Abstract

In the frame of an in-depth analysis on the fundamental motifs and main intentions of the works of Henry Maldiney, the essay focuses on the relationship between the dimensions of «limitation» and «unlimited» – the latter understood as the emergence of the «unlimited» within the very heart of a «limited» living body –, crucial for understanding Maldiney’s anti-objectivist attitude and his conception of reality as a surprise. More specifically, the author brings to the fore the concepts of «crisis», «rhythm» and «form», also with regard to the aesthetic-artistic experience, and how the rhythmic nature of a living form can ensure an approach to reality which does not overlook its nature of surprise.