CIHA 2016 in Beijing

34th World Congress of Art History

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WIMMER, Karin
Illusion in the works of Giorgio de Chirico

Session 3 Imagination and Projection

Imagination and illusion in the works of Giorgio de Chirico


Abstract

This article deals with imagination and illusion in the works of de Chirico. First, one needs to clarify what function is served by de Chirico's pictorial space, and on what he bases his imagined world full of illusion. The question thus arises as to what philosophical purpose underlies the works of de Chirico, when compared with the aesthetic illusion of early modern art, and what role is assigned to the viewer. The starting point for my reflections on this theme is the fact that de Chirico's art is based on a vision of the dream. In this instance de Chirico draws on the philosopher Arthur Schopenhauer, when he assigns to the apparently arbitrary arrangement and association of objects and people in his works a symbolic interpretation, springing from the unconscious mind that one only becomes aware of in dreams. De Chirico created a world of dreams and the unconscious long before Andre Breton and Philippe Soupault developed their visual ideas into surrealism. In his paintings, he established a new conception of space, which was accompanied by a disjointing of time through asynchronic visual references. De Chirico's aesthetic illusion is based on Friedrich Nietzsche's earliest publication on art theory, "The Birth of Tragedy from the Spirit of Music". According to Nietzsche, the aesthetic power of music - the primal essence of everything - gave birth to a new make-believe world that arose out of illusion. Just as a dream does, it merely parades the appearance of something that is unreal - something truly nonexistent. Nietzsche progressively builds a "pyramid of unreality", with exponential steps from imagination through dream and vision to Apollonian beauty. In Nietzsche's eyes, art was the epitome of the truly nonexistent. Alongside Nietzsche, the ideas of Giacomo Leopardi were responsible for the illusion in de Chirico's art. Leopardi's most incisive aphorisms express a doctrine that truth is incompatible with the omnipotence of unreality. Truth is an evil and ought to be forgotten, a view which led Leopardi to formulate a justification for illusory depictions of the worldL'impostura, deception, is the heart and soul of social life. Everything real is void, hence only illusions are real, according to Leopardi.


WIMMER, Karin

Karin Wimmer, Dr. phil., wissenschaftliche Assistentin am Institut für Kunstgeschichte der LMU- München


Kurzprofil der Antragstellerin 


Dr.Karin Wimmer

Geburtsdatum: 19.07.1974

Geburtsort: Mühldorf am Inn, Staatsangehörigkeit: deutsch

Familienstand: verheiratet mit Prof. Dr. Oliver Englhardt, drei Kinder (geb. 2008, 2011, 2013)


Wissenschaftlicher Werdegang


seit 09.2009  wissenschaftliche Assistentin am Institut für Kunstgeschichte der LMU München

30.03.2011   Doktorin der Philosophie mit Auszeichnung, Universität Wien

28.02.2006   Magistra der Philosophie mit Auszeichnung, Universität Wien

2004              Forschungsaufenthalte in München, Rom und Florenz

2000-2005    Studium der Kunstgeschichte an der Universität Wien

2002-2003    Studium der Kunstgeschichte an der Università di Siena

 

Lehrtätigkeit und Aufgaben am Institut für Kunstgeschichte

 

seit 2010 Redaktion E-Journal Kunstgeschichte (OpenPeerReviewedJournal), LMU München

Auswahl von Lehrveranstaltungen: Winterkolleg Barney/Beuys, Surrealismus, Land Art, Minimal Art, Der weibliche Körper in der Kunst des 20. Jahrhunderts, „Food for the mind“, Arbeiten aus der Sammlung Brandhorst, Louise Bourgeois, Strukturen des Daseins: Die Zellen (Kooperation mit dem Haus der Kunst).

 

Wissenschaftsfremde Zeiten


07.2006-09.2007 Galerie Bernd Klüser, Assistenz der Geschäftsleitung

04.2006-06.2006 Kunstkammer Georg Laue, Assistenz der Geschäftsleitung

07.2005-11.2005 Pinakothek der Moderne, kuratorische Assistenz

09.1990-08.1997 Justizassistentin am Amtsgericht München

08.2005-03.2006 Max Beckmann Archiv, wissenschaftliche Mitarbeiterin

 

Auswahl Publikationen

 

Netzwerke des Exils. Künstlerische Verflechtungen, Austausch und Patronage nach 1933, Hg. Burcu Dogramaci und Karin Wimmer, Berlin 2011.

Surrealismus und Exil: Max Ernst in New York, in: „Netzwerke des Exils“, Hg. Burcu Dogramaci und Karin Wimmer, Berlin 2011, S. 375 – 395.

Friedrich Nietzsche und Giorgio de Chirico. Das Raumverständnis de Chiricos in den Jahren 1909-1915, in: „Einige werden posthum geboren": Friedrich Nietzsches Wirkungen (Nietzsche Heute), Renate Reschke und Marco Brusotti (Hg.), Berlin/Boston 2012, S. 263-279.

De Chirico und das moderne Bühnenbild, in: Kunstgeschichte. Open Peer Reviewed Journal, 2013 (urn:nbn:de:bvb:355-kuge-330-4).

From Automatic Drawing to American Abstract Art: André Masson, Jackson Pollock and Cy Twombly, in: Kunstgeschichte. Open Peer Reviewed Journal, 2015 (urn:nbn:de:bvb:355-kuge-445-1).

De Chirico. Surreale Räume, Birkach 2015.