1,721,124 research outputs found
Iconica. L'intuizione delle immagini
No full textPubblicato postumo da Gottfried Boehm, Iconica rappresenta una concisa summa del pensiero di Max Imdahl. Confrontandosi criticamente con Panofsky e con la sua celebre proposta teorica di un’interpretazione storico-artistica fondata sui tre livelli «preiconografico», «iconografico» e «iconologico», Imdahl evidenzia la necessità di integrare questo approccio ermeneutico facendo ricorso a un quarto livello espressamente definito «iconico», tramite cui guardare alle immagini come sistemi autoreferenziali, autonomi, dotati di una propria logica e irriducibili all’ambito linguistico.Posthumously published by Gottfried Boehm, Iconic may well be considered as a concise summa of Max Imdahl’s theories and methods. Referring to Panofsky and to his idea of an art-historical understanding on three levels («pre-iconographic», «iconographic» and «iconological»), Imdahl highlights the limits of such interpretation, suggesting the necessity of overcoming it and outlining a fourth level which he calls «iconic». Basing on this approach, it becomes possible to look at images as self-referential systems, as autonomous domains endowed with a constitutive and productive power irreducible to verbal explanation
Giuseppe Maria Mazza: Ritratto del conte Pietro Ercole Fava pittore e Accademico Clementino
No full textIl volume affronta, da un lato, la fortuna del ritratto scultoreo da galleria nella Bologna dell'età barocca e, dall'altro, indaga la ritrattistica di Giuseppe Maria Mazza. In chiusura, viene proposta l'attribuzione a Mazza di un nuovo busto in terracotta, con l'ipotesi che l'effigiato sia il conte Pietro Ercole Fava, pittore e Accademico Clementino
Per un’estetica dell’illusionismo
Get PDFHyperrealism has played a key role in contemporary art since the early Sixties. After analysing the theoretical reasons lying at the core of the centuries-old blame of illusionistic artworks which stake everything on the annihilation of any difference between the image and its referent, this essay shall also show why and how what was traditionally regarded as both an intrisic and insourmontable weakness could become a highly praised, albeit problematic plus point. To achieve this goal, I will focus on a paradigmatic case study such as Duane Hanson’s Lunch Break, as well as on its reinterpretation and remediation by Sharon Lockhart.La questione dell’iperrealismo ha assunto un’importanza crescente nell’arte contemporanea a partire dai primi anni Sessanta del Novecento. Il saggio intende offrire una ricostruzione delle ragioni teoriche alla base della millenaria condanna di opere che puntano tutto sull’indistinguibilità tra immagine e realtà, mostrando come quella che è stata a lungo considerata come una loro intrinseca debolezza abbia potuto trasformarsi nel loro principale punto di forza. Per far ciò ci si concentrerà su un caso emblematico come quello di Lunch Break di Duane Hanson, nonché sulla sua rilettura (e rimediazione) da parte di Sharon Lockhart
"Una trasgressione delittuosa" : Manichini di cera e teoria della percezione
Get PDFReferring to Tadeusz Kantor’s "Dead class" and the renowned mannequins dragged along the stage by its age-old characters, this essay focuses on the material used to build them, namely wax, investigating its distinctive meaning for aesthetics as a theory of perception
«Un mulino che macina il testo». Parola e immagine nel teatro di Tadeusz Kantor
Get PDFAlla poliedrica attività di regista, pittore e ideatore di performance, Kantor ha saputo accostare, lungo tutto l’arco della sua esistenza, una compatta – seppur non certo sistematica – teoria del teatro. Il saggio si concentra su uno dei maggiori leitmotiv della riflessione kantoriana, relativo al millenario problema del rapporto tra parola e immagine, tra testo e rappresentazione, tra dramma e messa in scena
«Quand’anche l’errore sia stato smascherato…». La genesi estetica della filosofia della storia in J.G. Herder
Get PDFAdopting a morphological paradigm based on the equidistance of any art form from the concept of beauty, Herder explicitly subverts normative aesthetics and its claim to impose an everlasting canon and to measure all cultural products by the very same yardstick. Focusing on Herder’s early writings about ancient sculpture, poetry and mythology, I point out how they will later influence his philosophy of history, as it developed in works such as This too a Philosophy of History for the Formation of Humanity and Ideas for the Philosophy of History of Humanity
Not To Be "Looked At"! Reality and Unreality in Kantor's Aesthetics of Theatre.
Get PDFUniversally regarded as one of the twentieth century's most subversive pièces, the Dead Class epitomises Tadeusz Kantor's concept of what theatre (and, more generally, art) could and should be. In the attempt to eliminate all distance between the stage and the auditorium, between actors and spectators, the Polish artist reflected on how to do away with the traditional distinction between the reality of everyday life and the (alleged) unreality of theatrical performances. Staging daily and trivial objects played a crucial role in this artistic strategy. Kantor was fascinated, in particular, by the hyperrealistic dummies which seem to have more to do with Wunderkammern and fairground booths than with so-called "high" art. By focusing on the material the Dead Class mannequins are made of (namely, the wax), the article delves deep into Kantor's essays and manifestos, exploring the theoretical reasons underlying his aesthetics of theatre
Unframing/Reframing in the Contemporary Visual, Performing, and Media Arts
No full textThe issue proposes to examine the concepts of unframing
and reframing from the interdisciplinary perspective of visual
art, performance, and media studies, by following both a theoretical
and a practice-based approach. As the contributions collected demonstrate the entanglement of theory and practice becomes crucial when an attempt is made to introduce new epistemological standpoints
Un po’ più a sinistra, un po’ più a destra. Spazio e immagine nell’iconica di Max Imdahl
Get PDFIn his lifelong effort to overcome the limits of Panofsky’s iconological method, Max Imdahl tried to sketch out an «iconic understanding» which is pre-reflexive, performed below the level of conceptual and verbal explication. Under the auspices of Konrad Fiedler’s theoretical position, Imdahl opposed the Panofskian «recognizing view» with a more formalistic «seeing view», in order to gain access to a third form of vision which he called «knowing view». After outlining Imdahl’s critic of the reduced and unilateral significance of «form» and «formal composition» in Panofsky’s approach, I will clarify how far Imdahl has gone in the analysis of what should be properly defined as an authentic logic of images. Then, focusing on a paradigmatic case study, I will show the importance of the syntax of an image (i.e. the positioning of its elements on the left or on the right, underneath or above, in the back or in the front) for its semantic meaning.</p
Unheimlich : dalle figure di cera alla Uncanny Valley
Get PDFIn his pioneering History of Portraiture in Wax, Julius von Schlosser traced back the age-old history of a material which at that time seemed to be already antiquated, if not obsolete. Wax sculptures were rejected and ousted from art history because of their excessive similarity and adherence to models. One hundred years later, however, hyperrealism got its revenge with Maurizio Cattelan’s celebrated hanging children. Moving from that controversial artwork and focusing on the heated polemics over it, my paper will address the question of the well-known Unheimlichkeit of wax figures, investigated by Ernst Jentsch and Sigmund Freud in the early Twentieth Century and nowadays becoming increasingly topical thanks to the recent debate about the existence and nature of the so called Uncanny Valley
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