image text special shop

'Readymade' at House Eva Presenhuber, Zurich

article image; primary-color: #ADA99D;
article image; primary-color: #A3A2A0;
article image; primary-color: #AAA59F;
article image; primary-color: #9F9687;
article image; primary-color: #9F8E7C;

The readymade has many founding myths. Marcel Duchamp’s iconic, early readymade Fountain dates to 1917, exactly one hundred years ago. Since then the ordinary object elevated as a work of art by the mere choice of an artist has defined a whole century of art production. In 2017 this exhibition is not just a celebration of the readymade’s centenary, it also discloses a crime scene: Eva Presenhuber’s house and gallery in the Engadine valley are filled with ordinary objects of all kinds. The first room in the house is fenced off by ’do-not-cross’ tape – as found by Lutz Bacher – and marks the site of investigation. Ever since its first appearance the readymade has been linked to theft, to criminal activity. A readymade implies taking an existing object and claiming it’s authorship. Recent speculations even suggest that Fountain was not, as Duchamp declared, acquired from the J. L. Mott Iron Works in New York, but was in fact a ‘sculpture’ by Else von Freytag-Loringhoven (Germany, 1874–1927), ‘a poet of found objects’.

In today’s digital age the readymade has become an integral part of reality, and now that the internet has endless readymades on tap, theft has become production. The exhibition at Eva Presenhuber’s house assembles various forms of readymade artworks in a domestic setting, where the artistic elevation of the museum or gallery space holds no sway. Readymades from completely different artistic practices are nakedly exposed in all their divergent typologies: as-found readymade, as-if readymade, pure readymade, assisted readymade, staged readymade, performed readymade, fantasy readymade ...

28.1.17– 25.3.17

Lutz Bacher, Timothée Calame, Merlin Carpenter, Valentin Carron, Matias Faldbakken, Sylvie Fleury, Liam Gillick, Koo Jeong A, Pierre Joseph, Karen Kilimnik, Adriana Lara, Klara Lidén, Mathieu Malouf, Georgie Nettel, Oliver Payne, readymades belong to everyone ®, Gili Tal, Christopher Williams and Heimo Zobernig

Curated by Fredi Fischli and Niels Olsen

Photo by Marc Asekhame

House Eva Presenhuber

'Boreal Throne', Off-Site Group Project at Smena, Kazan

'BUZZ' by Karina Mendreczky, Katalin Kortmann Járay at FKSE Studio of Young Artis

'Dieu' by Mélanie Matranga at High Art, Paris

'Fantasy Lands' by Maggie Dunlap & Allan Gardner at Collective Ending, London

'Dead Season' by Vitaly Bezpalov & Karina Azizova at Spas Setun, Moscow

'Duru Duru' by Stefano Serusi at Galleria Arrivada, Milan

'Ø' by Andrea Nacciarriti at DISPLAY, Parma

'Vore' by Jenkin van Zyl at Rose Easton, London

'Bigag & The Bando' by Theodor Nymark at aaaa Nordhavn, Copenhagen

'Mitla' by Andy Medina at Estrella Gallery, New York

'INSIDE OUT' by Poupak Sarah Shoughi at Herrretics, Derbyshire

'LIBERTY' by Débora Delmar at GALLLERIA PÌU, Bologna

'HEARTH' by Liam Denny at Greenhouse Off-Site, Melbourne

'CANDALÙ' by Rachele Maistrello at Almanac, Turin

'Thought-Forms' by Andy Ralph Presented by Final Hot Desert, Nephi, Utah

'The Laws Of Hospitality' by Travis John Ficarra at Lindberg Galleries, Melbourne

'Firmament' by Aaron Christopher Rees at NAP Contemporary, Mildura

'Take The Day Out In Baskets', Group Show at St. Chads, London

Next Page