Curator ‘dials’ a series of artists and invites them to participate in a show; Art of (Aesthetic?) Education (2011), GCGCA(i)
Art of (Aesthetic?) Education
Schillerhaus Weimar, Germany
21 Jun - 22 Sep 2011
If one reads Friedrich Schiller through his Letters Upon the Aesthetic Education of Man, one will tend to think that Schiller work on aesthetics is coming out of Immanuel Kant's aesthetic, and that 'aesthetic' is the thing that lies between theory and practise, mediating them: there's theoretical reason, practical reason and there's aesthetic. However what is important to Schiller is not that there's something between theoretical and practical reason, but that art is the mode of appearance of practical reason.
Art is internal to practical reason. Art is the mode of appearance of practical reason. It is the phenomenology of practical reason. It appears as not a separate third thing between theory and practise; it's the 'appearance' of practise.
For Schiller, in his Kallias letters (his theory of beauty), beauty is the appearance of the free (or autonomous) determination of form. It is the philosophical definition of the autonomous artwork. In a way it's what Adorno is repeating when he talks about autonomous artworks as exhibiting a self-legislating law of form, in each singular case, because the law of form in the autonomous artwork is the law specific to each artwork. This is the difference between practical reason and art - the law is specific in each case, because it's self-legislated.
- Theodor Adorno
Phone Booth (Curator ‘dials’ a series of artists and invites them to participate in a show); Art of (Aesthetic?) Education (2011), GCGCA(i)
Art of (Aesthetic?) Education (2011), GCGCA(i)
