Sydsvenska Dagbladet (SDS), Tuesday, June 14, 1955

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36. Sydsvenska Dagbladet, Tuesday, June 14 1955.

In this daily newspaper, Duchamp made an indirect appearance in Sweden in a print advertisement (36). Sellers & Co., an advertising agency, used this work to reach a new clientelle. They used the "Mona Lisa" with the headline "att satta mustascher pa MONA LISA" (to put a moustache on MONA LISA) and in a footnote, refer to Marcel Duchamp. '"Why not be original?' the Dadaist Marcel Duchamp thought in the 20's and put a moustache on the Mona Lisa! Both Duchamp's fantastic trick and Dadaism had a short lifetime like a dragonfly. How many, for example, today know anything about monsieur Marcel Duchamp's herostratic creation of art?"

1955

KASARK no. 2. okt, 1955.

In this issue, K. G. Hultén (Pontus Hultén) presents "Art in Motion-Kinetic Art." I think Hultén is the first one to write and point out this field of art. On the cover, printed in bold and light red capital letters is the following headline: "Om den ställföreträdande friheten eller om rörelse i konsten och Tinguelys metamekanik av Karl G. Hultén" ("The Substituted Freedom or About Art in Motion and Tinguely's Metamechanic" by Karl G. Hultén). (37)

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37. KASARK no. 2, autumn 1955.

Hultén was one of the curators of "Le Mouvement" at Galerie Denise René in Paris, 1955 (See previous entry). Since then, Hultén has dealt with art in motion extensively.

(The best, concise information about his writings on this matter is in Das Gedruckte Museum von Pontus Hulten, 1996. There you can read about the exhibitions "Le Mouvement" Paris, 1955, "Marcel Duchamp, Bokkonsum," Stockholm 1960, Rörelse i konsten (Art in Motion)," 1961, "The Machine," MoMA, 1968, "Marcel Duchamp," Centre George Pompidou, 1977, and "Marcel Duchamp," Palazzo Grassi, 1992-3.)

In this issue he makes an early attempt to introduce the importance of kinetic art, where Duchamp has played a major roll. On pages 7-13, Hultén presents Duchamp's moving and mechanical works and as well as his defining role in the field.

Hultén's article is illustrated with the following images:

A photo of Duchamp's studio in New York, where his "first readymade" is seen, a replica of "The Bicycle Wheel," S 278, and, on the floor, "Trébuchet," S 350.

"The Large Glass," S 404, the cracked version in Katherine S. Dreier's home.

Photos of the "Rotary Glass Plates (Precision Optics)," one in motion and one still, S 379, currently at the Yale University Art Gallery. In the article, the work is called "Rotary Glass Piaques," which must be a printing error. It should be "Rotary Glass Plaques," Duchamp's first motor-driven object from 1920.

A photo of "Rotary Demisphere," 1925, S 409. The work is currently at the MoMA.

Photos of three of Duchamp's "Rotoreliefs," 1935, S 441.

1956

In his book, pages 21-40, Peter Weiss has a chapter about the avant-garde films in the 1920s. Included are Marcel Duchamp´s "Anemic Cinéma," 1927, and his roll in René Clair´s "Entr' acte," 1924, in the famous chess party scene with Man Ray on a Paris rooftop. The text is illustrated with that scene and stills from Duchamp's own film. (37 b)

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37b. Avangardefilm, 1956

1956

Konstspegeln no. 3-4

This is a small and local art magazine published in the south of Sweden. In no. 3-4 Max Walter Svanberg writes about The Magic Art. He mentions the Dadaist, Duchamp. The article is illustrated with "The King and Queen Traversed by Nudes at High Speed" S 246 a, which is now at the PMA. In a special caption Svanberg makes the following remark, "Duchamp, is one of the most important and innovative artists according to the new direction of art, which in this article is called "the non geometrical abstractions." (38)

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38. Konstspegeln no. 3-4 1956.	39. KASARK no. 3 Maj (19)58.

1958

KASARK no. 3. Maj 58.

In this issue, K.G.H. (Pontus Hultén) writes about collage or fantastic realities. On page 8, he points out that Duchamp used chance to create "3 Stoppages Étalon," S 282. It is now at the MoMA. (39)

1959

Konstrevy no. 3

In his review "Utställningar i Stockholm, Mars - April" (Exhibitions in Stockholm March-April) Eugen Wretholm, mentions that Öyvind Fahlström uses chance similarly to Duchamp. This is probably the first time Duchamp's influence on other artists is mentioned in Sweden. (40)

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40. Konstrevy no. 3 1959.	41. KASARK no. 4 april 1960.

1960

KASARK no. 4. April, 1960.

This issue was published about the exhibition "Edition MAT" (Daniel Spoerri) at Bokkonsum in Stockholm, April 1960. (41)

Even in this issue, K.G.H. (Pontus Hultén) writes about Duchamp. The headline reads: "A Work of Art has No Price," and continues to quote Duchamp, "Modern art looks for its Gutenberg." Duchamp is presented as a, "Painter, poet, chess player, and a forerunner within Dadaism, Surrealism and kinetic art. In 1936, Duchamp exhibited his Rotoreliefs at the inventor's exposition in Paris. Born in Blainville, France." (See entry).

1960

Konstrevy no. 3

Eugen Wretholm writes about the exhibition at Bokkonsum, which he calls "Dadaistica." He mentions Marcel Duchamp and reproduces his Rotoreliefs placed on the pavement in front of the gallery together with other items from Edition MAT.

1960

Bokkonsum

Saturday May 7, 1960, Bokkonsum opened an exhibition with some replicas of Marcel Duchamp's readymades made by Per Olof Ultvedt and Ulf Linde (38). In Das gedruckte Museum von Hulten, 1996, page 83, the circumstances of this exhibition are described. Linde describes the event quite differently in his book Marcel Duchamp, 1986.

Page 10 of Marcel Duchamp contains a reproduction of the announcement card from Bokkonsum's exhibit and other photographs taken on the occasion (42). In one, of the shop-window, there is a large copy of Eliot Elisofon's photo from Life Magazine, April, 1952, of "Duchamp descending a staircase," a paraphrase of his painting "Nude Descending a Staircase." The same photograph was later used as the cover of the revised edition of Robert Lebel's monograph Marcel Duchamp, published by Paragraphic Books, Grossman Publishers, New York, 1967. In that edition, Lebel extended his catalogue raisonné with little information about Duchamp's appearances in Sweden.

