Sculpture and the Sense of Place

Jakob Due Lorentzen 1
  • 1 Aarhus University, , Aarhus, Denmark

Abstract

This article proposes a direction—inspired by a reading of Heidegger’s reflections on sculpture— in which thinking enriched by artistic experience can unfold an alternative mode of being-in-the-world. Heidegger points out that, in contrast to a scientific understanding of space as an empty container, the special character of space in sculpture is characterized by a clearing-away (Räumen), which presupposes and points to an open, receptive attitude toward experience that is necessary for dwelling to take place. From Heidegger this article proceeds to reflect on artworks by Eduardo Chillida and Janet Echelman. These offer concrete examples of how a thinking of sculpture can apply to different notions of place. While Chillida’s sculptures present a sense of place as rooted and embedded in the landscape, Echelman’s artworks explore an expanded notion of place through a multisensory sense of immersion. Applying Heidegger’s meditations on Räumen, it turns out that the differences between these artworks are of greatest significance in illustrating the breadth of the experiential space that they share: an openness to dwelling and a receptivity toward being-in-the-world. In this way, Heidegger’s reflections on sculpture are unfolded in a contemporary context and the potential of sculpture for a thinking of experience is established.

If the inline PDF is not rendering correctly, you can download the PDF file here.

  • Böhme, Gernot. “Atmosphere as the Fundamental Concept of a New Aesthetics”. Thesis Eleven. Number 36 (1993), 113-126.

  • Crowther, Paul. “Space, Place, and Sculpture: Working with Heidegger”. Continental Philosophy Review 40, 2007, 151-170.

  • Echelman, Janet. www.echelman.com. Accessed 24 Apr. 2019.

  • Gadamer, Hans-Georg. Wahrheit und Methode. Tübingen: J. C. B. Mohr (Paul Siebeck), 1990.

  • Heidegger, Martin. “Art and Space.” In Rethinking Architecture: A Reader in Cultural Theory, edited by Neil Leach, 121-124. New York: Routledge, 1997.

  • Heidegger, Martin. Being and Time. Transl. Joan Stambaugh. Albany: State University of New York Press, 2010.

  • Heidegger, Martin. Bemerkungen zu Kunst–Plastik–Raum, (Remarks on Art–Sculpture–Space). Edited by Hermann Heidegger. St. Gallen: Erker Verlag, 1996.

  • Heidegger, Martin. Die Kunst und der Raum. Frankfurt am Main: Vittorio Klostermann, 2007.

  • Heidegger, Martin. Sein und Zeit. 17th ed. Tübingen: Max Neimeyer Verlag, 1993.

  • Heidegger, Martin.. “The End of Philosophy and the Task of Thinking”. In Basic Writings, edited by David Farrell Krell. New York: HarperCollins, 1993.

  • Heidegger, Martin. “The Question Concerning Technology”. In Basic Writings, edited by David Farrell Krell. New York: HarperCollins, 1993.

  • Heidegger, Martin. “The Origin of the Work of Art”. In Poetry, Language, Thought. Trans. Hofstadter, Albert. New York: Harper & Row, 1975.

  • Malpas, Jeff E. Heidegger’s Topology: Being, Place, World. Cambridge: MIT Press, 2008.

  • Mitchell, Andrew J. Heidegger Among the Sculptors. Stanford: Stanford University Press, 2010.

  • Mitchell, Andrew J. The Fourfold. Evanston: Northwestern University Press, 2015.

  • Slimbach, Guido. “Zusammenspiel von Masse und Leere”. In Eduardo Chillida. Architekt der Leere. Edited by Alexander Klar. Köln: Verlag der Buchhandlung Walther König, 2018.

  • Volboudt, Pierre. Eduardo Chillida. London: Thames and Hudson, 1967.

OPEN ACCESS

Journal + Issues

Open Philosophy is an international Open Access, peer-reviewed academic journal covering all areas of philosophy. The objective of Open Philosophy is to foster free exchange of ideas and provide an appropriate platform for presenting, discussing and disseminating new concepts, current trends, theoretical developments and research findings related to the broadest philosophical spectrum.

Search