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Indeed, hollowness is for Lacan the heart of the vase; the potter builds up the object around a hole. The finished vase “creates the void and thereby instances the possibility of filling it… If the vase may be filled, it is because in the first place in its essence it is empty” Holes
Marcel Duchamp’s readymades are the most notorious examples of this. When in 1915 Duchamp hangs a snow shovel in a gallery and entitles it In Advance of the Broken Arm, the title is not meant to elucidate a meaning: Duchamp has said that he deliberately sought a title that would resist any attempt at making sense of it, and by implication, the object it names. If naming is a mode of control, here it is invoked only in order to defeat itself. .. The viewer of the shovel in the gallery sees it not fully as a work of art with clean abstract lines, and the viewer seeing the shovel doesn’t see it the same way it would be hanging in a garage. There is an uneasy flicker between the two versions of worldhood, more disturbing than if either prevailed.
Duchamp:
The interesting thing for me was extracting [an object] from from its practical domain or its utilitarian domain and bringing it into a domain completely… empty, if you will, empty of everything, empty to the point that I spoke of a complete anesthesia in order to do it.
Vanity from Latin vanitas the quality of being empty Brancusi Cup II - a three way tension between form, function and material.
Giorgio de Chirico suggested
We live in a world as if in an immense museum of strangeness, full of curious many-colored toys which change their appearance, which like little children we sometimes break to see how they are made on the inside and disappointed realize they are quite empty.