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Ninguna parte de este libro puede ser reproducida, escaneada o distribuida de manera impresa o electrónica sin permiso.
No part of this book may be reproduced, scanned, or distributed in any printed or electronic form without permission.
©2008FundacionProa
Marcel Duchamp
A Work that is not a Work “of Art”
Fundación Proa, Buenos Aires, Argentina. November, 2008-February, 2009

Museu de Arte Moderna de São Paulo MAM-SP, Brazil. July-September 2008
©2008FundacionProa
In Memoriam
Anne d’Harnoncourt
©2008FundacionProa
Marcel Duchamp
A Work that is not a Work “of Art”
Curated by Elena Filipovic
proa
©2008FundacionProa
©2008 Fundación Proa, Buenos Aires. All rights reserved.
No part of this book may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or any information
storage and retrieval system, without permission in writing from the Publisher.
©2008FundacionProa
Secretaría de Cultura de la Presidencia de la Nación
Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires
Embajada de Francia en la Argentina
©2008FundacionProa
Tenaris - Ternium
Organización Techint
Buenos Aires, November 2008
©2008FundacionProa
This catalogue has been published on occasion of the exhibition Marcel Duchamp: a work that is not a work “of art”,
organized by Fundación Proa, Buenos Aires, Argentina, and co-produced with the Museu de Arte Moderna de São Paulo MAM-SP.
This exhibition is sponsored by

Tenaris - Ternium
Organización Techint
And counts with the support of the Embassy of France in Argentina
Fundación Proa, Buenos Aires, November 2008 - February 2009

Museu de Arte Moderna de São Paulo MAM-SP, Brazil, July – September 2008-11-10
Exhibition Acknowledgments
Board of Directors With special recognition to Jacqueline Matisse Monnier

Jorge Helft - Adriana Rosenberg Débora Alegret Jean-Hubert Martin
Curator
Elena Filipovic Gabriela Adamo Jenny McComas
General Coordination David Antin Heriberto Meili
Cintia Mezza Jack Batho Achim Moeller
Executive Production
Iara Freiberg Martin Bauer Helbert Molderings
Exhibition Design Pierre Bergé Francis Naumann
Caruso-Torricella architetti, Milan-Paris Adam Boxer / Eileen Boxer Molly Nesbit
Lighting
Jean Clair Lars Nittve
Matteo Fiore
Graphic Design Ambassador Frédéric du Laurens Alfred Pacquement
Spin Teri Eldestein Monika Pessler
Fundación Proa
David Fleiss Gerard Petit
Didactics
Rodrigo Alonso / Cintia Mezza Marcel Fleiss Cecilia Rabossi
Mounting Hal Foster Sylvie Robert
Sergio Avello
Paul Franklin Ronda Roland Shearer
Gisela Korth
Assistants Rhea Gaardboe Dall Hermenegildo Sábat
Malvina Bali Adelheid Gealt Jean-Fredéric Schall
Andrea Cavalletti
Virginia Green Didier Schulmann
Andrea Rocchi
Jean-François Gueganno Leone Sonnino
Richard Hamilton Alain Tarica
Fundacion Proa Morgan Hare Michael Taylor
Margareta Hellberg Andrea Utard
Founding Associates
Z. Fernández / P. Rocca / A. Rosenberg Febrice Hergott David Vaughan
Board of Directors Dona Hochart Valerie Villeglé
President Adriana Rosenberg
Tavia Ito Virginia Zabriskie
Vice-president Amilcar Romeo
Secretary Horacio de las Carreras Choghakate Kazarian Gerd Zillner
Treasurer Héctor Magariños Gabriel Kuri
Member Juan José Cambre Eric Le Roy And all of those who
Executive Board Adriana Lugones have wished to