The book also depicts Ulf Linde's version of the "Bicycle Wheel," 1960, S 278 c, now at the MMS. "Fresh Widow," S 376, was made by a carpenter on Linde's request and was later acknowledged and signed by Duchamp "pour copie conforme Marcel." This version is now in the collection of the MMS. In his book from 1986, Linde calls it a readymade, but according to Schwarz, it is not. You can also see the "Chocolate Grinder, No. 2," 1914, S 291. Additionally, there is a small version of "The Large Glass," which Linde says, "happily disappeared."

In the Bokkonsum's show was also "Bottle Rack" which Daniel Spoerri had purchased at Bazaar l' Hotel de Ville in Paris, and lent to the show. This copy is not mentioned in Schwarz.

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42. Ulf Linde. "Marcel Duchamp" 1986 p. 10, In and outside Bokkonsum 1960.	43. Paletten no. 3 1960.

1960

Paletten, no. 3

On page 91, they publish Marcel Duchamp's The Creative Act, translated by Folke Edwards, the chief editor. This lecture was given by Duchamp at the Convention of the American Federation of Arts in Houston, April, 1957. On page 99 of the same issue, there is additional information about Duchamp as a contributor to this issue. (43)

1960

Spejare by Ulf Linde

Linde's book Spejare (Searcher) (See 11) was one of the catalysts of the great artistic debate in Sweden later named "Är allting konst?" (Is everything art?). Perhaps it was one of Linde's statements that awoke the most anger among artists and members of The Royal Academy of Arts, for Linde stressed Duchamp's opinion that it is the viewer who creates the work. Duchamp's opinion was already released in 1957 in his lecture The Creative Act.

Rabbe Enckell, chairman of the Royal Academy of Arts, actually started Sweden's notorious art debate. He delivered a speech entitled, "Ikaros och lindansare, ett försvar för klassisismen, (Ikaros and Ropewalkers, a Defence for the Classicism)" to the academy on May 30, 1962. Thereby dissociating himself and the academy from the tendencies that he felt threatening to the order of art. This huge debate was later published in book called Är allting konst? (Is everything art?),Stockholm, 1963, with Duchamp's "Bottle Dryer [Bottlerack]," on the cover.

It was not only Linde's book that caused this violent turbulence in the Swedish art world. There were other art events, which in the beginning of the 1960s contributed to the debate. A specific catalyst was the purchase of Brancusi's "Le Nouveaux-né," 1961 from Rolf de Marée by the Moderna Museet in Stockholm, for the total of a 161,000 Swedish crowns. In 1961, this was considered an exorbitant amount for a modern artwork, and many thought that it was an excessive waste of museum funds.

Art in Motion and Four Americans

In 1961 K.G. Hultén, Carlo Derkert, Daniel Spoerri, and Billy Klüver opened one of the most important exhibition at the Moderna Museet called "Art in Motion," from May 17^th to September 3rd. Realizing that the exhibition would be a shock to the Swedish art public, it was first shown at the Stedelijk Museum in Amsterdam from March 10^th to April 17th. It was also shown at Louisiana, Humblebaeck, Denmark from September 22^nd until October 22^nd, 1961. (See Moderna Museet Stockholm 1958-1983, page 36, (See 4))

I can personally remember what a debacle it was when the Moderna Museet presented "4 Americans" in March of 1962. Robert Rauschenberg's works created a scandal especially his "Monogram," a longhaired goat with a painted face and a tire around his stomach. "The Bed," a painted bed with cushion, sheets and a quilt hanging on the wall, raised the question if it could even be considered art.

It was during these two exhibitions that Linde's concept of the viewer's role gained its breakthrough, aided by the controversial publicity the shows had received. The issues were related. It was not odd that the conservative public and art critiques and artists were terrified, for, in a way, they had become obsolete.

1961

Konstrevy, no. 1

Öyvind Fahlström writes a review about Ulf Linde's Spejare, 1961.

"The central point in 'Spejare' is the analyses of Marcel Duchamp's large painting, [The Large Glass], which for the first time here is given the proper importance [compared with the confusion in connection with Duchamp's exhibition at Konstsalongen, (Bokkonsum), Vallingatan.] 'Spejare' is the most stimulating and beautifully written book in Swedish which I have read."

1961

Rörelse i konsten, Moderna Museet, Stockholm 17 May -3 September, 1961, catalogue

This exhibition is one of the most important shows organized in the twentie^th century (see 4). The committee consisted of K.G. Hultén, (Pontus Hultén), Carlo Derkert, and Daniel Spoerri and from the U.S.A., Billy Klüver. Pontus Hultén was editor of the catalogue in which he writes in the introduction,

"Contemporary art is often pessimistic, defeatist and passive; completely natural, one can say. But there is also an another kind of art. That is what this exhibition wants to show [dynamic, constructive, full of joy, confusing, ironical, humorous, aggressive]. It is probably even typical for our time.

"The 19^th century exhibitions were visited by the same curious and interested masses of spectators that are currently visiting the motor shows. But will they, in the end, find what they are looking for? Apollinaire wrote in 1913, according to Marcel Duchamp, that only an art which is liberated from aesthetic concerns and which deals with energy as a pictorial material, can hope to 're-unite the Art and the People.'

"The camera is the machine to take a picture with, and is available to everyone. But there are other art machines, perhaps more independent, which also talk to us and tell us who we are. They appear in many forms and materials, sometimes they look like scientific research or camouflage themselves as toys.

"Kinetic art has, during the twentie^th century, been developing in many different ways, at least equal in varying forms to static art. To use the physical movement as an instrument of expression gives it a freedom, which art has been trying to attain for a long time...

K.G. Hultén"

In the catalogue, there is a short dictionary about the artists working with kinetic art. The biographical note about Marcel Duchamp, mentions his first two readymades, "Pharmacy," S 283 and "Flaskstället" ("Bottle Dryer ([Bottlerack]," 1914, S 306). (Refer to the below entry about Duchamp's works in the exhibition.)

