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Performer la visite d\u27un quartier et transformer la perception des lieux
Full text linkIn July 2022, the artist Anne-Sophie Turion realizes the tour-performance Grandeur Nature in two districts of Rennes. Instead of commenting on the built heritage, as one might have expected in the context of an urban tour, the performer restores the lived stories of the inhabitants of the neighborhoods. Based on the analysis of this artistic proposal, the article seeks to understand how the device contributes to reconfiguring the perception of the urban territory covered. We are interested in how performance reveals spaces as they are occupied and perceived by users ; then we try to show the links that the proposal weaves between the protagonists and we try to understand to what extent the common experience of the neighborhoods crossed contributes to create social ties.In July 2022, the artist Anne-Sophie Turion realizes the tour-performance Grandeur Nature in two districts of Rennes. Instead of commenting on the built heritage, as one might have expected in the context of an urban tour, the performer restores the lived stories of the inhabitants of the neighborhoods. Based on the analysis of this artistic proposal, the article seeks to understand how the device contributes to reconfiguring the perception of the urban territory covered. We are interested in how performance reveals spaces as they are occupied and perceived by users ; then we try to show the links that the proposal weaves between the protagonists and we try to understand to what extent the common experience of the neighborhoods crossed contributes to create social ties
When everything starts with an empty space. Eutopia (2022) by Trickster-p or the game of the Anthropocene
Full text linkThe essay reflects on the installation-performance Eutopia (2022), conceived and directed by the Swiss-Italian collective Trickster-p, i.e. by Cristina Galbiati and Ilija Luginbühl in collaboration with game designer Pietro Polsinelli, Zeno Gabaglio for the sound space and Studio CCRZ for the graphic design. Eutopia addresses the environmental crisis we are becoming aware of with significant delay in raising cultural and political awareness to counteract the ongoing process of individual and collective removal. The essay inquires the theoretical assumptions on which this installation- performance is based and how it conveys the important message that inspired its creators to investigate how the performing arts can contribute to imagining the future of our planet. As a board game of the Anthropocene, Eutopia transforms the performative space into a political space in which people exchange and discuss ideas and visions about the environment and how to care for it actively.The essay reflects on the installation-performance Eutopia (2022), conceived and directed by the Swiss-Italian collective Trickster-p, i.e. by Cristina Galbiati and Ilija Luginbühl in collaboration with game designer Pietro Polsinelli, Zeno Gabaglio for the sound space and Studio CCRZ for the graphic design. Eutopia addresses the environmental crisis we are becoming aware of with significant delay in raising cultural and political awareness to counteract the ongoing process of individual and collective removal. The essay inquires the theoretical assumptions on which this installation- performance is based and how it conveys the important message that inspired its creators to investigate how the performing arts can contribute to imagining the future of our planet. As a board game of the Anthropocene, Eutopia transforms the performative space into a political space in which people exchange and discuss ideas and visions about the environment and how to care for it actively
Una nuova arte per un nuovo mondo. Martin Heidegger e Barnett Newman
Full text linkPart I
A new art for a new world Martin Heidegger and Barnett Newman
Stefano Esengrini [email protected]
François Fédier\u27s contribution to the understanding of Martin Heidegger\u27s thought represents the point from which we start to clarify the meaning of the path taken by the philosopher after Being and Time. The phenomenon of Ereignis as Enowning thus constitutes the horizon within which the possibility occurs for man to encounter his world and take root in it as if he were at home. The need to overcome the crisis that threatens the Western world determines the possibility of experiencing the world in a new way and founding new knowledge capable of giving a measure to our existence on earth. From this perspective, America becomes the place that knows how to symbolically embody the possibility that man has of establishing an authentic relationship with his surroundings and of developing a knowledge that is in tune with this opportunity.