Special Projects Guillermo Goldschmidt Wallace Masuko remain anonymous
Managing Director Victoria Dotti Magnus Malmros
Program & Planning
Debbie Grimberg / Iara Freiberg Paul Matisse
Administration Mirta Varela Peter Matisse
Design Jorge Lewis / Laura Escobar
Education Pía Landro
Press Carolina Gil Posse
Mounting Sergio Avello
Web Natalia Zuazo
Assistants
Ivan Bortot / Mariangeles Garavano /
Paulina Guarnieri / Camila Jurado
Verónica Tejeiro / Amanda Timerman
©2008FundacionProa
Lenders
Bibliothèque Kandinsky, Paris
Centre Pompidou, Musée National d’Art Moderne, Centre de Creation Industrielle, Paris
David Fleiss Collection, Paris
Indiana University Art Museum, Bloomington
Austrian Frederick and Lilian Kiesler Private Foundation, Vienna
Les Films de L’Équinox, Fonds Photographique Denise Bellon, Paris
Jacqueline Matisse Monnier, Villiers Sous Grez
Moderna Museet, Stockholm
Musée d’Art Moderne de la Ville de Paris, Paris
Passage de Retz, Paris
Philadelphia Museum of Art, Philadelphia
Jean-Frédéric Schall Collection, Paris
Succession Marcel Duchamp, Villiers Sous Grez
Zabriskie Gallery, New York
Luisella Zignone Collection, Strona Biellese
©2008FundacionProa
Catalogue
Publishing Board Portuguese Edition © of the texts: the authors.

Elena Filipovic / Cintia Mezza / Adriana Rosenberg Coordination © of the images: for the works by Marcel
Publishing Coordination Museum Investigations and Publications Sector of Duchamp © Succession Marcel Duchamp, 2008,
Debbie Grimberg the Museu de Arte Moderna de São Paulo MAM-SP ADAGP/Paris, / AUTVIS/São Paulo / For the works
Texts by Debbie Grimberg by Marcel Duchamp property of the Museum of
Gonzalo Aguilar / Thierry de Duve / Marcel Translation Modern Art of NuevaYork (MoMA) © 2008, ADAGP/
Duchamp / Elena Filipovic / Rosalind Krauss / Genese Andrade / Dorothée de Bruchard / Heloisa Paris, AUTVIS/São Paulo / For the works by Denise
Octavio Paz / Hugo Petruschansky / Regina Texeira Jahn / Caroline Menezes / Regina Salgado de Bellon © 2008, Les Films de líéquinoxe-Fonds
de Barros Campos / Sergio Pamplona Jr. photographique Denise Bellon / For the works by
Translation Proofreading Suzanne Duchamp, Jean Crotti y Willy Maywald
Jaime Arrambide / Marcelo Canossa / Carla Montagner © 2008, ADAGP/Paris, AUTVIS/São Paulo / For the
Elena Donato / Max Gurian / Guillermina Rosenkratz works by Frederick Kiesler © 2008 Austrian
Proofreading English edition Frederick and Lilian Kiesler Private Foundation,
Jaime Arrambide / Magdalena Rodríguez Translation Vienna / For the work by Victor Obsatz /
Documentary and Photographic Research Ben Kohn © Moeller Fine Art, New York 2008 / For the
Cintia Mezza Peter Kahn works by Man Ray / © MAN RAY TRUST/ADAGP,
Graphic Design Tamara Stuby Paris, 2008 / For the works by de John Schiff /
Mario Gemin / Mariano Morales Proofreading © 2008, Leo Baeck Institute. Center for Jewish
Graphic Production Alicia Di Stasio History, New York / For the work by Alfred
Mario Gemin / Guillermo Goldschmidt Stieglitz/ © 2008 Georgia OíKeeffe Museum/
Photochromy Artists Rights Society (ARS), New York. For the
Proietto&Lamarque, Buenos Aires following works © the authors, all rights
www.proiettoylamarque.com.ar reserved, © Will Brown: p. 103 / © Denise
Printed and Bound by Browne Hare: p. 275 / © Michael Cavanagh &
Mundial S.A. Cortajarena 1862, Buenos Aires Kevin Montague: pp. 157, 163, 166, 167, 172 (below)
www.mundial.com.ar / © Adrian Dax: p. 264 / © Maya Deren: pp. 244-
249 / © H. Digard: p. 31 / © Katherine Dreier: pp /
ISBN 978-987-21336-7-2 © Pierre Faucheux: p. 264 / © Eugène Fontaine:
©2008. Fundación Proa. All rights reserved. p. 30 / © Roger Van Hecke: pp. 101, 262, 263 /
No part of this book may be reproduced © James Klosty: p. 71 / © Richard Lusby: p. 261 /
or transmitted in any form or by any © Eric Mitchell: p. 36 (right) / © Moderna
means, electronic or mechanical, including Museet, Estocolmo: pp. 195, 212, 213 / © Ugo
photocopying, recording, or any information Mulas: p. 192 / © Arnold Newman: p. 243 / ©
storage and retrieval system, without Henri Pierre Roché: p. 168, 169, 184, 185 / © Lynn
permission in writing from the Publisher. Rosenthal: p. 130 / © Naomi Savage: p. 77 / ©
Roger Schall: pp. 91, 204, 238, 239 / © Marcelo
Setton: pp. 48, 61, 62, 68, 69, 76, 95, 214, 220-
Marcel Duchamp: : una obra que no es una obra 227, 230, 231 / © Emilio Simion: pp. 42, 57, 121,
de arte / Elena Filipovic ... [et.al.]. - 1a ed. - 162, 165, 172 (above), 177, 180 (below) / © Leone
Buenos Aires : Fund. Proa, 2008. Sonnino: p. 146/ © Bert Stern: p. 257 / © Julian
360 p. : il. ; 21x27 cm. Wasser: p. 194 / © Graydon Wood: pp. 233, 35,
Traducido por: Jaime Arrambide ... [et.al.] 36, 160, 161
ISBN 978-987-21336-7-2
1. Marcel Duchamp-Obra Artística. I. Duchamp,
Marcel II. Arrambide, Jaime, trad. [et.al.].
proa
CDD 759
Catalogue dated : 24/10/2008
Fundación PROA Museu de Arte Moderna de São Paulo MAM-SP

