A critical review by Leif Eriksson

This is the first chronological presentation of Marcel Duchamp´s appearance in the context of Swedish art.

This review is based on material related to Marcel Duchamp published in Sweden from 1933-1970. My sources are art magazines, literature magazines, essays, monographs, catalogues, and similar printed material in my archive: The Swedish Archive of Artists Books, Malmö, Sweden (SAAB). (See appendix.)

The reasons for this critical review are simple. First, I want to show how Duchamp was introduced in Sweden and by whom. Secondly, I aim to trace how and when his works gained public recognition, beyond the contexts of Cubism, Futurism, Dadaism, and Surrealism.

My study shows that the Swedish art world was the first to recognize this specific quality of Duchamp's work. In Ulf Linde´s latest book Marcel Duchamp, Stockholm, 1986, page 26, he remarks: "Pontus [Hultén] was the first to interest himself in Duchamp in this country [Sweden] and, partly, he considered the exhibition ["Art in Motion," 1961] as a tribute to Duchamp." (1)

I have used Arturo Schwarz´s critical catalogue raisonné of 1997, The Complete Works of Marcel Duchamp, the revised and expanded edition, Thames and Hudson, 1997, as a main reference for Duchamp's works.  As far as I know, it is the latest published to date. In the following text an 'S,' for Schwarz, followed by the catalogue raisonné number, identifies a work by Marcel Duchamp. (2)

Notes on How Schwarz Deals with Duchamp's Appearance in Sweden in His Index and Bibliography of 1969 and 1997.

It is obvious that Schwarz has not understood the importance of the Swedish art  context in connection with Duchamp's kinetic works and readymades.

In Schwarz´s index, pages 619-630, from 1969, the following entries refer to Swedish art figures: Ilmar Laaban, Ingemar Gustafson (Leckius) and Erik Lindgren on page 592, (see Salamander below), while Pontus Hultén has three entries on pages 482, 496, and 600. The Moderna Museet, (Stockholm), has sixteen entries, but they all refer to the replicas of Duchamp's readymades made by Linde  and Hultén during 1960-1963. Though Ulf Linde has as many as twenty-six entries, there are no remarks about how important his involvement must have been to the general acceptance of Duchamp and his readymades.

Hultén's three entries in Schwarz's index, 1969, mention the replica of the "Rotary Glass Plates (Precision Optics)," 1920, S 379 a, and the replica of "Door: 11 rue Larrey, 1927," S 426, both made in 1961. The last entry refers to the "Bicycle Wheel." Of Ulf Linde's twenty-six entries, ten refer to his participation in Schwarz´s book Marcel Duchamp ReadyMades, 1913-1964, Milan, 1964 (3). Twelve entries refer to Linde's readymade replicas, one to Linde's  Swedish translation of "The Green Box" in Konstrevy,1961-1963, (see entry), one to his book Marcel Duchamp, 1963, and three to his interviews.

The three Swedish poets Ilmar Laaban, Erik Lindegren, and Ingemar  Gustafson (Leckius) are in the index for their Swedish translation of SUR cen SUR and Breton's Lighthouse of the Bride in Salamander, no. 1, 1955, (see entry).

Under Section XX, "Bibliography of Works Quoted," 1969, only Ulf Linde's MARiée CELibataire is noted from Schwarz´s Marcel Duchamp: Readymades, Etc., 1964.

In Schwarz's 1997 edition, Pontus Hultén's index is not mentioned at all, which is strange. His name does, however, appear in Section XXII, on page 910 [Under the "Bicycle Wheel"] for the catalogue "Bewogen Beweging" ("Art in Motion," 1961, Amsterdam), which is the same note cited as no. 144, page 600, in the 1969 edition. (4)

Yet, these entries are incorrect. What Schwarz refers to might be K. G. (Pontus) Hulten's text A Short Survey about the History of Kinetic Art During the 20^th Century, published in the catalogue of "Art in Motion." Schwarz also forgets to mention that this exhibition was curated for the Moderna Museet and that Hultén, along with Carlo Derkert, Daniel Spoerri and Billy Klüver, was a member of the exhibition committee. Pontus Hultén was actually the editor of the catalogue. It is clear that he was in fact the one who initiated "Art in Motion." (See above quote from Linde's book,1986). In addition, Schwarz only mentions the Amsterdam venue.  The reasons for Schwarz's oversight in this area, specifically in Hultén's involvement, are unclear. Even Linde has no more than seven entries in the 1997 edition. These include no. 169, no. 175, and no. 195, which are all interviews with Duchamp. The other four entries refer to Linde's translation of the "Green Box" and his participation in Arturo Schwarz´s book Marcel Duchamp: Readymades Etc., 1964.

Under Schwarz´s "Bibliography of Works Quoted," Section XXIII, 1997, is Hultén, Karl Gunnar Pontus, The Machine, 1968, and Marcel Duchamp, Work and Life, 1993. Only Ulf Linde's book Marcel Duchamp, 1963, and his contribution, MARiée CELibatairein in Schwarz´s Marcel Duchamp: Readymades Etc., 1964, are mentioned here. 

