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CRITICAL IMAGE CONFIGURATIONS

Georges Didi-Huberman has become a widely admired and discussed reference point across the Humanities. While much of his work has been translated into German, Italian, Spanish, Portuguese and other languages, until a few years ago only a handful of his more than fifty books had been translated into English. Recent years have seen a rapid increase in the number of English translations of his books with the addition of important works such as The Surviving Image: Phantoms of Time and Time of Phantoms: Aby Warburg’s History of Art (2016) and two volumes of his six-volume “L’Œil de l’histoire” [The Eye of History] series: When Images Take Positions (2018) and Atlas, or the Anxious Gay Science (2018). Still, these and other books translated into English, like the smaller volumes – Being a Skull (2016) and Bark (2017), among others – cover only a fraction of the vast number of topics explored by Didi-Huberman. Inspired especially by Walter Benjamin and Aby Warburg, and drawing on many other theorists from Georges Bataille to Gilles Deleuze, Didi-Huberman’s work explores how image critique can give us access to what he calls “the eye of history.” In order to see what images reveal – the traces of history, the gestures, the pathos, desires and emotions implied by images – images must be put into motion. Didi-Huberman finds such a method in the