Carlos Idrobo
University of Turku, Art History, Department Member
- Dr. Carlos Idrobo (*1979); the focus of his academic interests are topics of psychology, philosophical hermeneutics a... moreDr. Carlos Idrobo (*1979); the focus of his academic interests are topics of psychology, philosophical hermeneutics and art from the 19th-Century onwards. In 2004 he finished his Psychology studies at the Universidad del Valle (Colombia) with a diploma thesis on the Narrative Construction of Identity”. It followed in 2008 a Master of Arts in Philosophy at the Universidad de los Andes (Colombia) with a master thesis about the Heideggerian Interpretation of the Aristotelian Phrónesis. In 2017 he finished his PhD in Art History at the Universität Greifswald (Germany) with a dissertation on Absence, Time and the Motif of the Wanderer in the German art of the 19th-Century. He has taught philosophy lectures and seminars at the Universidad Minuto de Dios (Colombia) and participated in national and international conferences. Parallel to his scientific research he works as an (artistic) photographer under the name Luca Idrobo. One of the challenges of his work is bringing together Science and Art. Currently, he lives in Finland and is affiliated to the University of Turku.edit
A photo-biographical sketch of my mentor in philosophical hermeneutics, Professor Carlos B. Gutiérrez (Bogotá, Colombia), former student of Hans-Georg Gadamer and awarded with the Goethe-Medaille in 1989.
Research Interests:
""The wanderer motif played an important role during the 19th-Century German art, literature, and philosophy, mostly because of its capacity for embodiment and for connecting places, discourses, and related motifs like the summit... more
""The wanderer motif played an important role during the 19th-Century German art, literature, and philosophy, mostly because of its capacity for embodiment and for connecting places, discourses, and related motifs like the summit experience and man before a borderline situation. Both Caspar David Friedrich’s and Friedrich Nietzsche’s renditions of this figure add two unexpected aspects: the wanderer staged as a rear-view figure and as a dancer, respectively. The purpose of this paper is to confront these two seldom connections with the wandering experience and its motifs, and to show how the temporal structure of Friedrich’s rear-view figure and Nietzsche’s conception of Zarathustra as a wandering dancer are not only deeply connected with each other, but also with our own experience of time.
Das Motiv des Wanderers spielt in der Kunst, Literatur und Philosophie des 19. Jahrhunderts eine wichtige Rolle, hauptsächlich wegen seiner Fähigkeit zur Verkörperung und zur Verknüpfung von Orten, Diskursen und miteinander verwandten Motiven (wie das des Gipfelerlebnisses und das des Menschen vor einer Grenzsituation). Sowohl Caspar David Friedrich als auch Friedrich Nietzsche verleihen der Figur des Wanderers in zweierlei Hinsicht eine überraschende Wendung: Beide inszenieren sie als Rückenfigur und als Tänzer. Ziel dieses Aufsatzes ist es, diese eigentümlichen Verknüpfungen mit der Erfahrung und den Motiven des Wanderns zu konfrontieren. Auf diese Weise soll gezeigt werden, dass die zeitliche Struktur der Friedrichschen Rückenfigur und Nietzsches Inszenierung Zarathustras als eines wandernden Tänzers nicht nur eine tiefe innere Beziehung aufweisen, sondern auch eng mit unserer Erfahrung der Zeit verbunden sind.""
Das Motiv des Wanderers spielt in der Kunst, Literatur und Philosophie des 19. Jahrhunderts eine wichtige Rolle, hauptsächlich wegen seiner Fähigkeit zur Verkörperung und zur Verknüpfung von Orten, Diskursen und miteinander verwandten Motiven (wie das des Gipfelerlebnisses und das des Menschen vor einer Grenzsituation). Sowohl Caspar David Friedrich als auch Friedrich Nietzsche verleihen der Figur des Wanderers in zweierlei Hinsicht eine überraschende Wendung: Beide inszenieren sie als Rückenfigur und als Tänzer. Ziel dieses Aufsatzes ist es, diese eigentümlichen Verknüpfungen mit der Erfahrung und den Motiven des Wanderns zu konfrontieren. Auf diese Weise soll gezeigt werden, dass die zeitliche Struktur der Friedrichschen Rückenfigur und Nietzsches Inszenierung Zarathustras als eines wandernden Tänzers nicht nur eine tiefe innere Beziehung aufweisen, sondern auch eng mit unserer Erfahrung der Zeit verbunden sind.""