Av. Pedro de Mendoza 1929 ISBN 978-987-21336-6-5
[C1169AAD] Buenos Aires, Argentina Parque do Ibirapuera, portão 3 - s/no
[54 11] 4104 1000 São Paulo - SP, Brasil
www.proa.org 04094-000
www.mam.org
©2008FundacionProa
Table of Contents
28 Marcel Duchamp. Life and work

Hugo Petruschansky, in collaboration with Cecilia Iida and Clelia Taricco
Translation by Tamara Stuby
82 Introduction (¿What is a work of art?)

Elena Filipovic
88 A museum that is not

Elena Filipovic
106 The MAM without Duchamp

Regina Teixeira de Barros
Translation by Ben Kohn
118 Voyage to the City of the Fourth Dimension

Gonzalo Aguilar
Translation by Peter Kahn
132 Marcel Duchamp’s Letters from Buenos Aires 1918-1919

Research: Cintia Mezza
152 A regarder…
Cintia Mezza / Adriana Rosenberg
274 * water writes always in * plural

Octavio Paz
304 Le Temps du ready-made

Thierry de Duve
318 The Blink of an Eye

Rosalind E. Krauss
332 Interview
Jorge Helft / Jacqueline Matisse Monnier
338 Bibliography
347 List of works and images
The quotes by Marcel Duchamp are highlighted

