Deconstruction in the Neighborhood of Art. The Problem of Painting in the Philosophy of Jacques Derrida.

Abstract

The author analyzes the theme of painting in the philosophy of Jacques Derrida, referring to one of his defining works on this subject: "Truth in Painting". Consistently considering the four-part structure of this book, the author touches on such concepts of deconstruction as "parergon", "passepartout", "cartouche" and others. Of particular interest is the problem of truth in the structure of fine art – this topic is a cross-cutting theme throughout Derrida's work. At the same time, the philosopher rejects the classical ontological-epistemological aspect of truth in the context of art history. The picture does not limit itself to the representation of an object or the truth attached to it. She crosses the line, overflowing her boundaries. That is why the logic of a work of art is inevitably the logic of a Kantian parergon. In the book "Truth in Painting" Derrida rethinks all aspects of artistic creativity. For Derrida, painting is, first of all, an action and the most correct question is: "What does this painting do?". The picture in the produced action breaks away from the conditions of the image, moves away from the discourse, setting in motion the difference. The structure of a painting work consists not of presence or representation, but of a projection of movement. The painting is silent and remains outside the language, is unrepresentable and heterogeneous, is out of line with any discourse, is irreducible to any text and is not subject to archiving despite all the efforts of museum authorities.