The readymade (English word) is a found object considered an art object. The attitude of the readymade is, initially, simply choose a manufactured object and designate it as a work of art. Initiated by Marcel Duchamp , this has given rise to much of contemporary art practices that they claim it or deny it.

The readymade questioned a number of certainties that underpinned the art, such as notions of virtuosity and know-how or to work, conceived now as result of exposure and the act of naming.

Indeed, the readymades are works of art that have not been made by the artist, the latter does indeed only for select, change their background and status of designation (the statement " This is a work of art ", sung by Marcel Duchamp when making act of redefinition).

Definition

Marcel Duchamp's readymades defines as a "common object promoted to the dignity of art through the choice of the Artist" (article "Ready Made" Short dictionary of surrealism) ^History

• Bicycle Wheel ( 1913 ) is the first ready-made (assembly) directed by Marcel Duchamp. Composed of a bicycle wheel perched on a stool, this piece is not a ready-made stricter, but an "assisted readymade."

Marcel Duchamp said, in a speech at the Museum of Modern Art in 1961 : "Sometimes I added a graphic detail of presentation: I called it to satisfy my penchant for alliteration," an assisted readymade "in English ready-made aided. Another time, wanting to emphasize the fundamental contradiction that exists between art and ready-mades, I imagined a "Reciprocal Readymade" in English : Reciprocal Readymade): use a Rembrandt as table iron! (Another variation proposed by the artist is that of "ready-made sick").

• In this light, wine rack ( 1914 ) would, historically, the first readymade strict artist.

The career of Marcel Duchamp is to understand as long-term strategy (the later years of the life of the artist assigned to the practice of chess corroborate this assumption).

• Fontaine ( 1917 ), the first ready-made media coverage, is a perfect example, through the staging and radical complex developed by the artist.

Aesthetics

The ready-mades and conceptual approach between performative speech:

• Note, from French to English, the pervasiveness of distortions of language, puns and tautologies, in Marcel Duchamp , which sometimes alters the very title of objects or their signature, like the urinal, renamed Fountain ( 1917 ), painted and marked "R. Mutt 1917 "or the snow shovel in more narrative entitled" In Advance Of The Broken Arm. "

• In the readymade, the concept takes precedence over the original work and physical, some ready-made is even totally virtual, whether by accident or by strategy: Fontaine ( 1917 ) was mediated by the artist as a trace photocopying, without the object is found, and other ready-mades have been lost by their owners. The works being exhibited in museums since replicas certified by the artist.

• Marcel Duchamp will even multiply his works in the form of miniature reproductions combined box-in-bag from 1936 , a quarter of a century before that, Andy Warhol became the star of the duplication with silkscreens.

• He is the initiator of research on complex issues of perception and sublime through his alter ego Rrose Selavy (which can be read Eros that's life), whom he signed many Work under the kinetic art. The readymade is also a facet of this approach: Bicycle Wheel is for example the very source of its Roto-reliefs , his experimental film Anemic Cinema etc..

• At the same time, Duchamp wrote that "There is a point I want to make very clear is that the choice of ready-made to me was never dictated by aesthetic delectation. This choice was based on a reaction of visual indifference with at the same time to no good or bad taste ... in fact a complete anesthesia.

This exhortation to meet with ready-made in the "aesthetic with total indifference" is not a dichotomy but not actually a scathing critique of the perceptual quality of his contemporaries, an index reading of his own fundamental work. The lexical field of Marcel Duchamp confirms precisely: from anemia (which can cause blurred vision) associated with the film and kinetics, which can be compared with the concept of hypnosis to anesthesia, it is indeed a clinical diagnosis addressed itself to the viewer, invited to question the gap between what he feels and what the artist must feel that it enacts.

Marcel Duchamp said that "it is the viewer who makes the picture." In this sense, ready-made starting with the look, and can in some ways raise performance. The contemporary design has also taken over this practice by reviewing the function of an ordinary object and trivial to create one that is implemented. Achille Castiglioni , creates, for example, a stool from a tractor seat ( Mezzadro chair ( 1957 ), Zanotta). Frank Schreiner , he transforms into a supermarket trolley lounge chair (armchair Consumer's Rest ( 1983 ), Stiletto).

Posterity of Ready Made

Even today, many prospective and exhibitions present contemporary artists whose practice is inherited as a formal or conceptual, ready-mades "Duchamp"

• In this dynamic, we will find reputed practitioners such as Sylvie Fleury , Jeff Koons, etc.. claiming the right to produce devices whose plasticity see aesthetics prevail on the merits (which is however contrary to the spirit of Duchamp)

• Other artists respond to the concepts of Marcel Duchamp , as Bertrand Lavier , including critical work focuses among others to test the possible distance between description and materiality, or Bruce Nauman , with achievements such as "Put your hat is your lap, put your head on your hat, put your hand you your head. "which addresses the issue of dehumanization.

• The sculptor Remus Botarro and THE CONCEPT Botarro. (The artist born in 1946 in Romania, working in Vienna and Paris.) It offers indeed a key concept in the history of the art to which he gave the name "Habitat of the Future. Concept Botarro is to transform the building space occupied by a work of art unique in its creation, in harmony and close relationship with its occupant, giving it an exceptional value. Accordingly, each object in the house, furniture, bedding, flooring, faucets, etc.. becomes a work of art.

The truth of the artwork is that of the artist, not the subject represented. (Andrew Marbot)

Ready-made, actions taken by the initiator as a transitional stage of rupture in the art, are still the subject of multiple echoes.

References

See also

• Anti-art
• Dadaism
• Installation (art)

• Portal sculpture
• Contemporary art portal

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