The purpose of these sessions is to draw a diagonal through the work of Nietzsche, taking into consideration the importance he attached to art and to the relationship between art and thought. For our starting point we take the issues that occupy him in his early work, The Birth of Tragedy – his youthful Wagnerianism, the contrast between Apollo and Dionysus, plastic arts and music, his claim for an artistic metaphysics, etc. – and others related to the same period (On Truth and Lies in a Nonmoral Sense, The Book of the Philosopher, especially the passages in which art is seen as a form of knowledge and the figure of the philosopher-artist as someone for whom ‘inventing is to know and knowing to invent’, etc.).

The second session will be devoted to the way these issues are formulated in his late works, which could be considered to culminate in the experimentalism and perspectivism embodied in The Gay Science, whose programmatic point of departure is to be found in aphorism 54.

Auditori MACBA



Miguel Morey Farré (Barcelona, 1950) is one of the most remarkable and influential philosophers of his generation, Professor Emeritus of Philosophy at the Universitat de Barcelona and renowned translator of Michel Foucault, Gilles Deleuze, Giorgio Colli and Pascal Quignard. He is the author, among other works, of Lectura de Foucault (Madrid, 1983); Camino de Santiago (Madrid, 1987); Nietzsche, una biografía (Barcelona, 1993); Deseo de ser piel roja (XXII premio Anagrama de Ensayo, Barcelona, 1994); Pequeñas doctrinas de la soledad (Mexico/Madrid, 2007); and Hotel Finisterre (Barcelona, 2011).

MACBA Public Programs
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On Nietzsche. The philosopher as artist
On Nietzsche. The philosopher as artist (1st session)
While there are ideas about psychological and emotional developmental processes held within the sculptures I make, the things themselves are actual physical explorations into thinking, feeling, communicating and relating.
Karla Black