By John Baldacchino (auth.), John Baldacchino (eds.)
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Extra info for Art’s Way Out: Exit Pedagogy and the Cultural Condition
What is there is not merely found. Nether is it simply, or naturally, learnt. This is where we start to operate on enigmatic rules. De Chirico and Carrà’s narratives do not allow us to rely on assumed theories of knowledge or learning. They request and prompt interpretation through the aporetic grounds of the enigma. Nothing is accepted or assumed as knowledge by being simply there. Perhaps unlike philosophical notions of metaphysics, metaphysical art claims the 34 CHILDHOOD’S GRAMMAR right to take on the enigma as the givenness of truth, and by its familiar whereabouts we find our way into it by exiting what is normally expected of it.
If we inquire of history, however far back, we find that they are the same in all races which have emerged from the slavery of animal –––––––––––––– 2 I develop this concept in Avant-Nostalgia: An Excuse to Pause (Baldacchino 2002) and in Makings of the Sea: Journey, Doubt and Nostalgia (Baldacchino 2010) particularly with regards to Salvador Dalí and Federico García Lorca. 30 CHILDHOOD’S GRAMMAR condition: delight in semblance, and a propensity to ornamentation and play (Schiller 1967, Letter XXVI, §3, pp.
Here, memory is equivalent to the construction of one’s own daily reality. By this token, the openness that the Metaphysical work of art proposes to us— as those who do art either by making or by being at sight of it, as its audience— becomes more tangible and familiar. By dint of the familiar we are also led into art as we live the everyday, almost as surrogate artists. In De Chirico’s work, the sense of the quotidian comes from his images even if the arrangement of familiar objects is often odd and appears quite surreal.