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Quaderni di Venezia Arti
Volume 6 | Miscellanea | Space Oddity: Exercises in Art and Philosophy
Space Oddity: Exercises in Art and Philosophy
open access
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a cura di
- Giulia Gelmi - Università Ca’ Foscari Venezia, Italia - email
- Anastasia Kozachenko-Stravinsky - Università Ca’ Foscari Venezia, Italia - email
- Andrea Nalesso - Università Ca’ Foscari Venezia, Italia - email
Abstract
The volume includes papers presented at the 4th Postgraduate International Conference of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice (Venice, 5-7 October 2022). Our understanding of reality is filtered through myriad media, and we have the ability – and power – to gather, ignore, tweak, and explore the information needed to define what we mean by ‘reality’. The concept of ‘space’ – in its broadest sense – plays an essential role in an individual’s explanation of reality, and we must deal with a plurality of models and concepts of it. As elaborated in the text Space and Time in Art, the Russian theologian, philosopher, and art theorist Pavel Florensky states: “all culture can be interpreted as the activity of organising space”. Starting from this culturological reading, Florensky identifies three spatial “dimensions” and three corresponding genres of activity: (1) The space of our strong relations and the activity of ‘Technique’; (2) The mental space and its organisation and the activities of ‘Science’ or ‘Philosophy’; (3) The space between the previous two, and the activity of ‘Art’. Ultimately, all have the same aim: to change reality to reconstruct space. According to leading scholars and critics, the late 1980s saw a “spatial turn” take place in literary, social, and cultural studies. In 1991 Fredric Jameson theorised a shift from the paradigm of time to the paradigm of space, from modernism to postmodernism. The pandemic era has refocused investigation on the present paradigm, where Florensky’s spaces have been concentrated through cyberspace almost overnight. Through the notion of the ‘semiosphere’ – as elaborated by Juri Lotman 100 years ago – we collectively pondered the question: “should we reconsider the concept of space as a cultural category altogether?”.
Keywords Ship models • Late Middle Ages • Room • Cultural decolonialism • Louis Marin • Conflagration • Hudinilson Jr • Displaying • Heidegger • Exhibition theory • Folklore • Material culture • Space • Analogue photography • Crucifixion • Historiography • Visual semiotics • Visual identity • Early Modern Age • Venice Biennale • Ritual • Isa Genzken • Dance • Kommunalka • Transición • Enunciation • Ancient Stoicism • Skill • Kustar • Russian style • Digital archives • Drawing • Arts and crafts • Curatorial theory • Sound and audiovisual archives • Image Theory • Musical repatriation • Modernity • Home • Art • Hypercomfort • Architecture exhibition • Mies van der Rohe • Topology • John of the Cross • Architecture representations • Biennial Art • Conspicuous • Performance installation • Eline Mugaas • Visual studies • Elise Storsveen • Ephemera • Absence • Stravinsky’s family • Dwelling • Archival turn • Philosophy • Coloniality • Photography • Audience • Transparency • Bird’s-eye View • Scrapbooking • Fyodor Stravinsky • History of art • Malafouris • Scrapbook • Martha Rosler • Technology • Cultural discourse • Archival spaces • Ontology • Architecture curation • Ephemeral architecture • Orbit • Museum • Visibility • Architectural design • Igor Stravinsky • Consumption • Blind man’s stick • Nefs • Knapping • Altar • Krzysztof Wodiczko • Inflatables • National Pavilion • Cultural space • Public space • Incorporeals • Communal apartments • Place • Chile • Power • Ethnomusicology • National image • Art history • Presence • Body • Opacity • Architecture • Field • The Tupikov House • Non-human • Hauntology • Void • Landscape • Organism • Visual culture • Artist
Permalink http://doi.org/10.30687/978-88-6969-675-6 | e-ISBN 978-88-6969-675-6 | Pubblicato 21 Dicembre 2022 | Lingua en
Copyright © 2022 Giulia Gelmi, Anastasia Kozachenko-Stravinsky, Andrea Nalesso. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
