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The deconstruction project is an experiment and exploration that combines deconstructionism and visual design. It is intended to explore the height of deconstruction in visual experience and explore the depth of deconstruction on the level of meaning. Through research on the subject of deconstruction, I found that it contains infinite possibilities, which makes the works born in this project full of more creativity and uncertainty charm. I am committed to producing fresh design works in the deconstruction project. Many of the ideas in the project that break the stereotype are more than enough to interpret the deconstruction from a new perspective. I hope that through my work, people will have a new understanding of deconstruction and arouse the audience's interest and thoughts on deconstruction.
Master Supervisor: Lee Marvin Jin (Hongik University)
In visual analysis of deconstruction, deconstruction conveys the feeling of grotesque, strange, unearthly, weird, different styles, which in principle is anti-aesthetic, anti-mechanical and anti-functional.The goal of the birth of deconstruction seems to be to struggle against reality, redefine people's senses and rules, and establish their own utopian world.For example, in the deconstructive architectural style explored in architectural design, architects followed derrida's theory and russian constructivist methods and began to explore space and quality. Deconstructive buildings are filled with features such as non-linear segments and deformed elements and asymmetrical shapes that oppose reality. The skin of the structure is manipulated into unpredictable geometric shapes, but the function of the building is preserved. This style is characterized by a loss of symmetry or continuity, and it tends to create unpredictability and controllable chaos. At the same time, it breaks the design rules, ignores the law of form following function, opposes the structuralism of bauhaus, and opposes the minimalist concept and functional supremacy of modernism.
Historically deconstructed in the visual output works, most of the visual features are reorganization, superposition, combination and so on. A series of works by the artists jake and dinos chapman in the 1990s, which are dominated by mannequin sculptures or anatomical structures, are composed of a group of fused human body sculptures. The artist disassembles and merges the children's bodies to create a huge hybrid, replacing their faces with the usual privacy parts or human reproductive organs. Sculptures that deconstruct children ’s human bodies look incredible. These works evoke the surrealist ’s fascination with store models, wax figures, or dolls, and also link them to sigmund freud ’s eerie concept. Because they are hovering between life and lifelessness.Ai weiwei's "two feet on the wall table" completely reconstructed the qing dynasty square table. The flat table was bent into a right angle. The legs of the two pairs of tables also pointed to the two sides. The two feet stood on the ground, and the rest stood against the wall next to them.
Ai weiwei apparently cut the table into two, and then assembled into the existing form. This kind of deconstruction and reconstruction requires a lot of ingenuity. A nail was not used in the creation of the work. Ai weiwei followed the traditional chinese carpenter's craft, using pigeon tail tenon to join the seams of the wood of the work, and a thin layer of glue fix it. This work satirizes a series of erratic social phenomena that have occurred in contemporary china in order to quickly pursue modernization.Deconstruction shows the visual characteristics of broken, fragmented, unreadable, unordered, indistinguishable, chaotic, destructive, and damaged in flat typesetting. David hockney gives the collage a painting-like feeling. By photographing objects and landscapes with different angles and perspectives at different angles, he reconstructs the shape of the object itself into scattered local symbols and recombines them. This destruction of vision makes his works unique and impressive.
