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illlumiNATIONS: Art and the Community, a Philosophical Dialogue

Saturday, October 1st, 2011 – Sala delle Colonne, Ca’ Giustinian, 3 p.m.
illlumiNATIONS: Art and the Community, a Philosophical Dialogue
Speakers: Carlo Sini and Tommaso Tuppini
 
Carlo Sini (1933) taught as a professor of theoretical philosophy at the University of Milan. A student of Enzo Paci, he was initially interested in phenomenological thought. He later explored the themes of pragmatism, of which he particularly favoured the semiotic aspects in the thought of Charles Sanders Peirce. The relationship between semiotics and hermeneutic philosophy is an important original development in Sini’s later thought. He is the author of many essays including: Introduzione alla fenomenologia come scienza (1965); Il pragmatismo americano (1972); Semiotica e filosofia (1978); Passare il segno. Semiotica, cosmologia, tecnica (1981); Il silenzio e la parola (1989); Il simbolo e l'uomo (1991); Filosofia e scrittura (1994); Scrivere il silenzio. Wittgenstein e il problema del linguaggio (1994); Teoria e pratica del foglio-mondo. La scrittura filosofica (1997); Idoli della conoscenza (2000); La scrittura e il debito. Conflitto tra culture e antropologia (2002); Il gioco del silenzio (2006). Sini is a member of the Accademia dei Lincei and of the Institut International de Philosophie in Paris.
 
Tommaso Tuppini teaches philosophy at the University of Verona. He was a visiting professor at the Università Statale in Milan (from which he graduated under Carlo Sini) and the Politecnico of Milan. He is the author of Deleuze e il cinema francese (Milan 2002, with M. Bertolini et al.), Ludwig Klages. L’immagine e la questione della distanza (Milan 2003), Kant. Sensazione, realtà, intensità (Milan 2005), Essere uno, essere due. Eros e bellezza (Verona 2009). He is currently writing a book on the thought of Jean-Luc Nancy.
 
Bice Curiger, “ILLUMInations”, text from the catalogue of the Art Biennale 2011, Marsilio Editori
“As the most important, largest, and oldest of all “inter-national” art biennials today, the Venice Biennale continues to be buoyed by a spirit that transcends all national boundaries, especially in an age when artists too have become multifaceted, keenly perceptive migrants and cultural tourists. Issues of identity and heritage have long been crucial to contemporary art, and in coming years their importance is surely bound to grow in intensity and scope. Far removed from culturally conservative constructs of “nation,” art offers the potential to explore new forms of “community” and negotiate differences and affinities that might serve as models for the future. The idea of “nations” can be taken in metaphorical relation to the community, particularly to the different art scenes in the world today, which in turn consist of smaller and larger overlapping groups, associations of people who also always act as representatives of various informal scenes with their respective milieus and mentalities. It is a “United Nations” of a different kind, following a more open interpretation and with emphasis on the possibilities of change and development”.
 
“Signs through the Fire”, dialogue between Jean-Luc Nancy and Tommaso Tuppini published in the catalogue of the Art Biennale 2011, Marsilio Editori 
Tommaso Tuppini: “ Why does national identity remain a paradigm of recognition and orientation to which we remain so devoted, despite there no longer being any correspondence between the name of the nation and the thing designed? This is an example of the unavoidable phenomenon by which language is always lagging behind the event, or is there something more significant in this singular endurance of the names of nations?”
Jean-Luc Nancy: "There is a clear contradiction between the internationalization (which we call “globalization”) of the circuits of production, trade, information, and invention in all spheres, forms and materials—and the persistence of the names of nations, which nowadays often become the claim for national identity. […]It is certainly true regarding the labeling—if I can express myself in this way—of nationality that part of the light that emanates from the work is reflected on the country. But it is also true that the term “nation” puts together and hybridizes two distinct realities. On one side there is the nation state, this political form that dates back to the Renaissance and that today (seems) to be undergoing radical transformations. On the other there is all that we are used to calling “culture” in its ethnological sense: the complex system of language, customs, symbols, forms, and tastes within which the singular nature of that which we can perhaps define a “people” develops, if this term were not altogether too restrictive. […] It is impossible for there to be only one culture. It would not have any “outside” to which it could send the message of its own idiom. It would be an “autistic” culture. Nations become autistic when they start thinking of themselves as being alone”.