In Schwarz´s 1997 edition, Section XXIV, Timothy Shipe's "Bibliography 1969-95," acts as a supplement to the descriptive bibliography for the 1969 and 1970 editions. Here, Linde's two books of 1963 and 1986 are mentioned. Additionally, he has three entries under Section 4, within the bibliography, "Secondary Literature: Articles and Essays". Two of them appear in the catalogue that was published for Duchamp's retrospective exhibition at the Centre Georges Pompidou in 1977. Under Section 5 of Shipe's bibliography, "Exhibition Catalogues," Linde appears again, now as the editor for the catalogue published by the Moderna Museet, 1986-1987, for the exhibition "Marcel Duchamp." Pontus Hultén is now mentioned as the editor of the catalogue published by Palazzo Grassi, Venice, 1993.

Section XXV, "Exhibition History," of the 1997 edition, is organized in two parts. The first part documents solo exhibitions from 1937. The second part records group shows in which Duchamp participated during his lifetime. This last section is highly selective according to Timothy Shipe. The following solo exhibitions in Sweden are recorded: "Marcel Duchamp," Bokkonsum, 1960, "Marcel Duchamp," Galerie Burén af Eva, 1963, and "Marcel Duchamp," Moderna Museet, 1986-1987. The group exhibitions are "Art in Motion," 1961, and "Dada," Moderna Museet, 1966. These are all listed, but Pontus Hultén's exhibitions "Art in Motion" and "Bewogen Beweging" are the only major references. The fact this was ignored remains somewhat perplexing. 

Though Schwarz has mentioned those who were interested in Duchamp's works in Sweden, he has excluded essential information and conclusions concerning Duchamp's early appearance in the context of Swedish art. Thus ignoring its effect on his career since the mid-fifties in regard to his kinetic works and readymades.

Comments on Lebel's Index

Robert Lebel's first monograph from 1959, (5) was published five years after the exhibition at Samlaren in collaboration with Duchamp. Curiously enough, that show and the magazine, KASARK [no. 1], are not listed. In Lebel's bibliography, under "General References," no. 98, is the Hultén (K) & Vasarely (V) catalogue Le Mouvement, Galerie Denis René, Paris, 1955. Under "Special Studies and Documents," no. 68, is Bo Lindwall's article Saboteur et anti-artiste, from Konstrevy,1955 (see entry).

In Lebel's revised edition of 1967, (6) Ulf Linde's book, Marcel Duchamp, 1963, appears under the "Bibliography: Addenda, Part 3" no. 93. In part 5 of the "Addenda," under no.103, is "Bokkonsum, Invitation Card," with a foreword by K. G. Hultén, Stockholm, 1960. No.108 lists "Art in Motion," Amsterdam, Stockholm, and Copenhagen.

Lebel writes in "Catalogue Raisonné: Addenda, Part 2," 1967, "Until 1960, Duchamp had usually made or chosen himself the replicas and editions of his own works. In 1960, a group of his Scandinavian admirers, including K. G. Hultén, Director of the Stockholm Moderna Museet, Ulf Linde, P. O. Ultvedt and Magnus Wibom, started working together on replicas which were later approved and signed by Duchamp." Though Lebel's comments are correct, he, like Schwarz, does not see the crucial importance of Duchamp's early appearance in Sweden in regard to his kinetic works and readymades.

The Swedish Art World and Marcel Duchamp

Readymades at Galerie Eva af Burén, Stockholm, 1963

The exhibition, including Linde's replicas of Duchamp's readymades at Galerie Eva af Burén, Stockholm,1963, was the first show to ever concentrate on his readymades. Duchamp was quite enthusiastic about the proposal. He wrote back, "For the show at Mrs. Buren's I agree thoroughly with your idea to have every Readymade shown in exact replicas, Marcel," and thought that Schwarz should use Linde's replicas as models for the 1964 editions of the readymades. (Ulf Linde's Marcel Duchamp, 1986, pages 52, 57). Concerning the release of the replicas in 1964 in Milan, Schwarz borrowed Linde's copies for the show. It was there that Duchamp signed Linde's versions, which are now at the Moderna Museet, Stockholm.

Crucial Exhibitions in Sweden

My study attempts to shows how important the Swedish art world must have been to the overall appreciation of Duchamp's kinetic works and readymades. When looking at the record of exhibitions related to Marcel Duchamp since the 1950s, one consistently finds the involvement of Pontus Hultén. It began in 1954 with the exhibition "Objects or Artefacts Reality Fulfilled" at Agnes Widlund's Galerie Samlaren, February - March, Stockholm, 1954, and continued with "Le Mouvement," at the Galerie Denise René, Paris, 1955, (8). The exhibitions "Marcel Duchamp," Bokkonsum, Stockholm, 1960, (9) "Art in Motion," Amsterdam, Stockholm, Louisiana, Denmark, 1961, and "The Machine," the Museum of Modern Art, New York, 1968-1969 (10), followed. Some of these exhibitions are listed in Lebel's and Schwarz's texts, but both failed to acknowledge their importance.