As far as the abstract connection of deconstruction is concerned, it can be understood as keywords such as rebellious, uncertainty, unconventional, not following, defiance, negating tradition, confrontation strategy, adventurous, unconstrained, breaking the rules and so on. Against all forms of authority, against all laws of regularity, the only thing you can believe is constant change, randomness, and ridicule are all its expressions. In 1917, marcel duchamp's 'fountain' liberated art for the first time from the framework that must express "beauty" itself. At the moment when duchamp exhibited this work, he announced that "painting is dead", conceptual art and the artistic expression of ready-made products was born. Du shang opened the door to a new world of art by deconstructing the concept of symbolism and utility of an object. Alexander kosolapov deconstructed political symbols and authority with pop art. Most contemporary artists in the former soviet union have absorbed pop art, which represents the spirit of american individualism, combined with the style of the posters of the former soviet union, while adding coca-cola and mcdonald ’s logos that represent the symbolism of western consumerism zhang's works have a collision of ideas from two extreme ideologies in the world. This classic deconstruction of political symbols and authority has made the political pop school represented by kosolapov form a huge expressive force and cultural influence. The extension of the deconstructive abstract connection can also be extended to reconstructed, upside down, new species, reborn, difference. Tehching hsieh's performance art "check in", from 1980 to 1981, he checked in once every hour, 24 times a day, and he completed 8760 check in a year. Tehching hsieh intentionally placed the camera next to the punch card machine, and each time the card was punched, the camera shot a frame. In this way, it is compressed to one second per day, and 6 minutes a year. He spent a year deconstructing himself in the punch record. "Check in" satirizes the concept of sisyphus in addition to capitalism and the modern labor system. As a rebel in greek mythology, sisyphus was punished every day to push the stone up and down the mountain, metaphorizing the destiny of mankind. But tehching hsieh was more in favor of the existentialist camus' interpretation of this myth, that sisyphus finally consciously assumed this fate and accepted god's punishment. Tehching hsieh seems to be the busiest person in the world, the most punctual, and the hardest working person, but it is the busiest and most time-conscious person who does not serve himself or even the world create concrete material wealth that can be recognized by anyone.
In-depth understanding of deconstruction can find its core propositions: anti-traditional, anti-essential, against total unity, critical modernism, critical principles, standards value the individual, meanless, question, illogical, first principle, nihilism.Joseph kosut's clock (1 and 5) project combines an object with different representations of the object. This project includes a work clock, a photograph of equal proportions, and explanations of the words "time", "machine" and "object" in english and latin dictionaries. At that time, the artist was interested in "linguistic anthropology" and the influence of language on the way we view and express the world, and created a batch of such works that translated things and photos from everyday life into english the combination of descriptions or definitions in other european languages makes people question things and create uncertainty, which is the anti-essential expression of deconstruction.
Xu zhen's "shangner supermarket" (2008) replicated a typical supermarket in its original proportion and scattered it across the country and opened it to the public. These supermarket chains are open 24 hours a day and provide consumers with all the necessities they can think of. However, there are no substantive items inside the commodities in the packaging of all commodities in the supermarket. These goods are just complete empty packaging of the commodities shell. Empty packaging with no substantial effect is displayed and sold on the shelves of international art, thus highlighting the ambiguous relationship between price and value. When the capital continues to accumulate to a certain degree, it is converted into an image. It shows people's consumption purpose and the value concept of buying goods in today's society.In addition, in xu zhen ’s performance art project, there were some people in the exhibition wearing blue and white sick clothes, “patients” trailing around the audience without a word. Keep a certain distance and do not communicate with the audience, but pay close attention to the audience. When the audience was mixed with it, the project deconstructed the audience's consciousness and questioned self-perception. In the category of philosophy, deconstruction appears as doubt, nihilism, unfinished, illogical, first principle.
Deconstruction is more inclined to question, question things that follow the rules, question the general ethics, and question everything that is commonplace. Xu zhen's large-scale dynamic sculpture "hello" is carefully carved from the pillars of ancient greek architecture. When the audience walks into the gallery, they will see this huge greek pillar occupying the entire space, such as the enlarged and mutated snake, observing its surroundings, as if nodding to the visitors. The greek column symbolizes the origin and cornerstone of western civilization. The work combines the classical greek column and the positive biological attitude of the snake to stimulate the audience's perception and experience of classical civilization. When the public gazes across this vibrant corinthian capital, it also watches the depth of history and civilization, gazing at each other, evoking the words of friedrich nietzsche: "if you gaze deep enough, the abyss will also stare at you. "Now, with the increasingly frequent integration and influence between global civilizations, this work constitutes the reality and metaphor of encounters between different civilizations in space and time.
