reification: soJt inieiors protecled by calcilied exte-

riors. Jasper Johns was aled to the handmadeness ol DLrchamp's erotic objectsl

his ght bulbs and lashlights of the lale 1950s ofler ihe commodiiy object as

an exercise ln bodily tactility And the phallic encrusted objecis of Yavo Kusama

reve in an everyday dornesllcity gone deeply awry

Pad Obiect Pa Sculpturedoes noi nclude sculpture dependent

upon the seial logic of Pop art's parodies of consumerism, nor does it feature

examples ol lvin rnallsm's lusion of indusirial mateials and georneirc princlples

or instances ol ConceptuaLism's logarithm c logic The declsion io resistthe

imp! se io suruey postwar sculpture as such goes hand n hand wiih the choice

to run the sk of assemb ng an exh biton of heierogeneous obiects thal have

in common a Duchampian genealogy and the use o{ repettion to yeld differ

ence and provoke embod ed resPonses.This is why thean ^

Pan Object ParI

Scu/p/ure so often makes the hairc on the behoder's neck stand on end, sum-

coidh.gpILL{sFld6rsp0.l955

Think o{ Lynda Benglls's wax lozenges: all are roughly the same size and made

with ihe same mateials, yei each is utterly difierent The unsetiled identiv

of the wax obiects plays directly into their eroiic PLrllithey seem both Phallicvaginal, d sturb ng and pleasurable The seductive lnterueaving, which occurs

in rn uch ol ihe art n this exhibition, lends s Lr pPort io the s! Pposiiion that

mon ng Lrnconscious thoughts of the hidden rccesses and pleasures ofthe

'ate3s'sELr€leur lo suo4elnLxrad aql ra^o 6ur)llo/'arnpa6 l€tnc}]€d ! o+ uinlar,(aq1 aruels! q.ee ut sora jo s^ Et tuop pp4uo3 aql /iq pa nr sarnleoD ef! pu?

ssurqrEu a)jrt '1uo +$adai qlu 'ioururnler ql a pessasqo el€ qsqrP a$qfloualur Lls l1r str olul tutue

rol arsap sasnoE I lpql 'iu€unq os 'pel€ur!e trte6ue4s os srprll'saqnl rlsEldpatrnpord-ssEur lo sporpunq Ltw{ pu?q trq pepeerql ,,( snoDoqP raqns p3lErrq€}

AllEr4snpu uP 7 uolssarcy s,esseH ?^l raprsuotr uPr a/\^oolos snossuolun

aq+ pue sser.rsnoosuor lo plols3rql aql lP llt leq] sslqE uE se t3,1 s€ 'sarPdssuDa$E4ur 's3urqr€ur .Lalsuor! sE nor€luo8 eet lo spro^ /qs^ta^ 6urpn4ord

eql ees ue. 3uo +o/saluErl s ql urqlM $+E6oxns parodror lo 6LrL)i€u eql

ro] sPUalPU lErlsnpurlo tErualoo snouP|ltnur eql !luossete sslpons sleLFr

tP^^ a^ssEur s,noraluog 331 ot sa!./o./qey s,ruozuerl L!o4 e^our ol'o4 sPnbs etnb re^aLr auo sntd auo qtrrqi

ur apls la€rqeq-Li ue u 6urlsrsqns s6urql snoqdrcuP ssrnpord luauEurrsd s!

I a3u1s r6u[sm ro outeor aqt se^ue] ro '6ur|eq uot]or 's]a ad auarAs{tod -spLl€leur Pulsnpur apEr6-Mot jo IPrP uP ra^o i psrnod 3H 6u +sPr azuo4 ul

tepour rc^ eqt 6ur3^or IEp 3'{ ara^\ }r}rsE qcnui luauBrd pue rspaod u|?tel

rod lo punodluor E 'u loE)j pasn uozupt,{ orard F^atc I qs pu€+ pue'esoot 1ss}aq p notr 6uqsm jo uo1]rp€4 aLt+ io uo+4depe 3qt {Ep)roa sql }o !o0}3d31

aqi olu sslu6ousu€4 rslunorua.4or3 aqi Io ssaLralqPrnsPald aql lPsdar o+alsap 3ql sp rsqtouE 3uo uodn lua6u llor {tpnlnur ere uo}4€der }o sspoLr PDI

-snput pue !e qrtrsd Nt poq leq) lse66ns loqlo aql uro4lual3]jrp q3€a pel ur 3rE

tnq r€llurts Eedd€ letll speiqo presnoql ual aas aa pr-tt u 'qto$ tenpt^tput

OOOltt./e/O s,urnllof,rN uellv ]o spaho lsm aql artd|.S ped tzalqo uedur 6u Fer,o ssaoord aql +o a.u"Uodurt aql lE pestdrns aq lelu epeur,(peor

€ql q6norql trr?oetsdueqrno 6! plP8ar ol pauolsn.rp asoql'sproa ol lueis ssr se:)el

-rns'6uDjEUr ur o r|€qllo re}€u eql qlh ps rl spaho lser'stassa^ paladui lo$uasE siago )iro,l rleql lpeolsut puoa ell10 se5!3radx3l poq rno u Pluol

ol,( |qE s,€6En6uetlo ErLldets lseettue^ sqll?'suaas )iro^^ s,pEarqrqM puP

s,reqoe qp8 spaho sJaqog laqou ul pu€q aq+ +o saoE4 6ur^ot pue snouoqelaqi Iq Uet e.ueserd ,(trpoq 6uo4s eql pue 'spaho,,(ep{]a a ]o s]sEo s.p€aialu

Fqreu lo apnlatnb uroqqnF oqlto )iutql -,{poq aql ro surpar tuosues eqtalelnrqlE oi a6!n6uEtlo erntpj €leripqo eql ol up6e re^o pue re^o sernls€8

atnldtn.s ued palqo ued ur$jro1$ eql to uotlr?4sqe Ne^ sql peluor ro uorl

-Ern6$'s IEllEU prEriro$qorp4s 6urasq]ss,{ s^u!l}sc s?apr qrns }o urea4sdrFeq] ur sspD a./n]dln3s !%r irago !%r ut )iro/tl.3q1+o qsnr\t UoDE EU rEaul pue

uorld lrsep FUo l€r o] ]lprt|] erer oqe sr ]r ltat pup pa^[ sr so]a atrqrr 's6En6uEl

o] ]uElssar trlEtnr4rpd alE lpql s$usnorcsuo3 +o suotbar'€rtsap pue lseluet toar€ds aql Iq paura^o6 alE pLre urorl alpuBura qloq suolladai I pog

FOI ele e,$ Irnoqr|{ p€rbr? Ilud]ar seq ,e.{,(JouF sv r,orrp-oJ ueunq a$ r'o Burpos ro} '- \

aLorqa^ e sE saNes I laqlEl lurrat a^[E6au i tou s 'aral] 'uot]Dedeu req]oueeuo o] snorod ole !olFdar puE uol]npord ]o qapour tpr4snpurpuE tBrt6optq

3rnldlrcs led lralqo p€d pEalsui ureLler puE 'raqp aqt ro auo

,(tornd aq ol 1l€l traq}l"ql'alsap qli/\^ lualoPar os slcah' t:: ::'^",:::::j

;;; ;;;;;;,'";r, ' - sarnr'|e] sr pue a.En'u€r ue3/-'3q )/qp srarqo

o,, n .^" ,*""0 o"tso pe puP xllpoururo' uaa'\ 1* till"ip:::

'r"ir""*t:"*

u,tt"'os pue pe uaa/^laq arpta rsPaun rraql - arnidlnis

,*,"rf* u", ,, u*t " "q] jo

^lll€urLxrlsqlllp ar""''"1":

:^::i:,:]:::!,,.-."",0'i"i ,,.,""" ."u"

"ql ]o suo+Fd?r sseLpua aql o] r?llL,ls .rP ,"ql uoLs

"u",ai".,u.La o* ',""p,rqd 'c4aqpae 1o spla11 pas:"6'" '""tl"t;

Itj.".^il,L"" or" *,**u **a .qa 6ulq u€ ]noqe sll!sP uoltradar lnoq' q'nLx

,"'",** U",* "

