| Popis: |
Eduardo Paolozzi still fascinates today for his art created by drawing upon the visual culture of his time. He mixed not only visuals fragments but also textual material, in order to explore the semantic shifts in the process of appropriation. The chapter focuses on Paolozzi’s animated films as an important body of works to clarify his approach to the poetic space between image, language, and music. On the basis of History of Nothing (1960) and Kakafon Kakkoon (1965) Stallschus analyses the relationship between the screenprints—as source material—and animation. The picture theory of Ludwig Wittgenstein, in particular, the concept of metaphor, became an important point of reference for the artist’s intermedial procedures. Stallschus points out that with his films, Paolozzi provided an artistic interpretation of Wittgenstein’s philosophy, which focuses on the dynamics and the intermediality of the image. |
