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时间：9月2日（周六） 14:00-16:00

地点：艺仓美术馆1楼，浦东新区滨江大道4777号（浦电路浦明路交叉口，地铁四号线塘桥地铁站出站步行15分钟）

主讲人：白龙（ Andrea Baldini ） 南京大学艺术研究院副教授

语言：英语（现场中文翻译）

Time：2017.9.2（Saturday） 14:00p.m-16:00p.m

Address：The 1st  floor Modern Art Museum Shanghai，No.4777,  Binjiang Avenue (the cross road of Puming Road and Pudian Road, Metro line 4 to Tangqiao station and 15 min walking)

Speaker：Andrea Baldini （Associate Professor of Art Institute of Nanjing University）

Language：English（with Chinese translation）

       主讲内容：基里科和莫兰迪在他们各自的艺术生涯中都曾是形而上绘画（Pittura Metafisica）的拥护者，也是这一艺术风格的杰出代表，在20世纪初对西方艺术产生了深刻的影响。而形而上绘画对当代艺术的发展，包括历史先锋派，超现实主义和概念艺术的影响远比我们想象得更为深远。什么是形而上绘画呢？这个讲座给出了一个答案，因为它阐明了形而上绘画这一艺术风格，与西方艺术核心概念以及艺术哲学之间的关系。如果说柏拉图艺术是对自然世界的描摹（mimesis），那么基里科和莫兰迪的绘画就是为了创造一个全新的、更为真实的现实世界。

古代石膏像与塑胶手套，60×50

贝尔加莫现代与当代美术馆

        在《理想国》中，柏拉图提出了他最有名的艺术理论。对于这位雅典哲学家来说，艺术只是对自然事物，如景观，动物，人类等等的一种模仿。由于柏拉图主张“现实是理念的映射“，艺术被一而再地从真理中剥离出来。比如说在他看来，一张床的画是对床的这个概念二次模仿。这就说明柏拉图拒绝艺术的欺骗性，而这一观点对西方艺术理论和艺术实践产生了极其深远的影响；纵观整部艺术史，在很多西方艺术家眼中，对大自然的精准描绘成为了艺术创作的终极目标。直到19世纪末，艺术家们开始质疑：艺术和模仿现实之间的联系是否具有必要性；比如抽象绘画以及杜尚的挑衅都撼动了这一长久以来的固有思想。通过以上对艺术史发展的描述，我们就更能理解形而上绘画艺术所承载的深刻意义。

令人不安的缪斯，97×66

马切拉塔克力玛基金会

        形而上学一词揭示了基里科和莫兰迪他们所寻找的转变。形而上学是一个哲学概念，隶属于那些用于定义存在的根本成分的学科；它的目的是探索存在的本质。形而上绘画独创了一套哲学范式，是对西方主流哲学观点的变革。在受尼采和叔本华著作的影响下，基里科和莫兰迪呈现了一个新的世界，其中包含着更深层次的智慧：有一种预言隐藏在现实世界和思想逻辑背后。那是一个与人类无关的世界，以事物存在的根本为基础。这个静默却有形的世界向我们解开了一个大家都需要面对的谜题：人的生命没有终极的意义。我们来到这个世界的唯一目的只是死亡，而且我们并不会得到来自更高精神力量的关怀，只能默认接受这种的矛盾生存状态。形而上绘画就是在试图表达这种不可改变的事实。

Lecture content：At a moment in their respective artistic carreers, both Giorgio De Chirico and Giorgio Morandi adhered to Pittura Metafisica (metaphysical painting). They were two exponents of this artistic style, which had a profound impact on Western art at the turn of the 20^th century. The influence that Pittura Metafisica had on later developments of contemporary art, including historical avant-garde, surrealism, and conceptual art, is more far reaching than commonly acknowledged. But what is Pittura Metafisica? This lecture addresses this question. It proposes an answer by illuminating the relationship between this style and key notions of Western art theory and philosophy of art. Whereas since Plato art has been generally seen as an imitation (mimesis) of nature, with their paintings, De Chirico and Morandi aimed at creating a new and more authentic (way of seeing) reality.

