An unruly history: The readymade

An unruly history: The readymade

Una historia desenfocada

Fundacion Jumex

Jesica Morgan [Interview]

The impact is as diverse as the many concepts initiated by Duchamp. —J. M.


You curated an exhibition on the history of the readymadeWhat is the history of the readymade and why work with the Colección Jumex?

4At Jumex I found the perfect combination of the presence of many readymade works and a continuation of this concept through to the present day in addition to the readymade environment of the factory where the exhibition takes place.


Have the artists also used luxury products, or the piece becomes a luxury once it has been transformed into a readymade?

Certainly art is a luxury commodity in one sense and I am definitely interested in that paradox. The current market conditions have of course exacerbated this climate and it is interesting to reconsider this effect in the context of the exhibition and the factory-like display of the works.


Will US artist that worked between 1950 and 1960 mainly be explored? 

The exhibition begins with work of Duchamp and extends to work made by many artists, including a majority from Latin America, who are practicing today.


Did Duchamp and his readymade influence Latin American artists as much as the US artists? If so, how?

Without a doubt the influence is global. In some cases one can witness a more politicized interpretation of the readymade, for example in the work of Brazilian Cildo Meireles. In other cases one observes the humor of the readymade in work by Adriana Lara for example. The impact is as diverse as the many concepts initiated by Duchamp.

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