2018 | 13 | 56-65
Article title

Disappearing Objects in Georges Didi‑Huberman’s Curatorial Practices

Title variants
Languages of publication
In this essay, I undertake an analysis of the first exhibition curated by Didi‑ Huberman, L’Empreinte (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, instead choosing to focus on what is left alongside this process. The project in Centre Pompidou 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, formulated by Aby Warburg, and how it offers an alternative to traditional approaches to original/ copy issue.
  • Muzeum Narodowe w Warszawie
  • 1. Bourriaud N. (2002). Postproduction. Culture as a Screenplay. How Art Reprograms the World, New York: Sternberg Press.
  • 2. Didi‑Huberman G. (ed.) (1997). L’Empreinte. Paris 1997: Editions Centre Georges Pompidou.
  • 3. Didi‑Huberman G. (ed). (2010). Atlas. How to Carry the World on One’s Back? Madrid: TF Editores/Museo Nacional Centro de Arte Reina Sofia.
  • 4. Didi‑Huberman G. (2008). La ressemblance par contact. Archéologie, anachronisme et modernité de l’empreinte, Paris: Les Editions de Minuit.
  • 5. Leśniak A. (2010). Obraz płynny. Georges Didi‑Huberman i dyskurs historii sztuki. Kraków: Universitas.
  • 6. Shiff R. (1997). “L’Empreinte.” In: Artforum, p. 132–133.
  • 7. Buchloh B. (2000). Neo-Avantgarde and Culture Industry: Essays on American Art from 1955 to 1975. Cambridge: MIT Press.
  • 8. Weibel P. (2017). Museums in the Post-Industrial Mass Society: An Argument Against the Metaphysics of Presence and for the Physics of the Masses. In: Copeland M., Lovay B. (ed.). The Anti-Museum: An Anthology. London: Koenig Books.\
  • 9. Vojvodik J. (2009). “Siła dotyku: nowoczesność anachronizmu: o filozofii sztuki Georges’a Didi‑Hubermana” (“The Power of Touch – the Modernity of an Anachronism: Georges Didi‑Huberman’s Philosophy of Art”). In: Teksty drugie: teoria literatury, krytyka, interpretacja, p. 11–28.
Document Type
Publication order reference
YADDA identifier
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.