Piazza d'Italia con statua di Cavour, 1974, olio su tela, 50x60

In the Republic, Plato offered the most famous version of his theory of art. For the Athenian philosopher, art is a mere imitation of natural objects, that is, of things that we find in the world: landscapes, animals, humans, and so on. Since Plato considers empirical reality as modelled on the world of Ideas, art is two times removed from the Truth. In his view, a painting of a bed is a copy of a copy: it imitates an empirical bed, which is already an imitation of the Idea of a bed. This argument grounded Plato’s dismissal of art as deceitful and, more generally, informed Western artistic theories and practices so profoundly that accuracy in naturalistic representation appeared to many as the ultimate goal of art history. Towards the end of the 19^th century, artists started to challenge what appeared as an essential link between art and imitation. Pictorial abstraction as well as Duchamp’s provocations all shook this assumption. And it is within these developments that one should understand the deeper significance of Pittura Metafisica.

Interno metafisico con sole spento, 1971, olio su tela 80x60

The term “metafisica” (metaphysics) already reveals the shift that De Chirico and Morandi were looking for. “Metafisica” is a philosophical notion identifying a subfield of the discipline dealing explicitly with the ultimate components of reality. It investigates the nature of being. Pittura Metafisica enacts a particular metaphysical conception that is alternative to the view that dominated Western philosophy. Influenced by the writings of Nietzsche and Schopenhauer, De Chirico and Morandi create a representation of a world carrying within itself the revelation of a deeper wisdom: a prophecy of those hidden meanings lying behind empirical reality and the logic of the ideas. That is a world stripped of humans, where things appear in their fundamental presence. This silent and yet tangible landscape whispers the enigma that we all need to face: human life has no ultimate significance. We come to this world with the only perspective of dying, and there is no higher consolation that a tacit acceptance of our paradoxical condition. Pittura Metafisica is an attempt to represent this inconsolable truth.

关于主讲人

About speaker

白龙（ Andrea Baldini ）是南京大学艺术研究院艺术理论与美学副教授。他来自意大利，曾在费城（美国）天普大学哲学系以Fulbright Fellow的身份学习。他在美国获得博士学位。在Joseph Margolis（天普大学），Susan Feagin（美学与艺术批评杂志的记者）和Gerald Silk（泰勒艺术学院）的指导下撰写了关于美学与哲学论文。他从2015年起担任“金陵艺术家驻地计划（Jinling Artist-in-Residence Program）”协调员，致力于促进中国和意大利的文化交流。2014年至2016年间，他作为南京大学人文与社会科学高级研究所国际博士后研究员在刊物上广泛发表了有关美学，艺术哲学和视觉文化的文章，他最近的文章发表在“Journal of Visual Culture and The Journal of Aesthetics and Art Criticism”上。白龙现在正在在撰写一本关于当代涂鸦和街头艺术丰富环境下的法律和审美判断之间关系的专著（Brill，2018）。

Andrea Baldini is Associate Professor of Art Theory and Aesthetics at the Art Institute of Nanjing University. A native of Italy, he studied as a Fulbright Fellow at the Department of Philosophy at Temple University in Philadelphia (USA). There, he obtained a Ph.D. writing a dissertation in aesthetics and philosophy of art under the guidance of Joseph Margolis (Temple University), Susan Feagin (The Journal of Aesthetics and Art Criticism), and Gerald Silk (Tyler School of Art). Since 2015, he is also the coordinator of the Jinling Artist-in-Residence Program, whose aim is to promote cultural exchange between China and Italy. From 2014 to 2016, he was International Postdoctoral Exchange Fellow at the Institute for Advanced Studies in Humanities and Social Sciences at Nanjing University. He has published extensively on issues related to aesthetics, philosophy of art, and visual culture. Recent articles appeared in the Journal of Visual Culture and The Journal of Aesthetics and Art Criticism. He is preparing a monograph (Brill, 2018) on the relationship between legal and aesthetic judgement in the context of contemporary graffiti and street art.