2026.06.24
Schloss Haimhausen, etc.
"...Marcel Duchamp spent altogether nearly three months in Munich, one of the leading economic and cultural centers of Europe. It was there that he lived and worked from June 21 until the first week of October. After having stayed some ten days with the painted Max Bergmann, whose acquaintance he had made in Paris in 1910, in the latter's studio in Haimhausen, a village not far from Dachau, he rented a furnished room at No. 65, Barerstrasse, between the Art Academy and the Alte Pinakothek."
Herbert Molderings, "The Discovery of the Mind's Eye: Marcel Duchamp in Munich 1912" in Marcel Duchamp in Munich 1912, 2012, p. 11.
"Traveling alone, he made overnight stops in the Swiss towns of Basel and Constance to visit the local museums and to see the sights and arrived on the evening of June 21 in the Bavarian capital, where he was met at the station by Max Bergmann, the young German art student whom he had shepherded around Paris two years earlier. ... Duchamp did not see much of his friend Max Bergmann. Shortly before he arrived, Bergmann had moved out to the little village of Haimhausen, twenty kilometers north of Munich, where he and another artist set up a teaching studio and offered open-air classes in landscape, figure, and animal painting."
Calvin Tomkins, Marcel Duchamp: A Biography, 1996, pp. 93-4.
Schloss Haimhausen--as it is known locally--is a historic Rococo masterpiece located in Haimhausen, Bavaria, in the district of Dachau. Situated at an elevation of 478 meters, this elegant palace boasts a rich history that traces back to a 13th-century predecessor. It owes its current magnificent appearance largely to an extensive 18th-century reconstruction by the renowned architect François de Cuvilliés the Elder, making it a prominent landmark in the region.
François de Cuvilliés was trained in Paris before his appointment (1725) as court architect to Duke Maximilian II Emanuel of Bavaria. Among his works in Munich and its environs are the Amalienburg hunting lodge, Nymphenburg (1734–39); the Residenztheater (1750–53); and the facade of St. Cajetan’s Church (Theatinerkirche; 1765–68).
The chapel inside Schloss Haimhausen was designed by a team of prominent artists during its 18th-century reconstruction. Specifically, the ornate decorations and interior designs of the chapel were executed by the following artists: Johann Georg Bergmüller provided ceiling paintings and key decorative elements, and Egid Verhelst (along with his sons) handled the sculptural and woodwork decorations.
List of unbekannt works within Duchamp After Unbekannt
1001. Ryerss Museum 2024.04.14
1002. Wall House 2 House 2
1003. as fineprint keeps typing 001
1004. as fineprint keeps typing 002
1005. as fineprint keeps typing 003
1006. as fineprint keeps typing 004
1007. as fineprint keeps typing 005
1008. Don't Come Toosoonio (Cold Comfort for the Sufferer)
1009. Ohne Titel 2001.04.14
1010. Virtual Museum 122
1011. Virtual Museum 123
1012. Virtual Museum 124
1013. Virtual Museum 125
1014. Virtual Museum 126
1015. Virtual Museum 127
1016. Easter Egg Hunt
1017. Pennypack Park 2024.04.16
1018. Virtual Museum 134
1019. Virtual Museum 135
1020. Virtual Museum 136
1021. page painting 186
1022. page painting 187
1023. [At least I did something today.] 2022.04.17
1024. zero two two
1025. The Curatorium and the adjacant Living in the Dining Room
1026. Re: decency
1027. the making of Museumpeace
1028. Virtual Museum 188
1029. Virtual Museum 189
1030. page painting 188
1031. page painting 189
1032. zero two three
1033. zero two four
1034. page painting 190
1035. behind the scenes at Glenfoerd
1036. Mary Boone's 180 hours of community service hours 66 67 68
1037. zero two six
1038. Re: If you build it, then it's likely to be torn down.
1039. image play 2000.04.19 . . . . . .
2025.06.24
451 Rhawn Gallery
Crystal Vanish: Mid Nineties Flush With Success, Taste Accounting Company Report
 
This is very obscure Duchampiana.
2020.06.24
Virtual Painting 557
2016.06.24
Matador
2007.06.24
What Is Art?: Conversations With Joseph Beuys
Sunday, March 8, 1981--Düsseldorf
We had breakfast with Joseph Beuys, he insisted I come to his house and see his studio and the way he lives and have tea and cake, it was really nice. He gave me a work of art which was two bottles of effervescent water which ended up exploding in my suitcase and damaging everything I have, so I can't open the box now, because I don't know if it's a work of art anymore or just broken bottles. So if he comes to New York I've got to get him to come sign the box because it's just a real muck.
"...that the playful activity has its own dynamic."
Everyday Urbanism - Design and/or Default
Like Koolhaas said, Luxury is "Rough",
but I really don't miss the everyday at all.
2006.06.24
what value does art have in the world?
Although Teeny wasn't named until 2003.03.30, the first time I saw Teeny was in 1978, and it was a discovery in that I doubt anyone had ever seen it before. The second and last time I saw Teeny was in 1981, and it looked even smaller than I remembered it. Was it biodegrading in the glass? I showed Teeny to a fellow architect that was also visiting Yale with me, and she was stunned that I knew the existence of such a small yet extremely specific thing. Teeny changed my life in that it made me the person that discovered Teeny.
what value does art have in the world?
The original discovery had an effect on me.
The seeing it again had an effect on me.
The showing it to someone else had an effect on me.
The naming of Teeny and the publishing of such had an effect on me.
And my discourse with you here is Teeny's latest effect on more than just me.
what value does art have in the world?
Teeny doesn't necessarily have to influence me (affect), but it definitely brought about a change (effect).
Teeny itself is not the art here. The discovery, naming and publishing of Teeny is the art here.
2004.06.24
3D CAD database
040624a.db Philadelphia Museum of Art Duchamp Gallery
1968.06.24
1968. Monday, Cadaqués
Catching up on some correspondence, Duchamp writes thanking Joe Solomon in New York for his letters and clippings.
Duchamp also replies to Jeanne Levin in Florida saying that he has asked Arturo Schwarz to send her information about his
1965 edition of Rotorelief (Disques Optiques) [30.8.1935].
Mrs Levin should explain when she writes to Schwarz in Milan that she already has the set of disks and only wants the box and motor.
Ephemerides
1951.06.24
1951. Sunday, New York City
In the evening, on finding a note from Monique Fong who has arrived from Washington, Duchamp telephones to invite her to dine with him the following evening.
Ephemerides
1947.06.24
1947. Tuesday, New York City
Apparently the main shipment from America has not yet arrived in Le Havre for "Le Surrealisme en 1947" (due to open in Paris on 7 July). Marcel writes with some alarm to André Breton, reminding him that unless the cases are collected by truck from the port, the shipment will take another 15 days to reach
Paris.
Confirming all the last details for the exhibition which are in hand in New York, Marcel promises that Man Ray will be bringing with him a contribution for the auction to be held during the exhibition for the benefit of Benjamin Peret: using his motif for the forthcoming catalogue cover, Marcel has dedicated and signed a breast [17.5.1947].
In the evening, Marcel dines with Stefi Kiesler whose husband has been in Paris nearly a month [27.5.1947] to install the exhibition.
Ephemerides
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