In 1960 Ulf Linde published Spejare (11) that had an enormous impact on Sweden's art world, primarily due to his presentation of Marcel Duchamp's works. Yet even Linde forgot to mention Galerie Samlaren and KASARK in his text and made a significant mistake about the "Bottlerack" by saying "1914 [Duchamp] took a bottlerack from a cafe and exhibited it at a salon as a sculpture," page 43.  This, as I explain later, is an incorrect statement. (see entry).

Duchamp's Intriguing Titles

It is well known that Duchamp was very specific about his titles. Therefore, I have chosen to quote the titles from Arturo Schwarz's latest catalogue raisonné for three reasons. First, it is the most complete list of Duchamp's works, like Köchel's register of Mozart's works. Second, it is based on Schwarz's direct collaboration with Duchamp, as was the previous catalogue raisonné of 1969, revised and updated in 1970 and 1997. Third, Schwarz has a cross-reference to Robert Lebel's catalogue raisonné, the first Duchamp monograph published in 1959 and later revised in 1967.

Duchamp's titles have probably been altered or misunderstood through the years. I have therefore quoted the titles as they stand in the captions of the Swedish material, and place parentheses around the titles as they appear in Schwarz´s latest catalogue raisonné.

Common Errors Made Concerning Duchamp's Readymades

In my study, I examine some of the misunderstandings of Duchamp's works that are commonly made by art critics and readers. For example, it is often said that his readymades have been exhibited in their original versions. This is untrue, as they have obviously been copies or replicas. He specifically confirmed new replicas of lost readymades made by Ulf Linde, Richard Hamilton and others.  Additionally, there are the Schwarz editions from 1964 that celebrate the fiftie^th Anniversary of the readymades' introduction in the art world. I do not think Duchamp had any objections about that, because it coincides with his attitudes towards art and the art world. His opinion about art and artists can be examplified in his response to the question "Who is a famous artist?" to which he answered: "He's a lucky guy." (Interview with Ulf Linde, Stockholm, 1961.)

(For a closer look at Duchamp's readymades refer to Hector Obalk's essay The Unfindable Readymades in ToutFaitJournal, Vol. 1, Issue 2, 1999.)

In the appendix, I have also listed my primary sources chronologically and indicated further readings regarding people of interest.

Marcel Duchamp in Sweden 1933-1970

1933

Nya Strömningar, Fransk Surrealism, Spektrums Förlag, 1933

Marcel Duchamp first appears in a Swedish publication in Nya Strömningar, Fransk Surrealism, published by Spektrum Press in 1933. Gunnar Ekelöf, the Swedish poet, wrote the introduction and was responsible for translating this anthology of French surrealist poems. (12) (13)

Marcel Duchamp appears twice in this book. He is first mentioned in a note on page 47. That note refers to a critique about the film history written by Salvador Dali where he comments on René Clair's film Entr´Acte. "Despite René Clair, it really resumes the concepts of Marcel Duchamp, Man Ray and Francis Picabia..." 

Duchamp's second appearance is in conjunction with Benjamin Péret's poem För Att Fördriva Tiden, (While Away the Time), page 53. The poem is illustrated with one of Duchamp's kinetic works, a very advanced choice of illustration at the time.  The Swedish caption reads "Marcel Duchamp, surrealistiskt föremål" followed by the pun in French "rose selavy et moi, nous estimons les ecchymoses des esquimaux aux mots exquis."  The correct title is actually "Rotary Demisphere (Precision Optics)," 1925, Paris, S 409. The piece was exhibited in Stockholm in 1961 at "Rörelse i konsten" ("Art in Motion"). According to Schwarz, "Precision Optics" has been in the collection of the Museum of Modern Art (MoMA), New York, since 1970.

1934

BLM, Bonniers Litterära Magasin, Volume 3, no. 3, 1934

In Bonniers Litterära Magasin, 1934, (14) Gunnar Ekelöf published his article Från Dadaism till Surrealism. He introduced Marcel Duchamp, Francis Picabia, and Andre Breton on page 36, where he wrote: "A major contribution to the continuing development of the movement [Dada] became the figures who transported it to Paris. They consisted of Francis Picabia and Marcel Duchamp, both astounding word jugglers experimenting with artistic values, and a group of young writers centered around the magazine 'Literature' published by Andre Breton."

Ekelöf also mentions that Duchamp and Picabia had access to the following magazines: Duchamp's Wrong-Wrong, ( Rongwrong, 1917), S 348, The Blind Man, (The Blind Man No. 1: Independents´ Number, 1917), S 346, The Blind Man No. 2: P.B.T., 1917, S 347 and Picabia's 291, 1915, and 391, 1920.

Ekelöf even points out that "['Fountain,' (1917, S 345)] ... which under the pseudonym R. Mutt was sent into the Independents Show in New York, originated from someone in the circle. Since the Fountain simply was a urinal, it was therefore rejected."

