Giorgio de Chirico’s work represents an unexpected form of classicism in early avant-garde painting. The Philosopher’s Conquest (1913 – 14), one of six in a series, combines a Mediterranean cityscape with familiar still-life objects that appear in many of the artists’s paintings, including a classical arcade, a cannon and cannonballs, a clock, chimney and a train. The stage set is an Italian piazza, virtually deserted except for the menacing, shadowy figures outside the edge of the scene. Rendered with a matter-of-fact — though intentionally crude — precision, de Chirico’s paintings seem rife with meaning but are resolutely enigmatic. Indeed, by juxtaposing incongruous objects, he sought to produce a metaphysical art, one that “resembles . . . the restlessness of myth.”
Yes, we know what else this lovely pink thing looks like. But this silicone sculpture of a hot pink cannon is part of an exhibit that includes a larger grouping of the identical sculptures (see photo below) from an exhibit at the Ankara Galeri in Turkey. From what we gather courtesy of Google Translate, the exhibit, which took place in late 2011, was called Generation of Defense. Very Nice!