Fiat ars, pereat mundus: sull'arte pura come teologia dell'arte.

Polemos. Materiali di filosofia e critica sociale, 2020

This essay is the result of a reflection putting in perspective the “archeology of the work of art” in Giorgio Agamben. The central theme is the relationship between work, art and historicity starting from the paradigm of the “death of art”. That represents the culminating moment of the metaphysical destiny of art, and therefore also the reference point of a historical archeology which is able to clarify reasons that led to a dissolution of the concrete dimension of the work in contemporary art. On this horizon, the role assumed by the notion of “inoperosity” is specified. It will be shown how, far from celebrating the absence of the work, inoperosity has the task of deactivating the traditional forms of the relationship between work and art. Thus an hypothesis makes its way: that the work of art is nothing less than the manifestation of a power capable of retaining potency in the act of expressing itself. In other words, the work of art is an exemplary case of the self-contemplative state in which the power of human action finds expression.

La morte dell'arte - Da Hegel all'arte popolare, 2021

La tesi hegeliana del carattere passato dell’arte, conosciuta come morte dell’arte, è tra i temi più discussi nell’ambito della filosofia dell’arte ed è stata oggetto di svariate interpretazioni, nonché fraintendimenti e controversie. Il presente elaborato affronta la fine dell’arte nell’estetica di Hegel e attraverso le interpretazioni di alcuni autori che si sono confrontati con le manifestazioni artistiche del XX secolo, con l’obiettivo di ridefinire il ruolo dell’arte nella società. Il punto di partenza è appunto l’estetica di Hegel, con particolare attenzione alla libertà del soggetto nel passaggio dall'arte classica a quella romantica, per passare poi, nel secondo capitolo, all’interpretazione della fine dell’arte da parte del critico d’arte e filosofo Arthur Danto. Infine, nel terzo capitolo viene affrontata la prospettiva dell’estetica pragmatista con John Dewey e Richard Shusterman, comprendendo il tema dell’arte popolare, con l'esempio della cultura di strada e dei graffiti, concludendo con un breve confronto con il pensiero di Benedetto Croce e Antonio Gramsci, rappresentanti di due modi opposti di concepire l'arte: l'arte avente fine in se stessa e l'arte come strumento formativo.

Le teologie di Dante - CENTRO DANTESCO DEI FRATI MINORI CONVENTUALI RAVENNA QUADERNI DELLA SEZIONE STUDI E RICERCHE, 2015

Arte e filosofia del '900, a c. di M. G. Di Monte, V. Filamingo, E. Ludovici, Roma 2021, 2021

How can we be sure that what is presented to us as art is truly art? Is it still reasonable to look for a principled approach to such a question? It has been said that “the project of the philosophy of art as we know it is that its underlying, though not generally explicitly avowed, task has been to provide the theoretical means for establishing that the mutations issued from avant-garde practice belong to the family of art”. If so, philosophy can only ever confirm or justify and can never refute the decisions of the institutional Artworld. Nor can philosophy, on the other hand, extend consequentially these decisions to all objects possessing the same characteristics, because this would literally pulverize the artworld. Thus, philosophy of art is faced with a dilemma: either to be incoherent or to give up defining its own object. Is there a way out?

Filosofia '95 , ed. Gianni Vattimo (Bari: Laterza, 1996), pp. 7-30

2016

The paper focuses on the theory of art outlined by Giovanni Battista Montini (1897-1978) – usually known as Pope Paul VI (position held between 1963 and 1978) – investigated from an aesthetic point of view. The author refers also to less-known manuscripts outlined by G.B. Montini since the first decays of the XX century and then substantially confirmed by his subsequent speeches with the role of Archbishop of Milan (1954-1963) and later Pope. The paper allows to clarify the theoretical roots of the famous request addressed in 1964 to contemporary artists to enter into an alliance with the Church aimed at discovering the most genuine and spiritual needs of contemporary mankind. It focuses therefore not only on the Paul VI’s theory of holy art, but properly on his very conception of art and of the artists’ mission considered into a broader sense. The artist is ultimately regarded as a kind of prototype of contemporary Christian man.

Giornale Critico di Storia delle Idee, 2021

The article aims to retrace some moments of the book Nova Theoretica. Manifesto per una nuova filosofia published last June by Castelvecchi. In particular, it will be a dialogue with some of the authors of the volume in which the rigorous questioning of reality intercepts and promotes an original approach to some issues of the Western philosophical tradition (subject-object-real relation) that unfolds according to different approaches and themes but with identity of intent. Following this dialogue we will see how the stakes consist in re-inventing worn-out philosophical categories and concepts and in prospecting a new direction for philosophy and its destiny by rehabilitating its practical and theoretical exercise. Specifically, we will see how the fundamental conceptual core is linked to a double movement that binds together a sort of reductionism of the sovereignty of the subject in the interpretation of reality and, consequently, a reduction of reality and process to a datum independent from the revelation of a transcendental subject that would be the ultimate foundation of the reality. The aim is to show the topicality, the originality and the urgency of the themes treated for a new philosophy that wants to inaugurate a new beginning.

Si analizza il rapporto tra arte e religioni, delineando la nozione di sistema d'arte. Si affrontano poi in modo specifico la contestazione del sistema d'arte cristiano avvenuta negli ultimi secoli, mediante meccanismi di revivals di vario tipo. Infine si analizzano forme d'arte contemporanea che si dichiarano atee. Nel mondo contemporaneo incontriamo molta arte piena di dei e contro Dio, oppure un'arte a cui manca Dio; un'arte che tra miscredenza e non credenza non riesce a trovare la giusta misura tra il significato e la sua forma, perché il sistema d'arte esprime sempre una visione del mondo, in modo tale che tra forma e contenuto c'è sempre una relazione biunivoca.

VITA 23 la filosofia come vita pensata pensata Rivista di filosofia «War is peace. Freedom is slavery. Ignorance is strength / La guerra è pace. La libertà è schiavitù. L'ignoranza è la forza» (

2013

L’obra Veritat i Metode de Hans Georg Gadamer, que estudia el naixement de les ciencies de l’esperit, dedica la primera seccio a l’ontologia de l’obra d’art, obrint aixi una visio interessant sobre la questio del significat del concepte d’experiencia del coneixement. En tant que intent, perfectament reeixit, de definir l’art com a coneixement extra metodic de la veritat, i com experiencia plenament valida de la realitat, posa necessariament en questio els limits del concepte “d’experiencia”, tal com va ser formulat per Kant a la Critica de la Rao Pura, i com va ser despres assumit en el debat al voltant del naixement de les ciencies de l’esperit durant el segle XIX. Despres de tot, existeix, respecte al valor cognoscitiu de l’art, una especie d’exclusio, un prejudici dolent (diria el mateix Gadamer), que impedeix comprendre la realitat que hi ha fora del marc que el metode fisic-matematic de la ciencia ens concedeix. El problema ja va ser plantejat, i d’alguna manera resolt, per Hus...