wisch

Marcel Duchamp

Aktie fuer Roulette de Mone-Carlo, 1924

Die Anleihe zeigt - nach einem Foto von Man Ray - das Gesicht des französischen DaDaisten Marcel Duchamp mit Seifenschaum bedeckt und mit Faunshörner gekrönt. Das Gesicht ist umrahmt von den Fächern eines Roulettespiels. Gezeichnet ist die Anleihe von Rrose Selavy, einem Synonym Duchamps als Präsident der Gesellschaft und von dem Verwaltungsbeamten Marcel Duchamp. Zweck der Gesellschaft war die Ausbeutung des Roulette de Monte Carlo. Duchamp fuhr mit Geldern, die er sich von engsten Freunden geliehen hatte, nach Monte Carlo, um dort die Bank zu sprengen. Das Glück war ihm allerdings nicht hold, allerdings verlor er auch nichts. Er zahlte im Dezember 1925 eine Dividende von Frcs. 50 auf die seinerzeit 30 ausgegebenen Obligationen. Die meisten dieser Originale sind verloren gegangen.

mehr

MAN RAY

Marcel Duchamp photographie pour Obligation pour la roulette de Monte-Carlo, 1924

mehr

Marquise Casati, 1922

GEERT GOIRIS

Albino

Rhino in Fog, 2003

RON MUECK

Big Man, 2000 Big Man, 2000

PATRICK TOSANI

FISCHLI & WEISS

Stiller Nachmittag (Quiet Afternon) (Details)
1984-1985
Clolour and black and white photographs
40.5 x 30.5 cm each

VALIE EXPORT

Erwartung (Expectation)

1976

Wall-mounted photomontage

60 x 50 cm

SUSAN HALLER

Untitled
1972
Silkscreen print, dye and iron burns on fabric
109 x 76 cm

JAN DIBBETS

Jan Dibbets
The Shortest Day at the Van Abbemuseum, Eindhoven 1970

Color photographs mounted on aluminum,
69 3/4 x 67 3/8" (177 x 171 cm)
Stedelijk Van Abbemuseum, Eindhoven

Jan Dibbets, Perspective correction - my studio II, 3 - square with cross on floor

The camera records something quite different from what we see. There are no rectangular formats in nature, only in art (paintings, sheets of music or poems, windows, ravioli), and only if we choose to look at it that way. For Perspective Correction, My Studio I, 1: Square on Floor, 1969, the earliest work in the show, Jan Dibbets drew an upside-down trapezoid (in relation to the camera) on his studio floor and took a photograph (the work) so that the trapezoid, distorted by perspective, appears to be a square. It's difficult not to think of it as a square, and no reason not to, despite the inward-slanting walls. In a way it is a joke about the preeminence of the picture plane in contemporary art, whereas, of course, the perception of Renaissance perspective still prevails, or at least still resides, or better yet is still the place where we and the artist reside. Despite the square, our eyes take us into depth to the windows and their light. There are windows within a window presaged by another window. Without really destroying our illusions, the artist has interrupted reality, or intervened to almost imperceptibly create another reality, something in the back of the mind that forces us to accept both realities. The artist introduces himself (takes control?) by making a square out of a trapezoid in his own studio. The trick is an elementary one, a wan display of the human imagination. But it suggests something more elemental, in itself and in works to come.

http://www.newyorkartworld.com/reviews/dibbets.html

CHUCK CLOSE

Robert I, 1982
colored, pressed, handmade
paper pulp
Image size: 16 1/2 x 13 inches
Paper size: 25 x 19 inches
Ed: 20