A single bicycle wheel upturned and mounted upon a stool (Bicycle Wheel, 1951, third version, after lost original of 1913). A snow shovel (In Advance of the Broken Arm, 1964, fourth version, after lost original of 1915). A painted window (Fresh Window, 1920). When Marcel Duchamp placed a mass produced ‘readymade’ before us and disrupted how we thought about and interpreted art, the “ordinary object [was] elevated to the dignity of a work of art by the mere choice of an artist.”
The objects were important not because of what they were, but because they were selected by the artist. Removed from their ordinary function and thereby stripped of their usage, the object became art. With the integral addition of the onlooker witnessing the work and responding to it, the ‘readymade’ “created a new thought for [the particular] object.” We, the spectators, in accepting the role of transference through the act of looking, choose what we see in Duchamp’s ‘readymades’. Under our gaze, objects can take on entirely new and obscure meanings.
To my mind, following this train of thought, both Reckless Sleepers with Nat Cursio’s performance of A String Section (2012) and Sarah Aiken’s SET, (2015) celebrate the utilitarian object, redefining its role and how we regard it. After all, ‘readymade’ (tout-fait) is a homophone for ‘to-make’ (tu fait); it is up to you to make of it what you will.