The five white board 'untitled' project exhibited by robert smithson in 1969 explains the nihilism of understanding the abstract connection. These white board words are not just showing nothingness, they are showing existence through non-existence. You can see the marks pasted with scotch tape around the whiteboard, and the color of the bottom plate can be seen under the marks. It can be seen that the bottom plate itself is not white, the artist fixed the board with adhesive tape, and then worked hard to white the five boards over and over again. This is a very hard expression. The white inside does not exist. White is the nihility that the artist wants to express. There is such a process of whitewashing. We can think that this state of nihility does not exist naturally. Even physically speaking, pure nihility cannot be done. This art the product is full of quantum fluctuations. For people, people are all greedy and obsessed, with seven emotions and six desires, it is not so easy to put down these things to achieve nothingness, the artist intentionally left a trace of sticky transparent glue, let us see him struggling to pursue nothingness the process of nihilism, although it does not seem to exist on the surface, but the process behind the pursuit of nihilism exists and is great.Smithson, who made large-scale earthworks in the 1960s and 1970s, also engaged in an active drawing practice. A heap of language is both an artwork and a mission statement, marrying the artist's preoccupations with the physical presence of sculpture and the meaning behind language. Written in the artist's elegant cursive on graph paper, words about words "speech," "mother tongue," "babel" accumulate into a hefty pile, so that thought becomes thing. This drawing attests to smithson’'s belief that language is a concrete material.
Through the above visual understanding and abstract understanding of deconstruction, it can be concluded that deconstruction has the characteristics of reorganization, superposition, combination and disassembly in the form of modeling.It has strange, unearthly, weird, surreal, psychedelic, provocation, stimulating feeling in visual experience.Deconstruction in style is trenchant, grotesque, self-contained, different styles.In visual reading, it has