Abstract
This article discusses the opposition between
ready-made and conceptual art proposed by
Jean-Luc
Marion.
The
French
phenomenologist states that while the ready
made shows us the unseen in everyday objects,
conceptual art prevents the appearance of the
work of art by reducing its visibility to what is
predelineated by the concept. However, this
critique does not appear to comply with the
terms of the phenomenology of the donation. It
is possible not only to affirm that the concept
in conceptual art does not operate in the same
way as it does with respect of technical
objects, but it is also arguably that there is
some singular phenomenality of conceptual art.
An analysis of Marion’s proposal will allow us
to investigate the possibilities of the Marionian
phenomenology of givenness as well as the
boundaries of contemporary art.
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