"THE WORLD IS MY REPRESENTATION". IMANOL MARRODÁN

 

 

 

       In these times it seems that the alternative
 es just not counting anything. Is not a
desperate act of resistance, but more
well the way for a futile survival.
   30.10.2004

 

 

Comment: The World exists because we exist. The "reality" is none other than our own unique sensory experience of the environment in which our lives unfold. The only valid representation for each individual is his own and it disappears when the individual ceases to exist.

contemporary? The title of the exhibition refers to Arthur Schopenhauer and his book “The world as will and representation”, published in 1812.

 

   New discourses in contemporary Painting from Deconstruction or Poststructuralism. (Workplan)

Contemporary painting, after the Italian trans-avant-garde of the eighties: the last isthmus, understood as the last of the historical avant-gardes, has been questioned by certain sectors of criticism.

 

This opinion was based on the fact that the last references that had influenced the representational field of painting were determined by a current of French thinkers framed within the structuralism of the 50s. Thinkers such as Claude Lévi Strauss, Jacques Lacan, Michel Foucault, Louis Althusser or Roland Barthes approached, from the study of the symbols of the linguistic system and their meanings, the problem of the relative and subjective capacity of communication of meanings of representation of the systems or "structures" that make up our social system._cc781905-5cde -3194-bb3b-136bad5cf58d_ These questioned the ability of languages to articulate concrete and common communication. The world as a representation of systems within a total system, a structure in which all culture and  human nature; all experience and meaning take "its place." Symbols are meaningless without the systems of which they are a part. We have been within human systems of meanings, from the day we are born (pre-established conventions).

This socio-economic system misleadingly represents our environment as a common reality; "The effect of the real" (Roland Barthes), annuls our individual will of representation.

 

Posteriormente, a partir de la publicación póstuma de las  “Investigaciones Filosóficas” (1953?) de Ludwig Wittgenstein, Deleuze conforma su pensamiento and his theory of the "Deconstruction" (or post-structuralism) of Languages. His views emerged profusely from academic circles in Paris in the 1960s and 1970s.

 

Derrida, in his book “On grammatology”, published in 1967, denied the possibility of complete communication: “I write and you read, now; but the meaning of that word separates us more than unites us”. All writing, he affirmed, splits the meaning in this way, so the meaning is always already one step beyond the line; it does not reside anywhere, nor in a full experience of full presence, but is always deferred. It spread throughout a structure and therefore had no substance; for that reason "there is no representation of the representation".Finally sentence: "I don't know what perception is and I don't think there is anything similar".

 

In this way, an unresolved question is proposed, forming a vicious circle:

Representation as the production and interpretation of "knowledge" of a reality that cannot pre-exist its representation.

 

After these last antecedents that have influenced, in recent times, so powerfully on contemporary art and more decisively on painting. It is intended to affirm that its discourse as a "representation system" is exhausted, relegating it to marginalization and oblivion; displacing it, for the sake of other interests and fashions, of its creative function as well as its most relevant achievements in avant-garde thought and art.

 

My proposal is the freedom to deny the representation itself, of painting; creating objects or images that hide their meaning.

 

In an apparently truthful "social community", full of "meanings" where individuals are subject to structures that determine our way of life, a paradoxical effect occurs: we invented those same systems and now they have become independent structures that man can no longer change.

 

Claiming or trying to turn an object-painting into a codified “Irrepresentation” can be a way of resisting and protecting oneself from these pre-established modes of “communication-representation”.

 

Protect intuition and common sense to perceive again, in a slow, calm rhythm, to learn to see again.

Authentic painting must express the certainty of what is intuited and felt without knowing what it is and yet it is so real to us at that moment; like a small ray of light in the darkness of our cave.

 

      _cc781905- 5cde-3194-bb3b-136bad5cf58d_     _cc781905-5cde- 3194-bb3b-136bad5cf58d_     _cc781905-5cde-3194- bb3b-136bad5cf58d_     _cc781905-5cde-3194-bb3b- 136bad5cf58d_  _cc781905-5 cde-3194-bb3b-136bad5cf58d_     _cc781905-5cde- 3194-bb3b-136bad5cf58d_     _cc781905-5cde-3194- bb3b-136bad5cf58d_     _cc781905-5cde-3194-bb3b- 136bad5cf58d_      _cc781905- 5cde-3194-bb3b-136bad5cf58d__cc781905-5cde-3194-bb3 b-136bad5cf58d_     _cc781905-5cde-3194-bb3b- 136bad5cf58d_      _cc781905- 5cde-3194-bb3b-136bad5cf58d_Imanol Marrodán
Vitoria on June 4, 2004