The catalogue quotes Duchamp, "I did not stop painting in order to play chess. That is a myth. It is always like that. Because someone begins to paint it does not mean that he must continue with that. He is not even forced to stop. He just does not do it any more, in the same way that you do not make omelets any longer, if you prefer meat. I do not think that it is necessary to classify people and, above all, treat painting as a profession. I do not understand why people try to do painters of civil servants and civil servants of the ministry of the fine arts. There are those who get medals, and those, who paint."

There is also a short review about the history of kinetic art in the 20^th century by K.G. Hultén. He begins with futurists artists, continues with Marcel Duchamp's "Coffee Mill," 1911, and ends the Duchamp presentation with his "Rotoreliefs" made in 1936.

Nine of Duchamp's important kinetic works were shown at "Art in Motion" in addition to "Boite-en-valise" which was represented at the show. Therefore one can say that all of Duchamp's major works were present. For in fact, "Boite-en-Valise" represents a retrospective exhibition in a small suitcase. That was the first time Duchamp's works were presented to a larger public in Sweden, perhaps for the first time in the world, without being related to Cubism, Futurism, Dadaism, and Surrealism. If this was actually his major breakthrough in the context of Swedish art, is yet to be decided. Though he did become absolutely accepted by the institutional art world at that time, his standing today is another question.

Works by Duchamp in the exhibition:

"Cykelhjulet," 1913, reconstruction, ("Bicycle Wheel"), S 278c.

"Chokladkvarn, No. 2," 1914 ("Chocolate Grinder No. 2"), S 291.

"Naken går nedför en trappa, No. 3," 1916 ("Nude Descending a Staircase, No. 3"), S 343.

"Bruden avklädd t.o.m. av sina ungkarlar," 1915-23, reconstruction, 1961 ("The Bride Stripped Bare by Her Bachelors, Even [The Large Glass]"), S 404.

"Rotary Glass Plaques (Optique de Precision)," 1920, reconstruction, 1960 ("Rotary Glass Plates [Precision Optics]"), S 379.

"Demisphère Rotative (Optique de Precision)," 1925 ("Rotary Demisphere [Precision Optics]"), S 409.

"Skivor med ordspråk," 1926 ("Anemic Cinema: Disks Inscribed with Puns"), S 415-23.

"Dörren i 11, rue Larrey," Paris, 1927, reconstruction, 1960 ("Door: 11, rue Larrey"), S 426.

"12 Rotoreliefer," 1935 ("Rotoreliefs [Optical Disks]"), S 441.

"Boite-en-Valise," (From or by Marcel Duchamp or Rrose Sélavy ["The Box in Valise"], 1935-41), S 484.

For the exhibition "Rörelse i konsten" ("Art in Motion") in Amsterdam and Stockholm, Pontus Hultén, Per Olof Ultvedt and Magnus Wibom made a replica of "Rotary Glass Plates (Precision Optics)," S 379. Hultén and Daniel Spoerri made a replica of "Door: 11 rue Larrey," S 426. It was destroyed after the exhibitions. (See 4)

1961

Konstrevy, no. 3

On page 99, is an article about "Art in Movement" at the Moderna Museet, illustrated with a photo of Duchamp visiting Iris Clert's gallery in Paris.

In Eugen Wretholm's review "Utställningar i Stockholm" (Exhibitions in Stockholm), page 112, Duchamp's "Fountain" and "Bottle Dryer [Bottlerack]" are mentioned. You can also find Umbro Apolloninos' article "The Inner Movement" where he refers to Duchamp and uses "Nude Descending a Staircase" as an illustration.

1961

Konstrevy no. 4

Eugen Wretholm writes about "Art in Motion" once again, where he mentions Duchamp's "Nu Descendant un Escalier." He remarks that the exhibition originated in Paris as "Le Mouvement" at Denis René by K.G. Hultén and refers to his text about "Art in Motion" in KASARK 3, October, 1955.

1961

Konstrevy, no. 5-6

Ulf Linde writes the essay Framför och bakom glaset (In front of and behind the glass) pages 162-165 (44). This is an important article about Duchamp's "The Large Glass". It is illustrated with six photographs taken of the assembling of Linde's first reconstruction of "The Large Glass" together with Duchamp. The essay is a partial interview with Duchamp.

The other illustrations are:

Marcel Duchamp photographed as a woman by Man Ray. The correct title as listed in Schwarz's text is "Marcel Duchamp as Belle Halleine," photo Man Ray, 1921, S 385.

"Chocolate Grinder no. 2." S 291.

"The Bride Stripped Bare by Her Bachelors, Even," S 404, 1915-1923. Currently, it is at the PMA.

Page out of "Boite Verte, The Green Box." A box containing 93 notes, drawings, photographs, and/or facsimiles by Duchamp housed in a green-flocked cardboard box, 1934, S 435.

On pages 224-227, Öyvind Fahlström writes about "The Art of Assemblage" at the Museum of Modern Art, New York, and he mentions Duchamp's last painting "Tu m´," S 354. The work is currently at the Yale University Art Gallery. His article is illustrated with the version of "Bottle Dryer [Bottlerack]" on a table, photographed by Man Ray and sent in by Duchamp to the Museum of Modern Art exhibition, 1936-37.

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44. Konstrevy no. 5-6 1961.	45. Paletten no. 1 1961.

1961

Paletten, no. 1

Paletten no. 1, 1961, published an article Marcel Duchamp: Anti-Artist by Harriet and Sidney Janis and translated by Folke Edwards, chief editor. (45)

This article is richly illustrated with major works from Duchamp's production.

"Bride," 1912, S 253.

"Coffee Mill," 1911, S 237.

"Rotoreliefs," 1935, S 441.

"Bicycle Wheel," 1916, (1913), S 278.

"Marcel Duchamp," portrait by Man Ray, 1920, or "Marcel Duchamp as Belle Haleine," S 385.

"L.H.Q.O.Q." 1919. The correct title is "L.H.O.O.Q., 1919, Paris," S 369.

"Bachelors," 1914. Properly titled "Nine Malic Moulds," S 328. It is hard to see which version it is because the editor has only reproduced a part of the original. It seems to be the original version that Duchamp had made in 1914.

