ZEITSCHRIFTENARTIKEL
Experimentieren, um zu sehen
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
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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
https://doi.org/10.1007/978-3-476-05322-0_3 [Citations: 0]
Abstract
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.