[NetBehaviour] Georgio Morandi: Lines of Poetry.

Michael Szpakowski szpako at yahoo.com
Fri Jan 25 17:47:16 CET 2013

I love Morandi's work and I shall definitely go to see the show at the Estorick.
Morandi is an enigma - that someone who was an active member of the Italian Fascist party
could produce work that is so utterly... - if life affirming wasn't a cliche I'd say life affirming - 

utterly enchanting, humane, enriching...
I can't help thinking, though, Heidegger is a putative friend, interpreter or advocate Morandi doesn't need. 

Where Morandi is great despite his politicsHeidegger is completely and forever tainted  by 

his active andnever publicly repented membership of the Nazi party.
It strikes me there's a kind of grace here which is available to artists and not to philosophers. Ultimately 

all philosophy is a call to action or at least a framework for it. Art, on the contrary, enables even the
personally wicked or the politically vile the redemptive act of looking carefully and making something to
show us, be it painting , poem, music or whatever which makes us more deeply human.

 From: netbehaviour <netbehaviour at furtherfield.org>
To: netbehaviour at netbehaviour.org 
Sent: Wednesday, January 23, 2013 10:57 AM
Subject: [NetBehaviour] Georgio Morandi: Lines of Poetry.
Georgio Morandi: Lines of Poetry.

by Robert Jackson.

"There is a new exhibition on Georgio Morandi at the Estorick 
Collection, London, called Lines of Poetry. I’ve heard that they’ve 
brought together quite a few drawings and watercolours not previously 
seen in the UK – and more excitingly it collects all of the most 
important graphic work he did, including drawings there weren’t 
characteristically still-life.

I was never really interested in Morandi’s work, until I saw a 
conference lecture given by one of my tutors – John Chilver – on Morandi 
and Heidegger’s ‘The Thing”. I was about 22 I think, and I certainly 
wasn’t in the capacity to absorb anything about Heidegger at that point 
(it was published somewhere I believe), but I remember the oddness and 
intensity of the works. Now of course, I see clear and obvious links 
between Morandi’s strange, haunting grasp of still-life objects forever 
ungraspable and Heidegger’s own musings about the withdrawn, 
self-supporting jug."


Robert Jackson is also a writer/reviewer on Furtherfield.
His recent article is 'Algorithms and Control'
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