Curated by Javier RAMIREX
Opening Reception: SATURDAY October 10th 4 - 8 pm
October 10 - 30, 2015
Vittoria ARENA - Chiara BIGNARDI - Aleksandra ERAKOVIC
Steffen FAISST - Lisbeth HALSEGARD - Anneke HODE-ONSTEIN
Helge HENSEL - Javier RAMIREX
Neumagener Straße 27
Marzia Frozen is pleased to announce
an international group exhibition of a new generation of
artists working today. This will be a group exhibition at MARZIA FROZEN in
Berlin, and will feature a selection of paintings, sculptures,
photographs, and videos.
Deconstruction is a way of understanding how something was created, usually things like art, books, poems, and other writing. Deconstruction is breaking something down into smaller parts. Deconstruction looks at the smaller parts that were used to create an object. The smaller parts are usually ideas .
Sometimes deconstruction looks at how an author can imply things he does not mean. It says that because words are not precise, we can never know what an author meant.
Jacque Derrida’s 1967 work Of Grammatology introduced the majority of ideas influential within deconstruction. According to Derrida and taking inspiration from the work of Ferdinad de Saussure language is a system of signs and words only have meaning because of the contrast between these signs. As Rorty contends "words have meaning only because of contrast-effects with other words...no word can acquire meaning in the way in which philosophers from Aristotle to Bertrand Russell have hoped it might—by being the unmediated expression of something non-linguistic (e.g., an emotion, a sense-datum, a physical object, an idea, a Platanic Form )". As a consequence meaning is never present, but rather is deferred to other signs. Derrida refers to the, in this view, mistaken belief that there is a self-sufficient, non-deferred meaning as metaphysics of presence. A concept then must be understood in the context of its opposite, such as being/nothingness, normal/abnormal, speech/writing, etc.
Finally, Derrida argues that it is not enough to expose and deconstruct the way oppositions work and then stop there in a nihilistic or cynical position, "thereby preventing any means of intervening in the field effectively". To be effective, deconstruction needs to create new terms, not to synthesize the concepts in opposition, but to mark their difference and eternal interplay. This explains why Derrida always proposes new terms in his deconstruction, not as a free play but as a pure necessity of analysis, to better mark the intervals. Derrida called undecidables, that is, unities of simulacrum, "false" verbal properties (nominal or semantic) that can no longer be included within philosophical (binary) opposition: but which, however, inhabit philosophical oppositions, resisting and organizing it, without ever constituting a third term, without ever leaving room for a solution in the form of Hegelian dialectics (e.g. différance, archi-writing, pharmakon, supplement, hymen, gram, spacing).
In the 1980s, deconstruction was being put to use in a range of theoretical enterprises in the humanities and social sciences, including law anthropology, historiography, linguistics, sociolinguistics, psychoanalysis, feminism, and LGBT studies. In the continental philosophy tradition, debates surrounding ontology, epistemology, ethics, aesthetics, hermeneutics, and philosophy of language still refer to it today. Within architecture it has inspired deconstructivism, and it remains important in general within art, music, and literary criticism.