Instytut Historii Sztuki <Posen> [Hrsg.]
Artium Quaestiones — 5.1991

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rather than keep their commitments and — on the whole — darken
the picture instead of clarifying it. We therefore have to enquire
whether they can truly be called designs and sketches, to what
extent they mirror the creative process and in what degree serve
something that does not usually lie within the aims of a design. It
seems that the open character of the notes, coupled with a similar
character of the artist's works and the whole system of the artist's
tactic gestures, prove that the projects and sketches lack innocence.
It seems that the preparatory phase was prepared, or at least its
reception seems to have been prepared, and that Duchamp turned
it into a purposeful game with the critic, with the viewer. A game
in the course of which the Grcurd Verre or Etcnrt dormes gain
a meta-artistic sense, assuming their characteristic form in the
stream of meanings, in the stream of interpretations. They become
what a work of art is in the first place: a path to be traversed,
a meeting, a dispute and an agreement between the artist and the

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