Bøger af Georges Didi-Huberman

Forrenowned art historian Georges DidiHuberman, artist James Turrell is aninventor of impossible spaces and unthinkable sites, of aporias, of fables. Creator of some of the most fascinating works of the late twentieth and earlytwentyfirst century, Turrell uses as his medium the most elemental material ofsight and art: light.

En søndag i juni 2011 besøger den franske filosof og kunsthistoriker Georges Didi-Huberman den tidligere udryddelseslejr Auschwitz-Birkenau, hvor hans egne bedsteforældre blev dræbt. Han tager en række fotografier med et engangskamera og river tre strimler bark af birketræerne i udkanten af lejren. Hjemme i Paris sætter han sig for at meditere over birkebarken og billederne.Barker en essayistisk foto-fortælling, en række intime og originale refleksioner over Holocaust, vidnesbyrd, sorg og erindring. I 19 tekster og 19 fotografier kredser Didi-Huberman om umuligheden af at repræsentere eller forestille sig lejrenes lidelse —men også om nødvendigheden af at blive ved at betragte de materielle levn og rester, blive ved at se på det, der ikke kan ses.

"Originally published in French as Survivances des lucioles, copyright 2009 by Les aEditions de Minuit . . . Paris"-- Verso title page.

A look at Aby Warburg and his great work Mnemosyne Atlas.

Georges Didi-Huberman is a lecturer at the Ecole des hautes etudes en sciences sociales in Paris. He has published over 20 books on art history and philosophy including Fra Angelico: Dissemblance and Figuration (1995) and Confronting Images: Questioning the Ends of A Certain History of Art (2009). He is also the recipient of the 2015 Adorno PrizeDrew S. Burk has translated works by thinkers such as François Laruelle, Gilbert Simondon, and Fernand Deligny. He lives in Minneapolis, MN.¿

Originally published in French in 2002, examines the life and work of art historian Aby Warburg. Demonstrates the complexity and importance of Warburg's ideas, addressing broader questions regarding art historians' conceptions of time, memory, symbols, and the relationship between art and the rational and irrational forces of the psyche.

Of one-and-a-half-million photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. This book reveals that these 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.

Presents arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky.