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.

中文翻译：

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雕塑与地方感

摘要本文提出了一个方向-受海德格尔对雕塑的思考的启发-在其中，丰富的艺术经验可以为人们提供一种替代的生存方式。海德格尔指出，与科学地理解作为一个空容器的空间相反，雕塑中空间的特殊特征是以清除（Räumen）为特征的，它预设并指向对体验的开放，接受的态度，即居住所必需的。本文来自海德格尔，着重介绍了爱德华多·奇利达（Eduardo Chillida）和珍妮特·埃切尔曼（Janet Echelman）的作品。这些提供了有关雕塑思想如何适用于不同地点概念的具体示例。奇利达（Chillida）的雕塑呈现出根深蒂固的景观感，Echelman的作品通过多感官的沉浸感探索了场所的扩展概念。运用海德格尔对Räumen的冥想，结果发现，这些艺术品之间的差异对于说明它们共享的体验空间的广度具有最重要的意义：对居住的开放和对世界的接纳。这样，海德格尔对雕塑的思考在当代环境中得以展现，并确立了雕塑对于体验的思考的潜力。对住所的开放态度和对置身世间的接纳。这样，海德格尔对雕塑的思考在当代环境中得以展现，并确立了雕塑对于体验的思考的潜力。对住所的开放态度和对置身世间的接纳。这样，海德格尔对雕塑的思考在当代环境中得以展现，并确立了雕塑对于体验的思考的潜力。