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[EN] This study calls into question the geometric explanation given by Ulf Linde in 1977 for two of the artworks of Marcel Duchamp (1887-1968), Bride (La Mariée, 1912) and the Large Glass (Grand Verre, 1915-1923). In the analysis of the first of these, Linde succeeds in diagnosing that the work follows golden ratio proportions, albeit with incorrect mathematical expressions. With the second artwork, the analysis seems to me unsound, since he does not mention the measurements from which the study begins. Because of this, and as proof, I carry out the same analysis as Linde applied to the Large Glass, but starting from the measurements given by Duchamp, finding that despite being very close, they do not correspond to a golden ratio., [ES] El presente estudio pone en cuestión la explicación geométrica dada por Ulf Linde a dos de las obras de Marcel Duchamp (1887-1968), La Mariée (1912) y el Grand Verre (1915-1923), en 1977. En el análisis de la primera de ellas, Linde acierta en el diagnóstico de que la obra responde a unas proporciones áureas, aunque con expresiones matemáticas incorrectas, y en la segunda realiza un análisis poco riguroso, dado que no proporciona las medidas de las que parte para realizarlo. Debido a ello, y como comprobación, realizo el mismo análisis de Linde aplicado al Grand Verre, pero partiendo de las medidas dadas por Duchamp, encontrando que a pesar de ser muy aproximado, no corresponde exactamente a la proporción áurea.

[EN] This article studies the geometric system underlying the work of Marcel Duchamp (1887-1968), Moulin à café or its English name, The Coffee Grinder, from 1911. This work (considered seminal by Duchamp himself) proved essential for the development of La Marièe (The Bride) of 1912 and La Marièe mise à nu par ses cèlibataires meme, 1915-1923, (The Bride Stripped Bare by her Bachelors, Even), also known as Le Grand Vérre or The Large Glass. The publication De ou par Marcel Duchamp par Ulf Linde (Aman and Birnbaum, 2013) has been crucial for the development of this study. To understand the context of this study in its time, in the arts and in architecture, I recommend reading my previous work on the issue, entitled, Critique of Ulf Linde’s geometric analysis of the work of Marcel Duchamp. (Franco, 2017) 1, of which this is a continuation., [ES] El presente artículo estudia el aparato geométrico de la obra de Marcel Duchamp (1887-1968), Moulin à café o Molinillo de Café, también conocido por La Amoladora o su denominación inglesa, The Coffee Grinder, de 1911. Esta obra, (considerada seminal por el propio Duchamp), será fundamental para el desarrollo de la La Mariée de 1912 y de La Marièe mise à nu par ses cèlibataires meme, 1915-1923, (La novia puesta al desnudo por sus solteros, incluso), también conocida como Le Grand Vérre, El Gran Vidrio, o The Large Glass. Para la elaboración de este estudio ha sido fundamental la publicación De ou par Marcel Duchamp par Ulf Linde. (Aman y Birnbaum, 2013). Para poder contextualizar este estudio, en su tiempo, en las artes y la arquitectura, recomiendo leer mi anterior trabajo sobre la cuestión, titulado, Crítica del análisis geométrico realizado por Ulf Linde acerca de la obra de Marcel Duchamp. (Franco, 2017) 1, del cual, éste es continuación.

The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism. The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s. In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden. The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions. This is followed with a last group exhibition, where the idea of younger artists as the most contemporary were to be questioned. The thesis ends with a summary and a discussion.

The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism. The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s. In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden. The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions. This is followed with a last group exhibition, where the idea of younger artists as the most contemporary were to be questioned. The thesis ends with a summary and a discussion.