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Experimentieren, um zu sehen

Didi-Huberman, Georges

Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, Bd. 57 (2012), Iss. 2: S. 26–43

1 Citations (CrossRef)

Zusätzliche Informationen

Bibliografische Daten

Didi-Huberman, Georges

Cited By

  1. Handbuch Kulturphilosophie

    Klassische Positionen

    Gilbhard, Thomas

    Thoma, Heinz

    Heinz, Marion

    Maurer, Michael

    Zelle, Carsten

    Jamme, Christoph

    Sommer, Andreas Urs

    Geßner, Willfried

    Hampe, Michael

    Renz, Ursula

    Woldt, Isabella

    Richter, Cornelia

    Heidbrink, Ludger

    Langbehn, Claus

    Bermes, Christian

    Winter, Rainer

    Makropoulos, Michael

    Becker, Ralf

    Schweppenhäuser, Gerhard

    Kämpf, Heike

    Rudolph, Enno

    Schneider, Ulrich Johannes

    Lüscher, Jonas

    2012 [Citations: 0]


Our paper deals with the work of André Malraux on the illustrations for his Musée imaginaire from the point of view of visual and cognitive experimentation. This work is explicitly inspired by the Benjamin of the »technical reproducibility« and the »author as producer.« We examine the opening of the imaginary field, as it is suggested by the praxis of the art book – an album of images that is supported by a certain kind of expressivity of framing, illumination and montage – in Malraux. Through this praxis of montage, Malraux constructs the authority of his visual style and the closure of the literary field. Above all, however, we discuss critically the anti-historical and anti-political destiny of his aesthetics, which in the end is quite far from Benjamin’s, and we conclude with a comparison between two contemporary artworks, namely Malraux’ Le Musee imaginaire de la sculpture mondiale and Les Statues meurent aussi, a film by Chris Marker and Alain Resnais.