"The King and Queen Traversed by Nudes at High Speed," 1912, S 246.

"Nude Descending a Staircase, No. 2," 1912, S 242.

"Bottle Dryer [Bottlerack]," 1914, S 306. This photograph is another version taken by Man Ray in 1936. It has both a shadow and a white reflection below its base. The photograph appears to have been retouched.

"Trois Stoppages Étalon (3 Standard Stoppages)," 1913-14, S 282.

"La Mariée mise a nu ses clélibataires, meme," 1914-1923, S 404. The cracked version in Katherine S. Dreier's home.

"Fresh Widow," 1920, S 376.

"Tu m´," 1918, S 354.

"Roterande glasplattor (Precisionsoptik)," 1920. The correct title is "Rotating Glass Plates

(Precision Optics)," S 379.

"Chocolate Grinder No.1," 1913, S 264.

1961

Paletten, no. 2

In this issue Elisabet Hermodsson, artist and poet, refers to Linde's book Spejare. Her contribution is titled "Critics as a Benefit Moralist" and she quotes Linde: "By itself nothing is art. First you have to call it art, see it as a work of art."

Linde replies in the same issue in his discussion of Duchamp's readymade "Why not sneeze". He writes, "You have to do something with the art work, that it could 'be' art." Hermodsson's reaction was typical among the conservative artists in Sweden who were afraid of losing their territory within the art world.

The editor, Folke Edwards comments on the exhibition "Art in Motion." He notes that many of the pioneers of kinetic art participated in the exhibition and considers Duchamp a representative for Futurism, Constructivism, and Dadaism.

1961

Rondo no. 3

Öyvind Fahlström comments on Duchamp's "SurcenSur" and notes that "Duchamp has, as usual, done it before," page 27. (46)

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46. Rondo no. 3 1961.

1961

Paletten no. 3

Torsten Andersson, the painter, contributes the article One Price Store Culture or Artistic Dictatorship. He writes "In the shadow of Duchamps... I don't stop any man in the world by presenting a 'Bottle Dryer [Bottlerack]' or let the public fire a pistol."

1962

Konstrevy no. 1

In this issue, Linde begins to present his translation of Duchamp's notes on "The Large Glass", S 404. The notes 1-11 are published and are illustrated with sketches from the "Green Box." S 435. (47)

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47. Konstrevy no. 1, 1962. In this issue, Ulf Linde begins his translation of notes from "The Green Box"

