||In 1920 Duchamps special interest
in motion and optical effects resulted in, what he called, 'rotoreliefs':
cardboard discs, printed with patterns creating an illusion of a 3D (spatial)
object when turning around on a 'phonograph' (record player) and especially
for the rotorelief designed machines. Abstract figures, but also objects
such as a champagne glass or an egg-cup with an egg etc. where the 'motives'
on these discs.
Maybe Duchamp hoped to realize the prophecy of Apollinaire that he
was foreordained to 'be the conciliator of art with people'. He rented
a stand at the Concours Lépine, an annual fair for fancy domestic
gadgets and general inventions, and made a display with his rotoreliefs.
People were very interested, but nobody purchased any of the cardboard
rotoreliefs: some rotoreliefs were for sale, but there's reason to doubt
this intention to be anything more than just another example of the inquisitive
mind of Marcel Duchamp.
The rotorelief as an excursion to a non museal approach of the creative
process however, is very real. Of course Duchamp would humorously 'tone
down' his act - as a result of his moderate (often referred to as nihilistic)
philosophy of life - but he wouldn't have made this 'invention' if he didn't
take it very seriously as a creative process. (instead he could
have spend many hours of 'existential' breathing and playing chess games)
The 'déposée' (deposit) of the invention at the 'Tribunal
de commerce de la Seine' in 1935 has to be - almost beyond doubt - viewed
in the same way: as an attempt to a non museal creative process.