Part II
Based on the rethinking of the metaphysical essence of art, we will be able to interpret the work of Barnett Newman as an attempt to give form in painting to the thought of a new start. More specifically, the prominence assumed by color becomes the index of the need to give shape to the space and time within which the world occurs. Thanks to the secret symmetry that exists between Newman and the work of Henry David Thoreau, we will thus be able to clarify the nature of the contribution provided by American art to the determination of a new world that America, more radically than other places on earth, has been able to articulate in unheard of forms capable of projecting a new hope for Western man today and for the future that is destined for us.Part I
A new art for a new world Martin Heidegger and Barnett Newman
Stefano Esengrini [email protected]
François Fédier\u27s contribution to the understanding of Martin Heidegger\u27s thought represents the point from which we start to clarify the meaning of the path taken by the philosopher after Being and Time. The phenomenon of Ereignis as Enowning thus constitutes the horizon within which the possibility occurs for man to encounter his world and take root in it as if he were at home. The need to overcome the crisis that threatens the Western world determines the possibility of experiencing the world in a new way and founding new knowledge capable of giving a measure to our existence on earth. From this perspective, America becomes the place that knows how to symbolically embody the possibility that man has of establishing an authentic relationship with his surroundings and of developing a knowledge that is in tune with this opportunity.
Part II
Based on the rethinking of the metaphysical essence of art, we will be able to interpret the work of Barnett Newman as an attempt to give form in painting to the thought of a new start. More specifically, the prominence assumed by color becomes the index of the need to give shape to the space and time within which the world occurs. Thanks to the secret symmetry that exists between Newman and the work of Henry David Thoreau, we will thus be able to clarify the nature of the contribution provided by American art to the determination of a new world that America, more radically than other places on earth, has been able to articulate in unheard of forms capable of projecting a new hope for Western man today and for the future that is destined for us
The crisis of the hero The cinematographic representation of the underground
Full text linkThe following article analyzes the parallelism between Notes from Underground by Fëdor Dostoevsky and Martin Scorsese’s Taxi Driver. The link between these works was made explicit by the director in a documentary movie about his career. The article revolves, therefore, around the underground as a place of intimate alienation and painful incommunicability. As a key to the interpretation, I used the studies of René Girard. In his essay about Dostoevsky he shows the underground as the place of the perversion of desire. The triangular structure subject-mediator-object becomes the source of deep obsession and rivalry: the mediator is for the subject who imitates him worshipped model and hated rival at the same time. In conclusion of the article, I will investigate the resolution hypothesis of Dostoevsky and Girard. Those hypotheses will then be compared with Travis’ story to try to understand if the man who has been harmed by the crisis of desire can come out as a winner from the underground.The following article analyzes the parallelism between Notes from Underground by Fëdor Dostoevsky and Martin Scorsese’s Taxi Driver. The link between these works was made explicit by the director in a documentary movie about his career. The article revolves, therefore, around the underground as a place of intimate alienation and painful incommunicability. As a key to the interpretation, I used the studies of René Girard. In his essay about Dostoevsky he shows the underground as the place of the perversion of desire. The triangular structure subject-mediator-object becomes the source of deep obsession and rivalry: the mediator is for the subject who imitates him worshipped model and hated rival at the same time. In conclusion of the article, I will investigate the resolution hypothesis of Dostoevsky and Girard. Those hypotheses will then be compared with Travis’ story to try to understand if the man who has been harmed by the crisis of desire can come out as a winner from the underground
Fusion-kitsch des arts performatifs chez Marcel Proust1
Full text linkMarcel Proust’s novels certify kitsch by the presence of architecture, theater and fashion. The writer produced his works using textual accumulation and hybridization. These two processes call for other arts in romantic production. From this point of view, the baroque, gothic and modern architectures are represented in the texts through buildings tested by rhetorical descriptions. Images of theater and opera scenes accentuate the flow of kitsch. Ostentatious mode creations are also notified in the intrigues. Marcel Proust is inspired by performing arts to develop an aesthetic of plurality in his novels.Marcel Proust’s novels certify kitsch by the presence of architecture, theater and fashion. The writer produced his works using textual accumulation and hybridization. These two processes call for other arts in romantic production. From this point of view, the baroque, gothic and modern architectures are represented in the texts through buildings tested by rhetorical descriptions. Images of theater and opera scenes accentuate the flow of kitsch. Ostentatious mode creations are also notified in the intrigues. Marcel Proust is inspired by performing arts to develop an aesthetic of plurality in his novels
«Esistere così come dipingere». Deleuze con Burri
Full text linkThe article aims to establish a theoretical dialogue between the work of Alberto Burri, one of the most influential Italian artists of the 20th century, and the late aesthetics of Gilles Deleuze. By drawing on the concept of image outlined by Deleuze in The Exhausted (1992), Burri’s art is conceptualized as the unfolding of a dimension of pure sense that singularizes forms rather than identifying bodies and signs. This ontological “purity” comes from a deep engagement with matter, considered as a plurality of material potencies. In conclusion, the article proposes an original understanding of image as a pre-symbolic zone of ontological collapse. The article aims to establish a theoretical dialogue between the work of Alberto Burri, one of the most influential Italian artists of the 20th century, and the late aesthetics of Gilles Deleuze. By drawing on the concept of image outlined by Deleuze in The Exhausted (1992), Burri’s art is conceptualized as the unfolding of a dimension of pure sense that singularizes forms rather than identifying bodies and signs. This ontological “purity” comes from a deep engagement with matter, considered as a plurality of material potencies. In conclusion, the article proposes an original understanding of image as a pre-symbolic zone of ontological collapse. 
