The alter - ego of Monsieur Duchamp
As we all know, the twentieth century was a period of time marked by numerous conflicts which triggered a series of revolutions and innovations in all aspects of human life. Among a general feeling of uncertainty and anxiety, Art, the mirror of society and of human identity, thanks to historical Avant-gardes changed profoundly. There was a deep and global sensitive need to deny any value to a past that led to two world wars. A clear detachment that has completely influenced the culture of the time, and even ours.
Among these avant-gardes, one of great importance was the Dadaist movement, an artistic movement of nonsense by definition: Dada is everything and nothing, it is play and paradox. Dada is art and negation of it. Among his greatest exponents Marcel Duchamp, a French artist who made provocation the basis of his (non) art. We all know him for the great artist that he was, but perhaps not everyone knows that Duchamp went much further, playing with the differences and the stereotypes of the masculine and the feminine rendering their boundaries null. In fact in 1920 was born Rrose Selavì, feminine alter ego of Marcel Duchamp. A ready-made version of himself that gives the possibility to think of the artist as an unstable figure from the point of view of gender identity. Just as he freed art from rules and restrictions, with sexual ambivalence Marcel was able to give voice to the body as an expression of an identity free from rigid distinctions. Freedom in which the masculine and feminine do not emerge as opposite aspects, but as complementary elements that together are parts of a whole.
A visionary? A fool? A genius? Feel free to have your point of view. What is certain is that his courageous revolution was not only artistic, but also cultural and social, and today more than ever the theme of his inter(n) deformation echoes in our way of life.