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Spaces "in between". The frame, framing, and passe-par-tout

100%
Stronciwilk A.
Anthropos?
|
2016
|
issue 25 Na uboczu
130-144
EN
The article concentrates on the understanding of "parergon" proposed by Jacques Derrida. Derrida discusses the definition of "parergon" proposed by Immanuel Kant as a decorative element. For Derrida "parergon" is an element which is "in between" the artwork and its surroundings, and therefore contributes to the onthology of an artwork. In the article the problem of "parergon", the margins and spaces "in between" is analyzed referring to different types of artworks - the works of Jan van Eyck, Rembrandt Hamenszoon van Rijn, Jan Gossaert and contemporary Polish artists - Maciej Kurak, Jan Berdyszak and Kamil Kuskowski.
2

Re-Framing the Abyss: The Visual Writing of Jacques Derrida in The Truth in Painting

88%
Stampoulou I.
Dialogue and Universalism
|
2017
|
issue 3
97-113
EN
In this paper I intend to discuss some notions encountered in Jacques Derrida’s The Truth in Painting (1978) immediately linked to the manner in which the art object2 is understood and addressed, its limits, what it does/does not include/exclude, what it touches upon—if we can use such formalist terms in a deconstructive framework. These notions have perhaps formed in the past decades the art object, even though there is no frequent reference of Derridean deconstruction in texts regarding art.3 The ones I will mostly refer to are the parergon, the frame and the abyss. I intend to support that Derrida has not just doubted the limits between ergon and parergon but has also illustrated in an almost painterly manner the abyss and the parergon, thus reframing fields of aesthetics, philosophically and visually.
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