1962 Konstrevy, no. 2 In this issue Linde continues his translation of Duchamp's notes about "The Large Glass", notes 12-33. It, too, is illustrated with sketches from the "Green Box." 1962 Konstrevy no. 3 In this issue Linde continues his translation of Duchamp's notes about "The Large Glass", notes 34-39. It is illustrated with sketches from the "Green Box." 1962 Konstrevy, no. 4 In this issue Linde continues his translation of Duchamp's notes about "The Large Glass", notes 40-48. It is illustrated with sketches from the "Green Box" and a photo of "Nine Malic Moulds". Under the review "Exhibitions in Paris", is a note about an exhibition at Galerie L'Oeil where they showed the art magazine Minotaur. Included in the works mentioned, are Marcel Duchamp's "The Green Box" and "Rotoreliefs." 1962 Konstrevy, no. 5-6 In this issue Linde ends his translation of Duchamp's notes about "The Large Glass", notes 49-78, which he produced in collaboration with Malou Höjer. It is illustrated with sketches from the "Green Box." This contains 93 notes on "The Large Glass." In Art Review No. 1, 1963, he publishes his comments on the subject. (See entry below.) (48) click to enlarge 48. Konstrevy no. 5-6 1962. In this issue, Ulf Linde ends his translation of "The Green Box". 1962 Paletten, no. 4 C. G. Bjurström writes "Artworks and Things" where he discusses Linde's interpretation of Duchamp's "Bottle Dryer [Bottlerack]." 1963 Konstrevy no. 1 Here you find Ulf Linde's essay Kommentar till Marcel Duchamps Bruden avklädd av sina ungkarlar, t.o.m. (Comment to Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even). It is illustrated with drawings from the "Green Box" and photographs of Marcel Duchamp taken by Lütfi Özkök in Stockholm, 1961. (49) 1963 Konstrevy, no. 2 This issue contains a full size advertisement of Marcel Duchamp's exhibition at the Galerie Eva af Burén April - May, 1963. Illustrated by a photograph of Duchamp's "Female Fig Leaf," S 536. (50) Click to enlarge 49. Konstrevy no. 1, 1963, Comments on Marcel Duchamp´s " The Bride Stripped Bare by Her Bachelors, Even." 50. Konstrevy no. 2, 1963, Female Fig Leaf. Advertisement for Galerie Eva af Burén. 51. Anthology: Är allting konst?, 1963. 1963 Är allting konst? A collection of contributions to the debate Is everything art? published by Tribunserien, Bonniers, 1963. (See above.) Ulf Linde's reply to Torsten Bergmark's criticism is perhaps the sharpest and clearest I have ever read. (51) 1963 Galerie Eva af Burén - Marcel Duchamp Ulf Linde released his book Marcel Duchamp, (52) in connection with Duchamp's exhibition at Galerie Eva af Burén, Stockholm, 1963, of replicas of his ready-mades. Linde begins his text with an odd request, "I must ask the reader not to read the text - it is secondary. It is the captions, which are primary. I must ask you to read them first." This is the first book published in Sweden concerning the complexity of Duchamp's works. One receives a glimpse of Duchamp's aesthetics and anti-aesthetics views that he has used since distancing himself from retinal art. In Linde's 1987 book, he explains how his first book, Marcel Duchamp, 1963, finally came to be published. Initially, Linde's text was written by request from Marcel Duchamp, for Metro, a very exclusive magazine in Milan, which had offered Duchamp 32 pages in issue no. 9. Duchamp, who had read Linde's text in Spejare, asked the author if he could take care of the text for Metro by using the content from Spejare, adding only a few corrections and perhaps a new text. Duchamp wanted Linde to emphasize his ready-mades and use a few of his own writings of which Linde could make his own choice. Ulf Linde's text was never published in Metro, but he began to plan its publication. The issue of finances was solved when Duchamp offered his "Self-Portrait in Profile" in a special edition of 25 copies (53). It sold well and covered a part of the printing costs, S 557 b. An unnumbered edition was also published in regard to the Galeria Eva af Burén exhibition. The show actually began when Linde visited Galerie Burén. During the call, he began discussing ways to display Duchamp's "Boite en Valise." Eva af Burén had purchased the work and wanted to exhibit it at her gallery. She wanted to consult the possibilities with Linde. "After a while we had planned an exhibition, which should contain replicas of almost every readymade by Duchamp. Only two were available in Stockholm - Bicycle Wheel and Fresh Widow, both signed by him when he was here [1961] - but one could ask Duchamp to manufacture the rest. - We wrote to Duchamp and received an immediate reply." (See above.) In total, there were nine replicas made for the show. They are now in the collection of the Moderna Museet, Stockholm, as a gift from the Friends of the Moderna Museet. Replicas made for the exhibition at Burén: "3 Stoppages Étalon" by Ulf Linde, 1963. Signed 1964 in Milan. S 282 a. "Bottle Rack" by Ulf Linde, 1963. S 306 e, not signed. "Le Peigne" by Ulf Linde, 1963. Signed in Milan, 1964, S 339 a. "A bruit secret by Ulf Linde, 1963. Signed in Milan, 1964, S 340 a. "Air de Paris" by Ulf Linde, 1963. Signed in Pasadena, 1963. Signature lost at Louisiana, Humlebæck, 1975. S 375 c. "Fountaine" by Ulf Linde, 1963. Signed in Milan, 1964. S 345 c. "...pliant de voyage..." by Ulf Linde, 1963. Signed in Pasadena, 1963. S 341 a. "Why not sneeze?" by Ulf Linde, 1963. Signed in Milan, 1964. S 391 a. "In Advance of the Broken Arm" by Ulf Linde, 1963. S 332 b. Replicas Made for Bokkonsum: "Bicycle Wheel" by P. O. Ultvedt and Ulf Linde, 1960 for Bokkonsum, signed in 1961. S 278 c. "Fresh Widow" by P. O. Ultvedt and Ulf Linde, 1960, for Bokkonsum, signed in 1961. S 376 a. "La mariée mise à nu par ses célibataires, même" by Ulf Linde 1961. Signed in Stockholm, 1961 for "Art in Motion." S 404 a. Other works by Duchamp at Moderna Museet "Cœur volant." S 446 c. "Rotorelief." S 441. "Rotary Glass Plaques" replica by P. O. Ultvedt, M. Wibom and (K. G. Hultén). S 379 a. "Objet Dard," 1951. S 542. (Source: Katalogen Moderna Museet, 1976.) "Pharmacie" replica by Marcel Duchamp, 1963. Gift of Ulf Linde, 1977. S 283. (Source: Supplement, catalogue, Moderna Museet, 1983.) "Marcel Duchamp" by Ulf Linde, edition de luxe published by Eva af Burén, 1963. S 557. "Bouche-évier, Cadaqués," 1964. S 608. "Étant donnés le gaz d'clairage et la chute d'eau." Esquisse, is a gift from Thomas Fisher. S 526. "Étant donnés le gaz d'clairage et la chute d'eau." Gift from Thomas Fisher. S 531. "La machine célibataire," model made by Håkan Rehnberg, 1984. It is not in Schwarz. "Le surréalisme même." S 548. Statens Konstmuseer, Stockholm "Boite en valise," Statens Konstmuseer. S 435. "A l'infinitif," Statens Konstmuseer. S 637. "Prière de toucher," Statens Konstmuseer. S 521-523. (Source: Catalogue Marcel Duchamp, Moderna Museet, Stockholm, 1986-1987) 1963 Paletten, no. 3 Arne Törnqvist reviews Ulf Linde's book Marcel Duchamp (52) on pages 123 and 125, in "Reflexer", where Törnqvist writes about the Moderna Museet's purchase of Linde's Duchamp replicas. (sic) click to enlarge 52. Ulf Linde, Marcel Duchamp, 1963. 