Tomasz Szerszeń,
Aby Warburg, Our Neighbour
Georges Didi-Huberman called Warburg „our obsession”, a Dibbuk that
continues to haunt us. The years-long successive work on an enormous
archive – Warburg’s bequest – revealing not only an outline of never
completed projects and the scale of quests but also the history of a
mental illness and an amazing return to health, became entangled
with interest in Warburg’s legacy, growing since the 1980s; thus at
the end of the twentieth century, Warburg, little known during his
lifetime, became, an emblematic figures of the contemporary
humanities. This unexpected revival, „life after life”, so well
inserted into the „phantomatic model” of history construed by him,
testifies not only to the belated discovery of his opus.
From the present-day view the impossibility of delineating the
boundaries of the Warburg project appears to be particularly
intriguing, and its open form means that writing today about his
work signifies accepting that one day our hypotheses and
interpretations will be modified or undermined.
Andrzej Turowski, History of Art in an Age of Madness
History of art, as formulated by Warburg, comprised a critical
reference to the beginnings of the discipline where not only the
name but also the object of research and the method defined their
sense and limits. Such critique was paradigmatic and questioned the
epistemological foundations and methodological discourses of the
„scientific” history of art. Taking into consideration this basic
transformation we must become aware of the fact that due to Warburg
the „first history of art” based on an Enlightenment model was
replaced by a „second history of art”, which came into being in the
psychiatric clinic and on the excavation site of memory. The first
emerged under the sign of the Sun, while the second turned towards
the melancholy of Saturn. Its centre was the motif of the threat
looming over man and the experience of a permanent crisis.
Krzysztof Rutkowski, Warburg and the Snake
This literary-biographical-philosophical passage shows Warburg as a
borderline figure constantly crossing the boundaries between
„science”, „art” and „life”, torn between Apollo and Dionysius,
between pagan antiquity and modernity, between health and mental
illness...
Aby Warburg, Seismographies
Two fragments concerning Seismographs (Burckhardt, Nietzsche,
Warburg), sensitive to motions concealed for the contemporaries and
the transferences to which culture has been subjected.
Aby Warburg, Burckhardt and Nietzsche
A fragment from the Warburg dairies on two models „clairvoyance” in
German-language culture upon the threshold of modernity. Tomasz
Szerszeń Demons of War according to Warburg. Kriegskartothek
The reaction of Warburg to the horror and destruction of the
1914–1918 period assumed the form of an attempt at creating „war
iconography” (a large collection of photographs, postcards and maps)
and overcoming with their assistance images of the „demons” of war:
anti-Semitism and nationalism.
Richard Kasperowicz, The Image in the Conception by Aby
Warburg
The concept of the „image” assumed a key rank in the interpretations
proposed by Aby Warburg. The latter did not accept the universally
applied description, silently approved in the second half of the
nineteenth century, which either referred to assorted formalistic
aesthetics that granted autonomy to the form of the artwork, or
situated the form in an abstractly constructed system of the
development of historical forms. Warburg conceived the image as the
outcome of a complex historical situation in which the artist’s
intentions play a role just as essential as the needs of the patron
or the certain mental inclinations of a milieu and inherited
traditions. Constructing the image crosses the demands of aesthetics
and is enrooted in a convoluted psychological process, indicating
the anthropological justification of the image as man’s
cultural-biological function. At the time this stand did not have a
counterpart in the „classical” history of art and owed much to
studies into religion and the myth, consistently aiming at an
interpretation of art as the history of man’s visual expression
transcending the traditional rigid rules of aesthetics.
Aby Warburg, Images from the Region of the Pueblo Indians
of North America
A famous lecture given by Warburg in a mental hospital in
Kreuzlingen and concerning his „initiation” trip to America.
Katia Mazzucco, Bilder, Reise, Schlangenritual...
Aby Warburg’s journey in late nineteenth century in Arizona and New
Mexico Pueblo villages, and the influence of this experience on his
theory of symbolic thought and his research methodology, are
inextricably connected both with the clinical story of the scholar
and the rhapsodic editorial success of his writings.
The lecture Aby Warburg gave in Kreuzlingen in 1923 on Hopi Indians
rituals remains the best known of Warburg writings and places his
studies among the earliest contributions to modern
inter-disciplinary Cultural Studies. Bibliographic notes collected
in this paper trace the main editions of the Kreuzlinen lecture and
some of the most important critical works on Warburg american trip,
as a guideline for a correct contextualization of the work.
