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Date
Title
Source
Description
Tags
W10660
10.08.2014
Condensed Playground: Le Pendu femelle, "Underskirt (detail)" as Postpartum Uterus Involution - Sheridan Lowrey
WWW
  • A commercial metal swing set (with one swing on center) and three-row aluminum bleachers in close proximity. Swing orientation is bi-directional. The piece should include a performance reenacting the dynamics of Fragonard's The Swing, 1767, and Duchamp's ...

    A commercial metal swing set (with one swing on center) and three-row aluminum bleachers in close proximity. Swing orientation is bi-directional. The piece should include a performance reenacting the dynamics of Fragonard's The Swing, 1767, and Duchamp's works. "Underskirt (detail)" as Postpartum Involution of the Uterus is on axis with the swing.

    The installation of a swing set and bleachers restages the mechanics of the Large Glass in which "man" has already "fallen" and the Pendu femelle (hanging female) has yet to. Like the Large Glass and Etant donnés (always already) the "Bachelors" have a view up her skirt/into her cunt.1 A relevant textual remark from Freud: "[T]he foot or shoe owes its presence as fetish—or a part of it—to the circumstance that the inquisitive boy peered at the woman's genitals from below, from her legs up[.]"2

    1. The etymology of "comb" is "cunt." The symbolism of Duchamp's "porcelain" urinal intersects with the adjacent placement of Peigne (Comb) in the Box in a Valise, corresponding to the Bachelor's and Bride's Domains. Set in seemingly antinomic, contradictory relation as thesis/antithesis, prick/cunt, further etymological analysis reveals the two Readymades have a common definition: both are "basins."

    2. Freud, S (1927). "Fetishism," (J. Strachey, Trans.) In The complete psychological works of Freud (Vol. XXI, p. 155). London: Hogarth and the Institute of Psychoanalysis.

    A commercial metal swing set (with one swing on center) and three-row aluminum bleachers in close proximity. Swing orientation is bi-directional. The piece should include a performance reenacting the dynamics of Fragonard's The Swing, 1767, and Duchamp's ...

    A commercial metal swing set (with one swing on center) and three-row aluminum bleachers in close proximity. Swing orientation is bi-directional. The piece should include a performance reenacting the dynamics of Fragonard's The Swing, 1767, and Duchamp's works. "Underskirt (detail)" as Postpartum Involution of the Uterus is on axis with the swing.

    The installation of a swing set and bleachers restages the mechanics of the Large Glass in which "man" has already "fallen" and the Pendu femelle (hanging female) has yet to. Like the Large Glass and Etant donnés (always already) the "Bachelors" have a view up her skirt/into her cunt.1 A relevant textual remark from Freud: "[T]he foot or shoe owes its presence as fetish—or a part of it—to the circumstance that the inquisitive boy peered at the woman's genitals from below, from her legs up[.]"2

    1. The etymology of "comb" is "cunt." The symbolism of Duchamp's "porcelain" urinal intersects with the adjacent placement of Peigne (Comb) in the Box in a Valise, corresponding to the Bachelor's and Bride's Domains. Set in seemingly antinomic, contradictory relation as thesis/antithesis, prick/cunt, further etymological analysis reveals the two Readymades have a common definition: both are "basins."

    2. Freud, S (1927). "Fetishism," (J. Strachey, Trans.) In The complete psychological works of Freud (Vol. XXI, p. 155). London: Hogarth and the Institute of Psychoanalysis.