Published to accompany the exhibition held at Staatliches Museum Schwerin. This publication contains text in German and English.

Marcel Duchamps kunstteoretiske ideer med fokus på concept-kunst skulptur ready-mades.

While much has been written on Marcel Duchamp - one of the twentieth century's most beguiling artists - the subject of his flirtation with architecture seems to have been largely overlooked. Yet, in the carefully arranged plans and sections organising the blueprint of desire in the Large Glass, his numerous pieces replicating architectural fragments, and his involvement in designing exhibitions, Duchamp's fascination with architectural design is clearly evident. As his unconventional architectural influences - Niceron, Lequeu and Kiesler - and diverse legacy - Tschumi, OMA, Webb, Diller + Scofidio and Nicholson - indicate, Duchamp was not as much interested in 'built' architecture as he was in the architecture of desire, re-constructing the imagination through drawing and testing the boundaries between reality and its aesthetic and philosophical possibilities. Marcel Duchamp and the Architecture of Desire examines the link between architectural thinking and Duchamp's work. By employing design, drawing and making - the tools of the architect - Haralambidou performs an architectural analysis of Duchamp’s final enigmatic work Given: 1. The Waterfall, 2. The Illuminating Gas... demonstrating an innovative research methodology able to grasp meaning beyond textual analysis. This novel reading of his ideas and methods adds to, but also challenges, other art-historical interpretations. Through three main themes - allegory, visuality and desire - the book defines and theorises an alternative drawing practice positioned between art and architecture that predates and includes Duchamp.

aka Marcel Duchamp is an anthology of recent essays by leading scholars on Marcel Duchamp, arguably the most influential artist of the twentieth century. With scholarship addressing the full range of Duchamp's career, these papers examine how Duchamp's influence grew and impressed itself upon his contemporaries and subsequent generations of artists. Duchamp provides an illuminating model of the dynamics of play in construction of artistic identity and legacy, which includes both personal volition and contributions made by fellow artists, critics, and historians. This volume is not only important for its contributions to Duchamp studies and the light it sheds on the larger impact of Duchamp's art and career on modern and contemporary art, but also for what it reveals about how the history of art itself is shaped over time by shifting agendas, evolving methodologies, and new discoveries.

Artist of the Century. These eleven illustrated essays explore the structure and meaning of Duchamp's work as part of an ongoing critical enterprise that has just begun.

Situating Duchamp firmly within the literature & philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist & his aesthetic of chance.

A central figure in twentieth-century art, the influence of Marcel Duchamp (1887-1968) was crucial to the development of Surrealism, Dada and Conceptual Art. Brother of the artist Raymond Duchamp-Villon and half brother of the painter Jacques Villon, Duchamp began to paint in 1908. In 1912, he painted the definitive version of Nude Descending a Staircase; this was shown at the Salon de la Section d’Or of that same year and subsequently created great controversy at the Armory Show in New York in 1913. On this time, he had abandoned traditional painting and drawing for various experimental forms, including mechanical drawings, studies, and notations that would be incorporated in a major work, The Bride Stripped Bare by Her Bachelors, Even (1915 1923; also known as The Large Glass). In 1914, Duchamp introduced his readymades common objects, sometimes altered, presented as works of art which had a revolutionary impact upon many painters and sculptors. This book edited by Gloria Moure deals with his many-faceted activities and the radical positions he maintained vis-a&̀-vis his contemporaries. It goes on to describe and analyze his work as a whole, including his key writings and interviews.

In 1964, Calvin Tomkins spent a number of afternoons interviewing Marcel Duchamp in his apartment in New York City. It reveals him to be a man and an artist whose playful principles toward living freed him to make art that was as unpredictable, complex, and surprising as life itself

Examines how appropriation and replication were essential to Duchamp's art and disscusses the significance of the many replicas that he created or authorized.