Marcel Duchamp and the art of exhibition making

Auteurs

  • Marian Cousijn

DOI :

https://doi.org/10.18352/relief.930

Mots-clés :

Marcel Duchamp, curating, exhibitions, installation art, artistic practise

Résumé

Marcel Duchamp made his first readymade over a century ago: a deceptively simple gesture that would turn the art world upside down. The core of artistic practise no longer lies in creating, but in selecting and displaying. But selecting and displaying are also the core tasks of the independent curator. Duchamp already proved in the 1930’s how powerful an exhibition maker can be. A power struggle arose: who gives meaning to art, the curator or the artist?

Biographie de l'auteur

  • Marian Cousijn

    Art historian Marian Cousijn (1987) is specialized in modern and contemporary art and exhibitions. For her thesis for the MA Museum Curator, she looked at the influence of Marcel Duchamp's practice on the power struggle between artists and curators. Marian worked at the Stedelijk Museum Amsterdam and currently writes about contemporary art: most notably for De Correspondent, an online platform for journalism.

    A Dutch version of his article appeared in 2014 and can be read here: https://www.groene.nl/artikel/de-kunst-van-het-tentoonstellen

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Publiée

21-06-2016

Numéro

Vol. 10 No 1 (2016): Marcel Duchamp en toutes lettres

Rubrique

Articles – dossier thématique

Licence

(c) Copyright Marian Cousijn 2016

Creative Commons License

Ce travail est disponible sous la licence Creative Commons Attribution 4.0 International .

Tous les articles dans RELIEF sont publiés en libre accès sous la licence Creative Commons Attribution 4.0 International License (CC-BY 4.0). Sous ce régime les auteurs conservent les droits d'auteur mais ils consentent à toute sorte d'utilisation de leur texte pourvu qu'il soit correctement cité.

Comment citer

« Marcel Duchamp and the art of exhibition making » (2016) RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE, 10(1), p. 143–149. doi:10.18352/relief.930.