Alice in Wonderland: «Art exists because reality is neither real nor significant»
Full text linkWhat are the contaminations between art and architecture in today’s world? In the relationship with the architectural and urban space, what role does art play whenever art and architecture come into contact? Quoting James Ballard, the title of the present essay represents a sort of provocation, especially in case of association with Canaletto’s famed Capriccio palladiano and to the in some ways inappropriate usage that Aldo Rossi made of it. Starting from the observation that the composition made by Canaletto is, in a certain way, truer than Venice itself, one might wonder about the role of art in the construction of the architectural and urban image and, through some examples, affirm that in the present time art is a kind of seismograph that pushes architects to look beyond, to investigate the field of the unspoken or the unthinkable and it is used, in many cases, as a device to substantiate architecture itself and its outcomes.
How and through which instruments? The answer lies in the works as mere instruments used to go back to the (implicit or explicit) canons and codes used, or perhaps to get to admit that, conversely, they often fade into a hermeneutic of the indeterminate, in relation to which identifying limits and boundaries seems increasingly difficult.
Who makes what, between art and architecture? Ballard explains it masterfully and some artists show it clearly. The whole complex of these experiences is bound to the (solid) architecture and its theoretical corpus together with the desire to reflect on processes, procedures, transcriptions, and metamorphoses capable of feeding architecture and its languages.What are the contaminations between art and architecture in today’s world? In the relationship with the architectural and urban space, what role does art play whenever art and architecture come into contact? Quoting James Ballard, the title of the present essay represents a sort of provocation, especially in case of association with Canaletto’s famed Capriccio palladiano and to the in some ways inappropriate usage that Aldo Rossi made of it. Starting from the observation that the composition made by Canaletto is, in a certain way, truer than Venice itself, one might wonder about the role of art in the construction of the architectural and urban image and, through some examples, affirm that in the present time art is a kind of seismograph that pushes architects to look beyond, to investigate the field of the unspoken or the unthinkable and it is used, in many cases, as a device to substantiate architecture itself and its outcomes.
How and through which instruments? The answer lies in the works as mere instruments used to go back to the (implicit or explicit) canons and codes used, or perhaps to get to admit that, conversely, they often fade into a hermeneutic of the indeterminate, in relation to which identifying limits and boundaries seems increasingly difficult.
