Art House Project, Naoshima, memory, history, communal memory, art, architecture, History of scholarship and learning. The humanities, AZ20-999, Literature (General), and PN1-6790
Art House Project (AHP) is an art project on the Japanese island of Naoshima in the Seto Inland Sea, run and financed by the Benesse Corporation as a part of the Benesse Art Site Naoshima project. The corporation’s aim is to support the economic and spiritual revitalisation of the archipelago through projects which combine art, architecture, nature and the history of the area. The centre of AHP is a number of old Japanese houses in the village Honmura on Naoshima, transformed into works of art by artists in cooperation with architects. Memory-related terms (such as “memory”, “history”, “communal” and “cultural memory”, tradition and heritage) appear regularly in catalogue texts and other publications on AHP, which leads to the assumption that AHP is connected to memory on several levels. Since the use of these terms is now very often in various contexts and can mark different phenomena, I will try to define the characteristics of the use of terms “memory”, “history” and “communal memory” as well as their role in the AHP. Within this I will show that these terms have a wide conceptual frame, which does not necessarily come from their theoretical definition – and that the semantically open term of memory has an important role in the wider context and goals of the Benesse Art Site Naoshima project.
language, (con)text, perception, textual works, art as idea, History of scholarship and learning. The humanities, AZ20-999, Literature (General), and PN1-6790
Anglo-Saxon conceptual practices emerging in the 1960s were not only a reaction against modernist discourse, but also the final episode in its search for self-reflection, self-criticism and inquiry into the nature and status of art. The proponents of conceptual art rejected materialist, subjective and expressive theories of the artistic medium and replaced them with idea and thinking as the key principles of art production, thereby making the linguistic, sociological, philosophical, cultural and political context of an artwork important. Ideas rising within this framework offered a form of intellectual self-reflection and at the same time proposed new concepts and possibilities for art production. In art practices of early conceptualism the idea of art was an important topic, in which art practice and art theory were closely intertwined. The relationship between words and images was in this context of paramount importance. Language was a significant trajectory in changing the role and status of art, engendering the shift from an autonomous, aesthetic art object to a textual basis of art, whereby the theory of art itself became considered an artwork. Text was no longer the interpretative support of visual code (image), explaining its meaning, but rather the constitutive element of the artwork. Conceptualism believed that art was first and foremost an intellectual activity, in which it was more important to invent new meanings than new forms. Language thus became an ideal means for turning the focus from formal analysis to the context and discursive formation of artwork.
the holy, Friedrich Hölderlin, Martin Heidegger, Ludwig Wittgenstein, language, History of scholarship and learning. The humanities, AZ20-999, Literature (General), and PN1-6790
Being is given many designations in Hölderlin’s poetry, but we will focus on the question of Being as the holy. Being as the holy bespeaks the poet in a message to which he responds by articulating the address in words. Following Heidegger’s thought that poetry (poiesis) is the essence of language and of all arts, and juxtaposing it with Wittgenstein’s view of language, we will find out that to trace the mystery of language back to its origin means placing ourselves outside of the world, passing thus into the realm of silence. Drawing an analogy between Hölderlin’s idea of the holy as the immediate and Wittgenstein’s conception of the mystical, my thesis assumes that language is precisely what poetry cannot name.