U,t"' t le/{e se arnlsaG 3ql 6ulrPadar 'arnlxal pu? )olol

HELEN IVOLESWORTH

DUCHAMP: BY HAND' EVEN

Duing the 1950s, Dlchamp rnade three curious objecis. Never mind that hehad abandoned mak ng a.t as ear y as I921, they exist nonetheless. Each objectis the scale ol the human hand, strangely inert and oddly dlsturbing. They areoften refered io as lhe ihree erotic objects. Female F/b leallooks like theinverse oi a woman's vllvai is sensuous lorms slope up into a ridge ke p, theinverse ol the opening on a rea body, tholgh no ess a uring and provocative.The interp ay behaeen the smoolh and roug h su aces ends t a paipab e iactitit.The object's haptic nai!re is heghtened by iis phaniasrnatic quality - boih thetantasy of its mak ng and the potefiial ol its use. Duchamp made two copies ofFemale Fig Leaf, orc Iot \imself and one lor h s dear old lriend Man Ray. A sexyjoke beiween nro boyish fr ends.lt was also a gift bome of economic generosity,as Dlchamp was io grant Man Ray the right to make an ediiion ol ien of the

Abiet Dard had ts debut ai the Rose Fred Gallery in New York in 1953,and was shown alongside Fenale Fig Leaf. Objet-Dard is simultaneolsty pha icand scatological, flaccd and ablect. Despie ihe oblect's nuanced psychotogicaladdr€ss ihere is a whiff of the schoolboy sn cker about it as wett. tvade of gat-vanized plaster, colored a dlngy meta c brown, ii prompted Francs Na!mann,stemark that i appears to be a cast, "bui casi trom whai?'' is t tle s similarlymlrtable; da.d s French s ang for penis as well as be ng a pun on the Frenchobler d'ar., ind cat ng a s ppage beiween sex and art as wellas ari and object.It too was feprod !ced, n an ed it on of eig hi. The New yort lrres's SilartPresion described it and Fenale Fig Leal as'b zane anifacts.', Who can blamehim? Not quiie scu pture, noi quite objects, seemingly discofnected iromDuchamp's othef wo.k on view, ihey must have been partcularly hard lo makesense of upon lirst viewing.

The ast ol lhe tiumv rate s Wedge al Chastity.lnscJ 6ed "pou r Teeny16 Jan. lS54 Marceli t was a wedding g li io Duchamp's bride, Teeny Matisse.Compr sed of lwo p eces that fit sn lgg y togeiher, hand in glove, the wedge sfash oned of paster and the base ls rnade from a handfulol the maieialusedto rnake dental impress ons U ni I now the nter or of ihe object had neverbeen photographed (although it bears a strofg resemblance to a photographaI Female Fig Leallhal appeared on the cover of Andr6 Breton's magaz ne,Le Sunaalisne mene): Vthen the wedge is lifted, ihe rough edge g ves way ioa shocking pink nterorthai is an iniensey niimate, oving, and eroic depiclionoi a puss)r Even the mosi personal of wedding prcsents was reprodlced nan ediiion of e ght

Wedge ol Chastity s a wot k for wh ich touch s essentia . Only th roug hphysical engagemeni wilh the object can the play between what is seen andunseen become evident. And evef though ihere are no strictly defifed anaiom -cal pa.ts, the duallstic nature of ihe work, its inlense symbiosis, and iis overwhelm ng mplicalion oi iwo bod es propose a paricularly expansve verson ofrhe ercIic. Wedge al Chasrt ofiers an ine uctable mixture oJ ihe bodily and thenonbodily a rnerg ng ol iwo entties that nonetheless mainta n lheir autonomJi

AII in all, ihe ihree eroic objecis instanliate whai one art historian

'lhe gap between what is presenied and whai is siqniJiedl inasmucl

sex; iy the body, and the sirange reciproctv beiween bodies and

oesiured toward bLri not demonsirated'

The three erotic obiecis and ihe r subsequeni editions'

d a err of 10'raditioml

d_ q.ran|76o od<rer ando'nra'oa'L( lhey explore

and casi ng as a form oI sculptural produciion and reprcduction lhq

a tableioP scae lor sculpture rei!s ng both monumentaliiv and,the

base. And ihey constiiuie a lled of pLav ihat rs deliniivelv erolic'ha

to ihe etplorairons of eros and desrre thai flgured so prcrninenlly in

work o{ ihe ieens and I920s, mosi notablv lhe Erde Sf,ppedEate

Bachelo|s, Even (1915-23)' Thev were also exhibited quite a lol

U n ited Siaies and n Europe, as ihe I 960s saw a rise rn Duchamp

and the three erotic objects were lncluded in the most inrpodantof

means lhai the eroilc obiecis and ihe readymades Dlchamp'siwo

{orays nio the realm ol scuipture - often appeared side bv sid€'and

Duchamp considered them to be equaLLv worthv ol disPlay'

The reappea.ance ol ihe readvmades in the 1960s is tar

evideni.In 1913 Duchamp lnvenied ihe readvmade by conceiving ol tr

mod iy objeci as an engrne for making sculpture Durlng the teens'ihs

lcs ol thls operaion were largely compr sed of chorce' pLrrchase' and

oil", *o,a" Ou.nu.p afowed hls adisiic process to mime the relati

"lo t *" *""0'V *"rld As he strolled through ihe markets ol Par

ih; along the streeis o{ New York Looking lor commodrties to iransrorm

he rehelrsed one or Chares Baudelarre's {amous complaints against sl

-thatii sulfers because i ioo easily becornes indisiLngushable lroma

oo.o r . WnJe on' tourd 06 hd'd preq cd ro / e^ 'qa d ia\ oJ nLndane

' _ 'n '

(a "d"acl coat l' "o_e_ b D L' d ro as ru"u'" ' "

i"ua **, *O *.0 lor example) the problem o{ tndlsiinquishability

and, perhaPs nitinglv, most ol ihe ong nal readvrnades -t" ":lT::

i,r"t '"*

***O *"i s, untilafierWorld War ll when lnlerestinDl

""0 d**r".," **'', and Duchamp n parircular' became a hallmark

"" . , " , , i - **" -o

o. a 'ha rosre rd-asued'Duirrl l960s and in in6

ba o-p5 DJ nanD,rn o \ I_e rota rg ' 'u( d a

"ii","."*, **'*""d his work the lost and discarded readvmadeg

known almost excl!svely ihrough photographs - wer

riiwerr aorumenaa, tui not rnuch disc!ssed' that the Swedish

Ul{ Linde and the ltallan art dealer A't!ro Schwaz helped io meetth$oen

. ,* "",V tnuo. o)/

'* ns handrnade versrons of tt:'*ttii1"::]l,l

i,"0" rri" -0""

t t"r" te wheet and Frcsh widow Ia( a sattery t

Duchamp's work in Siockholm lt appears ihat' ai {irst' O:"':O:":

"i*"."'""0,* ot t*n" beckonrns' Duchamp iraveled to Stockholmin

iSor, *rer" t" *u. p'"""nted wiih Lindes copres boih or which he grar

}il:il:n:::::'tr;?l]:-T:lXffi i,"::"fi "#iil::*::::i::"lll;

ru*""""",#i::*tlttt***,***":,;',.rumr:::1"jfii!:J"l]iHniff;':'Jll[l].;""og'apn'lina"tuu'cut"a1:d:'"H""jj";x::i;x"mn'*:l:*:l!iffi :":":;-;;;;;;,;.;,'"" recr'v kon a'esraurant'avr'o'/ rtse L'nde repr'cas

::1"; ;,.;''; """""- n"' . "n1i'i11;;,';rjj],:::1,""Jfi ?:j:"'.f:i::,il;::i f[]i:jji: lill""j^'; ;' ],"ft t'ans En ca' si,. ,"" i""l *-' -" " - *- :' *':::::i,::Jll. i1f'31;:.1i,:;f"1':ilil:1""l,'l;$TllJJ[:i:ffi "'" ̂ s L nde rcp'| cas:'ihere was

"" ̂ 't "'lilll""ti"Jlii;rtant publc viewins o{ Linde's replcas was in Arturo

,.**'; ; ;;;;; ; "" -lii:i111'Ti:;ilTl [:ffi]J: ]"il""l:::,:il"1[#:*i:ll3]iJ"'Jill'1ii;;'"'p as ear'|v as 1 e57' when

:iJf.lTtr5:ilr':'r"i"':"ilq*lk"::*ilrfl $;::t'lli:,":fi ::13*"-:::l;ilY::::,'l'"""ff"i:::j;k.-*::"1*:n:;::"'"ffi ;,'": ii :,"'l'"'i"Hi:ff irul,lru;:":l;:"lff 1 il

"f TJ:l:::::i::t*ff i*:::;n : ;::::l

::::,"i:';il: ::: ";":1?31,.11i,1',1; ;;;'; "; ;;as'lirv'-'l\'s resa d'

:::r"",;;;;;"t '" '""tins

and rePetition was rirmrv in Place' lt was asreed

;,, ,:, '*-;;;r"* -"* * ": :,::::-";:l,T:T1;,',11"":;;t"i;';: J:"::'#i,"":'":::.'rii: ll'J.;# ;"'::.Xl;;l' ***'.'

