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1
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Cwiczenia z wyobrazni. Atlas. Jak uniesc swiat na wlasnych barkach Georgesa Didi-Hubermana w Museo Reina Sofia w Madrycie

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Dziewańska M.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
195-201
EN
Inspired by the Mnemosyne-Atlas method, the exhibition is an experiment composed of works belonging to different orders (paintings, photographs, documentation sketches and notes) arranged upon the basis of the principle of “affiliation by choice” (known from Warburg and Goethe). The perilous show – fragmentary, selective, concentrated on the detail and not belonging to any synthesis - became a sui generis search for that which may be described as a ”form of visual knowledge”. Formally bold, it poses a challenge both for the practice of holding exhibitions and the routine of art institutions, while for the recipients it is a specific “exercise in imagination”.
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Przekraczanie granic: Mnemosyne – pomiedzy historia sztuki a kinem

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Michaud P.-A.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
149-155
EN
The Mnemosyne Atlas stressed the intrusion of photography into the discourse of the history of art and the assumption of a place traditionally reserved for the text. The Atlas does not restrict itself to describing the migration of images in the history of representation, but reproduces them. In other words, Mnemosyne is based on a cinematic way of thinking – it uses figures not to express meanings but to yield effects. It is precisely in the cinema that we may encounter the strongest links with the Warburg undertaking.
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Snake society. fragmenty

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Macuga G., Gastelo J.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
87-90
EN
The outcome a journey taken in the footsteps of Warburg by the Polish-British artist is the film Snake Society, part of a larger project entitled I Am Become Death. We present fragments of the film’s transcription, which together with photographs comprise a photo-essay.
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Aby Warburg i narodziny kina

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Agamben G.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
148
EN
The research conducted by Warburg coincides with the birth of the cinema. That which at first glance appears to be shared by the two phenomena is the question of a presentation of motion. Warburg’s interest in the depiction of the body in motion was connected with his obsession with something that could be described as the “life of images”. He was the first to become aware of the fact that images transmitted by historical memory are not immobile but lead a peculiar life, which he called posthumous life and survival.
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Demony wojny według Warburga. Kriegskartothek

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Szerszeń T.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
29-32
EN
The reaction of Warburg to the horror and destruction of the 1914–1918 period assumed the form of an attempt at creating „war iconography” (a large collection of photographs, postcards and maps) and overcoming with their assistance images of the „demons” of war: anti-Semitism and nationalism.
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Obrazy z terytorium Indian Pueblo w Ameryce Północnej

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Warburg A.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
41-54
EN
A famous lecture given by Warburg in a mental hospital in Kreuzlingen and concerning his „initiation” trip to America.
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Burckhardt i Nietzsche

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Warburg A.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
28
EN
A fragment from the Warburg dairies on two models „clairvoyance” in German-language culture upon the threshold of modernity.
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Historia sztuki w dobie szaleństwa

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Turowski A.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
11-14
EN
History of art, as formulated by Warburg, comprised a critical reference to the beginnings of the discipline where not only the name but also the object of research and the method defined their sense and limits. Such critique was paradigmatic and questioned the epistemological foundations and methodological discourses of the “scientific” history of art. Taking into consideration this basic transformation we must become aware of the fact that due to Warburg the ”first history of art” based on an Enlightenment model was replaced by a “second history of art”, which came into being in the psychiatric clinic and on the excavation site of memory. The first emerged under the sign of the Sun, while the second turned towards the melancholy of Saturn. Its centre was the motif of the threat looming over man and the experience of a permanent crisis.
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Narracje o pewnej podróży

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Klekot E.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
60-64
EN
Presumably, if Aby Warburg had not lectured on 21 April 1923 in Kreuzlingen on Images from the Pueblo Territory in North America, the only writers interested in his trip in the South-West in 1895-1896 would have been his biographers. However, the fact that Warburg, hospitalized in Kreuzlingen sanatorium, decided that the first lecture he was going to deliver since his mental collapse in November 1918 would be based on his memories of the American trip, put the powerful interpretative machine of modern humanities into motion. Since then different narratives on his trip have appeared, based on different versions of his lecture (no one published during his life and with his consent), his diary, letters and photographs. However, the question why he had decided to delve in his American memories while preparing a lecture that was supposed to prove his mental stability remains open for speculations. One of the reasons of this choice may have been Warburg’s entanglement in his German identity, that actually had been a direct cause of his collapse only a month after the armistice of 1918.
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Sniadanie na trawie Maneta. Wzorotworcza funkcja poganskich bostw elementarnych dla nowoczesnego odczucia natury

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Warburg A.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
116-119
EN
The only completed commentary to The Mnemosyne Atlas boards.
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Bilder, Reise, Schlangenritual. Nota do dokumentów i materiałów związanych z podróżą Aby’ego Warburga do Indian Pueblo