in bold throughout the edition.
©2008FundacionProa
Presentation
Adriana Rosenberg Presenting the first solo exhibition of Marcel Duchamp in Latin America
means settling a debt. To do so on the occasion of the inauguration of a new
President building evidences the course that our exhibition program will take from now
Fundacion Proa on; it delineates a field of action that, in proper Duchampian form, entails a
deep reflection on what art and the work of art are, the future of the curator, the
question of irony and, mostly, the fate of institutions. In this first decade of the
century, Duchamp is a necessary point of reference when it comes to thinking
about our times. He is the artist who best represents the territory of reflection
consolidated by this new stage in the history of Fundación Proa. To paraphrase,
Borges said, upon the launching of his magazine PROA, that art is a bow that leads
into unknown lands to be discovered even by the artist himself. Over the years, the
support of our sponsors and, in particular, their commitment to this new stage of
our development has furthered the notion of progress through art.
This exhibition became a reality thanks to the coming together of different
readings and wills. Chance also played a part in making it happen. With his tenacity
and conviction, art collector Jorge Helft was the one who set off the process.
With great satisfaction, today we present the result of that process: Marcel
Duchamp: a work that is not a work “of art”, an exhibition curated by Elena
Filipovic. This exhibition presents a diverse group of 130 works that show
Duchamp the curator, the designer, the typographer and the cultural worker,
without neglecting his revolutionary production. For a variety of reasons, the
members of the team working on the project agreed with the idea of starting with
1913. Elena was interested in offering a vision of Duchamp that accentuated the
most important moments of his oeuvre. Helft furthered the notion of putting
together a show outside the field of painting. And, representing Fundación Proa,
I defended –as I always do– the policy of presenting what are without a doubt the
most emblematic works of all the artists we exhibit, works that evidence their
contributions to the history of art.
The enthusiastic and generous collaboration of Jacqueline Matisse Monnier
was crucial to this project from the beginning. She pointed out the qualities of
the young curator and made her contacts, archives and documents available to
us. To Jacqueline, we express our deepest gratitude.
The value of the show resides in the works exhibited and, along these lines,
we would like to thank the directors of the Moderna Museet of Stockholm, the
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©2008FundacionProa
Philadelphia Museum of Art, the Indiana University Art Museum, the Musée
d’Art Moderne de la Ville, Paris, the Centre Pompidou, the Musée National d’Art
Moderne, Centre de Creation Industrielle, Paris, as well as the collectors who have
so kindly lent their works. Without them, this exhibition would not have been
possible: Bibliotèque Kandinsky, Paris; David Fleiss Collection, Paris; Austrian
Frederick and Lilian Kiesler Private Foundation, Vienna; Les Films de l’Équinox,
Fonds Photographique Denise Bellon, Paris; Jacqueline Matisse Monnier, Villiers
Sous Grez; Passage de Retz, Paris; Jean-Frédéric Schall Collection, Paris; Succession
Marcel Duchamp, Villiers Sous Grez; Zabriskie Gallery, New York; Luisella Zignone
Collection, Strona Biellese. I would also like to recognize and fondly remember
Anne d’Harnoncourt.
The catalogue evolved gradually until it found a firm ground of reflection.
It is our hope that it will become a Spanish-language point of reference for
the study of Duchamp. This catalogue was conceived to meet two goals:
first, contributing new ideas to debate and research on Duchamp; second,
disseminating information about Duchamp, a mission crucial for knowledge
about the artist. Written by Rosalind Krauss, Thierry de Duve and Octavio Paz,
the collected texts provide a critical vision of Duchamp’s work within the
context of contemporary debate. The hitherto unpublished text by the curator,
Elena Filipovic, evidences her curatorial vision, and at the same time shows an
unknown aspect of Duchamp, as a curator. This text serves to enrich and update
prior visions of Duchamp. Gonzalo Aguilar discusses Duchamp in relation to
his nine-month stay in Buenos Aires, making a considerable contribution to
the understanding of that mysterious trip. Cintia Mezza has edited the letters
that Duchamp sent from Buenos Aires. Regina Teixeira de Barros presents
the project for the exhibition that Duchamp organized for the Museu de Arte
Moderna de São Paulo, reinforcing the vision of Duchamp as a cultural worker.
Under the leadership of Hugo Petruschansky, a prestigious research team
opens the catalogue with a thorough selection of documentary information
about Duchamp’s life, work and cultural context. Finally, the book contains a
rich dialogue between Jackie Matisse and Jorge Helft, a solid, yet intimate and
familiar, conversation.
Throughout the book there are numerous images, and their selection
entailed careful and rigorous study. Like a parallel text, the works, photographs
and documents cease to be illustrative and write their own story, a narrative
that, while respecting chronological time, attempts to evidence the
“Duchampian” universe.
The enthusiasm of collectors and museums led us to consider the possibility
of touring this show around the region. Considering its past and historical
relationship to Duchamp at the moment of its opening, the Museu de Arte
Moderna de São Paulo (MAM), in Brazil, seemed like the natural and appropriate
place for the project. After assessing this possibility and obtaining Tenaris’s
approval, we presented the project to Milú Villela, who did not hesitate to house
the show and, thus, takes part in this challenging project.
13
©2008FundacionProa
For Fundación Proa, undertaking the comprehensive production of an
exhibition of this magnitude –one that entails a sound and critical revision of
this great creator’s complex artistic universe– was an ambitious project. It has
been possible thanks to an outstanding team coordinated by Cintia Mezza, a
young researcher into Duchamp’s work. Through valuable dialogues during
each and every moment of the process by which the show was put together, she