broken, unordered, unreadable, indistinguishable, chaotic, destructive, and damaged.The central concept of deconstruction is confrontation with reality, redefinition, never appeared, anti-aesthetics, anti-mechanics, anti-functionality, reconstructed, reversed, new species, rebirth,difference.Deconstruction in the abstract understanding, with rebellious, uncertainty, unconventional, not following, defiance, negating tradition, confrontation strategy, adventurous, unconstrained performance.In the deep philosophical category, there are concepts of anti-tradition, anti-essence, opposing unity as a whole, criticizing modernism, criticizing principles and standards, value the individual, meaningless, unfinished, illogical, questioning, first principle, and nihilism.
解构项目是我将解构主义与视觉设计相结合的一次试验与探索，意在探究解构在视觉感受上的高度，以及在意义层面上发掘解构的深度。通过对解构题材的研究，我发现它蕴含着无限的可能性，这让诞生在这个项目中的作品充满了更多的创造力和不确定性的魅力。我致力于在解构项目中制作出新鲜的设计作品，项目中许多打破陈规的想法，更足以从全新的视角诠释解构。希望通过我的作品能使人们对解构主义有新的认识，引起观众对解构的兴趣与思考。
研究生导师：Lee Marvin Jin（韩国弘益大学）
在视觉的直观感受剖析解构，解构传达着奇形怪状、怪异、荒诞、风格迥异的感觉，在原则上是反美学、反力学、反功能的。解构诞生的目标仿佛就是努力与现实对抗,并重新定义人们的感官与规则,建立起属于自己的乌托邦世界。比如在建筑设计上探索的解构主义建筑风格，建筑师们遵循德里达的理论和俄罗斯建构主义的方法，开始探索空间与质量。 解构主义的建筑物充斥着反对现实的非线性线段和变形元素以及不对称外形等特征， 结构的表皮被操纵成不可预测的几何形状，但建筑物的功能得以保留。这种风格的特点是失去对称性或连续性，倾向于制造不可预测性和可控制的混乱。同时打破了设计规则，忽略了形式跟随功能的定律，反对包豪斯的结构主义，反对现代主义的极简观念与功能至上的理念。
历史上解构在视觉输出的作品里，可视化特征多表现为重组，叠加，组合合体等。90年代艺术家Jake and Dinos Chapman的一系列以人体模型雕塑或解剖结构为主导的作品，是由一组融合在一起的儿童人体雕塑组成。艺术家把儿童的身体拆解后融合在一起，创造出巨大的混合体，将通常的隐私部位或人体的生殖器官代替了他们的面孔。解构儿童人体的雕塑看起来不可思议，这些作品唤起了超现实主义者对商店展示的模特，蜡像，或玩偶的迷恋，也将它们与西格蒙德·弗洛伊德的怪诞概念联系在一起，因为它们徘徊在生活与无生命之间。
艾未未的“两条腿在墙上的桌子”彻底重构清代方桌，平坦的桌面被屈折成一直角，两双桌腿也分指两方，两足立于地，其余则撑抵着旁边的墙壁。艾未未显然先把桌子切割为二，再组合成现有形态。如此的解构和重构费煞巧思，作品的创作过程中并未用上一根钉子，艾未未遵照中国传统木匠工艺，以鸽尾榫崁接作品木料的接缝，并以薄薄一层胶水固定之。这件作品讽刺当代中国为快速追求现代化,所发生的一连串光怪陆离的社会现象。解构在平面排版上展现的是无法阅读的，无序的,难以辨认的，混乱等特点。在图像上呈现的是破坏的，损坏的，打碎的,支离破碎的视觉特征。大卫·霍克尼给拼贴画一种绘画般的感觉。 通过以不同角度拍摄不同角度和视角的物体和风景，他将物体本身的形状重构为分散的局部符号，并将其重新组合。 这种对视觉的破坏使他的作品独特而令人印象深刻。 就解构的抽象联系而言，可以理解为例如 叛逆，不确定性，非常规，不追随，轻蔑，对抗策略，冒险，和打破规则等关键词。反对一切形式的权威，反对一切规律性的规律，唯一可以相信的就是恒变，随机性，调侃性都是它的表现手法。 1917年，马塞尔·杜尚的“泉”首次将艺术得以从必须表达“美”本身的框架中解放出来，在杜尚展出这件作品的瞬间，宣布了绘画已死，观念艺术与现成品的艺术表达形式横空出世。杜尚通过解构一件物品的符号性和功用性的观念开启了艺术新世界的大门。