;:l:.1.:";;::H:""::il'::;",',"","ades were overseen

',',"',"s#6ildlrfl !il1;ili}Jil"''.#*::1ndr:::H;, ."Jlj:x fi :::r:ir ij';: *T"*il1*:11;.:;;.*evenrng, the {actory line ol mass pfodudrc

."*. *1" .'" *""'':lryi::'":111:ffi1:" * ;;$"'';i';;:":"^::f"'[:'?:1;"::-T:::il]:fi-""";;ep'i

on o''ihe'eadvmade

sees it asthe agent ihai lntrod uced the lorces ol mass production into ihe

ofart,yeiih s accountioo easly neg ects the "hand made" wrinkLe in ihe siory

That Ducharnp turned commodiiv producion nio a coitage industry stafled by

Swedish and lialian cra{isrnen comes wiih allthe requ site DuchampBn Lrony'

Yet if we lookclosely we mlghi seethe teltale evrdence lraces or lne

AoideRack notonly looks antiquated, bLrt it lacksthe polish ol the assembly-

line. Paris Aia orig na ly made as a gifl for Duchamp's New Yolk Patron Walle'

Arensberg,was an ampoule purchased lrom a Par s an phamacv' broken and

emptied, then filled wih atrand resealed The I964 Pa's A'r bv conlrasl' rs se3

lessiihere s notear or brcakio srggesi Dlchamp's intervention ortheabiding

touch of iriendshlp thai sufiuses the orginalobject And even ihe tactory-

produced Fou,la,t prompted the fo owing resPonse {mm Wlliam Cam{ield'ths

ari hlstorlan who has looked the most close y at allthe versions ot Founiain: Th

repllca seems rnore related io sculpture ihan to readvmades given iis slightbui

perceptible modu ations ofsu.face which suggesilts origln as handcrafted

i!re raiherthan an American assembly- ne productionl'1'!

ll the meaning ol obiecis (aesthetic and otheNise) deives' ln rel

equal rneas!re lrorn their f!nction and their production ihen the handmade

quality oJ ihe remade readymades, and Duchamp's exp cii declsion i0 have

refabicated n editions, seems wholly contradiciory certaln v qualitving our

of the "originaL" readymades. Given that Ducharnp produced the three eronc

sculpi!res of the 1950s by hand, ii is poss ble they may offer some cluest0

con! nd rum ol the hand rnade rcadvrnades of the 1 I60s

AJter DLrcharnps death n 1968, iiwas revealed thatmorelhan me@ly

mak ng ihe erotic objects and ihe Eoiie-€n-valise, he had also been at work'

secreily,{or nearyiweniyyearc on the speciacular and mysterious Elant

The workwas dofaied tothe Ph adeLphial/useum ol Ad so that tcould be

manently on viewand seen in relalion io th'" largesi collection olworksby

Duchamp n ihe wo d, inc uding, im portanilv' Ihe Lafge G/ass ln a room all ils

ihevlewercomes !pon a set ofwooden doors, which conta n lwo PeephoLes

jusi below an average sght ne Bending forward eversoslightlv'topeerthtc

ihem,one s conironted wfh astart ng m se en-sc'ne:beh nd ihedoors'and

ihen ihrough an openlng in a brckwal l 'one seesthe proneigure ofawhi le

woman H er lace is obscured, alihoug h a bolt ol blonde hair svis bleiusiab$€

her shou derThe body s naked and splayed across aiwig filled andscaPe

She holds a flickering gas larn p ln her lelt hand ln ihe backg ro! nd one can see

a waterfall, completewith a rnechanical slrnu ation oi moving water'These

aitibltes are contained within the furll iltle of the work ' Given: 1 The Waterla

Ihe l,/uminating Gas.

The mysiery of Elanldonnds ls evidenced by how litile has been

about t.rr ln the aii-historical recePtion oJ Ducharnp, ii has largeLy been

by the lnvention of the readymades Yei it looms large' and the relationshiP

be-tween it and the ihree eroilc objects may ! timalely reconfigure our ser

ol the handmade readymades of ihe lg6os Allihree of the eroi c objecls

a strong relation io Eiarl do nnes Objet'Datd is a rcnalnder from the Process

oi breaking the rnold for the wornan's bodv n Eia'l donn6s, speclficallv the Part

of the mold that suppoded an area under her breast Si-r,t|anv' Fenale Fig Leal

,s cact tro'r r e rigure s pa.1culanv myslerious qen tals - whicts are nor q- te

there, lacking n both pubic hair and proper Placement l4ledge of Chastit shares

an experientia dimenslon with Elanl do"ds Obscure !ntilseen' both Wedge ol

Chastity and Etant donnas splay open the lemale body, suggesting thai desrrc

and eros are the prodLrci of a gaze ihai s simultaneouslv scoPophilic and haPuc'

voyeurisiic and iactile.

Unlike Elanldonn6s' the three ero|c objects are not fixed in space'

Trey snare a do'resic scale oy whrcts | Tea_ I'al lhev arl oLcupv lne realm oI

ihings placed on top of tables and mantels, as opposed io floors and pedestals

Their modest scale gives them a migratory qualit, which DuchamP acknowF

edged when d scussing Wedge ol Chasl/4a'We still have it on ourtable we

usualytake i i wl th us, l lke a wedding I ng' no?"i ' l f lnd ihe quickness of th s

ehsio_ q-,Le lerhng lo thin\ lhal an obe'I as cu o-s and ob que as Wedg' o/

Chaslrl/could so easily be held in felation to a ready-made (or lLrxury) object

like a wedding ring And it is prcciselvthe relation between the erotic objecis

and the readymades that I woLrLd like to try io ariiculaie, especially given ihe iact

ihat by the laie 1950s ediilons of the erotic objects had alreadv beg'rn io crfcu-

laie. Schwarz exhibiied them in lvilan, where they were amost certainly seen by

Luc o Fontana and Piero Manzoni.r5 Manzoni' n turn' showed Female Frg leal to

L{arcel Broodihaersi it was the Jrlst work by Ducharnp he had seen'6 By 1960

,r aoDears lnal JdspF'Jonns owned d versron o{ ar Inree oolects l sav (r 's lo

indicate ihat the recepton ol Duchamp comes throLrgh these objects as rnuch

as ihrough the readymades lrnportantlv, ii was onLv aflerihese lnllrnate and cast

obiects were reproduced' and had begun io circulate' ihat Duchamp auihorized

Arturo Schwarz to fabricate a sei ofthe then mostly losi readymades

Butwhy not simply go oui and pLrrchase a new urinal' a new bottle

rack? After all, Duchamp had donelust ihat when he firci arived in New York

afler leavlng the oigina Bicvcle Wheelin Patistl Schwalz mainiains ihat makLng

lne eaaymades oy _a'o ro Ine soecrlkalons o- r e pLotograPhs wac d mea_s

to keep thern looking as much llke ihe originals as possible - the contemporane_

ous desgn o{ lu 'cIona objecls rr 'e hal rac^'d-d snolels -co changea Io such

an extent thal ihey apparentlv would no longer s!fiice Accofding to Schwafz'

Duchamp "wanied a pedect reProdlcton of the oiginal The only wav io do ri

oerlacllv was lo do 'I oy nalo Tlere was no othe sav Hot coL a ne 'eoroduce

something thai was manufactured over hal a century before?"ra Duchamp never

quite addressed the issue head-on, although he mantained that readvmades

were chosen with'visuallndifferencd \\hen asked by an inieruiewer in 1967

how a readymade should be looked at, Dlchamp responded: "Ultimatelv' lt

should not be looked at Through our eyes we gei ihe notion thai it exists But

we don t look at lt the wav we look at a painting The idea of contemPlation dis-

aopears compLetely One simply notes lhai it's a bottle rack' or lhat t was a boitle

