Was it marketing, mystification or misogyny which caused the steep rise of the artwork Fountain? What started out as a lost piece of anti-art by an anonymous creator, eventually became the most influential artwork of the 20th century. Speculations about a female author come and go. Who is she? And what is true, or even real, in this case?
 

The doubts about the origins of this ‘readymade’ artwork have increased in parallel with the value of the numerous copies circulating the venues for modern art. Can the discovery of a single letter change that into an attribution to a woman way ahead of her time? In Alreadymade, originality, authorship and identity are challenged, just as Fountain of 1917 did a century ago, only this time by using todays tools. Voices attributing the work to Elsa von Fretyag–Loringhoven, also known as The Baroness, are drawing increased attention as there are historical wrongs to set right with female contributions in art. Or is it wishful thinking?
 

Alreadymade itself takes on the form of a ‘readymade’, intricately weaving it’s story with found material from many different sources, thus embodying the content of the film in its form.