De Chirico pictured the world as a archaeological repertoire, reassembling the fragments of reality as the pieces that can be cataloged in a museum. The materials put in place, recall silent symbols, organize the “topoi” of the dead city, where the subject disappears. Transform the city into a museum here is the program simulated by painting. To implement this transformation, a set of laws must be observed:
- A parody of the myth and memory, to be celebrated in the timeless monuments
- Dissipation and cataloging form into fragments that express the loneliness of the object in front of the whole
- The replacement of the signs with the implementation of an architecture of ideas, acting on contrasting categories, by condensation of meaning, for assembly in order to recreate the world in a voluntary archeology.
That is, you do not create a museum from the true and real, as after Cezanne, but the town from the museum, as after De Chirico. The mock-up-city becomes a parody of the form, the archaeological park, cemetery meanings, ruined …
Nature, understood as an ordered Cosmos or Chaos, is in itselfincomprehensible, and asks the painter, a possible solution to the riddle of his appearance.