'"" '" ' ;;.;;t';to; LnteLriseni and eihicar an aitisi simprv to mak€

, ** ", " ""i"itn "* "' ",on"v ut*"' H".*u' un "T:1i:":"*lJ,:iililil ;; ;;"; ":t::::'::a:i: :il::ffiTJl:"i1i"J:ip,oxtrnity ol the rnurnatelv s*"0 *o **ii::l^"^

-.^ -^"np.ironsiobei^"*:[ *;""';;;;;';advmaaes rndrcates tnere are connections io be

;'";" ;;; ;t";';,"" "r ihe roav and ihe atr're o{ the commodiiv obiecl

""0' l -^ l - .* o" '" .o. e uroru'dr p a( l cP 5 + aoeo o r 'e erav' between

i i. ",,'"," ',,,s s."'"e',e to rywr o'r"-"-o t"lTlt:::Tl.

il:::ll:';*.",";; ;'"*" or p"*i""io"' " rierd or possibiritv'rorthe

ff;;;1;;;.",","""""' i*i:::; ;-'l::::i::"ffi l"#J;J": ' , ' ' "" " ,""ogo- '

o e'o" ' o ' boo"r 'odes o' 'eper 'r 'on more

:;: j;",,-"' " -",e ot -epe r o- o''e'ed o)

"' l::ii:J:"":T:','

rack and has changed drrectlonl''g But il thafs the case ihen whv goto allthe

,il;";;;;;;.. '"'ade bv hand? o{ course DuchamPnad been^eoh.e

;" ffi";; ,"r;;". "r his oeuvre ror quite some ume as ihe Boife-en-

-* ,n"", o"0 i"""'" t" so alrnost withoui savhsi*t:".Y::.1^":::

,"i"".i"a -

*" t""rn "l reproduction and repeiltion Bui rnakng

by hand? Whai's that aboui?"' _ -

, ,n'nn,n" un.*"r to this quesiion is rnany sided There is a prosarc

*.*.r,ni,"l ,",*, o*namp was noih ns if noi pragmatic' D'rring the 1950s

","r".0 .0i", " t***s amount or .me and en€rtTT:il:l::T:.:li

;::':""ri#;,;; l*;"d in the rishi rnuseums He did this not onrv ror his

;: ilil ; ;" ""sure ra r { nanc a' remuner"ll-'l !.i *l1 j"11"1il;;; ";;"";"t"

,"t "arclraied

and senerous rn ihis regard! This se'

,'; ";:;,;;i; ;' ""-'""nd ram rv as we *

:' 1":l:T,':i"':;:H:N exrelrueu L! J "_ -- - to aitend to ihe wellarc ol

Duchamp aqreed Lo the Schwarz edtiron 2s a w'.v

- r"""r ' " . " r""qo^e\Fa' :d-ou'r /Du'q '""* t" : , t " : l : : l : : :;:TJ.,.*' ; ;;;"';; art market' such a cr tique needed to be herd in

iron to the lived reality ol {arnlly'

':,i:iil:;';: ;."";;; Line (rtwas no mere-expedienithatihe bodv or

^""r" t " t *-* ^" '

f laoe' on " .d r) l \ ' e 'd" * : :

: : : : : : :

;;;;;."" t" 'arniain

a di{rerence and a productive and strud

;:i::ff;;,r;'"""s o{ produciion thai nrake.::i1:1"-',"*::;

;", ;;;:;";;t" '"ndmade

readvn\ades and ihe eroiic obiecis estat

ffi ffi -;;;"; ","" "nd obFcts The mas'prod:::1 :::'l:ll""i :;

i::T:J::;#; ";; ,"p,oaua,"n una n *uru'tu'ie - rhe prob']em or

;"" ;;;;;"' ^".ernb v ne - wh e ihe readrT:::1i:: :::::;il"ilil;;il"; { :::"":'::il1l-T:,1?:ili:1 Hf il

how we negoiiate di{terence (and hence 0'rr desL

sameness and calcilicatron ,-,*. ot these iwo sets of|

^ant ro 'Ftu'- Io t ' r 'noo ar P o\-r $

rl tne reaavmaCes were a conLrndrur'' objects ihat resided in an uneasy pre

:ilffi; ;,; ".,'ev courd not be resarded a:l:',::i: :' ;"Jfi

::",lfi:'#il;; ;e cu"r ouie'ts a'" *emo^r mords'ross.s ot

stales. Oblel-Dard is a femnani o{ a work of arl - or, beileryet, oi the process

ol mak ng a work of art. Female F/g Lealis the memory of a body - albe t a fic-

tonalone. Both are also images of absence. Oblei-Dard marks out the space

!ndemeath or around the breast of the figure I Etantdonnes. Fenale Ftg Leal

offers !s the negatve space otthe lgure's pudendum. The last of the t urnv rate,

Wedge of Chastity. -r.enloria zes ihe ineflable qua ty of the erotic encolnte(

and as such ii offers ihe faniasy of each piece filling the othefs vod. l4ledge o/

Chastily aso fufctons as a mnemonic lor intimacy and fide ity:"like a wedding

r ngl Perhaps Duchamp's desire to have Wedge o/ Chast/y iunction "lke a wed-

d ng ring" was a deslre for t io be read aong standard social convenlions, for

t 10 be /egible, as wellas portab e.'?? One probern with the orig na readyrnades

was thatthen bg biliiy the r ability to be constfued or understood as art, was

compromised with every move - trom Paris to New York, from ihe halls of the

ndependents Exh btion io Afrcd Stieglitz's stld o - in each ifstance they were

d scarded or rn spaced, no longer available to perforrn the role of ari. The irony

here s pronounced, in ihat one of the foremost roes of art is to make things vis_

ble. li g ves public iorm to tholghts and fee ngs, to ideas and bodies, to history

and memory Among the rnost mportant th ngs the readymade did, and does, sto bestow this legibi ty upon the conr nrodity - to its eccentic iies and vagaies

- to ihe deep peculiarity of objects, to the ways n wh ch cornrnodites trp us upor aci as a lrao. or orecede us.

One way readymades render the commodity legible is in part by making

the body egibe. Bod es become legible in then enco!niers with readymades

becalse they are e ther called nio humorous action (go ahead, hang up your

hai) or stymied by the r inability to use a previously fLinciona thing (ihe probem

of an inverted urinal).'?3 As we tr p over Irdbuchel if Duchamp's stld o, or spin

the Bicycle Wheel, ot punle over what to do w th /, ,4 dvance ol a grcken Am,

Duchamp's readynrades ol the leens set into rnoton an lftefse relay between

bodies and ih ngs - each serving to make the other visible. lt is no mistakelhai ihe lit( e g n of Aporhe rc Enaneted s painl

^g her bedposi, mark ng t so

ihat both she and t can been seen. In iLrrn, howeverj no matter how fewly animated bod es mighi have become n the face of the readymades as ifstalled in

Duchamp's sludio (little rnach nes for slapstick), the objects themselves wereroutinely thrown away, forgolien, or desiroyedi the .eadymades were cornrnodi-ies lhai ceased to be legible, either as art or even as a commod ty worth sav-ing. In many ways, the readymades donl become truly visible until after the war,when people wani to nclude them in exh biions, and when Duchamp allowsother peope (like Sidney Janis) to purchase them lor him. Yet it is precisely dur-ing thlb peiod that Ducharnp began to make his erciic sc!lpi!res by hand, andwhen he was nvolved, in secret, wiih lhe beginn ngs ol Erani dorrds. And itwasduring this time thai he began to imagine an edition of readymades made byhand, to ihe exaci - or as exaci as poss ble - speclcaions of the orig nas. Andby making them by hand, they became leg ble as art - fina ly. No one will everlose or rnisplace or discard or destroy a 1964 handmade readymade. They have

migrated oll the {loor, thev have come down frorn the ce ng and sr Pl

pe;esbls - ike a'1, and as such thev are as Leglbe as a wedding ing'

