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

Haus 7
13088 Berlin 

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 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.


Vittoria ARENA
  Oil  on  canvas
50 x 50 cm


Sicuro Aprodo
, 2012
  Oil  on canvas
50  x 70 cm


Aleksandra ERAKOVIC
  Der Wald
, 2014
  Oil on canvas
  80 x 100 cm


Steffen  FAISST
Starway to heaven
, 2014
Digital  print
  90 x 60 cm


Playing  with  the elements
, 2014
  Oil on canvas
80 x 100 cm


, 2009
  Oil  on canvas
  40 x 50 cm


, 2014
Watercolor on paper
  67 x 52 cm