By John Baldacchino (auth.), John Baldacchino (eds.)
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Additional resources for Art’s Way Out: Exit Pedagogy and the Cultural Condition
It strikes the viewer with its naïve language. Where does it stand in terms of its forebears and contemporaries? And why should it fare with any other artwork? Yet the questions that it raises are not coterminous with the questionability raised from that of its context—be it art-historical or stylistic. Somehow the questions it raises are reassuring, if it were viewed through the chiasmus by which one could see how the questionability of Le Douanier’s art necessitates the questioning by which art cannot be questioned.
Here the metaphysical and the pragmatic come to signify each other in curious ways. What is defined as metaphysical must be read from how we choose to understand the world as a repository of things—as pragmata—of which we constantly try to make sense. By saying that the world is a repository of things, one means that the world is all we have and all that we know. In other words, the world is every thing. This everything would include external forms that we attribute to the presumed immanence by which we seek to imbue the world.
Both De Chirico and Carrà seem to suggest that the modern emerges from what is strange by dint of childhood’s familiarity. To do art is to reposition the enigma at the centre of interpretation, just like a child feigning to shoot a toy gun, dressing a doll or playing with a marionette. But here we are also confronted by the question of our own position in history: whether (nor not) we see ourselves as the Children of Modernity. If indeed we are the Children of Modernity, we are faced with the task to define, or at least approximate, what this could mean.
Art’s Way Out: Exit Pedagogy and the Cultural Condition by John Baldacchino (auth.), John Baldacchino (eds.)