There s one oiher intermed ary siep When Ducharn p "insialled'

tirst min ature replicas oJ the readymades in the Eoire-en-ya'se' he p0

thern in league wiih lhe Large G/ass where thev hang like a vedical

explicaiing, and being exp cated by in turn' ihe staLled rnachine of desire

is The BtideStuippetl Barc bv Het Bachetorc Even (This installat|onwas

again by c! rator Walter H oPps n the I 963 Pasadena exhibiiion ol

w;rk. lt s also ihe instaLLation of the Linde replicas ai the Moderna

Stockholm.) This Pointed co-presentailon is a way that Duchamp

relatronshlps between ihe readymades and lhe La'ge G/ass - beveel

of objects that callthe body into new wavs o{ belng and that exEiata

thresiod between the commodltv and something ese - a rcadymade

{ull-blown art oblect) and the klnd of iransforrnative bui srymied

lrnaged by Ihe Lafge G/ass. In oiher words' it was a way ol talking

effect oJ ihings on the body and the bodiliness oi thrngs

Thls installation oJ the readymades he ps 1o snow us

the corporea ty of art and ihe potential reciprocitv between the t

body and ihe sensualit ol oblecis - art and othelwse Here the

shown to be a Proloundlv psychrc object with erotic dLmensons'as

mades mirror the sexLraldrvision and lrustraton of lhe La'ge GAss

,Atr as an archetypa sinuous {ernale {orm; i'ave let's Falding llen as

ous chaste proiecior and stiptease waiilng to happeniand llnally

iumed uPight - as { io ofler at east sorne form ol male release

are ihe readymades Presenied as erotic objecls According l0

Duchamp used to call the readvrnades "rny llttle Pick-upsl a phlase

noi re{er only io h s actvitv of shoPplng lorihem! Andlusi as

migratory commodities heLd in relallon to Ihe large G/ass' soi00

objecis are three clues to the as-yefunveiled Eianl don'eq snap

ture noi yet seen lJ ihe 1964 sei of readvmades is ihe past

ihe three eroiic obiects are (or were) ariilacis ofthe iutule

Ducharnp repeated y siated ihat one airn of the

be antiretinali ndeed th s has become an art-h istorical truism

take Duchamp at h s word, ihat the readvrnades are not

vlsual as slch I donl th nk he ever meant lor them lo be

DucharnP's calms {or the antiretinalcan here be seen as

with bodily modes ol apprehension, memory afd egibiliiy than

in the sefrice ol the rnind This is a way of Looklng at DuchMp

objecl relations that are n keeplng with those o{ Bitish psycl

Kle n and D Wwnnicoti Kle nian object relations begin with

mother's breasi The breasi slands aone' d stinciand

It ls the breast that s ihe satisfler of needs, creator of

fantasy life ls {omed around leellngs toward the brcasi that

oving and aggressive. The breast is an objectthat must bel

intant as well as rejecied. In this modet, the root of obiect relations is the chitd,sstruggle io undeGtand the nai!re and existence ofthe boundaries beiweeninside and oltside, between .me" and .not md This psychic and physicat ptaybetween inteior and exterior creates an intense cathexsis onto objecls, asobjects come to stand lor pe.sons and parts come io stand for whotes.

Often the chlld wishes to destrcy the breast particularly throug h theact oi incorporalion. Fantasles emerge in which the breasi is devo!red, absorbedinto the child, which subsequen|y ign te equa y strong fanlas es around tsexpulsion. For Kle n, these fantasies ol destruction inevitabty ead to feetings ofguilt, provoking ensuing desires for reparaUon. Far from ihem being pathotogicat,Klein sees "these conujcting feeJings, togetherwith the emotionaland intetiec-lua g rowth of the ch d, which enab e him to find othe. obiects ol intercst andpeas!re resLrli in the capaciiyto transfer tove, repacing the first toved person byother people and things."r5 According 1o Ktein, the child,s navigation of ils reta-lion to the breast as a part obleci is constiutive of fantasy ol creativiq and evenof love and emoilon itself. The subleci only comes into be ng through and with are ation to ihe wo d oi objects - both reat and phantasmaiic.

It ls tempt ng to see the three erotic objects of Duchamp as Keinianpan oble.ls par excellence. All are lfagmentary in retalion to the "whoteness, otboth E1a,l donr6s and ihe maffiage of two fuly etaboraied adutts. They share anintefse bodiliness that renders their iragmentary nature allthe more psychica yand physical y charged. They are also res dua prod ucts of a mlch targer spaceol tanlasy - Etan! donnes - a space that is consummatey eroi c and aggres-sNe, a space in which the viewer is both tured to and repeled from. What is ofinterest, however, is ihe lntensty of ihe abstraction ofthese objects, slggesi ngthai Duchamp continled io be interesied in the ways in which three d mensionalrepresentalons of love and eros rnobitize the space of the visual the tactite, afd{antasy in ways that fiyrne wth the psych c processes of ihe ego. That he wou dquicky edilion them, reproduce them, o., perhaps nrore precisetJl repearthemini mates thatthere is no closure, no complete working through, fo act of reparation that I na zes our pendulum swings from ove to destruci oni there afe ontycountless small gestures and acis of reworkings.

ll the replication ol the erotic obiects d d indeed create a sense ofpermission for the I964 readyrnades, lhen the terms of psychic engagement dofot appearto be the same. \,+rere ihe erotic objects are Keinian part oblecis,the readymades are Wnnicottian transiiional objects. For Wnnicott, the s!bjectsrelalion to the objeci world is more readity demonstrabte. As nlants devetop thecapaciiy for recogniz ng objects as ,not mel as they tearn the vaious d stinctionsol inside and outside,lhey begin lo consttute cfeatve retationships to obiectsand phenornena. Such objects emefge as the mother adapis tess and tess to theinfant's demands (this is the classic ,good,enolgh mother'ihat predominates invr'inn cott)i impo.tantly, the mother wilhdraws according to the ntani,s g.owingabillty to dealwiih herfailure (a fa urc lwt to return to). Obiects and Dhenom-ena enler into th s growing space beiween the mother and chitd, and \Mnntcoii

relened to these as 'kansitional objecis: Disiincily unlike pan ol

i""", "ol"o"

* *t "t*"

largely rn the lantasy life oflhe-chih

"..r* "Oi".t - O,"nOt' Oolls - thal lunctio_ as psychic 1

"u.'"g un"",v n"rptg rn" ch'ld ro sleeo_ S"cn obiecls-are

i*'1,. t*""0, *" *n the iniensitv ol lhe pad obiect largelv

not Uorn of, or consigned to' the space o{ fantasy Ouite the op

Graduallv allowed to be decathected' so thatin ihe couGe

i.."t"" *, ""

t*n ttnotten as telegated to limbo Bv' ' lordoes

heallh the rransrtjonal oblecl does not'go Insroe I

""rur y

-a"rno,"pt""ttn

li is not forgotten and iils not

'"""'lo, -o in'.

'" o"t*se lrans:rronar pnenomena have

r,""" o"i.o." rp'"ua -t

over the shole Inrcmedrateienil

lnne' psyLh:c reahry' and'lhe erlernal world as perceived by

. . . . "" t *" ' . "

* t -"r

Ine whole cuh"ral ieds

Tne readvmade' are md'y lhrngs bull seems they are also1r

ot u.o.r. tn tt,"u t||st 'r"tur'on

tney alowed Duchamp lo move

""ir","iin "'*t *"*g to not'art or iiom paintinsto object

iro,tr,nn.*"' " '" n t lirnbo for DuchamP inlhe teens and I

if."s",," tte,.,ay"aa"" Lhal can be lost' -n'spla'ed 'de-catl

i". * t** *^ t"urned rnev are rnsteao sPread out

iniermeaiary lerritory" (wrrich in this instance means their photogr

,""r'""., "*"",'V '"

*" 'otle-en-valisq

as wellastheir belated

"'"'"'"' **'"' li::[:iil::] rhat t,ansitionar objects do not

vatue, Lhey possecs ,clualvarue ln this scenaro' a -blankie'is

" ' . " " . t """" , , t =

""Ohal 'carry nol a pan obiecr) n s,au

..-'r,ose "ev a.fuarity ento*s rr wrlh a ki"d ol agencv Such a set

""r": n tn".rn

"** ,naL the terrn lrantt ona' oDleci 'giles

orocess of becoming able io accePtthe difierence beMeen

Lif,'",t *n",""0t."0"" "rc

transriional objects' ihen ther

* J""., -,

*,,0-" ""ens

oarlrcurarlv imoo4anr - both a

scrtptu e - not a ootre 'ack symbort ot a sculplure-or 'eces

;;;";.;";o ., '*he;rhev

a e obje'ts 'n lhe p'ocess o{

"'n",** ***" Ot""nce and s'm'ra"ty" l' tqe readymades

;;;n;;.-; i-,""" "s

t'ev can never qu e De assim'raied i

," t,"t"']r""" '* *tyrlaoes ot the l96Os a'e"good erough'

