By Barbara Bolt
Refuting the idea that paintings is a representational perform, Bolt's impressive argument engages with the paintings of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative courting among artwork and artist. Drawing on subject matters as diversified because the paintings of Cézanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel the image of Dorian grey, she demanding situations the metaphor of sunshine as enlightenment, reconceiving this revealing gentle because the blinding glare of the Australian sunlight, and means that an excessive amount of gentle may well in truth show not anything. ultimately she asks: how does an embodied perform fare in the tradition of conceptual paintings?
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Can Derridas notion of différance be equated with Deleuzes difference thought differentially? I think not. Derridas movement is a condition within representation. Deleuzes difference operates in a different register and against the grain of representation. Deleuze argues that to restore difference in thought, we need to first untie the knot which consists of representing difference through the identity of the concept and the thinking subject (Deleuze 1994:266). So I go again to practice and to the process of working through this project.
Heidegger 1977a:130: my emphasis) In this way, representation becomes a trap for Heidegger. As a prototype that frames and enframes, his picture of the world does not allow us to move beyond the representational frame. It seems that Heideggers argument is itself representational. As Olkowski has noted, his method of working within the structure that he wants to supplant, endlessly encircles him in the limits of representation (Olkowski 1988: 106). In this sense Heideggers theorisation is still a representation of representation and as such does not open out onto an altogether different way of thinking.
Heidegger argues that, where what-is, is reduced to a schema, there is a halt in Being. In setting the Greek apprehension of the world as presencing, against the modern representation of the world as subiectum, Heidegger aims to bring to the surface what constitutes this loss of, or halt to, Being. For the early Greeks, notes Derrida, the being of what-is never consists in an object (Gegenstand) brought before man, fixed, stopped, available for the human subject who would possess a representation of it (Derrida 1982:306).
Art Beyond Representation: The Performative Power of the Image by Barbara Bolt