aptly conveyed the possibilities and expectations for this show in our context.
Her ability to understand our project and the project of the curator made her
work fundamental to the entire initiative. Iara Freiberg, general producer of the
show for Brazil and Argentina, was responsible for handling all organizational
and production concerns, as well as working in the areas of information and
documentation. We would like to recognize her as well.
The architecture firm Caruso – Torricella was responsible for the image of
the exhibition in both institutions. Working closely with the curator and the
institutions, they formulated novel spatial solutions to facilitate reading the works,
respecting the special requirements of each space.
Under the stimulating and committed leadership of Debbie Grimberg, a team
of translators, proofreaders and editors working in three languages have made it
possible for us to now be reading these pages. Designer Mario Gemin showed us a
young Duchamp, Duchamp as a performer and photographer, a contemporary and
familiar Duchamp. Willy Goldschmidt was responsible for overseeing the quality of
the catalogue. He, along with Mario, was responsible for its production.
It is impossible to name and thank everyone who has worked on this
exhibition. I do not want to leave out the entire Fundación Proa team, which has
done impeccable work throughout.
Finally, and because they were the first to give us the go ahead on this project,
we would like to thank Tenaris and Ternium. They are the backbone of this project
and its primary sponsor in Argentina and Brazil. Once again, we would like to
recognize their trust and encouragement for the realization of this initiative.
For Fundación Proa, this is a unique occasion. It is an enormous privilege to
exhibit a show of this sort at our new seat, and to share with the viewing public the
possibility of learning about and enjoying an artist as extraordinary as Duchamp.
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©2008FundacionProa
Jorge Helft I began envisioning this project eight years ago, but during the first six there
didn’t seem to be much interest in carrying it out. In early 2006, though, Adriana
Buenos Aires, Rosenberg not only took it on, but since then has supported it unconditionally,
March, 2008. offering all the human, moral and material resources of Fundación Proa. Hence, I
would like to begin by expressing my deepest gratitude for her and the wonderful
team put together for this project.
When I got the “green light” that I so desired from Proa, I realized it would
be unprofessional and probably even risky to move forward without a strong
ally. A few works later, I found that ally in my friend Jacqueline Matisse Monnier,
daughter-in-law of Marcel Duchamp (and granddaughter of Henri Matisse). She
supported the project and took it on with a generosity and effectiveness that
still moves me. To her, I give my deepest thanks. I am certain that, without her
enormous help, I would not have been able to reach my goal or, at least, not to the
extent that I have with this exhibition. Furthermore, on a personal level, it has
been a pleasure to work so closely with such a wonderful person.
Why Duchamp? During the years of my artistic education, the people who
taught me to understand art, to look at and enjoy it, to recognize work with
true artistic value (what is commonly called “to have an eye”) spoke of two mega-
geniuses from the 20th century: Picasso and Matisse. Much later, towards the
end of the century and into the present, this same milieu –key figures in the art
world– speak of three: Picasso, Matisse and Duchamp. Some say that we should
say Duchamp, Picasso and Matisse. It is my aim to explain and show the Buenos
Aires audience the reason for this change. So this project is mostly aimed at you,
that audience.
Marcel Duchamp’s work is hermetic and hard to read. The viewer who wants
to enjoy it must give the work patience and time. But, then again, are the works of
Mallarmé, Joyce and Borges easy reading? Is it really possible to enjoy Proust if we
give him just a few hours? It occurs to me that, perhaps, the greatest rewards come
through the greatest effort. When we really delve into the work and its meaning, a
new world opens before us.
In 1955, Marcel wrote, “Perhaps one will have to wait fifty or a hundred years to
meet one’s real audience. But it is this that interests me.” It is my hope and desire
that this show help some –indeed, many– form part of the audience of which
Duchamp spoke.
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©2008FundacionProa
Milú Villela The year that the San Pablo Museum of Modern Art celebrates its sixtieth
anniversary, it is opening its doors to the extraordinary exhibition Marcel
President MAM-SP Duchamp: una obra que no es una obra de arte, held in collaboration with
Fundación Proa (Buenos Aires). Duchamp’s important legacy for Western art
has reached us at a good time: the Museum, whose mission is to study and
communicate Brazilian art, has one slot set aside in its annual schedule for major
international exhibitions like this one.
Organizing such an important exhibition means giving the public access to
a group of one hundred and forty works that demonstrate Duchamp’s impact
not only on 20th century Europe, but on the entire world into the present.
Significantly, the name Marcel Duchamp is connected to the origins of this
Museum: he was invited to participate in the first exhibition that the Museum held,
in 1949. Thus, the Museum celebrates its sixty years of existence by reviving the
memory of an artist so valuable to the advancement of this institution.
It is our hope that this exhibition be remembered by the viewing public in
conjunction with the parallel exhibition Duchamp-me, organized on the basis of a
selection of the Museum’s collection and curated by Felipe Chaimovich.
This exhibition was made possible by Jorge Helft, an art collector from Buenos
Aires and a lover of Duchamp’s work. He encouraged Elena Filipovic, the curator
of the show and a Duchamp scholar, to participate. Fundación Proa’s impeccable
organization and production, through its director, Adriana Rosenberg, were also
essential to carrying out this exhibition. The show has enjoyed the generosity of
the Centre Georges Pompidou, the Moderna Museet in Stockholm, the Philadelphia
Museum of Art and the Indiana University Art Museum.
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©2008FundacionProa

