Alreadymade, its title inspired by Duchamp’s concept of the “readymade”—wherein an ordinary object is elevated to the status of a work of art—extends beyond mere attribution, prompting questions that may arise from the very answers she seeks.
History reveals a pattern of reluctance to recognize the intellectual and creative authority of female artists and writers. Figures like Artemisia Gentileschi, Simone de Beauvoir, and Lee Krasner were overshadowed by their male counterparts in their lifetimes. Through Alreadymade, we are reminded of historical injustices, urging us to reassess the narratives we’ve been taught.
See more images from the show below.
Installation view of “Barbara Visser – Alreadymade” at Kunsthaus Zürich. 2024. Photo: © Franca Candrian, Kunsthaus Zürich. © Barbara Visser.
Installation view of “Barbara Visser – Alreadymade” at Kunsthaus Zürich. 2024. Photo: © Franca Candrian, Kunsthaus Zürich. © Barbara Visser.
Installation view of “Barbara Visser – Alreadymade” at Kunsthaus Zürich. 2024. Photo: © Franca Candrian, Kunsthaus Zürich. © Barbara Visser.
Installation view of “Barbara Visser – Alreadymade” at Kunsthaus Zürich. 2024. Photo: © Franca Candrian, Kunsthaus Zürich. © Barbara Visser.
“Barbara Visser – Alreadymade” is on view at Kunsthaus Zürich, Heimplatz, CH–8001 Zurich, February 9 through May 12.
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A Dutch Artist Is Delving Into the Murky Attribution of Duchamp’s ‘Fountain’ - artnet News
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