."'i iJin,t **0, *" *''-re o' the rirsr so-a o"nd ano deprov

Ii'[y ot r"" n-ar'*" "s

a wav ro e-sLre tnat the objects, -

..ffi" - "-,o* "

*ve 3 k no oj acilal'tv lhat thev don'l

oi ,o.ert"ng "rs" t'ur rney co"linue nol ro be mourned but I

a*, i"JVl *n'*"o,thrown intothe healthv limbothatis

wo d as perceived by two persons in common

But il is the readymades ol ihe teens thai are the irue transilonalobjects. To callthe 1964 set of readymades"good efough" s not quite toaddress ihe problem of whal k nd of object they actua y are. ti ts io dodge thebullei, once more, on saying why it is thal they needed to be made by hand.For manla the idea of handmade readyrnades is a capitutation to a kind of fetish-ism oi a losl original, an objectthat erases the diiierence behreen pasi andpresent, benryeen loss and presence. In such a readtng, the handmade ready-mades are nothi.g il not cynical. And yet, as ronic as the t!rn of events mighi be,ldon't, in the end, th nk it is cynicsm that motivaled DLrcharnp to approve a setoi handmade feadymades. The l964 readymades are sculpluraland, as s!ch,they make it clear that the rcadymades of the teens were prec sey not sc! pture.Just as the 1964 ed Uon makes it cleff thal lhe readymades of ihe teens werenot scu pt! re (that is, not egib e as ad), ihey a so are a frank acknowtedgmentihat the readymades of the teens are no longer extant, thatlhey are, for ihemost pa.t, losi objects. By having ihe original mass-produced and p!rchasedreadymades made by hand, Ducharnp is actually insisi ng upon thei. identity aslost Even though Dlcharnp deputized Sidney Janis to p!rchase a new urinat torhis exhibtion Chal/e,ge ardDetin 1950 and signed a Boi e Rack pufcMsedby Robert Rauschenberg in 1960, it ceary wasnl satisfactory To estabtish thernas so readily availabe in the 195Os rnlst have felt odd, forthe readvmades werenever iou,d oblecis in the sense ol And16 Breton's oblel irouy6. And it appears,alihough Duchamp expeimented with the idea, they co! d not be reconsUtutedas found oblecis afterthe iact. Ralher, the 1964 set of readymades I nnty estab-lishes the identity ofthe original readymades as /ost, as ihough being nonteg btein the iirsl insiance had come io constilute their meaning. They were transitionalobjects, de-calhected, unrecognized, and gradually lefi behindisuch oblecrs arcfoi,lhen, simply found by olhers, bLrt ratherexst n ihe reatm of memory andcome to constilute one's sense ol embodimenl So ioo it is worth noting that atransitional object is not open to subsitutior as suchievery mothef knows onedoesn't "replace'a fraying blankie wth a new one. (This may be why when a pre-ciols object is lost or broken in adulihood is replacement with an exact repticaolten doesn't do ihe lrickiii's not the point in the end.) In ih s regard, ihe 1964readymades, by estab shing their radicaldifference from the readymades oftheteens, bring us back to Wniicotl's sense thatthese are objects that help us tounderstand'the difference between dillerence and similarity'- the differencebetween art and not-a( between iransitional and osi obiects, between obiectsand scu pture, and alllhe permutations oflhe two.

Two sets of objects, each foming a conste lation around another: thereadymades fram ng the inscrLrtable screen of desire lhat s lhe large G/assand the erotic objects orbiting around the massive spatialization of iantasy thatis Elanl dorr6s. Two sets of objects, each with its own modelof repeition andsifategy ior reproduction. The erotic objects oflef us repetitions ol a bodity andpsych c nature produced bythe reproducUve lechnique ol cast ng, a process

redoleft wiih metaphors for memory and oss The readymades of 1964

skl ed craftsmen, aLby hand, excepi Fourtah And ihe r handmadeness

ironically, to a certain kind of actualiiy ottheir objectness, no longer one

modity object p Lrcked from an endless sheam and asked to sland in tor

others, blt aihing, made, mted, rate, serving the purposes oiart,even

Duchamp doesn't offer us Ihe Larye Glass a.d Etant donnbs

objects io be apprehended (or puzzed oved visually Rather, therr

nying set ol objects rnply that when parts are taken for whole, objects

appfehended throLrgh a wide range of bodily modes that ofien

visual. And usi as ihe space ol faniasy can evoke the mosi powedul

io be strLrctured bv the repetitions ol transtion and lransiorrnation,

gesialts, so ioo objecis often bear the bflrnt ot an lntense calhexis'

one of the rnost charged avenues nio untying the knot ot e

and commod ties that governs ouf daily lives

I

lca ly manlfested n a dernonstrably bodily and taciile fashion ln eadr

Duchamp's works prcpose thatthere is no adequate way to stage

ol desire and repetition withoui recoulse to a tactile reationship

worLd, and that it is precisely because o!r psych c lives become

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BRlONY FER

THE SCATTER:SCULPTURE AS LEFTOVER

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How freely the an cncuhtes arcund yau abjectslDIOEROT ON CHARD N

Gabrie Orozco showed his lksl Wo*ing Table n Zlr ch in 1996. He con-ceived of t as something like a'work in progressi arranged with objects drawnirom three or four years oi work. The objects themseves were laid oui unlikescu pture and more ike tools on a workshop bench - or at east toos for thinklng, enabling h nr io experiment with dlfiefent materals and comb nations andaffangements, as wel as, he said, "generaiing some k nd ol th nk ng process foreach matera l'r Laid oui on ihe tab e was a d verse range ol objects - a smalltoy DS car ne the cefte( things made ol plasier, papeFrnach6, and pasticlfe,a Converse shoebox, and other found objects. Some are containers, like theshoebox, or receptacles made oI fabic or ds filled with black plasticine, and inthe end the table becomes a big container holding a lot ol diverse ihlngs.

Paris and whoes are fe ative. Seeing ihe table as sorne kind of con-tainer s very d i{erent from seeing it as awhole that is coniained. Except, olcou rse, the iab e is contained. t is contained by a room. We cou ld go on, imagin-ing ihe wo d in the manner of a child reeling ofl an address as if it were an everexpanding series of c rclesra table is part of a room, a room is part of a build ng,a build ng s part of a streei, a sireel is part ol a iown - and so on, ending upwih the world, the un verse. Does this rnake one feel big or small? Cose or {ar?ScaLe and disiance become unsiabe. Galaxes fold back nio everyday life. fteWotking Table n'ay naI be lhe largest containef of a , then, but like a ! niveGe thas its gala(ies and constellations - the groups ol oblecis clustered and scattered across it This train ol thought rnay seem an absurd lnflaiion, butth,A vallt-ing and veer ng, between small and large, micro and macro, is very rnuch pa.t ofoUr engagement w ih Orozco's work.

the Wotking Table provides a ternporary conta ner in which p3rt-to-parireations and thing-to-thing connec|ons never add up to a whoe.The photo-graph shows pencil-drawn crfcles and noies on rnaterials mapping oui thearrangemeni on the white paper cloth as a series ofzones. Some otthe pencilcircles touch and overlap, iso ating the oblects in ttle 'islands" oi drawing atthe same t me as they "atlraci'and connect wih oiher oblects. The intervalsbeiween things are as impo.tant as the ihings themseves. Tl s is remin scent ofihe way atabletop, in still-life paintings, is only apparenty a neuiralspace but lsactually a highly charged one. In lhe most interesting stilFlife painting, ihe spacesbeMeen ih ngs, ratherthan the things themselves, trigger an extreme mobilit.It often happens that the "stiller" the si lllife, the more mobile the psychic effectin the imag nation (ihink of Chardin). Although we mighilhink of still-life paintingas iesi ng ihe limits ol compostion, it often contains either a single or severah ghy d sruptive eements that break out ol its seFimposed miis,like a knifebalanced on ihe edge of a table. Anthony Caro's sma table sculptures from theI960s, baancing precariously over an edge, are neilher sculptures nor pictures.

They tap nio a neg ecled but sgn fcani hisiory of stLll life scu piure wthin mod-

ern sm, wh ch, for exampe, in Picassos srnall pa nted and siippled bronzes ot a

g ass h ad broke n d own ihe d stinction between the p ctor a and ihe sculpiura ,

ihe image and ihe oblect.