1936

Konkretion, no. 5-6, 1936

Two years later, Duchamp appears in Vilh. Bjerke-Petersen's magazine Konkretion, no. 5-6, 1936, published in Copenhagen, Oslo and Stockholm. This magazine is written mainly in Danish. (15)

This is the final and special double-issue about "Surrealism in Paris". Duchamp's contributed an illustration for the Belgian poet, Gisèle Prassino's text Den forfuulgte unge pige, (The Pursued Young Girl) 1935. The caption reads, "Marcel Duchamp: 'Moustiques domestiques demistock'. Photo Man Ray." In Schwarz, the title of the work is "Monte Carlo Bond," Paris, 1924, S 406, and called an "Imitated Rectified Readymade." Duchamp made less then eight of the planned 30 copies of version a. of the "Monte Carlo Bond." Version b. of the work was done in 1938, and a version c. in 1941.

1948

Prisma, no. 1, 1948

Duchamp appears in a Swedish text twelve years later in the inaugural issue of the exclusive magazine Prisma, no. 1, 1948.(16) He is mentioned in the section called "Experimentalfältet (The Field of Experiments)," page 99, where Ebbe Neergaard writes about "French-American-German experimental film" in New York, specifically the film "Dreams That Money Can Buy." The film consists of six parts compiled by Hans Richter and includes works by contributing artists Fernand Léger, Max Ernst, Man Ray, Alexander Calder, and Marcel Duchamp. The article is illustrated with five photographs, one of which is illustration no. 5, a detail from Duchamp's scandalous painting, "Nude Descending a Staircase," S 342.

This film was also shown on May 21, 1958 at the Moderna Museet's film studio during "Apropå Eggeling, Avant-Garde-Film." (17)

1948

Konstrevy, no 3, 1948

In Konstrevy, no. 3, 1948, Haavard Rostrup writes about Marcel Duchamp's brother Jacques Villon (18). Rostrup refers to Marcel in the following passage: "Jacques Villon's name is really Gaston Duchamp and brother to the cubist sculptor Raymond Duchamp-Villon, who died in 1918, and to the painter Marcel Duchamp. First a cubist painter and later one of the founders of Dadaism, but since 1920, turned his back on art and devoted himself to chess."

1950

Konstrevy, no 4-5, 1950

Konstrevy's double issue, no. 4-5, 1950, features Gabrielle Buffet-Picabia's article "Några minnen från den abstrakta konstens första år" (Some Memories From the First Years of Abstract Art). (19)

She writes: "In 1910 I became acquainted with the brothers Duchamps the oldest Raymond Duchamps, and the nowadays the widely appreciated, completely personal painter, Jacques Villon. [Both were] careful spectators to the fast development of painting. But the youngest, Marcel Duchamp, already showed distinctive qualifications to be as controversial as he was: one of the strangest spirits of his time and the deepest influence on abstract art. Marcel Duchamp was among the young circle that was eager to fight. With his work, consisting of a few paintings, his opinions and way of living, [he] had his own intuition and intelligence. Yet without effort and affection, [Marcel Duchamp] reached beyond the systematic destruction of the traditional standards of art, which up until now were reverentially accepted theories. Thus he appears as one of the predecessors of surrealism; but the peak of the anarchism was first achieved in 1915. When we first met Duchamp, he was sincerely engaged with an issue that was developed by Italian Futurism i.e. the possibility to express movement within the frame of static painting. One of his earliest and most well known canvases 'Nu Descendant au Escalier' shows an almost cinematographic decomposition of movement within the context of a skeleton. Duchamp's acquaintance with Picabia was of great importance to both of them."

Further on she writes: "In 1910, at rue Trouchet was an exhibition with Picasso, Duchamp and Picabia, already showing paintings with a striking boldness, but still far from the character they later achieved."

Her article continues on about the Salon d'Independent, 1912, where she writes: "That same year there was the great exposition 'La Section d'Or' with works by, Duchamp, Gris, Delaunay and Picabia. Finally in January 1913 in New York there was a large audience of genuine American characters invited to a giant exhibition in order to educate them in the abstract art. I attended the opening, en elaborate, elegant affair. I remember that a man in a white tie opened the ceremonies. On a rostrum he explained: 'Ladies and gentlemen, this exhibition that covers such an expanse of wall space, consists of so many canvases and has cost us such a considerable expense to arrange is presented before you. It is now your task to learn and to understand modern art, and that's that.' Without finding any understanding the new art had conquered its place in the intellectual life, but also in another field: The Speculation. Since that time it has tried and often succeeded to even involve art into its unceasing and humiliating race, similar to that of the value of stocks." 

Three works of Duchamp and Picabia illustrate the article. Included is Marcel Duchamp's"Why Not Sneeze Rose Sélavy?" 1921, (Photo: R. Sélavy, a Semi-Readymade, New York 1921, S 391). According to Schwarz, the original is at the Philadelphia Museum of Art. A replica by Ulf Linde made in 1963, for Duchamp's exhibition at the Galerie Eva af Burén, is now at the Moderna Museet (MMS), which was signed and dated by Duchamp in Milan in 1964.

