•  158
    From Trust to Body. Artspace, Prestige, Sensitivity
    In Felice Masi & Maria Catena (eds.), The Changing Faces of Space, Springer Verlag. pp. 277-288. 2017.
    What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic…Read more
  •  7
    Only noise if you can see. Spazi vuoti e luoghi dell'arte
    Lebenswelt: Aesthetics and Philosophy of Experience 4 176-192. 2014.
    What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called art without any artefact at all? In…Read more
  •  19
    Ruines à l’œuvre
    Nouvelle Revue D’Esthétique 21 (1): 121. 2018.
    The Seven Heavenly Palaces were created by Anselm Kiefer to inaugurate the HangarBicocca in Milan in 2004, and, after an intervention on the site in 2008, were transferred, preserved and repaired, finally relocated differently for a new and definitive exhibition, with some paintings, in 2015. Erected around prefabricated containers, these monumental ruins in reinforced concrete, are in fact assembled, reconstructed and restored ruins, nonarchitectural and metaphorical buildings with a mass of co…Read more
  •  364
    Only noise if you can see
    Lebenswelt. Aesthetics and Philosophy of Experience 1 (4). 2014.
    What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called art without any artefact at all? In…Read more
  •  176
    Azul pintado de azul. Leyendas de artistas sin obras
    Boletín de Arte (38): 35-44. 2017.
    En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, nace el Nouveau Realisme y la voluntad artístic…Read more
  •  118
    “La ‘modernidad’ a través de la imagen de la comida y la digestión”. Ésta es la tarea y el programa de la genealogía fisiológica y psicológica identificada con claridad por Nietzsche en un fragmento del otoño de 1888 y firmemente perseguida en toda su obra. El diagnóstico es implacable y es posible por un uso extendido de la metáfora gastronómica, aplicada a todos los campos de la experiencia y el lenguaje por una escritura temeraria de la historia. Como Valéry y Péguy también lo ilustran, la ex…Read more
  •  192
    Anti-mémoires. Noms, reflets et écritures
    IMAGES RE-VUES 5 1-32. 2016.
    Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington really embodies the beauty of his meaning. For him, the Memorial’s “internal beauty” is felt and read because she is built as a text by the rhetoric of enthymeme, as a syllogism based on some tacit knowledges and highly probables communplaces. However, the relationship to the Kant’s pulchritudo adhaerens and philosophy of architecture is not an easy one : Danto rejects as unreadable the self-referent formalism of Greenb…Read more
  •  90
    Je est un autre. Mimicries in nature, art and society
    with Paolo Conte and Michel Weemans
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2): 3-6. 2016.
    Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, …Read more
  •  280
    Faits et valeurs en esthétique: approches et enjeux actuels
    with Jacinto Lageira, Barbara Formis, and Evangelos Athanassopoulos
    Nouvelle Revue d'Esthétique 2 (18): 5-9. 2016.
    Inspired by the text entitled The Collapse of the Fact/Value Dichotomy and Other Essays (2004) of Hilary Putnam, the volume focuses on the theory and practice of knowledge, but one can legitimately extend it to other fields, most especially in aesthetics. Certain observable features in the fields of aesthetics, practice and artistic creation show that old evaluation criteria may now be obsolete. This is because upon further consideration, the definition of value remains opaque : should the artwo…Read more
  • Le tableau vivant, Bernard Vouilloux; Publisher - Flammarion; ISBN - 978-2080126948Le geste, Bernard Vouilloux; Publisher - LETTRE VOLEE; ISBN - 978-2873171605
  •  25
    L’origine, la ferita
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2): 99-115. 2015.
    Shutter Island is a much-criticized and highly debated film. Scorsese, in fact, has been accused of distorting the facts and altering his historical sources. The depictions we see of the Holocaust are false, not based on visual documents, a mix of incompatible evidences and iconographies, an amalgam of irreconcilable informations and representations. The director has created a visual style and a sound design that vacillate between thriller and horror, drama and fantasy, while betraying the media…Read more
  •  290
    Editoriale–Etichettare/descrivere/mostrare
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2): 2-7. 2011.
    “Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, and different ways of para-textual activation, e…Read more
  •  1
    Ninfa moderna : Essai sur le drapé tombé, Georges Didi-Huberman; Publisher - Gallimard; ISBN - 978-2070763757L'image survivante: Histoire de l'art et temps des fantômes selon Aby Warburg, Georges Didi-Huberman; Publisher - Éditions de Minuit; ISBN - 9782707317728
  • BERNARD VOUILLOUX, L’oeuvre en souffrance. Belin 2004 BERNARD VOUILLOUX, Tableaux d’auteurs. P.U.V. 2004
  •  119
    Lo sguardo a picco: Sul sublime in Filostrato
    Studi di Estetica 26 147-170. 2002.
    This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in a gallery in Naples.…Read more
  •  68
    Editoriale–L'estetica all 'opera. Focus Genette'
    with Pierre-Henry Frangne
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (1). 2011.
    In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genet…Read more
  •  274
    Cose debitrici. Credenze, atmosfere, arte
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2): 137-174. 2011.
    What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definiti…Read more
  •  10
    « The destiny of Art—a revenant». « The object of Art might be to seek to eliminate the necessity of the object ». This book’s theme and method stand halfway between these two assertions—the first by the German romantic poet Novalis, the second by the Californian post-minimalist artists Robert Irwin and James Turrell about a research program on art and technology in the late 1960s. Neither of these statements declares that art is dead. On the contrary, they announce that art is not yet present, …Read more
  •  23
    Foreword
    with Pietro Conte and Michel Weemans
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2): 3-6. 2016.
    Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, …Read more
  •  328
    L'art désœuvré, modes d'emploi. Entre esthétique et théorie de la restauration
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (1): 52-72. 2011.
    In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genet…Read more
  •  281
    Dal mondo dell'arte al regno delle ombre (e ritorno). Arthur Danto, Maya Lin e la bellezza interna
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 3 (2). 2010.
    Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ ref…Read more
  •  594
    What is at stake in this counterintuitive reappraisal of such different authors as Claudel, Valéry and Nietzsche is not a poietics of artistic techniques and processes but their style of sensorial and sensitive subjectivation as such. The aim is not a comparative philosophy of art but a genealogy of aesthetic experience. The three authors here considered differ widely in terms of their worldviews and cultural backgrounds. However, they share a similar radical critical view of the Modern and its …Read more
  • Giuseppe Di Giacomo Introduzione a Klee Laterza 2003 (review)
    Studi di Estetica 30. 2004.