Research Interests:
Research Interests:
En el presente ensayo intentaré considerar un aspecto de la phrónesis aristotélica en su articulación con la experiencia de lo simbólico en algunas obras de arte que la representan. Siguiendo aquella rehabilitación de la filosofía... more
En el presente ensayo intentaré considerar un aspecto de la phrónesis aristotélica en su articulación con la experiencia de lo simbólico en algunas obras de arte que la representan. Siguiendo aquella rehabilitación de la filosofía práctica aristotélica, iniciada por Heidegger a comienzos del S. XX, Gadamer utiliza a la phrónesis aristotélica como el paradigma de un nuevo tipo de racionalidad, y a su vez, da cuenta de un tipo particular de imágenes que nos guían en el campo moral, llamadas por él Leitbilder. Mi intención es mostrar cómo estas imágenes-directrices se pueden complementar con la experiencia del arte, descubriendo así en algunas obras, como las alegorías de la prudencia de Macchietti, Vouet y Ticiano, el momento normativo que en ellas nos interpela.
Research Interests:
El presente ensayo examina los aportes generales de Gadamer a los conceptos de símbolo {Symbol} y signo {Zeichen}, partiendo desde Verdad y Método (1960) hasta desarrollos posteriores en ensayos como La actualidad de lo bello (1977). Mi... more
El presente ensayo examina los aportes generales de Gadamer a los conceptos de símbolo {Symbol} y signo {Zeichen}, partiendo desde Verdad y Método (1960) hasta desarrollos posteriores en ensayos como La actualidad de lo bello (1977). Mi objetivo es mostrar un cambio en la concepción de Gadamer sobre lo simbólico que apunta a darle un peso hermenéutico a estos conceptos estéticos y semióticos. Me interesa, en particular, encontrarle un lugar a lo simbólico dentro del marco general de la hermenéutica gadameriana y ver cómo se complementan mutuamente estos conceptos.
Research Interests:
Research Interests:
By the end of the 18th- and the beginning of the 19th-Century, some painters of two somewhat antagonist groups of artists based in Dresden and in Rome, embraced the so-called wandering motif and rediscovered the importance of walking... more
By the end of the 18th- and the beginning of the 19th-Century, some painters of two somewhat antagonist groups of artists based in Dresden and in Rome, embraced the so-called wandering motif and rediscovered the importance of walking about in shaping the perception of landscape, but in doing so, they also found themselves constructing their own cultural identity. By this time, wandering was not only a cultural symbol, but also an actual praxis among many artists and artisans, out of economic and aesthetical reasons.
For the artist colony in Rome, wandering received a public collective dimension: not only they worked, lived close by or even in the same house together, they also walked about and experienced nature together, and put these experiences in text and images, and in the process, they rediscovered pieces of their own fatherland within foreign landscapes. The artists based in Dresden, on the other hand, and despite the increasing popularity of Mediterranean landscapes, exploring the different regions of the fatherland became a means to retrieve from nature, mostly through a solitary confrontation, the necessary elements to construct a cultural identity.
By taking the examples of Carl Philipp Fohr and Caspar David Friedrich, two important figures of each of these groups, and who embraced walking both as praxis and as an aesthetic necessity, I would like to explore the role that wandering plays in the construction of identity, both personal and cultural, local and global. I will argue that the paradigm of wandering, indeed as counter-movement against the advances of technologies in mobility, not only found an expression within the imagery of both artists, hence becoming part of their artistic production and statements, but it also helps us to understand a deeper sense of belonging and identity construction that is ought to be found through the temporality of walking and contemplation.
For the artist colony in Rome, wandering received a public collective dimension: not only they worked, lived close by or even in the same house together, they also walked about and experienced nature together, and put these experiences in text and images, and in the process, they rediscovered pieces of their own fatherland within foreign landscapes. The artists based in Dresden, on the other hand, and despite the increasing popularity of Mediterranean landscapes, exploring the different regions of the fatherland became a means to retrieve from nature, mostly through a solitary confrontation, the necessary elements to construct a cultural identity.
By taking the examples of Carl Philipp Fohr and Caspar David Friedrich, two important figures of each of these groups, and who embraced walking both as praxis and as an aesthetic necessity, I would like to explore the role that wandering plays in the construction of identity, both personal and cultural, local and global. I will argue that the paradigm of wandering, indeed as counter-movement against the advances of technologies in mobility, not only found an expression within the imagery of both artists, hence becoming part of their artistic production and statements, but it also helps us to understand a deeper sense of belonging and identity construction that is ought to be found through the temporality of walking and contemplation.