Orozco has made severa work ng iables s nce the lirsi one he made

for Zurich.' The same things often reappeff in new comb nationst and new

ihings appe thai make the old th ngs ook qLriie diflereni. lf i were ihe same

iab e, you cou d see lt as a recyc ing plani. But the tables change loo, somei mes

large s mple reciang! a. p atlorrns (it wou d be misLeading to call lhern plinthsl

somet rnes tresi es or oiher fo!nd versons Orozco's thinking process seems

1o nvolve sprcading things oul, arrafging and rearranging ihem: 'They became

ke my andscape wth a my objecis: Puii ng ihe iabes on d spay pois that

process, aongs de ihe photographs he takes of peces as he wo sonthem.He

has sad: 'Some peces are more ke{ in ished sculpi ! res, l ike the socksorthe

heart, and sorne of them are ! ke models, ke ihe car, the small DS or the iiUe

rreldrng Slone which s the firsl one lever rnade. Then some of them are loially

ready-made like the box of soap or the shoebox. Some of them are falled sclrlp_

iu res, mode s thai d d n t work out bui have interesting possibi ties lor the futuG

llke n ce e{ioversl' This consiellat on of terms is c! r ousr failed scu ptu res, mod'

es, nice leftovers. They all reier 1o ihings you mighi ihrow oui bui io OrozcothE

seern io be rnore lnieresting than some of the th ngs yoL m ght keep.l}ley are

noi qLrite waste products. They are kepi on "standby| as Orozco has put it, for

luture Lrse! They are efi on hold ralher than abandoned compleiey.

A leftover is a piece of someihing ihai has been rema ndered - a pad

of something that has becorne detached and s now surplus to requirenreils

or redLrndant. lt s ihe flip s de to the new commod I (ihe box lor shoes, buf no

shoes). Leflovers have a history The rise of the cornrnodity had always gone

hand in h and in ihe modern st rnaginat on w ih ihe rag pickers pLcking over the

debrls o{ ihe city As a cornucop a of the obsolele, the llea markets of Paris hadfueed the dreamword ot the S!rea sis. The discarded could be genentive

and even ceebrated. Robert Morrs's roomfu ofdetrtus could hailantiform andprocess alr. Blt for Orozco, I th nk, "process' rneans sorneth ng quite diflerent

from whai t rneant lor the posi-M nimalisis, even though he shares an

to ihe'specIci iy"and fnsh"ofMnimaism Aga nst a "spec I c obleci ' is set

ndeierminate one in a permaieni siate of incomplelion. \,4ater al process isa

thoughi process, noi a product, Lei a one a lnrshed produci. Convelsely, th

s manifesied as materia. Th nk ng occurs through things, where maleial

are a necessary condition oi thoughi. Th s suggesls ihat we do noi thlnkthings so rnuch as rhrorgh th ngs.

From th s point ol view three_d mensiofal models lake on a new

ness because they are deas in iormaiion whether or not they succeed as

linlshed work. Rather ihan preparatory work, rnodels encapsllate an idea or

thoug ht n a concise way and usually on a small sca e. The photog€phs

takes of some ol lhe oblecls be ng rnade - a papermach6 cast ot a

cotton glove drying on a radjator, ptiabte ptasticine through which peeps asmall ball of cotton wool, an orange encased in ptasiicine gEdually shriveting

- are both pad of the wo* and the wo.k itsetJ,just as the tabtes are. There is asensejn allofthis thatihe most interesting work may be ihe work you might beabout to throw out. The.nice teftovefs"are ihe things you put aside but dJn,tjet_lson comptelety A ihese smajlobjects are stored in boxes and are brought outperiodicalij/. lf ihey once seemed unworkabte, they may now get recyctedand reused. Sma things, cut adrift from their histo es, are made io took noi tikea museum disptay but "more tike an o€anic wortd ihat was working, thatyoucoutd menta y ptay:6

, Orozco tikes labtes because ihey are what he cals ,ptaiforms for anaction" - they arc both folfd and made.? They are absotutety notvihines orglass bo)(es. But we coutd certainly compare them to Eva Hesse,s gtass pastry

cases titled wtth srnatJtest pieces. These are smal andscapes ofihings. Somewere atso experiments with materials, butihey atso becorne something else onceIney are afranged, sometimes next to each othrthe shrivered ratex sreeves

""d th" pr",t"d."".:;iJ:1T,T;":li::':?JI;across the top iter of Urnled ( 1968). I was Sot Le\Mtt who first coflecied iheliitle objects that Hesse gave him as gifls in one or mese rcady_made gtasscases s,mrrar ro the kind Claes Oldenburg used for his fake papieFma;6 ,fan-cies.^ Hesse took up the idea and made severat. The fact that they have anambiguous retaton to heroiher works is parfly the pointj jt is as ifihe ihings innergrass cases are in timbo in some wa)a The word ,process, never did justicelo Hesse's work, even atihe iime, when it seemed perhaps the mostvivid wayto describe the resistance io a cedain kind of linrsh that had become associatedwith Minimalism.

Patr objects focus attenlion on ihe body and on a bodity topographj,The strange, uncanny landscapes ot Hesse\ gtass cases are an atien mate-rialworld, all the more so because the intimate bodrty textures, tike w nktedlaiex, invite us 10 imagine and project They also make us think of a ihe oiherrarge-scate works she made _ her expanding "body" ol wo*. Lateratconnec_tions prolilerate in a freefa of metonymic chains runnrng throLrgh a variety ofmatenats - tatex, foam rlbber, ptaster: wax _ and through a variety ol techniques,sLcr as hreadrng pe,crng. erbedo,ng. and wrapp.-g. They a,e often v,scemt,ard when ihe ta,e) was new it wo"d have gtistened a< .. wet rke rne inside

:^,_::. y:,n.: "i!j liat mahe.. L^e rne shiny denrarprasrc or Duchamp,s

vveoge ot chastitt\195a). whrch pesse woutd nave seen at the exhrbrlion of hrssmallerciic objects rn Bem in 1964. Hesse,s way of mapping the body changedpretty radicatty after her return lrom Germafy atthe end of 196a. The machiiedrawings that she had made tn Europe reveat her engagement wiih the pumptng,direclional flows of a Dlchampjan body dtag€mrnatrcaly rendered as a line ihatinflates afd deflates, with detaits ofjoints and articutations often btown up outof all proportion. When she tater makes a work tike Compasq she is no tongerrnterested jn those kinds of articulationsi instead, sne mrngs togetherthe smatl

washers as a repetition ol i ny parts to make an intricate and uneven gdd. Nowshe prefers toloin things wihouijoints, it seerns, butthat is not to say that theyadd up to a whole. Rathei thejoins and connectons that intercst her seem to besimple, variable, and often ternporary placements.

[.{eLBochner once called the small peces Hesse put in cases'the morescatological things she made. . . the side oi her work that a udes to the body asa sewer system:3In a way, it is precisely this sr/sremic approach to the vsceralthat is so striking. lvaking them wo.k togethen part object to part objectior asAnnette [.4 chelson put it,"Part objectto ad ob]ecl', They are both working parts

and leftovers of otherworks,like re cs wthout aura. Some were simply expei-rnents with materals, butthe ones Hesse kepi obviousy int gued her as some-thing more ihan iechnical experiments, or potentia y so when placed togetherwlth other thifgs. L ttle experimenta latex hem ispheres can seem ke negativecraters in a strange materialterrainifemaindered fiom otherwork, they getrecycled here. We run the gamui of her mateial in miniat!re, bolh €adyrnadeke ihe washers or handmade ke latex painted over mesh or cheesecloth. The

question is howto encompass rather than uni{y such disparity. The vikfe org ass case heightens the efiect through conceniration, blt also by the nvitationto the viewer to look through the glass sides onto a se.es of min ature scapes.