In reference to Duchamp's "Elevage de poussière," Photo: Man Ray 1920, ("Bred Readymade [DustBreeding]," S 382),Schwarz writes that both Man Ray and Marcel Duchamp took this photograph. It currently belongs to the Jedermann Collection, N.A.

Marcel Duchamp's "Nu Descendant un Escalier," 1912, ("Nude Descending a Staircase No. 2," S 242), now resides at the Philadelphia Museum of Art along with Duchamp's first version, S 239.

The chief editor of Konstrevy in 1950 was Mrs. Ingrid Rydbeck-Zuhr. Choosing Duchamp's pieces as illustrations was an advanced and visionary decision for 1950, as those works were somewhat controversial at the time.

1951

Konstperspektiv, 4, 1951

In issue no. 4, 1951, Gunnar Hellman writes an article Variationer på ett gammalt tema (Variations on an Old Theme), where he quotes Oscar Reutersvärd's catalogue text from the exhibition "Neo-Plastic Art" at the Galerie Samlaren, Stockholm, 1951. Hellman's article is illustrated with Duchamp's "Nu Descendant un Escalier," 1912, ("Nude Descending a Staircase No. 2," S 242), with the following caption, "In 1912 the Frenchman Marcel Duchamp did this nude model, descending a staircase." Hellman's reason for using Duchamp's painting as an illustration remains unclear, for according to the catalogue; it was never actually shown at the exhibition. (20)

1952

Konstrevy no 2

In Konstrevy no. 2, 1952, Gabrielle Buffet-Picabia submitted the article I dadaismens tid (In the time of Dadaism) where she discusses Duchamp's stay in New York. (21)

"Dadaism existed before it got a name," she writes.

Gabrielle describes her ten-year experience of the Dada-epoch and divides it into three parts. She names the first Dada-epoch in New York, Pré-Dada. The second, the real Dada-epoch, she writes, took place in Zurich while the third Dada-period was in Paris.

She continues to describe Dadaism in Germany with Max Ernst and Hans Richter in Düsseldorf, Huelsenbeck in Berlin, and with Schwitters in Cologne. The latter, the author characterizes as the complete Dadaist, from the very language he used to his specifically arranged home and lifestyle. Laconically, she states that Dada was born in 1917.

Buffet-Picabia tells the story about the conception of Dada, which many Dadaists have claimed to coin. She explains that it can be traced to a minor accident. The Larousse dictionary happened to open onto the page where the word "Dada" was listed, as Hugo Ball and Hulsenbeck were looking for a sensational name for a dance sketch. A sketch in which Emmy Hennings, Hugo Ball's wife, would perform at Cabaret Voltaire.

She writes, "Picabia and Duchamp, the first newsmakers of the period that tore [the year] 1910 from all bonds with classicism and the four Gospels. Though they were each other's opponents, both in reactions and methods, there was a strange competition to reach destructive and paradoxical, blasphemously and inhuman suggestions. Guillaume Apollinaire often took part in these attempts of demoralization, which were also attacks of witticism, puns, and jokes, and even replaced the formal values of beauty with personal dynamism and suggestive, inventive and individual forces. This playful search into the unknown dimensions and into the unexplored regions of being, this spirit of invention, which has never come back, it seems to me, contained all the seeds, which later became Dadaism, and even that, has since then grown on to new ramifications."

She continues, "For his personal use Duchamp came to create a mechanical world of fantasy, consequence and logic, applied to a sentimental gearwheel deed, specifying one necessary text in order to understand the painting as 'la Marié Mise à nu par ses Célibataires Mêmes´." (S 404)

And further, "In this art environment Duchamp received a popularity, which he got due to the lasting success of his first exhibited work in the United States: 'Nu Descendant un Escalier'. Between two whiskies and two puns he demonstrates an attitude of distance from everything, even from himself; his lacking interest in human standards is not the least of reasons that he is subject to a pleasant curiosity in the admiring milieu. Soon he declares that he is going to end all artistic production and keeps his word. If he still takes part in any artistic manifestations, he does it in order to create a scandal. For example, he shows, at the New York Independents Show, one Ready-made called 'Fountain,' which is nothing else but a urinal. Later, not the least, sensational scandal, he puts a moustache on the Mona Lisa, symbolizing his contempt for the fetishism of art…"

"…It is during this period when Cravan, boxer, poet and, since 1912, publisher of a small avant-garde magazine 'Maintenant,' made his notorious lecture. Cravan was asked to give an enlightening lecture for a select party. He was drunk and insulted, in obscene terms, his audience of elegant ladies and started calmly to undress until two policemen took him away with handcuffs. He was immediately released by Arensberg's intervention and was enthusiastically congratulated by his friends Picabia and Duchamp, who were actually responsible for the scandal."

This article is illustrated with works by Picabia, Duchamp, Jean Arp, Sophie Tæuber Arp, and Kurt Schwitters.

Marcel Duchamp's contribution to the article is the infamous "La Joconde." The correct title is L.H.O.O.Q. according to S 369, and is a "Rectified Readymade" made in Paris in 1919. The original currently belongs to a private collector in Paris. In regard to this major work, Schwarz describes five replicas, one of which was made in an edition of 38 numbered copies. The first 35 are signed and three remain unnumbered.

