AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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UNE AUTRE DAME: WHY NOTRE-DAME DIDN’T REALLY BURN

What follows is a guest post by philosopher Saul Fisher, on the recent tragedy of Notre-Dame Cathedral in Paris.

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Alan Mozes, Seine/sibility #2, 2013, reproduced with permission of the artist

The burning of the roof and spire of the cathedral of Notre-Dame de Paris on April 15 was a moving and dramatic event, variously interpreted as architectural disaster, economic loss, flashpoint for myriad heritage issues, and moment of French national unity. The cathedral has endured since medieval times: construction began in 1163 CE, the towers were completed in 1250, and figurative elements were added in the mid-14th century. From this endurance alone, it is little wonder that the cathedral captures the imagination of the French, the devout, the appreciators of architectural history, and the every Parisian visitor. Little wonder, too, then, that the fire consuming the cathedral prompted strong emotional response.

While lamenting the event’s tragic dimensions and symbolism, I find consolation, or perhaps refuge, in formalist and abstractist ways that I think about architectural objects. Continue reading


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100 PHILOSOPHERS 100 ARTWORKS 100 WORDS #67

Philosopher: C. Thi Nguyen, Utah Valley University

Artwork: Monument Against Fascism, Jochen Gerz and Esther Shalev-Gerz, 1986. As Neo-Fascism was on the rise in the city, the Municipal Council of Hamburg-Harburg commissioned this monument: a 12 meter tall steel column, clad in lead. The monument invited visitors to sign it by engraving, hammering, and pounding into its sides. The column was slowly lowered into the ground over eight years, until, in October 1993, it disappeared entirely. It gathered over 70,000 signatures. Now only the top surface of the column is visible, flush with the ground.

The column was accompanied by this text: “We invite the citizens of Harburg, and visitors to the town, to add their names here next to ours. In doing so we commit ourselves to remain vigilant. As more and more names cover this 12-metre tall lead column, it will gradually be lowered into the ground. One day it will have disappeared completely, and the site of the Harburg Monument against Fascism will be empty. In the end it is only we ourselves who can stand up against injustice.”

Esther Shalev-Gerz and Jochen Gerz, Monument Against Fascism, 1986

Monument against Fascism 1986-1993 text panelEsther Shalev-Gerz and Jochen Gerz, Monument Against Fascism, 1986 c

(photos courtesy of Esther Shalev-Gerz)

Words: What more is there to say? Every time I see these pictures and read that text, I almost cry. It is unbearably potent. Why is it so important that the monument disappear? Why is it so important that it start so bold and tall? The text says it is a call to action. The Gerzes said it was a counter-monument, against the fascistic tendencies inherent in all monuments. It refuses to honor. James Young says by vanishing, it remembers a vanished people. But there’s something more. To stand there, with that great column and all those signatures buried beneath you…

(More information and more.)