Discursiveness of art as a philosophical problem

Is it still possible to speak of an opposition of linguistic discourse and art after the notions of language, as well as discourse and the discursive have undergone a significant reformulation and expansion? To answer this question, I distinguish between the notions of discourse and the discursive. I transpose this distinction onto the level of reflection on art as one of signifying practices. I show how the deconstruction of Western discourses on art is accompanied by the recognition of discursiveness of art by Heidegger, Derrida and Marin; like Merleau-Pointy, I search for the conditions of significant production underneath or “before” historically establi-shed discourses, expanding the idea of discursiveness of art in the sense that I adopt. I connect Lyotard’s concept of visuality with the understanding of discursiveness of art that I propose: as a field of productivity of meanings, a primary impulse of discourse; the thing that enables spe-aking and imaging, without which speech and image are impossible.