An ambiguity remains with this work, as with so many of Duchamp's pieces. It is unclear as to which works, particularly which readymades, were exhibited as originals.

The Bottle Dryer [Bottlerack]

Inconsistencies arise when discussing Duchamp's most famous ready-made, "Bottle Dryer [Bottlerack]." Even one of the best exegetes of Duchamp's works, Ulf Linde, erred in his book Spejare, where he wrote: "In 1914 he fetched a Bottle Dryer [Bottlerack] from a cafe and exhibited it at a salon as a sculpture."  Considering that Linde's book was the first penetrating analyses of Duchamp's works in Sweden, it had an unfortunate impact, for that inaccurate description still remains. The original version has actually never been exhibited, like so many of Duchamp's readymades.(23)

I think that Duchamp did not care if it was an "original" or a "replica" that he exhibited. His comment on various interpretations or replicas of his works was "It amuses me." This remains congruent with his attitude towards art and the art world, against which he protested through the act of choosing the readymades.

The original version of "Bottle Dryer [Bottlerack]" is lost. Duchamp bought his first one at Bazaar de l' Hotel de Ville in Paris, 1914. The disappearance of the original version is due to his sister, Suzanne, whom Duchamp had asked to clean his apartment in Paris while he was away in New York. She simply cleaned it away.

In a new book (24) Affectt Marcel, The Selected Correspondence of Marcel Duchamp by Francis M. Naumann & Hector Obalk, (Thames & Hudson, 2000), there are two letters written in January and October of 1916 to Suzanne Duchamp where Marcel introduces his concept of the ready-made. "Now, if you have been up to my place, you will have seen, in the studio, a bicycle wheel and a bottle rack. I bought this as a readymade sculpture. And I have a plan concerning this so-called bottle-rack. Listen to this: here in N. Y., I have bought various objects in the same taste and I treat them as 'readymades'. You know enough English to understand the meaning of 'ready-made' that I give these objects. I sign them and I think of an inscription for them in English. I´ll give you a few examples. I have, for example, a large snow shovel on which I have inscribed at the bottom: In advance of the broken arm, French translation: En avance du bras cassé. Don't tear your hair out of trying to understand this in the Romantic or Impressionist or Cubist sense–it has nothing to do with all that. Another 'readymade' is called: Emergency in favour of twice, possible French translation: Danger /Crise/ en faveur de 2 fois. This long preamble just to say: take this bottle rack for yourself. I'm making it a 'readymade,' remotely. You are to inscribe it at the bottom and on the inside of the bottom circle, in small letters painted with a brush in oil, silver white colour, with an inscription which I will give you herewith, and then sign it, in the same handwriting, as follows: [after, Marcel Duchamp (end of letter could very well be missing)]"

In the letter dated October 16, 1916, he returns to the same subject and asks, "Did you write the inscription on the ready-made? Do it. And send it, [the inscription], to me and let me know exactly what you did."

Later Duchamp, in his text Apropos of Readymades, 1961, describes how the term Readymade arose. "In 1913 I got the good idea to attach a bicycle wheel to kitchen chair and saw it turn." In New York in 1915 he bought a snow shovel and wrote on it: In advance of the Broken Arm. "It was about this time the word readymade come to my mind to describe this form of appearance."

Duchamp bought the second version of "Bottle Dryer [Bottlerack]" for his sister in 1921. The work was signed by Duchamp: "Marcel Duchamp/Antique certifie," S 306 a., and was reproduced in Lucy R. Lippard's essay in the MoMA's Duchamp catalogue in 1973. This version belonged to the collection of Robert Lebel, and is currently in the collection of his son, Jean-Jacques Lebel, in Paris.

Duchamp produced his third version of "Bottle Dryer [Bottlerack]" in 1936. It was exhibited the same year at Charles Ratton's gallery in Paris, May, 1936. This third copy belonged to Man Ray, but there is no record of its current location.  Yet it appears in the photograph showing the interior of Ratton's gallery, reproduced in the catalogue "Dada and Surrealism Reviewed," London, 1978. Robert Rauschenberg bought a "Bottle Dryer [Bottlerack]" in which Duchamp signed the following, "Impossible de me rappler la phase original/Marcel Duchamp/1960."  This third version was exhibited at the Pasadena Art Museum, 1963, in Duchamp's first retrospective exhibition.

In 1961, Duchamp selected a "Bottle Dryer [Bottlerack]" for his wife Alexina Duchamp, (She was deceased in 1995), with the inscription, "Marcel Duchamp 1914," (Replique, 1961).

In 1963, Ulf Linde made a "Bottle Dryer [Bottlerack]," now at the Moderna Museet. This version was exhibited at the Schwarz Gallery, coinciding with the release of the edition of replicas made by the gallery in Milan, 1964, in order to celebrate the 50^th Anniversary of Duchamp's first Readymade. Schwarz released an edition of eight signed copies. Two copies outside the edition were reserved for the artist and Schwarz and are inscribed, "ex Rrose and ex Arturo." Another two copies were produced for exhibition purposes and contain the following inscription, "Ex. h.c. pour exposition, 1964" and "Ex I/II donated to Israel Museum, Jerusalem, on the occasion of a Duchamp retrospective, 1972," S 306. 