Who makes what, between art and architecture? Ballard explains it masterfully and some artists show it clearly. The whole complex of these experiences is bound to the (solid) architecture and its theoretical corpus together with the desire to reflect on processes, procedures, transcriptions, and metamorphoses capable of feeding architecture and its languages
The threshold of the monstrous, between dehumanization and necro-capitalism
Full text linkThe subject of the following contribution is a discussion of the theses in R.L.Smith\u27s volume \u27Making Monster,\u27 on the relationship between processes of dehumanization and the production of monstrosity. Reading the multiple facets of this link, the contribution tries to highlight some lines of analysis. The first of analysis concerns on the epistemic status of the concept of dehumanization. The second, on the other hand, concerns the actual dimensions of the processes of monstrosity production within the multiple social, temporal and political layers of the concept of crisis.The subject of the following contribution is a discussion of the theses in R.L.Smith\u27s volume \u27Making Monster,\u27 on the relationship between processes of dehumanization and the production of monstrosity. Reading the multiple facets of this link, the contribution tries to highlight some lines of analysis. The first of analysis concerns on the epistemic status of the concept of dehumanization. The second, on the other hand, concerns the actual dimensions of the processes of monstrosity production within the multiple social, temporal and political layers of the concept of crisis
Embodying architectures Body extensions and forms in hybrid environments
Full text linkThis article aims to describe the situated interactions between humans and hybrid architectures composed of physical and digital elements. Using a post-phenomenological perspective and drawing on case studies from everyday life and contemporary new media art, the paper will first discuss the limits and possibilities of this philosophical approach. Specifically, post-phenomenology has limitations in describing the technologies present in hybrid architecture that are becoming increasingly transparent and capable of manipulating the habitat while being embodied in the user and widespread in the environment. Through a genealogical reconstruction of the concept of form in Wolfgang Köhler, Kurt Goldstein, and Maurice Merleau-Ponty, the article will explore the continuity between endosomatic and esosomatic space, providing new tools for the post- phenomenological debate.This article aims to describe the situated interactions between humans and hybrid architectures composed of physical and digital elements. Using a post-phenomenological perspective and drawing on case studies from everyday life and contemporary new media art, the paper will first discuss the limits and possibilities of this philosophical approach. Specifically, post-phenomenology has limitations in describing the technologies present in hybrid architecture that are becoming increasingly transparent and capable of manipulating the habitat while being embodied in the user and widespread in the environment. Through a genealogical reconstruction of the concept of form in Wolfgang Köhler, Kurt Goldstein, and Maurice Merleau-Ponty, the article will explore the continuity between endosomatic and esosomatic space, providing new tools for the post- phenomenological debate
Aesthetics of Terra Forma: what tools for terrestrial imagination? Bruno Latour’s lesson
Full text linkLanding on Earth. This now famous formula, which appears in the title of the exhibition/catalogue Critical Zones. The Science and Politics of Landing on Earth, curated by Bruno Latour and Peter Weibel, sums up Latour’s ecological-political project and his attempt to respond to the Anthropocene’s need to bring us back to Earth, to this unstable soil that reacts to our actions and from which the project of Modernity had progressively distanced us. For Latour, climate change and the definition of anthropos as a geological force impose the search for a new habitable territory: the Earth we thought we knew, but which now presents itself as a new terra incognita. However, because of the uncertainty about the shape of the Earth, the need to develop new tools to orient ourselves and describe the situation in which we find ourselves becomes more and more urgent. If what is at stake after the disorientation (spatial, temporal, identity) caused by Gaia’s intrusion is the re-politicization of belonging to the land, what are the cartographic representations that will be able to effectively describe our co-belonging to the space we inhabit, helping to make visible the different chains of agency? What are the tools we can use to learn to see things differently and thus become more “sensitive and responsive” to the fragile shells of this metastable world where life forms other than our own intersect their paths? What kind of map is an earthly map?Landing on Earth. This now famous formula, which appears in the title of the exhibition/catalogue Critical Zones. The Science and Politics of Landing on Earth, curated by Bruno Latour and Peter Weibel, sums up Latour’s ecological-political project and his attempt to respond to the Anthropocene’s need to bring us back to Earth, to this unstable soil that reacts to our actions and from which the project of Modernity had progressively distanced us. For Latour, climate change and the definition of anthropos as a geological force impose the search for a new habitable territory: the Earth we thought we knew, but which now presents itself as a new terra incognita. However, because of the uncertainty about the shape of the Earth, the need to develop new tools to orient ourselves and describe the situation in which we find ourselves becomes more and more urgent. If what is at stake after the disorientation (spatial, temporal, identity) caused by Gaia’s intrusion is the re-politicization of belonging to the land, what are the cartographic representations that will be able to effectively describe our co-belonging to the space we inhabit, helping to make visible the different chains of agency? What are the tools we can use to learn to see things differently and thus become more “sensitive and responsive” to the fragile shells of this metastable world where life forms other than our own intersect their paths? What kind of map is an earthly map