Sensationalism and the Genealogy of Modernity, 2016
Urban modernity, a theme that does not interest cubist painters—with the exception of Delaunay, w... more Urban modernity, a theme that does not interest cubist painters—with the exception of Delaunay, who was influenced by Futurism—becomes for De Chirico, quite differently from his German contemporaries Kirchner and Grosz, the centre point for a reflection on a new aesthetics. De Chirico composes his cityscapes through a language only seemingly derived from antiquity, but in fact hiding within its forms, like an optical illusion, the potential for a revelation of a truly contemporary vision. In this sense, he distances himself from the futurists who experiment with a scientific lexicon to reinvent painterly practice but entertain its possible expression only conceptually.
1968 marks the beginning of a social, political and cultural revolution, with all of its internal... more 1968 marks the beginning of a social, political and cultural revolution, with all of its internal contradictions. It engulfs the artistic world on both sides of the Atlantic in a veritable transformation, a cathartic rebirth crystalized through the reconfiguration of traditional canons. This creative impulse refuses any artifice, assimilates contradictions, incorporates experience and imaginary worlds, restructures ideas about space and time, definitely severing the boundary between object and concept, short circuiting reality and the imaginary. Inspired by codes of common origins, minimalism, conceptual art, arte povera and land art nonetheless carry diversity in their approaches and methods; yet they coexist and coalesce, in an intricate weave of exchange and rhythmic syncronicity.
Sensationalism and the Genealogy of Modernity, 2016
Urban modernity, a theme that does not interest cubist painters—with the exception of Delaunay, w... more Urban modernity, a theme that does not interest cubist painters—with the exception of Delaunay, who was influenced by Futurism—becomes for De Chirico, quite differently from his German contemporaries Kirchner and Grosz, the centre point for a reflection on a new aesthetics. De Chirico composes his cityscapes through a language only seemingly derived from antiquity, but in fact hiding within its forms, like an optical illusion, the potential for a revelation of a truly contemporary vision. In this sense, he distances himself from the futurists who experiment with a scientific lexicon to reinvent painterly practice but entertain its possible expression only conceptually.
1968 marks the beginning of a social, political and cultural revolution, with all of its internal... more 1968 marks the beginning of a social, political and cultural revolution, with all of its internal contradictions. It engulfs the artistic world on both sides of the Atlantic in a veritable transformation, a cathartic rebirth crystalized through the reconfiguration of traditional canons. This creative impulse refuses any artifice, assimilates contradictions, incorporates experience and imaginary worlds, restructures ideas about space and time, definitely severing the boundary between object and concept, short circuiting reality and the imaginary. Inspired by codes of common origins, minimalism, conceptual art, arte povera and land art nonetheless carry diversity in their approaches and methods; yet they coexist and coalesce, in an intricate weave of exchange and rhythmic syncronicity.
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