Orozco's tables nvile a difierent kind of ooking, one that is spread oui,dispersed, one ihat scans across the kind of sudace - a table - that we thinkwe know and that n some ways s highly conveniiona 2ed but is culiu€lly var-able.In a way,lhis is part ol Orozco's attempt to avoid references (especially,

he has said, references to Duchamp)ro And I thlnk t is str klng that Oro2co'stables precsely do noi nventorize or archive his work. They do not operate asDuchamp's Aoiie-er-kl,se to provide either an idealcatalogue of awofk ngffl'anuat, buI a watking table, where things are made or partly made or affangedor rearranged, whefe ihing s ate handled. Thete is an appea io touch- The bodili-ness ofthese iextures can be imagined. But, as with Hesse's work too, a bodilyaddress th roug h ihe tactile ls menta ather ihan literal - anticipaied atherthan actua, if no less affective for thal

At work here is a dynamic seies of c rcuits. The iumover of oblects isrem niscent ot what Karl M arx called the "Denetuun noblie of c rculation." lheartisi who mostvivdly encapsulates thai abso Lrie mobility of cap ialis Pierol,{anzon, who oflers anolher h stor calira]ectory for Orozco - one thai he hasfreqlently spoken ol i was Manzon who most direcily brought together the cir-cuiis ofthe body and the c rcuits oi capilal. He packaged breath as wellas shitHe once criicized coniemporary painiers for iheir gymnastics: "They paint a linein, siep back, look at then work wlth head on one side and half closed eye, thenjump foMard again and add anoiher line of coourlii He took some delighi incarcat!ring the painter as an exhavagant, posturing gymnast, filling up a paint-

ing as I ii were a receptacle wiih "adil cia meanings: V\hy he asked, 'shouldn'tth s recepiacle be emptied2 He set h msetihe task with his'achromesl whichhung on the wall as paintings but behaved as oblecis wo! d. In this way his gym-nastcs wou d be different - he would turn someBaults with the object of art itself.

In 1954 Ariuro Schwarz opened his ga ery cum bookshop in lvlilan

an exhibiton enttled'Homage to Marce DuchamPl comprising publications

some ol ihe smallerotc oblects he had receniv made According to Schwaq

Manzoni was a {requent v s tor. Schwarzs own read ng o{ Duchamp, promoted

n his capaciiy as wriier and gal/ersle, was of Duchamp the alchemist' reading

hls intricaie and cryptic symbolic Language as one ol alchemical iranslormation

lvanzoni was exposed to ih s heady rnixt!re of alchemy and comrnerce - and

some of lts vocabulary seeps lnto his - but he seems to have iurned ltto his

ends.ln 1959, he covered a coat hook with kaolin (his answerto Duchamp's

Lrrb,chei, or l/ap) and so made it pari ol ihe vast arrav ol objects that he

his 'achromesl ln some of the earliesl of these, kaolin' a white s p used in ihe

producton of ceramic glazes petrles iheir peats and lolds of canvas aslhE

were stretched across the f€me The kaolin s p also froze or calciiied the

- like maleriaList counierparts to Schwarz's reading ol ihe alchernical Duchamp

S .r- ob pcr. qeen oer . cooaa' r e greater lhe

mob ty ihat s set up n the connections between disparaie mateials and

And ihe materials Manzon prefeired were fal lrom old or obsolete but tended

be synthetic and coniemporary ke the poystvrene balls used {or stufiing fu

i!re blt s phoned otf lrom funcionaLuse to drift and scatter across an air-fill€d

synthetic terrain The aeraton ol his maieials links back io breaih the air ihe

body lnhaes and exhales Ln h s delno!s and comic gesture, breath in his

D',4,o seres ls rnateial, expe led lrom ihe molih inio a balloon, expeled trcm

the balloon as ii shinks to nothing, leaving an abjeci remainder of pure body'

Ducharnp had akeady invoked the oraltv of breaih when he talked of smoke

exhaled in tobacco breaih as ihe 'ollactorv lnlrathlnl"? Th s s a r thickened

by body. lvanzoni's breaih is another bodv ProdLrct' ke a phantasmatic obiect

exp! sed frorn the body.

lvanzoni presenis one historical traiectory lor ihinking aboui Orozco's

"organic wo d"r Hesse presents anoiher They share a Plrrsu i of ctrcuits in

wh ch parts do not add uP io a whoe so much as circulate in Pefpeiual molion'

The pattern is no longer even Part-to part so much as part ctrcuiting panlr.' a

serles of temporal rhythms This s an organ city where things a'e generated

and degenerate n iinre as wellas space. There is a svstern c relat on between

ih ngs, where the ntetoas beiween things becorne mob e and an mated and

where even a breath or someih ng as rnmaterlal as the a r that c rculates

ih ngs can be iransformed into rnatier Leltove6 come io stand not lor what

once has been bul whai will be They suggest {orever-l uctuat ng possibilities

Wnar s t .DI as Inpo tanr ald t1a ' -esr out a) u- Toona_l he?e alwavs

rnutua y dependeni and, needless to sav, have been subiectto rad calhi

changes over iime. Focusing aitenion on ihe leftover puis in quesiion the

of what we choose to keep. The ihings that seern impodant at iksi end up

abandoned, and what ls at llrst abandoned ends up being ihe rnost productive

Chance oJten works th s way, when something that has been casi asLde

ihrough to somethLng new

In 2003 Orozco worked w ih polyurelhan e, a h ghly iox c mater a used

as ins! ation in bu ding constrlcton. He made a seres of hang ng works caled

Spumeq by pouing the poyureihane inio a sireiched out latex sheet, iis weighl

causlng ihe laiex to bear down. Like ava, t ran iis course and quicky dred,

uncann Ly lix ng ihe form of ts movemeni. Full ol t ny bubbles of a r, this s how

air moves ihe most immaierialof vapors made palpaby materia.ln olher works

he made at this time, he poured the loam throlgh rnesh. Orozco exper mented

w ih the po yu reihane in d llerent containers and recepiacles, po! r ng t nto a

range of differenl kinds oJ irays lor frult, ihe k nd iound on ihe sireet alter an

open-a r markei. A cardboa.d meon lray buckles under ihe expans ve synthetc

foarn. n anothe( a poysiytene apple iray, ii squeezes ihrough the s ts that he

has cut in a k nd ol rough-and{eady grd. These are neiher strcty cast nor

molded and the ioam necessar y exceeds iis supPod They are not stictly exper

iments ether blt are rnore ke exercises or improvisaiions They now reappear

on a tabe in a new sei of reations, having in the rneanUme been siored away

Leflovers, but also proto-objectsr they are no longer redundant as lhey once

were, bui neiiher have ihey quite become something ese, yet A term Ducharnp

coined,"ndef iiiyi seems appropdaie here.r3

Leftovers are part objecis in time ralher than space. Leiiovers slggesi

Jractured raiher than coni nuols ilrne. They are cui off from both a past and a

flture. Th s cutling adrifl is rnore vioent than we rn ght at lirsi imag ne Th s is

ne iher an archive not a memory bank of ihlngs lf memories are stirred by some

oblecis, they are qu ckly cancelled by be ng dislodged lrom the c rcuits they

norma y nhabii. They eapJrog lrom one to another, temporary resldents in a d f-

lerent space. A kind ol vioent dispersalis at work, a dispersalthal generaies a

lissue ol shifting re ations.

One point rerna ns to be rnader Orozco's econorny ol leflovers d fiers

irom an economy ol co eci ng. After all, both nvolve g.oups and arrangements

of objecis ihai have been deliberately removed irorn functiona use Walier

Benjarnin once descibed ihe h dden rnoiive of a person who coLlects as the

"struggle againsl dispers on Right irom the siart, the greai co ector is struck by

the confusion, by the scatter n wh ch things n lhe world are loundl However

blza(e colleci ons of objects m ght be, the d r ve is "to overcome the who Ly rra-

tona character oi ihe object's rnere presence at hand"through niegrat ng t nto

a classi{iabl€ sysiem as a"form ol practical mernoryl'r Orozco's working iables

seem to rne to be an antcollecton of objects that seeks out'lhe oblecis mere

presence at hand" the accident by which it happens to be there Given ihe

ineriia and siasis ol contemporary culiura life, to nsist on the 'scalter" s io insist

again on the sensuaL encounter wiih the world al hand The 'scaiier" ncludes

the spaces beiween things ihe air su(ounding ihings, as at least as maleial, at

leasi as bodily, ai east as 'lelt over' as the ihings on a table

On one ol Orozco's tables sts a soccer ba l scrufly and frayed, with

c rculal shapes excised irom its su.face. Slighty de{laied,lhe ballechoes any

nurnber of spheres:a shrunken pee from hal an orange covered n plastcine

nearby or a spinning world On iis su ace s drawn a srnal constellation' lke a

sie ar consiellaton chariing the vasi intetuals belween ihe stars In a m n alure

diagram. To callthls drawing the scatter is to ernphasze ihe role ot chanceito

caliit a constellaiion is io emphasize the systern c The filcilon between ihese

two creates maxrmum rnoorrry

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