The term infra-mince refers to Marcel Duchamp, who – between 1934/35 and 1945 – took little notes of his studies and thoughts on immaterial phenomena, which result from interrelations of distinct materials. On 46 handwritten notes, which were published 1980 by Paul Matisse, Duchamp described f.i. the difference between reality and appearance for our perception: like, if you breath on high gloss surfaces a patch of vapor shows, on which you can make a drawing. When the vapor disappears the drawing disappears as well, but when you breath again it becomes visible again. These notes are strongly connected with a program to trascend the aesthetic dimension of the plane-pictorial or figurative-spatial representation towards an integration of temporality in to representativeness. Temporality, however, is here not meant as a linear temporality, which is relevant in videoart or kinetic art. To understand an artwork as a temporal medium means, in the understanding of Duchamp, not to conceive it as a terminated materialisation of a subjective intention but as a form of visualization. (cf. Wetzel, Michael: http://www.inframedialitaet.de/?page_id=4)
In his lecture about the creative act 1957 in Houston, Texas, Duchamp decidedly stood up for the unfinished process of artistic production, which always exposes, through the difference between intention and realization, a transfer from the artist and the viewer. The point here is an inherent structure of the medium, which unleashes an inner agency setting free the significate through communication and interaction. Thus neither the artist nor the viewer are the exclusive vehicle or founder of this release.
In our exhibition we show works by Raphael Danke, Jose Dávila, Sofia Hultén, Julia Rommel, Mandla Reuter, Florian Schmidt and Javier Téllez, which can be related structure-wise with their vacancies, stratifications of materials or cut-outs to the infra-mince notes by Duchamp.
For further information or images, please contact the gallery.