1964 Konstrevy, no. 4 Marcel Duchamp's "Virgin, No. 1," 1912, S 250, drawing, illustrates Karin Bergqvist-Lindegren's review about Dokumenta III. (Later she became director of the Moderna Museet.) 1964 Paletten, no. 4 This contains an advertisement for the special edition of 25 copies of Ulf Linde's book Marcel Duchamp, published by Galerie Eva af Burén. Duchamp's "Self-portrait in Profile", S 557 b, is featured in the advertisement. (53) 1965 Moderna Museet besöker Landskrona Konsthall K.G. Hultén (Pontus Hultén) wrote the introduction for the catalogue. Exhibited works: "Bicycle Wheel," 1913, S 278 c. "Bottle Dryer (Bottlerack)," 1914, S 306 e. "Peigne, (Comb)," 1916, S 339 a. "A bruit secret, (With Hidden Noise)," 1916, S 340 a. "Fontaine, (Fountain)," 1917, S 345 c. "...pliant de voyage...(Traveler's Folding Item [Underwood]," 1917, S 342 a. "Fresh Widow," 1920, S 376 a. "Why Not sneeze, (Why Not Sneeze Rose Sélavy?)," 1921, S 391 a. "Rotorelief," 1930, "(Rotoreliefs [Optical Disks])," 1935, S 441. "Boite en valise," 1942, (From or by Marcel Duchamp or Rrose Sélavy [The Box in Valise], 1935-41), S 484. "Objet Dard" 1951, ("Objet-Dard [Dart Object," 1951]), S 542. "Feuille de Vigne," 1951, ("Feuille de Vigne Femelle [Female Fig Leaf, 1950]"), S 536. 1965 Fyra artiklar av Ulf Linde After these four articles had been published in the daily newspaper, Dagens Nyheter, spring, 1965, Linde retired as their art critic. The articles were later published in a book with the same title by BLM biblioteket, Bonniers, Stockholm, 1965. (54) He had had enough. All four articles were the result of the great Swedish art debate, which started in 1962. In the fourth article he writes about Duchamp's attitude towards his readymade "Fountain". Linde quotes the artist, "Whether Mr Mutt did the fountain with his own hands or not has no relevance. He CHOSE it. He took well-known utility goods and presented it so that its common idea disappeared. A new title and a new point of view made it possible; he created a new concept for the item in question." (See The Blind Man, P.B.T. no. 2 May, 1917. This editorial has often been attributed to Duchamp himself, but according to Schwarz, 1997, Section XXII, no. 10, page 898 "Duchamp explains that this editorial was 'rather written by the editorial board.'") (Refer to Hector Obalk's article "The Unfindable Readymades" ToutFaitJournal Vol. 1 Issue 2, 1999, and Beatrice wood's autobiography I Shock Myself, 1992 [1985], pp. 26-36.) Click to enlarge 53. Paletten no. 4, 1964, Advertisement for Galerie Eva af Burén about the special edition of Linde´s book "Marcel Duchamp". 54. Ulf Linde, Fyra artiklar, 1965. 1966 Gorilla [1], [kalender] This is one of the most original publications about art and culture in Sweden in an era that was characterised by Marshall McLuhan. Only two issues were released. In this first issue Leon Rappaport, a Polish mathematician, physicist, diplomat and author of Determinantan and Eva, writes Kring konsten (About Art). He polemizes against Marcel Duchamp, and writes how Duchamp has mixed two completely different things in his work. (55) 1966 Meddelande från Moderna Museet no. 19 This issue of the Moderna Museet's bulletin was published as a catalogue for the DADA exhibition in 1966 (56). On page 17, K.G.H. (Pontus Hultén) presents Marcel Duchamp. Hultén writes about Duchamp's ready-mades and his waning faith in traditional art. 14 works by Duchamp are in the exhibition, 10 of which are Linde's ready-made replicas. Each item is described in detail. Hultén's article is accompanied by a facsimile of a letter written to Duchamp with questions concerning the origins of his ready-mades. The artist wrote his replies within the margins of the letter and specifically comments on the Bicycle Wheel. "Yes, but no name, not even ready made 1913. Never exhibited and lost after moving," Duchamp wrote. (See the letters to Suzanne Duchamp and Schwarz, S 278 a, lost replica.) Click to enlarge 55. Gorilla [1], kalender, 1966. 56. Moderna Museets Vänner, no. 19, 1966. 57. Vår Konst no. 6, 1966. 1966 Vår konst, no. 6, 1966 Vår Konst, no. 6, published an article about "grammonskivor, pocketböcker, multikonst" (gramophone records, pocket books, multiple art) by Kristian Romare. (57) He writes: "A modern folk art of mass-produced artistic objects to experience, distributed in the same way as pocket books and gramophone records into our daily life, are necessary, if not, visual art shall remain an isolated phenomenon inside the walls of the museums..." He tells us how Daniel Spoerri started Edition-MAT in 1959, and that he and other artists asked Marcel Duchamp, Man Ray, Vasarely, Tinguely to create hundreds of copies of three dimensional artworks, to be sold for a couple of hundred crowns. Romare continues: "In the springtime, in connection with Riksutställningar's - Konstfrämjandet's campaign of the multi art project, 1966, a gallery in Stockholm arranged an exhibition with multiple editions by Edition-MAT, [100 copies of Duchamp's 1953 edition], with a great sale success. [Romare is wrong about the year, because that exhibition was arranged in 1960.] [The editions] by Spoerri's friend, Per Olof Ultvedt, [were shown] with the first Edition MAT collection at Bokkonsum in Stockholm and in the 'polemical pamphlet' called Kasark." Romare continues: " 'Modern art looks for its Gutenberg,' Duchamp has said. He is also the one who first and most radically broke with the idea about the unique, valuable Work of Art and looked for ways to communicate the idea of art, the conceptual expression, by mass fabricated things. Either already produced objects, like his famous 'Bottle Rack' and 'Bicycle Wheel', or his own images, the production is as natural as when a manuscript is printed or gramophone record is pressed. With his Rotoreliefs, 1935 - optical disks which are records for the eye - he has demonstrated how mass fabricated artworks could be done." This article is illustrated with the following works: "Grammofonskiva för ögat: Marcel Duchamp's rotorelief från" 1935, utgiven av Moderna Museet i Stockholm, att ses i rörelse. (Optical disk for the eye: Marcel Duchamp's Rotoreliefs, to be seen in motion, published by Moderna Museet, Stockholm. [For this work, see S 441 page 731 under Reproductions 5. Corolles.]) 