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By John Baldacchino (auth.), John Baldacchino (eds.)
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Extra resources for Art’s Way Out: Exit Pedagogy and the Cultural Condition
In a child’s hand, a marionette might well signify the play of semblance; the same semblance by which, after Schiller, we allow ourselves to think of learning as an aesthetic moment where we play truth with goodness. ” (1967, Letter XV, §4, p. 103) Beyond any aspiration of a complete human nature, which prima facie seems to regale play with a comforting role, one wonders whether this marionette is a play on another kind of semblance; a referent of another mimetic order that lines up childhood with adulthood, where the marionette comes to represent the adult whom the child would one day become.
These toys are as awkward as the girl’s trumpet and doll’s house in Antigrazioso. There is always a feeling that our gazing at these works is turned on us and it belongs to another gaze, by which we are being seen. As viewers that are in turn being viewed, we exchange roles with the work and become its subject. We go on stage and the image takes the role of an audience looking at us. We are expected to take delight in semblance and play. Our roles alter just as the image of a child alters the way we see the world.
Dalí 1986, 1993) To inhabit De Chirico’s space is to inhabit one’s own space. This becomes clearer when we talk of childhood. The childhood of the man and what inhabits the brain as memory is a space that has been inhabited by us as human beings, and more importantly as individuals with a story to tell. Childhood is not a dream but a memory. And because childhood is memorial it allows for segments of interpretations by way of inhabiting it as a familiar space. Childhood and its “hidden” depiction in De Chirico also pertains to the enigma of life.
Art’s Way Out: Exit Pedagogy and the Cultural Condition by John Baldacchino (auth.), John Baldacchino (eds.)