Georges Didi-Huberman

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Georges Didi-Huberman (2014)

Georges Didi-Huberman (born June 13, 1953 in Saint-Étienne , France ) is a French art historian , philosopher and university professor.

Life

After studying art history and philosophy with Louis Marin , among others , Georges Didi-Huberman has been teaching as Maître de Conférences at the Center d'Histoire et Théorie des Arts at the Paris École des Hautes Études en Sciences Sociales (EHESS) since 1990 . He has held numerous visiting professorships, namely at Johns Hopkins University , Northwestern University , University of California , Berkeley , University of Tokyo , Freie Universität Berlin and the Courtauld Institute in London. He also did research at the Académie de France (Villa Médicis) in Rome, in Florence at the Harvard University Center for Italian Renaissance Studies (Villa I Tatti) or at the National Research Center for Image Criticism (Eikones) at the University of Basel .

In 1997 Didi-Huberman curated the exhibition L'Empreinte at the Center Georges Pompidou in Paris and in 2001 the exhibition Fables du lieu at the Studio national des Artscontemporains in Tourcoing .

Georges Didi-Huberman is Honorary Member of the Leibniz Center for Literary and Cultural Research in Berlin and, since 2017, Corresponding Fellow of the British Academy .

position

In his scientific work Didi-Huberman takes a position against a mere ecphrasis by means of an iconography and an iconology of the work of art. In addition to his cultural studies , he takes a hermeneutical and phenomenological perspective: In this context, Didi-Huberman deals with the works of Aby Warburg , Walter Benjamin and Georges Bataille . In his publications, Didi-Huberman emphasizes the reflections on reception aesthetics and production aesthetics . Examples of this are the volume on the metapsychology of the image published in 1999 , the book on physical painting published in 2002 and the fall of folds (Ninfa Moderna, 2007). In addition, Didi-Huberman expands the methodology of art history and art history with his questions . He opens both to a theory and philosophy of the image, without neglecting psychological questions about art and the gaze.

No. 281 trimmed and retouched
Alberto Erreras No. 281 in its original format

In 2003 he dealt with the four photographs from the Auschwitz-Birkenau concentration camp by the Greek naval officer Alberto Errera in the book publications Images malgré tout . In it he argues that cropping these images makes them seemingly safe, erases the act of resistance and destroys the phenomenology of these images.

See also

Awards

Publications

German editions:

  • Try to see. 2018, ISBN 978-3835390904
  • The Eye of History IV. Translated by Markus Sedlaczek . Wilhelm Fink Verlag 2015, ISBN 978-3-7705-6010-3 .
  • Reassembly of the time suffered. The eye of history 2. Fink, Paderborn 2014.
  • Bark. Konstanz University Press, Paderborn 2012.
  • Survival of the fireflies. A policy of afterlife. Fink, Munich 2012.
  • When the pictures take a position. The eye of history 1. Fink, Munich 2010.
  • The afterlife of the pictures. Art history and phantom time after Aby Warburg . Suhrkamp, ​​Berlin 2010.
  • Formless resemblance. Or the happy science of the visual according to Georges Bataille . Fink, Munich 2010.
  • The man who walked in color. Diaphanes, Zurich 2009, ISBN 978-3-03734-064-6 .
  • Be skull. Diaphanes, Zurich 2008, ISBN 978-3-03734-025-7 .
  • The archive is on fire. Kadmos, Berlin 2007.
  • Pictures in spite of everything. Fink, Munich 2007.
  • Ninfa moderna. About the fall of the drapery. Diaphanes, Zurich 2006, ISBN 978-3-935300-76-6 .
  • Open Venus. Nudity, dream, cruelty. Diaphanes, Zurich 2006, ISBN 978-3-935300-63-6 .
  • Painting in person. Fink, Munich 2002.
  • Phasmes. Dumont, Munich 2001.
  • In front of a picture. Hanser, Munich 2000.
  • What we see looks at us. On the metapsychology of the image. Fink, Munich 1999, ISBN 978-3-7705-3272-8 .
  • Likeness and touch. Dumont, Munich 1999.
  • The invention of hysteria . Jean-Martin Charcot's photographic clinic . Fink, Munich 1997.
  • Fra Angelico . Dissimilarity and figuration. Fink, Munich 1995.

Web links

Individual evidence

  1. ^ Elections to the British Academy celebrate the diversity of UK research. British Academy , July 21, 2017, accessed July 21, 2017 .
  2. ↑ Georges Didi-Huberman, Images malgré tout , Les Éditions de Minuit, 2003, and also in English: Images in Spite of All: Four Photographs from Auschwitz , University of Chicago Press, 2008.
  3. ↑ Here after the English edition by Didi-Huberman: Images in Spite of All , 2008, p. 36.
  4. ↑ Véronique Sina: Represent the unrepresentable. The four photos of the Sonderkommando in transmedia use , in: Nina Heindl, Véronique Sina (ed.): Necessary inadequacy: artistic and media representations of the Holocaust . Münster: LIT, 2017, ISBN 978-3-643-13539-1 , pp. 105–126
personal data
SURNAME Didi-Huberman, Georges
BRIEF DESCRIPTION French art historian, philosopher and university professor
DATE OF BIRTH June 13, 1953
PLACE OF BIRTH Saint-Etienne