This text takes as an excuse the homonymous exhibition at the Museo de Antioquia, to address the history and political gestures in contemporary art. By addressing some curatorial approaches of the exhibition, it explores the cultural functions of the museum as a place of localization of descriptive and communicative processes about culture, and how the exhibition reveals the negative effects of these functions on cultural processes. The text highlights the presence of the artist Jorge Marín, who in his works questions (...) the influence of the notion of progress in the territory. He recovers what has been discarded by history to stage what has been rejected and repudiated. Marín's works are presented as a survival strategy that illuminates other ways of thinking about the territory of culture and questions the concept of history as a fixed representation. In this way, it highlights the importance of addressing history and political gestures in the production of contemporary art, and how the exhibition "El Jardín de los senderos que se bifurcan" and the work of Jorge Marín are examples of how art can question and subvert the hegemonic narratives of history and culture. (shrink)

The authors reflect on the conceptual slippage of the Baroque from the philosophy and history of Latin American art. They appreciate the use and appropriation of its formal and aesthetic strategies in some artists of contemporary art, from which we can think about the current historical processes of the region. -/- Keywords: Latin American Baroque, Contemporary art, appropriation, theatricalization, philosophy and art history.

The authors explore the works of a group of Colombian artists of the twentieth century who resort to the references of the Latin American pre-Hispanic world as a plastic strategy of a modern art with strong roots in their own culture. Thus, the Bachué group and the cases of Pedro Nel Gómez and Rómulo Rozo are analyzed as alternatives to the official and prevailing art, with an avant-garde tendency, from a nationalist and indigenist point of view.

En su libro Precariedad, estética y política, Vilar se pregunta por un problema que no es nuevo para el pensamiento crítico del siglo XX: la precariedad. Y llama la atención sobre la importancia de este concepto en el presente en que vivimos, como si fuera un fantasma que sobrevuela el mundo y la historia. Parece ser que la precariedad se presenta con el perfil de lo actual, como si fuera el rostro de las condiciones contemporáneas de existencia. De ahí que (...) esta sociedad que han llamado del riesgo, de la seguridad, o de control, introduzca esta categoría a partir de la sospecha de la libertad en la vida privada y pública. De ese modo, partimos de la afirmación de que nos encontramos en un contexto asociado tanto a la precariedad como a la contingencia, es decir, espacios de constante escepticismo e incertidumbre, en donde las experiencias y manifestaciones sensibles emergen como posibilidades y espacios de reflexión crítica. (shrink)

In this paper, I both propose and discuss a novel account of truthmaking. I begin by showing what truthmaking is not: it is not grounding and it is not correspondence. I then show what truthmaking is by offering an account that appeals both to grounding and what I call ‘deep correspondence’. After I present the account and show that it is an account that unifies, I put it to work by showing how it can overcome an objection to truthmaking, how (...) we can get truthmaking from correspondence, what it says about truthmaker necessitation, and how it can explain a connection between truthmaker maximalism and pluralism about truth. (shrink)

In this paper I examine the thesis regarding the end of the history of art, through which Hans Belting frames the museum as a correlate of history, understood as framing art and the role of the museum within the development of a closed and outdated philosophy of history: the phi-losophy of Hegel. On the contrary, I believe that first He-gel and later Arthur Danto not only explain the changing roles of art and the museum but also argue for the need (...) for reflection on art in modern culture. Our reconstruc-tion of this debate through the work of these authors allow us to represent, for contemporary thought, a pro-ductive analysis of the history of art and its connection with philosophy, and offers us theoretical perspectives that remain relevant for our understanding of theory, the history of art, and various institutional spheres. (shrink)

Indagar por el propósito del extenso libro Pensamiento crítico y modernidad en América Latina. Un estudio en torno al proyecto filosófico de Bolívar Echeverría, de Simón Puerta Domínguez, implica un acto de sobredeterminación. Quiero sobredeterminar la historia (die Geschichte) en una imagen estética: como un amasijo de verdades amargasy de verdaderas amarguras. Una urdimbre que se mueve y enmaraña y desenmaraña las primeras con las segundas. Esta sobredeterminación me permite pensar que la historia es impura, hecha de singularidades, precipitaciones y (...) saltos al vacío, así como de repeticiones móviles que corporalizan —agencian, dicen otros—los síntomas de la cultura no resueltos. Benjamin la llamó un campo de conflictos. Adorno la vio como la trama de lo concreto: el dolor y el sufrimiento humanos. Lo que esta imagen de la historia hace apareceres que su hechura implica todo gesto político que, atravesado por la violencia, precipita el amasijo de verdades amargasy de verdaderas amarguras (Didi-Huberman, 2020, pp. 91-93, 240-241). Parece amargo pensar que la trama humana pueda elevarse a concepto a partir de lo trágico de su praxis, que entender los gestos corporales desplegados en la vida cotidiana sea, a su vez, la exposición de precipitaciones que, muchas veces, reprimen violentamente lo diverso de la cultura. (shrink)

As it is presently employed, grounding permits grounding many things from one ground. In this paper, I show why this is a mistake by pushing for a uniqueness principle on grounding. After arguing in favor of this principle, I say something about it and kinds of grounding, discuss a similar principle, and consider its import on a formal feature of grounding, ontology, and ontological simplicity.

In Necessary Existence, Pruss and Rasmussen give an argument for a necessary being employing a modest causal principle. Here I note that, when applied to highly general and fundamental matters, the principle may well be false (or at least not so obvious).

In a 2014 paper in this journal, I put forward two objections to a version of divine simplicity I call ‘Divine Truthmaker Simplicity’. James Beebe and Timothy Pawl have come to Divine Truthmaker Simplicity’s defense. In this paper, I respond to Beebe and Pawl, consider an overlooked way of defending Divine Truthmaker Simplicity, and conclude by outlining an alternative account of God’s simplicity.

Tato studie se zabývá zobrazováním alchymie v malbách, knižních ilustracích i v architektuře v období raného novověku. Na jednotlivých příkladech obrazů či ilustrací prezentuje různé aspekty alchymistova života i jeho práce. Nezabývá se symbolickou alchymickou ikonografií, ale zaměří se především na zobrazování prostředí a vybavení alchymických dílen i osobností samotných alchymistů. Soustředí se zejména na vyobrazení zařízení alchymických laboratorií, s nimiž se lze setkat jak u renesančních malířů, tak v ilustracích alchymických rukopisů a poměrně ojediněle i v české architektuře. Poskytuje (...) také pohled na vyobrazení vzniklá v souvislosti s literární kritikou alchymie. Alchymisté byli zejména v dílech předních evropských humanistů často záměrně zesměšňováni, kritizováni a označováni za blázny a zloděje. V závěru se zabývá vybranými příklady ze žánrového umění, kde byli rovněž alchymisté zobrazováni často satiricky, ale i s určitou úctou, jako vzdělaní učenci. Výtvarné umění raného novověku nám představuje různé aspekty života alchymistů a je v dnešní době jednou z možností, jak se přiblížit porozumění jejich vědeckým aktivitám. Jak však studie ukazuje, k těmto obrazovým materiálům je třeba přistupovat kriticky. (shrink)