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Fundación Proa, Buenos Aires, Argentina. November, 2008-February, 2009

Curated by Elena Filipovic

Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires

Embajada de Francia en la Argentina

Buenos Aires, November 2008

This exhibition is sponsored by

And counts with the support of the Embassy of France in Argentina

Fundación Proa, Buenos Aires, November 2008 - February 2009

Board of Directors With special recognition to Jacqueline Matisse Monnier

Executive Board Adriana Lugones have wished to

Bibliothèque Kandinsky, Paris

David Fleiss Collection, Paris

Indiana University Art Museum, Bloomington

Austrian Frederick and Lilian Kiesler Private Foundation, Vienna

Les Films de L’Équinox, Fonds Photographique Denise Bellon, Paris

Jacqueline Matisse Monnier, Villiers Sous Grez

Moderna Museet, Stockholm

Musée d’Art Moderne de la Ville de Paris, Paris

Passage de Retz, Paris

Philadelphia Museum of Art, Philadelphia

Jean-Frédéric Schall Collection, Paris

Succession Marcel Duchamp, Villiers Sous Grez

Zabriskie Gallery, New York

Luisella Zignone Collection, Strona Biellese

Publishing Board Portuguese Edition © of the texts: the authors.

Catalogue dated : 24/10/2008

Fundación PROA Museu de Arte Moderna de São Paulo MAM-SP

28 Marcel Duchamp. Life and work

82 Introduction (¿What is a work of art?)

88 A museum that is not

106 The MAM without Duchamp

118 Voyage to the City of the Fourth Dimension

132 Marcel Duchamp’s Letters from Buenos Aires 1918-1919

274 * water writes always in * plural

304 Le Temps du ready-made

318 The Blink of an Eye

347 List of works and images

The quotes by Marcel Duchamp are highlighted

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