Distant, Audiovisual installation, 02' 23'' (loop), 2012
Making things visible: Cinema-graphia and drawing as “spacing” (espacement) in the work of Nemanja Nikolić (Text from catalog of exhibition Visible Things, U10 Art Space, Belgrade)
Author: Bojana Matejić
When Derrida was writing his study The Voice and the Phenomenon, based upon the critique of Huserl's conception of origin and (fa)logo-fono-centrism, he offered a new standpoint for engaging into the ontological status of art and aesthetics. This kind of art and/or aesthetics, opposed to the ontological unfathomable here-presence, appears in the field of difference, the unstable boundary between the observed (eidos) and writing which articulates and defines it.This standpoint coincides with the turnover in philosophical tradition from the philosophy of consciousness to the philosophy of language. Art, as well as a work of art, always always appears or “happens”in the midst of language or existing texts concerning culture and knowledge, although this structure, according to Derrida, is never finalized. Moreover, it is difficult even to speak about structure in his “project” on deconstruction. The coherency of this language structure, as a set of conventions and rules by which an artwork is defined, implies an exchange of meaning, or the process of (visual) communication inside of a closed system.This kind of conception of (visual) communication or exchange is, according to Derrida, unsustainable, since it is necessary to have “the flow of words” in order to achieve communication and the effect of meaning. Language isn’t a static system, but implies movement, or the space-time dimension, or as Derrida would call it, writing as espacement. Writing, language, and thus the artwork entails espacement that takes place in the moment of its separation from its producer/”the author-subject”.