Page 205 - Masters

and arrangement of our way of representing the
world. The evolution of linguistics, psychology,
history of religions and history of art, the problems
of signs, of symbols and myths have in fact been
considered in their relationship with the methods
and principles of their various interpretations. In
this way the study of the history of art can not
be separated from any of the other humanistic
disciplines, because it is indispensable for a broader
and correct comprehension of the various fields of
human knowledge and of reality itself. If a symbol
represents one of the elements generally common
to the various disciplines then the history of art can
become not only the history of semiotics but of all
those disciplines that in the past shared the field
of signs and symbols - semantics, logic, rhetoric,
investigation, aesthetics, philosophy, ethnology,
psychoanalysis, poetics -. and of some of their
subjects named, from time to time, imitation and
beauty, education and pleasure, tropes and figures,
condensation and movement.
Through the study of the history of art, of signs
and symbols, we put forward as a possibility the
research of a plural and typological thought, which
maintains the differences without emphasizing it.
A methodological principle where the reading of
an artistic text is intended as a description and an
interpretation at the same time: a course into space
of an artistic personality. The relations between art,
literature and philosophy are a continuum: from
Ficino and Leonardo to Rilke and Rodine, to Beckett
and Bacon, up to the contemporary minimalists.
Therefore art criticism must not be a merely
structural construction (without art), but a vital,
dynamic portrait of a work where the many types,
not the many substances, are the subjects because,
otherwise, there would be established a factious
hierarchy that can not absolutely take place.
Precisely in the name of interdisciplinary we
should deeply commit ourselves to overcome the
’perception’ of artistic language that distinguishes
a creative experience, towards a broader dimension
of the imaginative production, able to maintain the
irreducible plurality of the ways of sense, by virtue
of a research which preserves a work from the
particularity of fashions and of temporal restrictions,
proposing a reading for inner courses, easily
understood by everyone.
Andrea Pagnes, curator, writer, artist (venice)
Essay published first in world of Art global art
magazine, Issue 1, volume 1

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