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Didi-Huberman and the Image$
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Chari Larsson

Print publication date: 2020

Print ISBN-13: 9781526149268

Published to Manchester Scholarship Online: May 2021

DOI: 10.7765/9781526149275

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 24 September 2021

The empreinte

The empreinte

(p.98) 4 The empreinte
Didi-Huberman and the Image

Chari Larsson

Manchester University Press

This chapter draws attention to some of the least-translated and therefore underexplored aspects of Didi-Huberman’s project – the period that extended from the mid-1990s until 2000 and comprised an important exhibition, L’Empreinte. Curated by Didi-Huberman and Didier Semin, the exhibition was held at the Centre Pompidou in 1997 and drew together the dual strains of materiality and temporality that had distinguished his project. Didi-Huberman’s attentiveness to the material, sensible and sensual aspects of the image is foregrounded. By undermining notions pertaining to origin, authenticity and truth, the imprint allows Didi-Huberman to critique the discipline’s implicit commitment to a metaphysics of presence. Like the trace, the imprint is simultaneously not absent or present, origin or copy. This ambiguity disrupts idealist understandings of images.

Keywords:   Imprint, L’empreinte, Mould, Vasari, Wax, Jacques Derrida, Trace

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