The device, "entangled", by the painter Morandi. The canvas as an analyst.
luisa maria sguazzi
Psicologa clinica, psicoterapeuta relazionale sistemica, terapeuta della famiglia, consulente giuridica, già CTU/CTP- Artista.
The philosopher Deleuze, at a conference in Paris in 1988 presented the philosophy of Foucault as an analysis of devices. Deleuze questions himself on << “what is a device” and explains that “it is first of all one hank, a multilineage set, composed of lines of a different nature. These lines in the device do not delineate or circumscribe systems which are in themselves non-homogeneous, but follow directions, trace processes in perennial imbalance; sometimes they come closer, sometimes they move away from each other "[(G. Deleuze, What is a device ?, trad. it., Cronopio Editions, Naples, 2010)
https://elea.unisa.it:8080/jspui/bitstream/10556/1937/1/tesi_di_dottorato_M_Maiorino.pdf
The deleuzian definition can be transferred to the particular form of device: "the Morandi device". The research in the depths of Morandi's work is a real "field research" to put it in the words of Foucault. The Morandi device allows the origination of "subjectivation" lines (Lacan) as a linguistic device.
According to Deleuze's teaching, the variation of the "subjectivation" processes in Morandi's painting story allows us to analyze the folds, the edges which define the variable contours of this complex history, which proceeds by shock and crisis. Looking at a Morandi the viewer could think: "Here are some objects on a table". But Morandi's art "never deals with an o / o but always with an e / e. >> (J.David Miller, Giorgio Morandi between psychoanalysis and art criticism), which could inspire us << [... ] curiosity about the world to which we belong. There reward for this way of working it is not power but beauty >> (G. Bateson, 1972).
Over the years Foucault, Deleuze, art historians, photographers, directors, writers, psychoanalysts, architects, (<< Given that art grows above all in art. (R. Longhi) >>, have identified in the poetics of Morandi a perpetually renewed source.
In Morandi's late works, perhaps the artist reflected on the transience, the evanescence of a reality and the apparent fantasy, so the objects (side-by-side vases define the third in blue, objects on a table, metaphors of ephemeral aspects of experience) fade continuously in a vacuum, or emerge from it.
As Renato Miracco, art critic and historian, says, << forms disappear [...] and only an emotional trace appears on the canvases. It is the warmth of emotions >>. << Morandi also evokes another subjective phenomenon, central to the analysis [...] an ineffable sense of union. [...] Freud calls it "oceanic feeling" and associates it with the child's earliest experiences with his mother >> (J. David Miller).
Psicologa clinica, psicoterapeuta relazionale sistemica, terapeuta della famiglia, consulente giuridica, già CTU/CTP- Artista.
5 年Morandi made abstract paintings using bottles and vases as a formal pretext. In reality he stopped painting in those spaces. Thank you very much for your interest and sharing the topic, Brian Cornish.
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5 年Sono d’accordo, interessantissimo articolo
Psicologa clinica, psicoterapeuta relazionale sistemica, terapeuta della famiglia, consulente giuridica, già CTU/CTP- Artista.
5 年R. Barthes writes: << A work is eternal, not because it imposes a unique sense on different men, but because it suggests different senses to a single man, who always speaks the same symbolic language through a plurality of times: the work proposes , the man has >> (R. Barthes, Criticism and truth, Einaudi, Turin, 1969). Meetings and sharing are also works that leave traces on the path of being. Really thank you for your presence and your sharing. Dr. Ali Tariq.
Psicologa clinica, psicoterapeuta relazionale sistemica, terapeuta della famiglia, consulente giuridica, già CTU/CTP- Artista.
5 年As in a magic lantern, the work of Morandi, apparently eternally the same, generates reflections that are continually changing, thus the continuous reversal between the interpretation of the work and the work as an interpretation places Morandi at the center of our discourse, but simultaneously they also bring critics who worked on the artist to the center. I am very pleased to meet you here in the appreciation of the article and in the Milagros Salas-Prato sharing. I really thank you.
Psicologa clinica, psicoterapeuta relazionale sistemica, terapeuta della famiglia, consulente giuridica, già CTU/CTP- Artista.
5 年The writing by Martin Heidegger is congenial to the painting of Giorgio Morandi when he writes, in "Being and Time", 1927: <<The unveiling of tradition or the disclosure of what it "hands down", and how it transmits, can be taken as the fulfillment of a real task >> I am pleased to meet you here in the appreciation and sharing of the article, Paolo Barbier.