The (De-)Construction of The Invisible is an art project that involves
theoretical discourse. As a philosophical term, ‘the invisible’ is based on pioneering works such as Merleau-Ponty's ‘Visible
et l'Invisible’ (Visible and The Invisible), or Wittgenstein's 'Über Gewissheit’ (On Certainty). It can however also be understood
as a place holder for the (still) invisible, the hidden, the overlooked or the taboo.
The aim of the project was the
exploration and visualization of the invisible by means of art, and of drawing in particular. New York was chosen as the place
to carry out the project. For scientific liaison, the Department of Philosophy, and for artistic liaison, the Department of
Arts, Staller Center - both at the State University of New York at Stony Brook ? were chosen, and as a further artistic liaison,
the Drawing Center, in Manhattan.
New York, the repeatedly shaken (epi-)center of capital and of external appearance
- the financial crisis now far overshadows the slump after 9/11 - offered itself as the greatest challenge for the investigation
of the invisible, so it is true that artists are the seismographs of society.