This is summoning of what cannot be forced into signs. Painting becomes a "chromatic language" (P. Kaufman) which, now far away from the pure presence of the self-exposing re-presented, presents the painting to us as something "deferred", as it was worded by M. Duchamp. Due to its time-giving nature, delay is the eternal supplement to the same thing, and thus it will never liquidate the picture, but makes it infinite, resistant to any intrusion.

The "post-human" art of our era has moved the farthest away from the ideal which reached the calmness of total emptiness by putting instincts to silence.

(cf. Lyotard - Essays zu einer affirmativen Aesthetik Merve V. 1982, p. 106).

 

Opening the art toward the inherently uncertain existence of man, toward the layers of past history that cannot be covered by signs, promises the possibility that man, on some non-distincted place, will re-experience the world as something of his own, where he will be most essentially concerned by what surrounds him. Then the artpiece will not serve to put to silence "what conceals itself, what calls some self-concealing repulsion in man from what can be either planned or controlled, nor calculated or performed."

(Heidegger - Die Herkunft der Kunst und die Bestimmung des Denkens in u. o.: Denkerfahrungen Klostermann V. 1983. p. 1)

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