Disappearing Objects in Georges Didi -Huberman’s Curatorial Practices
Journal Title: Annales Universitatis Pedagogicae Cracoviensis. Studia de Arte et Educatione - Year 2018, Vol 0, Issue 264
Abstract
In this essay, I undertake an analysis of the first exhibition curated by Didi -Huberman, L’Em-preinte (Imprint), which took place in Centre Pompidou in 1997. In this project, the French philosopher and art historian intentionally bypassed the usual products of artmaking, in-stead choosing to focus on what is left alongside this process. The project in Centre Pom-pidou transferred the technique of imprinting into the context of art of the 20th-century, investigating the tactile transmission of form from one surface to another. I will examine how Didi -Huberman’s attempt was influenced by the notion of survivance of forms, formu-lated by Aby Warburg, and how it offers an alternative to traditional approaches to original/copy issue
Authors and Affiliations
Hanna Doroszuk
Keywords
Related Articles
- EP ID EP577012
- DOI 10.24917/20813325.13.5
- Views 62
- Downloads 0
The network of performance art festivals as an independent art institution – a historical survey
Zarys historyczny funkcjonowania festiwali performance jako niezależnych przestrzeni sztuki Artykuł jest przeglądem historycznym festiwali sztuki performance, organizowanych od lat 60. do czasów współczesnych w wybranych...
Pomiędzy sztuką ludową, propagandą a surrealizmem. Jak widział przestrzeń publiczną Władysław Hasior
The article brings a closer look at examples of Władyslaw Hasior photo-documentary practice of objects in public spaces during communist period in Poland. The text concentrates on the sociological context, which was a ki...
Instructive Invisibility: Paradoxical Sub-Pedagogy of Janusz Orbitowski
The text focuses on Janusz Orbitowski, a Krakow-based painter of geometric abstraction, and on his teaching methods at the Academy of Fine Arts. This discussion is combined with interpretation of his works. Orbitowski’s...
Kultura wizualna jako dyskursywny element przestrzeni publicznej
Często obecność sztuki w przestrzeni publicznej redukowana jest do tzw. sztuki zaangażowanej społecznie. Sprowadza się więc ją do takich zjawisk, jak działania partycypacyjne, happenig, performans uliczny, lub do strateg...
The Private Hidden Art of Janusz Kaczorowski
Artistic practice of Janusz Kaczorowski, of which only a few traces remain in the collections of institutions and in private hands, is characterised by surprisingly high quality of intellec-tual reflection. With his atti...