There are also other versions, specifically one, which Daniel Spoerri lent to Bokkonsum's exhibition in 1960. This version is not mentioned in Schwarz, perhaps because Duchamp never signed it. One of the most recent "Bottlerack" I have seen was shown in the exhibition "A House is Not a Home" at Rooseum in Malmö, October 18 - December 14, 1997.

When I asked the museum director, Bo Nilsson, where he had found the "Bottle Dryer [Bottlerack]," he told me that he and the former director, Lars Nittve, had some serious problems finding a copy. "You could have called me," I answered, sensing a distinct note of irritation.

My own copy of the "Bottle Dryer [Bottlerack]" was purchased by my friend Torsten Ridell in the late 1970's at Bazaar de l' Hotel de Ville. My version is a meta piece, a re-made, which brings it back to its original purpose, i.e. to dry wine bottles.

In 1997, I ordered a new bottlerack made of plastic by my friend Jean Luc Guinnement in Paris, but he misunderstood my request and sent me a green painted metal copy also purchased at Bazaar de l' Hotel de Ville in Paris. Following this mistaken delivery, Angelica Juhlner in Fox Amphoux, succeeded in finding the plastic variant in Bajoule, Provence. This copy has a bright yellow bottom plate and a blue rack, which can be dislocated into smaller parts. This version is included in my own project "Pole Room," 1977, where all the items allude to the fact that blue and yellow become green when mixed. This plastic version has an amusing connection to the description of what Elvis Presley was wearing when he was found dead in his bathroom: "He died in his pajamas, blue top and yellow bottom."

Duchamp's "Bottle Dryer [Bottlerack]" shows indeed that "Ars longa vita brevis..." to use a common incomplete quotation.

Duchamp's "Bottle Dryer [Bottlerack]" was exhibited at MoMA's "Fantastic Art, Dada, Surrealism," 1936-37. This is not entirely the case, for that "Bottle Dryer [Bottlerack]" was actually Man Ray's photograph of a "Bottle Dryer [Bottlerack]," probably the copy, which was exhibited by Charles Ratton in May, 1936. The MoMA's catalogue pictures a reproduction, in which the "Bottle Dryer [Bottlerack]" stands on a corner of a table. That catalogue does contain the proper origin, but that information is lost in later catalogues and books. (25)

Click to enlarge

25. Duchamp: "Ready-made," 1914. Photo Man Ray.

1954

KASARK [no. 1]

Objekt eller artefakter verkligheten förverkligad, 1954

KASARK is a seven-page magazine, (26), published by Galerie Samlaren in February, 1954. Galerie Samlaren was one of the most important galleries in Stockholm from 1943 to 1977. During the 1950s, Pontus Hulten and Oscar Reutersvard and Hans Nordenstrom were the curators and editors of Kasark. On page 6, K. G. H. (Pontus Hultén) wrote an article with the headline "READY-MADE."  This is the first time someone in Sweden attempts to explain what Duchamp's readymades represent. The following two works by Marcel Duchamp are reproduced in this issue of KASARK. (sic)

Marcel Duchamp: "Ögat i Biljardbollen," 1935, Rotorelief för grammofon. Bilden roterar med lägsta hastighet och betraktas med ett öga, (The eye in the billiard ball, 1935. Rotorelief for gramophone. The image will rotate at the slowest speed and looked at with one eye), "Rotoreliefs (Optical Disks)," 1935, S 441. First edition, 500 sets, each set with 6 cardboard disks printed on both sides. About 300 sets were lost during World War II.

Marcel Duchamp: "Flasktorkare, Ready made," 1914. (Bottle Dryer [Bottlerack]), Ready-made, 1914, S 306.

1954

Konstrevy, no. 3

On page 131, Ulf Linde reviews the exhibition "Object or Artefacts Reality Fulfilled" at the Galerie Samlaren in Stockholm, 1954 (27). He mentions Dada and makes a specific comment on a piece bought at EPA, a one price store company in Sweden, similar to Bazaar de l' Hotel de Ville in Paris, that sold a variety of inexpensive goods. His comment refers to a piece no. 33 in the exhibition catalogue by V. Enhult, (an anagram and pseudonym for Pontus Hultén, an organizer of the exhibition), with the title "Object with unknown application, ready-made found at One Price Store EPA in Stockholm, 1952." Linde writes, "The title must be understood as an attempt to release the object from all trivial relations to flour bags in order to make it an aesthetic object of 'exclusive uselessness.'"  He does not write anything about Duchamp.

1954

Odyssé, no. 2 -3

In this issue there is a note about Picabia, mentioning that Duchamp published Dadaist publications 291 and 391.