亚历山大·科索拉波夫用波普艺术解构了政治符号和权威。前苏联的大部分当代艺术家都吸收了代表着美国个人主义精神的波普艺术，结合前苏联的的大字报风格，同时加入了代表着西方消费主义符号化意味的可口可乐、麦当劳等logo，在一张作品中有着来自世界两个极端的意识形态相冲突的观念碰撞。这种经典的对政治符号以及权威的解构使得以科索拉波夫为代表的政治波普流派形成了巨大的表现力和文化影响。 解构抽象联系的扩展还可以延伸为重构的，颠倒的，新的物种，重生的，差异性。谢德庆的行为艺术“打卡”，在1980年至1981年这一年中，他每个小时准时打一次卡，一天24次打卡， 一年里他完成了8760次打卡。谢德庆有意将相机放置在打卡机旁边，每次打卡时，相机都会拍摄一帧。 这样，每天被压缩到一秒钟，而一年则是6分钟。 他用一年的时间将自己解构在打卡记录里。“打卡”讽刺了资本主义和现代劳动制度之外，也引入了西西弗斯的概念。作为希腊神话中的反叛者，西西弗斯被惩罚每天周而复始推着石头上山，隐喻着人类的命运。但谢德庆更赞成存在主义者加缪对这一神话的解读，即西西弗斯最后自觉地承担了这一命运，接受上帝对他的惩罚。谢德庆似乎成了这个世界上最忙的一个人，也是最守时的人，还是最辛劳的人，但是正是这个最忙最有时间观念的人，却没有为自己，更没有为这个世界创造丝毫能够被人承认的具体的物质财富。
深入了解解构，可以找到它的核心命题：反传统，反本质，反对整体统一，批判现代主义，批判原则和标准， 重视个体，无意义，未完成的。约瑟夫·科苏特的时钟(1和5)项目将一个对象与该对象的不同表示形式组合在一起。这个项目包括一个工作时钟，一张同等比例的照片，以及英语和拉丁语词典中对“时间”、“机器”和“物体”等词的解释说明。当时，这位艺术家对“语言人类学”和语言对我们看待和表现世界的方式所产生的影响感兴趣，并创作了一批这样的作品，将日常生活中的事物与照片和从英语翻译成其他欧洲语言的描述或定义结合在一起，让人们质疑事物本身，制造不确定性，这是解构的反本质的表现。
徐震的“香格纳超市”（2008）按原比例复制了一个典型的超市并散落于全国各地向公众开放。这些连锁超市每天24小时营业，为消费者提供了所有能想到的必需日用品。但超市中所有商品的包装里并没有商品内部的实质性物品，这些货物只是商品外壳完整的空包装。 没有实质效用的空包装在国际艺术品的货架上展示出售，从而突出了价格和价值之间的含糊关系，当资本不断累积到了某个程度即转化为形象，这项装置作品很大程度上解构了人们对于当今社会的消费目的和购买商品的价值观念。另外，在徐震的行为艺术项目中，曾经在展览上有一些随处可见的穿着蓝白相间的病号服‘病人’一语不发地尾随在观众周围， 当观众参观展览时，病人们会保持一定距离，不会与观众交流，但密切关注观众。 当观众与之混在一起时，该项目解构了观众的意识，并对自我认知产生了质疑。
解构在哲学的范畴里，表现为质疑，虚无主义，不合逻辑的，第一原理。解构更倾向于去质疑，质疑循规蹈矩的事物，质疑纲常伦理，质疑习以为常的一切。
徐震的大型动态雕塑“ Hello”，其形式是从古希腊建筑支柱中精心雕琢而成的。当观众走进画廊时，他们会看到这根巨大的希腊柱子占据着整个空间，例如放大并变异的蛇，观察着它的周围，仿佛在向游客点头。希腊专栏象征着西方文明的起源和基石。作品融合了希腊古典柱形和蛇积极的生物学态度，以激发观众对古典文明的感知和体验。当公众的目光越过这座充满活力的科林斯首都时，也注视着历史和文明的深度，彼此凝视，唤起弗里德里希·尼采的话：“如果凝视足够深的时间，深渊也会凝视着你。 ”如今，随着全球文明之间越来越频繁的融合和影响，这项工作构成了不同时空文明之间相遇的现实和隐喻。
罗伯特·史密森在1969年展出的五个白色板子‘无题’项目解释了解构抽象联系的虚无主义。 这几个白色板字不仅仅是在展示虚无，它们是通过不存在来展示存在的。 在这个白板四周可以看到用透明胶带粘过的痕迹，在痕迹下面可以看到底板的颜色。由此可见这个底板本身不是白色的， 是艺术家用胶带把板子固定起来，然后用刷子一遍一遍奋力的将这五块板子刷白， 这是一种非常用力的表达，里面的白色是不存在的， 白色是艺术家想表现的虚无，这么费力刷白的过程是存在的，我们可以联想到这个虚无的境界并不是天然存在，哪怕在物理上讲，纯粹的虚无也是做不到的，因为有量子的涨落。对于人来说，人是都有贪嗔痴，有着七情六欲，不是那么容易就能放下这些东西做到虚无，艺术家故意留下了粘透明胶的痕迹，让我们看到他奋力去追求虚无的过程，所以说虚无表面上虽是不存在的，但是背后追求虚无的过程是存在且伟大的。史密森在1960年代和1970年代进行了大规模的土方工程，他也积极从事绘画实践。 ‘一堆语言’既是艺术品又是使命宣言，将艺术家的专注与雕塑的真实存在和语言背后的含义结合在一起。 艺术家在方格纸上书写出高雅的草书，关于“语音”，“母语”，“通天塔”等单词堆积成堆，使思想变成了事物。 这幅画更证明了史密森的信念，即语言是一种具体的材料。
通过以上对解构的视觉理解和抽象理解，可以总结出解构在造型的形式上具有重组，叠加，组合合体，拆解的特征。在视觉的感受上具有奇怪的，怪异，怪诞，迷幻，梦幻， 挑衅，刺激的感觉。解构在风格上是犀利的，奇形怪状的 , 自成一派的，风格迥异的。在视觉阅读上具有打碎 , 无序的 , 难以辨认的，无法阅读的，混乱的，破坏的，损坏的特点。解构的中心概念是与现实对抗的 , 重新定义的 , 从未出现过的 , 反美学，反力学，反功能性的，重构的，颠倒的，新的物种，重生的，差异性的理念。解构在抽象的理解上具有叛逆的，不确定感，标新立异的，不跟随的，蔑视的，对抗策略， 冒险的表现。在深层次的哲学范畴中有反传统，反本质，反对整体统一，批判现代主义，批判原则和标准， 重视个体，无意义，未完成的，不合逻辑的，质疑，第一原理，虚无主义的概念。
