Billedrummet som et levende atlas i verden: En introduktion til Georges Didi-Hubermans billedpolitiske projekt og kuratoriske praksis
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Billedrummet som et levende atlas i verden : En introduktion til Georges Didi-Hubermans billedpolitiske projekt og kuratoriske praksis. / Kjær, Michael.
In: Periskop, No. 18, 29.09.2017, p. 44-62.Research output: Contribution to journal › Journal article › Research › peer-review
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TY - JOUR
T1 - Billedrummet som et levende atlas i verden
T2 - En introduktion til Georges Didi-Hubermans billedpolitiske projekt og kuratoriske praksis
AU - Kjær, Michael
PY - 2017/9/29
Y1 - 2017/9/29
N2 - The image as a living atlas in the worldAn introduction to George Didi-Huberman’s image theory project and curatorialpracticeThis article delivers both an overview of the ongoing work of art historian Georges Didi-Huberman (b. 1953) and an attempt at analyzing the incarnational conception of images that runs through Didi-Huberman’s image theory. In the Christian tradition, images are the result of an incarnational double-economy. Didi-Huberman’s early interpretations in Fra Angelico, dissemblance et figuration are central to our understanding of this incarnational economy. The visible is capable of entering our flesh; to control this incarnationalinvasion, Christian tradition has developed a reflexive capacity to read these invasions as images in acts of exegesis. This reflexive exegetical economy is pivotal for Didi-Huberman’s political position regarding our modern use and abuse of images. Confronted with Pier Paolo Pasolini’s conviction that we live in a fascistic state of emergency that blinds our senses with total illumination, Didi-Huberman insists in believing that the described reflexive double-economy is still enabling us to let the visible enter our bodies and light up the darkness of our flesh from within as images – thereby developing our imaginationand freeing us from the deadening total image that is fascism.
AB - The image as a living atlas in the worldAn introduction to George Didi-Huberman’s image theory project and curatorialpracticeThis article delivers both an overview of the ongoing work of art historian Georges Didi-Huberman (b. 1953) and an attempt at analyzing the incarnational conception of images that runs through Didi-Huberman’s image theory. In the Christian tradition, images are the result of an incarnational double-economy. Didi-Huberman’s early interpretations in Fra Angelico, dissemblance et figuration are central to our understanding of this incarnational economy. The visible is capable of entering our flesh; to control this incarnationalinvasion, Christian tradition has developed a reflexive capacity to read these invasions as images in acts of exegesis. This reflexive exegetical economy is pivotal for Didi-Huberman’s political position regarding our modern use and abuse of images. Confronted with Pier Paolo Pasolini’s conviction that we live in a fascistic state of emergency that blinds our senses with total illumination, Didi-Huberman insists in believing that the described reflexive double-economy is still enabling us to let the visible enter our bodies and light up the darkness of our flesh from within as images – thereby developing our imaginationand freeing us from the deadening total image that is fascism.
M3 - Tidsskriftartikel
SP - 44
EP - 62
JO - Periskop
JF - Periskop
SN - 0908-6919
IS - 18
ER -
ID: 182889433