Intertextuality; a vision for Lismore and “deconstructing” Constructivism.
This exhibition can be defined as the “deconstruction” of visual language by examining in the most faithful, rigorous way the structured genealogy of all visual language; and to do so in order to determine what issues the history of visual language has hidden, forbidden or repressed. The first step of this “deconstruction” of visual language, which attempts to locate that which is present nowhere in visual language, ie that which visual language must hide in order to remain visual language, is precisely the examination of the notion of presence as undertaken by Heidegger, which recognises in the notion of presences the “destiny of art”.
Constructivism and photography serve to remind the viewer that both are at decisive points in classical art structures, theoretically and visually. The entire question of the view and the voice was already in place in Constructivism, as such, and bound to the irreducible structure of the line and difference; difference of space, colour and balance. Whilst photography’s misrepresentation of presence reveals the repressive logic of presence which determines Western art in its relationships to consciousness, science, history and the disappearance of the “origin”.
Here then, is art as system-art as semiotic project. -Anthony Healy