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Mazzucco K.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
55-59
EN
Aby Warburg’s journey in late nineteenth century in Arizona and New Mexico Pueblo villages, and the influence of this experience on his theory of symbolic thought and his research methodology, are inextricably connected both with the clinical story of the scholar and the rhapsodic editorial success of his writings. The lecture Aby Warburg gave in Kreuzlingen in 1923 on Hopi Indians rituals remains the best known of Warburg writings and places his studies among the earliest contributions to modern inter-disciplinary Cultural Studies. Bibliographic notes collected in this paper trace the main editions of the Kreuzlinen lecture and some of the most important critical works on Warburg american trip, as a guideline for a correct contextualization of the work.
12
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Aby Warburg, nasz blizni

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Szerszeń T.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
5-10
EN
Georges Didi-Huberman called Warburg “our obsession”, a Dibbuk that continues to haunt us. The years-long successive work on an enormous archive – Warburg’s bequest – revealing not only an outline of never completed projects and the scale of quests but also the history of a mental illness and an amazing return to health, became entangled with interest in Warburg’s legacy, growing since the 1980s; thus at the end of the twentieth century, Warburg, little known during his lifetime, became, an emblematic figures of the contemporary humanities. This unexpected revival, ”life after life”, so well inserted into the ”phantom tic model” of history construed by him, testifies not only to the belated discovery of his opus. From the present-day view the impossibility of delineating the boundaries of the Warburg project appears to be particularly intriguing, and its open form means that writing today about his work signifies accepting that one day our hypotheses and interpretations will be modified or undermined.
13
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Maska Warburga. Studium z zakresu idolatrii

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Friedberg D.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
70-81
EN
The presented text is an attempt at a critical analysis of the American episode in Warburg’s life and associated literature, whose considerable part repeats the same information and motifs; almost all publications represent an uncritical approach. Warburg has been rendered the object of idolatry as a pioneering example of combining the history of art and anthropology. His example is an excellent lesson on the dangers lurking in the meeting point of the history of art and anthropology: it calls for a less hagiographic approach on the part of the reader and more caution.
14
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Siedem skór węża. Oraibi, Kreuzlingen i z powrotem: stacje na drodze ku światłu

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Raulff U.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
65-69
EN
What was it that Warburg found so fascinating in the figure of the snake, and what granted it incomparable power – the power of semantic change? Apparently, it is due to the possibility of changing its meaning that the snake is capable of the very process of creating a symbol. Hence it is not an unambiguously defined figure but precisely a symbol of ambivalence.
15
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Posmiertne zycie. Medycejskie intermezza z 1589 roku

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Olechnowicz E.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
216-221
EN
The 29 years-old Warburg wrote a text about the Medici intermezza from 1589, regarding them as intermediate forms between life and art. An analysis of iconography, predominantly costumes and props, guided Warburg towards traces of the posthumous life of antiquity.
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Wstęp do politycznej analizy Atlasu Mnemosyne Aby’ego Warburga

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Leśniak A.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
156-161
EN
The unnamed science proposed by Aby Warburg is an intellectual project within whose range images are treated as complex cultural phenomena. The Mnemosyne Atlas, its most radical fragment, is critically valuable not only vis a vis the limits of the history of art as a discipline but also the hierarchy that defines visual art. For this reason, there exists a need for a political analysis of the Atlas that would take into consideration the significance of the ”moment of the new exchange” programmed by Warburg on the modern scene of the visual.
17
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Atlas Mnemosyne jako montaz

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Didi-Huberman G.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
143-147
EN
Mnemosyne is an avant-garde object since it dares to reconstruct a historicist album of recollections about the “impact of antiquity”, replacing it with a wandering album of memories modelled on the unconscious, full of diverse images, imbued with anachronic and ancient elements and suffused with the blackness of a backdrop in which life plays the part of an empty space, a missing link, a gap in the memory. The original model of the Mnemosyne Atlas should thus be sought in the very structure of the objects appearing in it, which become analytically “disassembled” and “assembled anew”.
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Sejsmografie

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Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
27
EN
Two fragments concerning Seismographs (Burckhardt, Nietzsche, Warburg), sensitive to motions concealed for the contemporaries and the transferences to which culture has been subjected.
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Warburg i wąż

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Rutkowski K.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
15-26
EN
This literary-biographical-philosophical passage shows Warburg as a borderline figure constantly crossing the boundaries between “science“, “art“ and “life“, torn between Apollo and Dionysius, between pagan antiquity and modernity, between health and mental illness....
20
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Mnemosyne: Bilderdemonstration, Bilderreihen, Bilderatlas. Chronologiczna prezentacja dokumentow zwiazanych z Atlasem Warburga

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Mazzucco K.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 2-3(293-294)
120-142
EN
With the name Mnemosyne we can identify a great project by Aby Warburg, which includes the collection and systematization of his library, devoted to the mother of the Muses, his last unfinished book, the Atlas, and also documents that testify a praxis of Warburg research methodology, the exhibition. This paper collects critical considerations on these issues and proposes an inedited chronology of documentary photographs exhibitions – Bilderreihen and Bilderdemonstrationen – by the Kulturwissenschaftliche Bibliothek Warburg and of the preparatory stages of the Mnemosyne book.
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