1967 Paletten, no. 2 Per Drougge: "Strip-Tease på barrikaden, ett spel med figurer och innebörder". (Strip-Tease on the barricades, a play with figures and meanings.) Drougge writes: "The strangest myth in the modern history of art is probably that [which] has appeared around Marcel Duchamp..." 1967 Konstrevy, no. 5-6 This issue is dedicated to the Surrealism and contains a translation from Marcel Duchamp's A l'infinitif, Neuilly, 1913. (58) click to enlarge 58. Konstrevy no.5/6, 1967, Marcel Duchamp, "A l'infinitif", 1913. 1970 Paletten, no. 4 P. G. Hultén's article, "Maskinen," (The Machine), is about the exhibition at the Museum of Modern Art, 1968. ####PAGES#### Appendix: Printed sources: Nya Strömningar, Fransk Surrealism, Antologi, Spektrums Förlag, 1933. BLM, Bonniers Litterära Magasin, 1932-. konkretion , art magazine, 1935-1936, sixth issue, 5-6, was a double-issue. Prisma, 1948-1950. Konstrevy, 1925-1970. Konstperspektiv, 1945-1964. KASARK, 1954-. Odyssé, 1953-1955. Vårblandaren, spring, 1954, Gåsblandaren, autumn, 1954, published since 1863. My reference is the autumn issue, 1954. Salamander, 1955-1956. Sydsvenska Dagbladet(SDS, newspaper), Tuesday, June 14, 1955. Konstspegeln , 1954-1956. Bokkonsum, exhibition, and invitation card, 1960. Paletten, 1940-. Spejare by Ulf Linde, Stockholm, 1960. Rörelse i konsten, catalogue, Moderna Museet, Stockholm 17 May - 3 September, 1961. Är allting konst?,anthology with articles published on the great debate about art, Stockholm, 1963. MarcelDuchamp, by Ulf Linde, Stockholm, 1963. Moderna Museet visit Landskrona Konsthall , catalogue, 1965. Fyra artiklar by Ulf Linde, Stockholm, 1965. Gorilla (1), Kalender, 1966-1967. Vår konst, 1966. The Machine, catalogue, 1968. "The Unfindable Readymades" (Hector Obalk) Affect Marcel, The Selected Correspondence of Marcel Duchamp, Francis M. Naumann & Hector Obalk, 2000. Index: Torsten Andersson, artist. Torsten Bergmark, artist and art critic. Karin Bergqvist-Lindegren, author and former director of the Moderna Museet, Stockholm. Vilh. Bjerke-Petersen, Danish artist and publisher, 1909-1957. C. G. Bjurström, author. Gabrielle Buffet-Picabia. Eva af Burén, Galerie Eva af Buren, Stockholm. Carlo Derkert, curator at the Moderna Museet, Stockholm. Per Drougge, art critic. Folke Edwards, Swedish art critic, author and former chief editor of Paletten. Gunnar Ekelöf, author and poet. 1907-1968. Lived in Paris, 1929-1930. Rabbe Enckell. V. Enhult, pseudonym and anagram for Pontus Hultén. Öyvind Fahlström, artist, poet and author. Ingemar Gustafsson (Leckius), poet. Gunnar Hellman, art critic. Elisabet Hermodsson, artist and poet. C. O. Hultén, artist, founder of gallery Colibri, Malmo, Sweden and publisher of Salamander. K. G. Hultén, [K. G. H.], (Pontus Hultén). Harriet Janis, New York. Sidney Janis, New York. Angelica Juhlner, Swedish artist, Fox Amfoux, France. Billy Klüver, engineer, New York. Gösta Kriland, artist. Ilmar Laaban, poet and author. Ulf Linde, art critic and author. Erik Lindegren, author and poet, 1910-1968. Bo Lindwall, art critic and author. V. Lundström, author. Francis M. Naumann Ebbe Neergaard, author. Bo Nilsson, art critic and director at Liljevalchs Konsthall, Stockholm. Lars Nittve, art critic and curator at the Moderna Museet, director at Rooseum, Malmö, Louisiana, Humlebaeck, director at the Tate Modern, London. Hans Nordenström, artist and professor. Hector Obalk, France. Leon Rappaport, Polish (Swedish) mathematician, physicist, diplomat and author. Carl-Fredrik Reuterswärd, artist, poet and author. Oscar Reuterswärd, professor and artist. Torsten Ridell, artist and curator. Kristian Romare, art critic and author. Haavard Rostrup, Danish author. Ingrid Rydbeck-Zuhr, chief editor Konstrevy. Henrik Samuelsson. Daniel Spoerri, artist. John Stenborg. Arne Törnqvist, author and art critic. Per Olof Ultvedt, artist. Lars Vilks, artist and professor of art history. Dag Wedholm, author. Magnus Wibom. Agnes Widlund, Galerie Samlaren, Stockholm. Pär Wistrand, author. Beatrice Wood, author an artist. Eugen Wretholm, art critic and author. Lütfi Özkök, photographer Sweden. Marcel Duchamp's ready-mades are classified in following categories in Schwarz, 1997: Categories: Ready-made Assisted Ready-made Rectified Ready-made Semi-Ready-made Provoked Ready-made Imitated Ready-made Bred Ready-made, changed to Photograph S 1997 Reciprocal Ready-made changed to Modified Printed Ready-made S 1997. Marcel Duchamp describes in his essay Apropos of Ready-mades, 1961: "In 1913 I got the happy idea to fasten a bicycle wheel to a kitchen chair and watch it turn… In 1915 I bought at a hardware store a snow shovel on which I wrote "In advance of the Broken Arm". It was around that time the word 'readymade' came to mind to designate this form of manifestation." According to Schwarz, 1997, Marcel Duchamp had chosen following ready-mades: Ready-mades: "Bottle Dryer," Paris, 1914, original lost. S 306. "Pulled at 4 Pins," New York, 1915, present location unknown (lost). S 331. "In Advance of the Broken Arm," New York, 1914, original lost. S 332. "Emergency in Favour of Twice," New York, 1915, original lost or unrealized not recorded. S 333. "Comb," New York, 1916, S 339. Philadelphia Museum of Art (PMA). "Battle Scene," New York, 1916, original destroyed. S 341. "Traveller's Folding Item," New York, 1916, original lost. S 342. "French Military Paper," New York, 1918, present location unknown. S 352. "Paris Air," Paris, 1919. S 375. PMA. The Non-Dada, New York, 1922. S 402. Gabrielle Keiller, London. "L.H.O.O.Q. Shaved," edition of approx. 