1954

Odyssé, no. 4

Dag Wedholm published Odyssé. The other editors included Ilmar Laaban, Öyvind Fahlström, Gösta Kriland, Pär Wistrand, and V. Lundström. (28) (29)

Gösta Kriland, artist, and Ilmar Laaban, poet, have translated fourteen of Marcel Duchamp's notes. There is also a biographical note about Duchamp, which points out that he is one of the leading Dadaists, who published a number of magazines together with Picabia and others. "[He has used the pseudonym] L.H.O.O.Q. - Elle a chaud au cul. Book: Rrose Sélavy. Film: Anemic Cinema. After 1920 [Duchamp] only temporarily devoted himself to art - but more to chess." (L.H.O.O.Q., S 369.)

1954

Gåsblandaren, hösten, 1954

Students at the Royal Institute of Technology in Stockholm have published Gåsblandaren and Vårblandaren (Goose Blender and Spring Blender) since 1863. Among the editors during 1951-1955 was Hans Nordenström, one of Pontus Hultén's closest friends, who participated in many of Hulten's early projects in the 1950s and 1960s. On the front cover is a collage of Gåsblandaren, autumn, 1954, where you can find one of Duchamp's Rotoreliefs, S 441. (See item no. 2 in "Das gedruckte Museum von Hulten," 1996.) (30)(31)

1955

Vårblandaren, våren, 1955

Vårblandaren was a box containing lose material referring to art in a Dadaist fashion. It is said that George Machunias, the Fluxus leader, later used this box-issue as a model for his own different kits. (32)

1955

Konstrevy, no. 1

In this issue, the inside of the front cover contains an advertisement published by the Galerie Samlaren, Stockholm, with the following caption, "marcel du champ, new york/hultén/." The reason for Duchamp's rare appearance in such an advertisement is somewhat mysterious. It can be some kind of tribute to the artist due to Hultén's interest and appreciation of Duchamp's work. At the time, Hultén was working for the Galerie Samlaren while editing KASARK, in which he repeatedly wrote about Duchamp. (33)

1955

Salamander no. 1

C. O. Hultén opened his Galerie Colibri, Malmö in January 1955 and the first issue of Salamander was published that same year. Only three issues were published during the period of 1955-1956 (34). In the first issue is a translated fragment of André Breton's text "Phare de la Mariée," (Bruden som fyrbåk [Lighthouse of the Bride]), first published in Minotaur, no. 6, 1935. Ilmar Laaban and Ingemar Gustafsson (Leckius), both poets, did the translation. Three of Duchamp's works appear in this issue.

Illustrations:

"Bruden som avklädd av sina ungkarlar, t.o.m. Glasmålning." ("The Bride Stripped Bare by Her Bachelors, Even [The Large Glass]"), S 404.

"Övergång mellan jungfru och brud," Olja 1912. ("The Passage from Virgin to Bride") 1912, S 252.

"Nio hanliga gjutformar, detalj ur glasmålningen," ("Nine Malic Moulds, detail from the Large Glass.") 

There must be something wrong with the title of the later piece. If it actually is a detail from "The Large Glass," a part of the water mill would be visible, but it is not, even though "Nine Malic Moulds" is a part of the bachelors region of the larger work. According to Schwarz, Duchamp made four versions of "Nine Malic Moulds." The original version, done in 1914-15, S 328, was cracked in 1915. The second was made in 1934, and its present location is unknown, S 328 a. In 1938 Duchamp made a miniature reproduction of the work for "The Box in a Valise," S 328 b. The third version was produced in 1963, S 328 c.Salamander was published in 1955 and shows a cracked "Nine Malic Moulds." Therefore, this must be the original version that has belonged to Alexina Duchamp since 1956. In the catalogue from the Pasadena retrospective exhibition in 1963, there is a reproduction of the second version dated as 1963, with little similarity to the second version of the piece from 1934 in Schwarz, 1997.

You can also find Marcel Duchamp's "SURcenSUR" originally published in L' usage de la Parole, Paris, 1, no. 1, December, 1939, translated by Erik Lindgren, the poet, and Ilmar Laaban. This text is illustrated with Duchamp's "Témoins Oculistes (Oculist Witnesses)," 1920, New York. S 383. It is now at the Philadelphia Museum of Art (PMA). 

Additionally, Ingemar Gustafsson (Leckius) has written a short biographical note about Duchamp.

This is the first time Duchamp's major work "The Large Glass" was reproduced in Sweden. It is the original, which was later cracked during transportation from the Brooklyn Museum of Art in 1927. Now it too resides at the PMA, at Kathrine S. Dreier's bequest.

There are several different versions of Duchamp's "The Large Glass." Among them is Ulf Linde's version signed "pour copie conforme/ Marcel Duchamp/Stockholm 1961." This version was exhibited in the Pasadena Art Museum, 1963.

The copy at the Tate Gallery, London was made by Richard Hamilton and signed "Richard Hamilton/pour copie conforme/Marcel Duchamp/1965." A third copy can be found at the Art Museum of the College of Arts and Sciences, University of Tokyo, made in 1980.

A fourth replica was made in 1991-1992 by Ulf Linde, Henrik Samuelsson and John Stenborg and has been authorized by Alexina Duchamp.