Strategy of aesthetic-importance (post-structuralist) in the Holocaust Memorial

Abstract

Since it was selected in 1998, the Memorial has been immersed in numerous debates that reached a level of controversy throughout 2017. This work conceived by Peter Eisenman and Richard Serra, was modified and carried out only by Peter Eisenman. The debates and controversies amassed have allowed for certain clarifications that exceed the original claims of the authors, but in any case, it seems that they were confirmed in their possibility or in their contingency. These facts show the relationship between the object and subject in the significant act, in its different approaches: from the interaction with the work, the intersubjective relations – self-referent or not – the interaction between subject and object, subject and context, subject and interpretation. Until moving the significant capability from the original indications to the new context, that can in any case re-configure a new sign. In this, the sketch is seen as a post-metaphysical aesthetic structure beyond the concept of an open work; adding the temporal dimension that underlines the distinction between difference and differ, in two moments: the constitution of the sign and its temporary displacement. This exemplifies the concepts of différence and différance by Jacques Derrida, together with the concepts of contamination or the appearance of contraband meanings, including the event that Eisenman longed for.