The sculptural work of Chillida (San Sebastian, 1924-2002) is non-figurative and characterised, in the artist's own words, by the dialogue between masses and voids of often monumental proportions, elements that he endows with conceptual unity thanks to his mastery of the laws of movement and balance. In this book Carandente, far from restricting himself to commenting on the most visible aspects of the artist's career, analyses the conceptual and technical dimensions of his activity, both the individual task of searching and perfecting and the socio-cultural context that acts as a framework to the Basque sculptor's output. Chillida is undoubtedly one of the most outstanding figures in the sculpture of the second half of the 20th century. 782 illustrations
Eduardo Chillida (1924 - 2002) is among the 20th century sculptors who have decisively contributed to the non-figurative vocabulary of sculpture and its material innovation. Along with steel, stone and concrete, he has favoured wrought iron as a material that, as he says, he subjects to a dynamic process and forcefully endows with his own vibrations till the theme has fully crystallized and space and form become inseparable. The sculptural form, which avoids identification and - in contrast to the pieces by Henry Moore - hardly even reminds us of the volume of our body, serves as an instrument to make (empty) space visible. Chillida's writings, which in this book are published for the first time, take the reader into the mental world of the sculptor, his philosophical reflections and notations on his work, all of which serve the concentration of energy found in the collection. This publication includes text written by renowned British sculptor, Tony Cragg. English text.
In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container for discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein. Filled with illustrations of works that Heidegger encountered or considered, Heidegger Among the Sculptors makes a singular contribution to the philosophy of sculpture.
A deluxe appreciation of Eduardo Chillida's public sculpture The outdoor public works of Basque sculptor Eduardo Chillida (1924-2002), which are installed in various cities around the world, are protrayed here in stunning black-and-white photography, highlighting the intensity of his monumentally scaled abstract sculptures. In most cases, the architectural, urban or landscape setting determines many elements of the sculpture, and the artist strives to relate his design to the external environment in which it is placed. Here, both the details of each sculpture and its setting are featured. Chillida: Open-Air Sculptures begins with an essay by Italian art critic Giovanni Carandente that tracks Chilida's origins and inspirations, and also analyzes his civic and social themes. The volume also features a wide selection of the artist's own writings, included on inserted pages printed on an alternative paper stock. Chilida's lucid meditations on sculpture outline his intentions and desires, bringing us closer to the work itself.
Despite his predominance in twentieth-century philosophy, no intellectual biography of Martin Heidegger has yet appeared. This account of Heidegger's personal relations, originally published in German and extensively corrected by the author for this translation, enlarges our understanding of a complex figure. A well-known art historian and an intimate friend of Heidegger's, Heinrich Wiegand Petzet provides a rich portrait of Heidegger that is part memoir, part biography, and part cultural history. By recounting chronologically a series of encounters between the two friends from their meeting in 1929 until the philosopher's death in 1976, as well as between Heidegger and other contemporaries, Petzet reveals not only new aspects of Heidegger's thought and attitudes toward the historical and intellectual events of his time but also the greater cultural and social context in which he articulated his thought.
This book focuses on a dimension of art which the philosophical tradition (from Plato to Hegel and even Adorno) has consistently overlooked, such was its commitment - explicit or implicit - to mimesis and the metaphysics of truth it presupposes. De Beistegui refers to this dimension, which unfolds outside the space that stretches between the sensible and the supersensible - the space of metaphysics itself - as the hypersensible and show how the operation of art to which it corresponds is best described as metaphorical. The movement of the book, then, is from the classical or metaphysical aesthetics of mimesis (Part One) to the aesthetics of the hypersensible and metaphor (Part Two). Against much of the history of aesthetics and the metaphysical discourse on art, he argues that the philosophical value of art doesn't consist in its ability to bridge the space between the sensible and the supersensible, or the image and the Idea, and reveal the sensible as proto-conceptual, but to open up a different sense of the sensible. His aim, then, is to shift the place and role that philosophy attributes to art.
The Place of Silence explores the poetics and politics of silence in architecture. Bringing together contributions by internationally recognized scholars in architecture and the humanities, it explores the diverse practices, affects, politics and cultural meanings of silence, silent places and silent buildings in historical and contemporary contexts. What counts as silence in specific situations is highly relative, and the term itself carries complex and varied significations which make it a revealing field of study. Chapters explore a range of themes, from the apparent 'loss of silence' in the contemporary urban world; through designed silent spaces; to the forced silences of oppression, catastrophe, or technological breakdown. The book unfolds a rich and complementary array of perspectives which address – through the lens of architecture and place – questions of sound, atmosphere, and attunement, together building a volume which will form the key scholarly resource on architecture and silence.
"This study, the first devoted primarily to the non-commercial printmaking of the period, begins with the earliest abstract prints by artists such as Edward Wadsworth and David Bomberg. Outstanding among the achievements of the 1920s and 1930s are the spare linocuts of Ben Nicholson, the striking evocations of speed and modernity by Claude Flight and Cyril Power, the adventurous blueprints of John Banting, and the Surrealist engravings of Stanley Hayter, while the 1940s and 1950s saw the monotypes of Robert Colquhoun, Alan Davie and William Gear, the etchings of Lucian Freud and Richard Hamilton, and the remarkable variety of work produced by the St. Ives group. The survey draws to a close with the experimental screenprints and lithographs of the sculptors Reg Butler, Eduardo Paolozzi, William Turnbull and Michael Sandle. Over 230 prints are discussed and illustrated, and biographies and bibliographical information given for each of the 65 artists represented". -Back cover.
Sound and statuary have had a complicated relationship in Western aesthetic thought since antiquity. Taking as its focus the sounding statue—a type of anthropocentric statue that invites the viewer to imagine sounds the statue might make—The Sculpted Ear rethinks this relationship in light of discourses on aurality emerging within the field of sound studies. Ryan McCormack argues that the sounding statue is best thought of not as an aesthetic object but as an event heard by people and subsequently conceptualized into being through acts of writing and performance. Constructing a history in which hearing plays an integral role in ideas about anthropocentric statuary, McCormack begins with the ancient sculpture of Laocoön before moving to a discussion of the early modern automaton known as Tipu’s Tiger and the statue of the Commendatore in Mozart’s Don Giovanni. Finally, he examines statues of people from the present and the past, including the singer Josephine Baker, the violinist Aleksandar Nikolov, and the actor Bob Newhart—with each case touching on some of the issues that have historically plagued the aesthetic viability of the sounding statue. McCormack convincingly demonstrates how sounding statues have served as important precursors and continuing contributors to modern ideas about the ontology of sound, technologies of sound reproduction, and performance practices blurring traditional divides between music, sculpture, and the other arts. A compelling narrative that illuminates the stories of individual sculptural objects and the audiences that hear them, this book will appeal to anyone interested in the connections between aurality and statues in the Western world, in particular scholars and students of sound studies and sensory history.
