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Introduction to Enzo Paci's Presentation at the 10th Triennial

Introduction to Enzo Paci's Presentation at the 10th Triennial Paci 11/8/02 6:52 PM Page 48 Document Introduction to Enzo Paci’s Presentation at the 10th Triennial Giovanni Anceschi Translated by John Cullars Pier Aldo Rovatti, “Che fine farà il nostro corpo? La filosofia (ancora) non lo sa,” Télema 9 (Summer 1997). Antonio Banfi’s pedagogy was an essential and innovative presence in the Italy and Milan of the 1930s. In a cultural climate marked by fascism, often drenched with provincial spiritualism and idealism, his reference to, among others, Husserl and Simmel and the concrete capacity to form an authentic philosophical school (aside from Enzo Paci, Luciano Anceschi, Remo Cantoni, Giulio Preti, etc.), and to attract a group of young intellectuals and artists (from the sculptor Lucio Fontana to the poet Vittorio Sereni), took on the value of an extraordinary turn of events and an opening. See, for example, a theoretical and militant text such as Antonio Banfi, “Per la vita dell’arte” in Corrente di vita giovanile 4 (February 1939); reprinted in Vita dell’arte: Scritti di estetica e filosofia dell’arte in Opere (Reggio Emilia: Istituto Antonio Banfi, 1988, vol. 5). For a vivid and detailed description of the context, see Isabella Amaduzzi, Io sono uno scultore: Lucio Fontana nella Milano http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Design Issues MIT Press

Introduction to Enzo Paci's Presentation at the 10th Triennial

Anceschi, Giovanni; Cullars, John
Design Issues , Volume 18 (4) – Oct 1, 2002
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Publisher
MIT Press
Copyright
© 2002 Massachusetts Institute of Technology
Subject
Document
ISSN
0747-9360
eISSN
1531-4790
DOI
10.1162/074793602320827433
Publisher site
See Article on Publisher Site

Abstract

Paci 11/8/02 6:52 PM Page 48 Document Introduction to Enzo Paci’s Presentation at the 10th Triennial Giovanni Anceschi Translated by John Cullars Pier Aldo Rovatti, “Che fine farà il nostro corpo? La filosofia (ancora) non lo sa,” Télema 9 (Summer 1997). Antonio Banfi’s pedagogy was an essential and innovative presence in the Italy and Milan of the 1930s. In a cultural climate marked by fascism, often drenched with provincial spiritualism and idealism, his reference to, among others, Husserl and Simmel and the concrete capacity to form an authentic philosophical school (aside from Enzo Paci, Luciano Anceschi, Remo Cantoni, Giulio Preti, etc.), and to attract a group of young intellectuals and artists (from the sculptor Lucio Fontana to the poet Vittorio Sereni), took on the value of an extraordinary turn of events and an opening. See, for example, a theoretical and militant text such as Antonio Banfi, “Per la vita dell’arte” in Corrente di vita giovanile 4 (February 1939); reprinted in Vita dell’arte: Scritti di estetica e filosofia dell’arte in Opere (Reggio Emilia: Istituto Antonio Banfi, 1988, vol. 5). For a vivid and detailed description of the context, see Isabella Amaduzzi, Io sono uno scultore: Lucio Fontana nella Milano

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Design Issues – MIT Press

Published: Oct 1, 2002

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