100, New York, 1965. S 615. "Hommage à Cassia (Homage to Cassia)," edition of 30, New York, 1966. S 632. "Pollyperruque," New York, 1967. S 644. Graphische Sammlung, Staatsgalerie Stuttgart. Assisted Ready-made: "Bicycle Wheel," Paris, 1913, original lost. S 278. "With Hidden Noise," New York, 1916. S 340. PMA. "Fountain," New York, 1917, original lost. S 345. "Trébuchet (Trap)," New York, 1917, original lost, S 350. "Hat Rack," New York, 1917, original lost. S 351. "Unhappy Ready-made Buenos Aires," 1919 original lost. S 367. "Belle Haleine: Eau de Voilette (Beautiful Breath: Veil Water)" [Perfume Bottle], New York, 1921. S 388. Private collection Paris. Rectified Ready-mades: "Pharmacy," Rouen 1914. S 283. Collection Arakawa, New York. "Apolinère Enameled," New York, 1917. S 344. PMA. "Handmade Stereopticon Slide," Buenos Aries, 1918-19. S 365. Museum of Modern Art, New York (MoMA). "L.H.O.O.Q.," Paris, 1919. S 369. Private collection Paris. "Wanted $ 2,000 Reward," New York, 1923. S 403. Collection Louise Hellstrom. "Pocket Chess Set," edition of 150 but only 25 assembled, New York, 1943, S 504. Semi-Ready-made: "Why Not Sneeze Rose Sélavy?," New York, 1921. S 391. PMA. Provoked Readymades: "The Corkscrew's Shadow," New York, 1918. S 353 and S 354. Shadow cast by a corkscrew ("Tu m´"), now at the Yale University Art Gallery. "Urn with the Ashes of Duchamp['s Cigar]," Paris, 1965, S 618. Michel Sanouillet, Nice. Imitated Rectified Ready-mades: "Belle Haleine: Eau de Voilette (Beautiful Breath: Veil Water)" [Label], New York, 1921. S 386. Collection Carl Fredrik Reuterswärd, Stockholm. "Monte Carlo Bond," a planed edition of 30 only less than 8 assembled Paris, 1924. S 406. "Eau & Gaz á tous les étages (Water & Gas on Every Floor)," edition of 10 plus 17, Paris, 1958. S 560. "Couple of Laundress's Aprons," edition of 20, Paris, 1959, edition of 20. S 574. Reciprocal Ready-made: "A Rembrandt used as an ironing board," now Schwarz calls it "Modified Printed Ready-made." Among these 34 ready-mades, 12 originals are missing, according to Schwarz. Three of these are Duchamp's most well known works. These are: Bicycle Wheel, 1913, Paris. (59) A re-made of the Bottlerack, Leif Eriksson, 1977. (See caption 60) Fountain, 1917, New York. (61) Click to enlarge 55. Gorilla [1], kalender, 1966. 56. Moderna Museets Vänner, no. 19, 1966. 57. Vår Konst no. 6, 1966. Ironically, though these three ready-mades are the most important works of art in the history of art they have never been exhibited in their original version. According to Schwarz, 1969, and Lebel, 1959, "In Advance of the Broken Arm" and "Traveler's Folding Item" might have been exhibited in New York in 1916 at the Stephen Bourgeois Gallery. The works were subsequently registered in the catalogue under "Sculptures: Two Ready-mades", but then disappeared. In Schwarz's revised edition in 1997 he completey omits this information. This means that when these ready-mades are "exhibited" or reproduced in books, they are either photographs of the original or replicas. For example, for the exhibition "Fantastic Art Dada Surrealism" at the Museum of Modern Art in New York, 1936-1937, Duchamp signed and sent Man Ray's photograph of a bottle dryer, which has a shadow at the bottom. This shadow was retouched on the version included in "Box in a Valise". Almost every readymade on view in museums today are replicas, which Schwarz released in 1964. Some of Duchamp's ready-mades are rather unknown such as "Pulled at 4 Pins", S 331. According to Schwarz, this was Duchamp's first ready-made in New York in 1915. It was an unpainted tin chimney cowl and was never recorded. In 1964, a replica was made, a copperplate where Duchamp has engraved a chimney, S 609. Today it is available in different editions on several papers released by the Schwarz gallery. Another unknown ready-made is "The Battle Scene", New York, 1916. Now destroyed, it was a mural at Cafe des Artistes, 1 West 67 Street in New York, on which Duchamp signed his name, S 341. "French Military Paper", 1918, New York, is a typed note-like a letter, signed (from) Marcel Duchamp, 1918, S 352. "The Cork Screw's Shadow" 1918, New York, S 353, is the shadow in Duchamp's painting Tu m´, 1918, New York. From the surface of the painting a bottlebrush stands out at a right angel from a tromp l'œil rip mended with three actual safety pins. Think how close Duchamp was to anticipate the cut of Fontana's canvas. The same painting incorporates the shadows of his "Bicycle Wheel" and "Hat Rack", as well. Duchamp told Schwarz: "You can see the shadow of the cork screw as a ready-made rather than the cork screw itself". Duchamp's myth tells us that he retired in 1924 in order to play chess. As previously explained, this is only partially true. He played a lot of chess and was a member of the French National Team of Chess. Meanwhile, Duchamp, the artist, had gone underground and continued to work, in silence, on his last major work "Etant donnés: 1° la chutte d'eau, 2° le gaz d'eclairage." This piece was revealed only after his death on October 1, 1968. Duchamp's ready-mades have had an enormous impact on our conception of art. Yet there are very few, who truly comprehend the extent of this transgressive break that lead to a new paradigm of art. By choosing an object without aesthetic consideration, Duchamp performed an artistic castling, which many still cannot accept. He went further than that, into, what Hector Obalk calls, "infrathin" a world where everything is superthin, something you could neither touch nor see. (62) click to enlarge 62. Marcel Duchamp. Photo Lüfti Özkök, Stockholm 1961. In my view, Duchamp created his own syntax, i.e. a conceptual meta art - an art with cross-references to his own works and to other artists´ works. He created new ethereal and enigmatic works by interacting aspects of chance and ignorance. His art is an open concept of art with endless possibilities-his own mind as a readymade. Afterward During my research, I have found that the Swedish art context was probably the first to recognize Marcel Duchamp's works in a unique perspective without connecting him to Futurism, Dadaism, and Surrealism. Instead, Pontus Hultén focused on Duchamp's kinetic works while Ulf Linde focused on the ready-mades. In my opinion, without Hultén's engagement in Kinetic art since the 1950's, that genre and category would not exist. "Le Mouvement" at Galerie Denise René, Paris, 1955, "Marcel Duchamp" Bokkonsum, Stockholm, 1960, and "Art in Motion", Amsterdam, and Stockholm, 1961, and Louisiana, Humlebæck are all due to Hultén's initiative. In addition to his involvement in these shows, is the MoMA's exhibition, "The Machine," 1968-1969. As the director for the new Centre Pompidou (Beaubourg) in Paris, 1977, he arranged the first retrospective of Marcel Duchamp in France and in 1993 at Palazzo Grazzi, Venice. © Leif Eriksson & The Swedish Archive of Artists´Books Malmö, Sweden. October 30, 2000. leif1.eriksson@telia.com All illustrations, for this critical review, are taken by Leif Eriksson and selected from The Swedish Archive of Artists´Books, Malmö Sweden, when not otherwise stated.