Heidegger and the Art of His Time

• Grant number: 24/23667-5
• Support Opportunities: Scholarships in Brazil - Doctorate
• Start date: June 01, 2025
• End date: May 31, 2029
• Field of knowledge: Humanities - Philosophy
• Principal Investigator: Marco Aurélio Werle
• Grantee: Vaner Muniz Ferreira
• Host Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil

Abstract

This study proposes an investigation into Heidegger's thought in relation to modern art. To this end, it is necessary to address two key issues raised in his 1936 lecture on the artwork: first, the argument that Heidegger's archaic taste and classicist notion of art render him ill-suited to comprehend modern artistic phenomena; second, the criticism of his engagement with modern art, such as his interpretation of Van Gogh, which has been accused of yielding inconsistent results from the standpoint of historiographical and scientific knowledge about art. On one hand, he is labeled as anachronistic; on the other, he is accused of being an amateur. To respond to these challenges, this study advocates for a renewed reading of the essay The Origin of the Work of Art, which serves as the basis for much of the criticism directed at the philosopher. Supported by interpretations from other scholars, the following arguments are advanced: the essay reflects the experience of art during a time of crisis, a phenomenon also observed in other intellectuals of the same period; it does not exhibit an archaic taste for art but employs a hermeneutic approach rooted in a pre-existing and widely accepted concept of art, which serves as a shared foundation and starting point for discussions about the artistic; the essay does not aim to contribute to the historiographical-scientific perspective on art but seeks to transform the way we relate to artworks, a goal akin to other philosophical and artistic endeavors throughout history; and Heidegger maintained profound connections with modern art, not only through his engagement with artworks as "objects" of theoretical application but also through his relationships with artists such as Klee and Chillida, whose ideas inspired and influenced his own thought. The study aims to examine Heidegger's texts on art, placing him in dialogue with 20th-century artists and theorists.