The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention (...) of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries. (shrink)

Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance.

When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, (...) because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.” To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. _Confronting Images_ also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s _Lacemaker_. (shrink)

In this text, Georges Didi-Huberman responds, in letter-form, to the critical reflections about his work formulated by Jacques Rancière in “Images Re-read: Georges Didi-Huberman’s Method.” Didi-Huberman disagrees with Rancière’s analysis that images are “passive” and that the words which accompany them are “active.” Instead, he agrees with Merleau-Ponty’s view, which postulates that any analysis of images that seeks to disentangle its elements will render the image unintelligible. In opposition to Rancière’s presentation of his work, Didi-Huberman argues that his method is (...) one of tracing the mutually entangled implications of images. Furthermore, Didi-Huberman challenges Rancière to articulate what exactly “the sensible” means when he uses the phrase “distribution of the sensible.” While Rancière distrusts the reliance on pathos and emotions when it comes to analysing images, Didi-Huberman argues that “the sensible” will always involve the body with all its pathos, emotions and gestures. (shrink)

When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, (...) because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.” To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. _Confronting Images_ also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s _Lacemaker_. (shrink)

The article presents some notes for an anthropology of the gestures of uprising [soulèvement]. It argues that, just as sounds always come out of the mouth of the demonstra- tors, images of all kinds are also brandished at the end of their arms. Based on this the article raises the question of the very notion of a desire for uprising.

Sur quels critères Malraux a-t-il bâti ses associations d'oeuvre de cultures différentes dans son "Musée imaginaire"? Une question d'actualité à l'heure où les musées mêlent oeuvres occidentales et arts primitifs ou arts contemporains et arts anciens dans une même présentation. Georges Didi-Huberman, philosophe et historien de l'art, enseigne actuellement à l'École des hautes études en sciences sociales de Paris. Avec plus d'une trentaine de livres publiés depuis 1982, il est aujourd'hui l'un des théoriciens les plus actifs dans le paysage contemporain (...) des recherches sur l'image. Les conférences de la Chaire du Louvre et le livre qui les accompagne concernent le Musée imaginaire d'André Malraux. Il s'agira d'interroger le travail d'André Malraux sur les illustrations de son Musée imaginaire, travail explicitement inspiré par le Benjamin de la "reproductibilité technique" et de "l'auteur comme producteur". On étudiera l'ouverture du champ imaginaire que suppose, chez Malraux, la pratique du livre d'art en tant qu'album d'images soutenues par une sorte d'expressivité du cadre, de la lumière et du montage. On verra comment, dans cette pratique de montage, Malraux construit l'autorité de son style visuel et la clôture de son champ littéraire. On s'interrogera surtout - de façon critique - sur le destin anti-historique et anti-politique de son esthétique, qui finit donc bien loin de celle de Benjamin. (shrink)

Que ce soit dans la vie quotidienne ou dans l'art, le geste se confronte toujours à l'œuvre dont il est la cause. Or que se passe-t-il quand le geste est œuvre? Quand œuvrer n'est plus réduit à un résultat objectif mais maintenu intact dans son état de faire? Une ouverture sur une complexité théorique du geste et de ses possibilités chorégraphiques s'affirme. Les textes réunis dans ce recueil défendent la pertinence de l'idée de geste et en décrivent la méthode: l'intempestif, (...) l'impersonnel, l'incidence. Geste à l'œuvre maintient les gestes dans leur caractère intrinsèquement pluriel: un geste se compose en effet d'une myriade de micro-gestes, d'une somme incalculable d'ajustements corporels qui viennent former imperceptiblement ce qui apparaît comme un geste. L'unité fragile de ce dernier se dissout dans une infinitude potentielle de petits gestes. Ces essais explorent ce potentiel en pratiquant le croisement de multiples, pratiques gestuelles dans le champ de l'art et de la théorie philosophique. Quand le geste est œuvre cette dernière ne disparaît pas pour autant: elle existe en tant que processus et expérience. Ainsi les différentes disciplines convoquées ici placent l'œuvre dans le geste et mettent le geste à l'œuvre. Voici donc ce qui constitue à la fois la problématique et le parti de cet ouvrage: rendre compte des gestes, de l'actualité tangible du faire et de l'identification possible entre le concept de geste et celui d'œuvre d'art. (shrink)

In this introduction to a Common Knowledge special issue on the Warburg Institute, the authors argue that the Institute remains today — as it has been, in different forms, for almost a century — one of Europe's central institutions for the study of cultural history. At once a rich and uniquely organized library, a center for doctoral and postdoctoral research, and a teaching faculty, the Institute was first envisioned by Aby Warburg, a pioneering historian of art and culture from a (...) wealthy Jewish family in Hamburg. Warburg rejected the traditional view that the classical tradition was a simple, purely rational Greek creation, inherited by modern Europe. He argued that it was as much Mesopotamian as Greek in origin, as at home in the Islamic as in the European world, and as often irrational as rational in its content — and on the basis of this rich vision he devised brilliant new interpretations of medieval and Renaissance symbols and ideas. Warburg's chosen associate Fritz Saxl put his creation on a firm institutional base, first in Hamburg and then, after a narrow escape from the Nazi regime, in London. For all the changes the Institute has undergone over the decades since then, it continues to ask the questions that Warburg was the first to raise and to build on the methods that he created. (shrink)

From his very earliest writings, art was always important for Georges Bataille. Rather than something static, art, for Bataille, always involves an experience and an exigency towards freedom and even the impossible. It was apparent from the very form of Bataille’s art review Documents, which juxtaposed heterogeneous images, texts and topics, that art was intended as an experience. Bataille found in Andalusia the kind of art that triggers an exigency, an excess or a form of ecstasy in the viewer or (...) the participant, from the paintings of Picasso to flamenco performances. Art that evokes the potency for interior uprising is given form in the various figures of fleeting spirits, such as the will-o’-the-wisp or the genie called duende, as described by Lorca in “Play and Theory of the Duende” and illustrated in Calderón’s La dama duende [The Phantom Lady]. Bataille, who was moved by a performance he had witnessed at the Moulin Rouge, compared the spirited dance of the performers to the will-o’-the-wisps, the spirits that suddenly appear to unsuspecting wanderers, luring them off their path. Born in the marshes where the dead are buried, will-o’-the-wisps flare up, evoking an exigency in whoever beholds them. Thus, the will-o’-the-wisp or the duende exemplifies the potency of images, their flaring and fading away, and their ability to move us. (shrink)

This article deals with the genesis of the Bilderatlas Mnemosyne, composed by Aby Warburg between 1927 and 1929 as a response to the Great War. His reaction to the war was both pathetic (even pathological) and epistemic (which is to say, methodological). If the history of culture amounted to a great psychomachia of the astra (concepts) and the monstra (chaos), as Warburg said, the war was for him a direct test of his theory (or Kulturwissenschaft). It should be no surprise, (...) then, that between 1914 and 1918 he should assemble a large iconographic collection of materials from and about the war. This essay compares that collection and its theoretical foundations with similar projects of Warburg's contemporaries in France and Germany (notably those of the historians Lucien Febvre and Marc Bloch). (shrink)