Dec 3, 2022
The Lover’s Labyrinth notes and snapshots
seen from Argentina
seen from United Kingdom
seen from Malaysia
seen from United Kingdom
seen from Malaysia
seen from Palestinian Territories
seen from United States
seen from United Kingdom
seen from Pakistan
seen from Slovakia
seen from Australia
seen from Japan
seen from China
seen from Türkiye
seen from Germany
seen from Germany
seen from Malaysia
seen from Malaysia
seen from United Kingdom
seen from Japan
The Lover’s Labyrinth notes and snapshots
Marcel Duchamp, The Bride Stripped Bare By Her Bachelors, Even (The Large Glass), 1915–1923, on view in the International Exhibition of Modern Art arranged by the Société Anonyme, installation detail, Brooklyn Museum, 1926.
Remarkably, this was the only time that Duchamp’s masterwork was exhibited publicly before its glass panes shattered. Painstakingly reassembled by Duchamp in the 1930s, the work survives in a broken state.
grupa o.k.’s essay on the 1926 exhibition, titled “Bachelor Modernism,” will be published in The Avant-Garde Museum, edited by Agnieszka Pindera and Jarosław Suchan and published by Muzeum Sztuki, Łódź. A preview of our essay is available HERE for download and discussion.
Along with other essays on the Société, the book also examines the Soviet Museums of Artistic Culture, El Lissitzky’s Abstract Cabinet, and (our namesake) grupa a.r.’s Neoplastic Room, and includes source texts by Lissitzky, Rodchenko, Malevich, Katherine Dreier, Władysław Strzemiński, and more.
Journals
Machine for Removing Curses, ink and bleach on inkjet print, 30 x 21 cm, 2022
Wilhelm Lachnit - Arbeiter mit Maschine (Worker with Machine), 1924-28. Oil on wood, 19 11/16 x 20 1/2 in. (50 x 52 cm). Staatliche Museen zu Berlin, Nationalgalerie, Berlin, Germany
Resurrection Machine, ink and acrylic on paper, 34 x 24 cm, 2021
Horse-binder, ink on paper, 34 x 24 cm, 2021
An Altar for the Venereal Machine, ink on paper, 34 x 24 cm, 2020