Ewa Klekot, Narratives on a certain voyage
Presumably, if Aby Warburg had not lectured on 21 April 1923 in
Kreuzlingen on Images from the Pueblo Territory in North America,
the only writers interested in his trip in the South-West in
1895-1896 would have been his biographers. However, the fact that
Warburg, hospitalized in Kreuzlingen sanatorium, decided that the
first lecture he was going to deliver since his mental collapse in
November 1918 would be based on his memories of the American trip,
put the powerful interpretative machine of modern humanities into
motion. Since then different narratives on his trip have appeared,
based on different versions of his lecture (no one published during
his life and with his consent), his diary, letters and photographs.
However, the question why he had decided to delve in his American
memories while preparing a lecture that was supposed to prove his
mental stability remains open for speculations. One of the reasons
of this choice may have been Warburg’s entanglement in his German
identity, that actually had been a direct cause of his collapse only
a month after the armistice of 1918.
Ulrich Raulff, The Seven Skins of the Snake. Oraibi,
Kreuzlingen and Back: Stations on a Journey into Light
What was it that Warburg found so fascinating in the figure of the
snake, and what granted it incomparable power – the power of
semantic change? Apparently, it is due to the possibility of
changing its meaning that the snake is capable of the very process
of creating a symbol. Hence it is not an unambiguously defined
figure but precisely a symbol of ambivalence.
David Friedberg, Warburg’s Mask. A Study in Idolatry
The presented text is an attempt at a critical analysis of the
American episode in Warburg’s life and associated literature, whose
considerable part repeats the same information and motifs; almost
all publications represent an uncritical approach. Warburg has been
rendered the object of idolatry as a pioneering example of combining
the history of art and anthropology.
His example is an excellent lesson on the dangers lurking in the
meeting point of the history of art and anthropology: it calls for a
less hagiographic approach on the part of the reader and more
caution.
Benedetta Cestelli Guidi, Aby Warburg and Franz Boas: Two
Letters from the Warburg Archive. Correspondence between Franz Boas
and Aby Warburg (1924–1925)
The correspondence between Aby Warburg and Franz Boas casts
interesting light on the dialogue involving the history of art and
anthropology and conducted in the first decades of the twentieth
century – a crucial moment in the history of both disciplines.
The presented correspondence confirms the profundity and range of
Warburg’s interest in cultural anthropology and his proclivity for
obliterating the borderline between cultural anthropology and the
history of art as well as a readiness to transfer his library to the
USA.
Goshka Macuga, Julián Gastelo, Snake Society
The outcome a journey taken in the footsteps of Warburg by the
Polish-British artist is the film Snake Society, part of a
larger project entitled I Am Become Death.
We present fragments of the film’s transcription, which together
with photographs comprise a photo–essay.
Monika Szewczyk, Recorded Conversation with Goshka Macuga
Ludwig Binswanger, Letter to Sigismund Freud
Davide Stimilli, Warburg’s Tincture
This text is a record of an „incomplete treatment” – a cure applied
at the hospital in Kreuzlingen – as well as testimony of the
extraordinary relation between the psychiatrists (Ludwig Binswanger,
Emil Kraepelin) and the patient (Warburg).
Chantal Marazia, Ludwig Binswanger and the Ritual of
Healing
Aby Warburg spent three years being treated by the famous
psychiatrist Ludwig Binswanger. Historiography and philosophy
perceive the Swiss psychiatrist as the (co)founder of humanistic
psychology, based on listening, empathy, an encounter of the doctor
and patient, as well as „existential communication” between them.
Meanwhile, the treated and ultimately cured Warburg showed no signs
of a return to health that would also involve his physician. Quite
possibly, the reason for this state of things was the fact that
Binswanger had never truly engaged his ”I”...
Joseph Leo Koerner, Lecture as Rite de Passage
The Warburg presentation still fascinates due to the proximity
between the author and the topic. In this curious discourse European
cultural identity is regained thanks to becoming close to the Other,
envisaged as „madness” and „savagery”. Warburg actually performs a
transition ritual, in which the object of the analysis turns into
the observing subject. This autobiographical attitude assumes
particular meaning in the present-day state of research.
Aby Warburg, Mnemosyne Atlas. Introduction
An introducion to Warburg’s The Mnemosyne Atlas.
Aby Warburg, Manet’s ‘Déjeuner sur l’Herbe’...
The only completed commentary to The Mnemosyne Atlas boards.
Katia Mazzucco, Mnemosyne: Bilderdemonstration,
Bilderreihen, Bilderatlas...
With the name Mnemosyne we can identify a great project by Aby
Warburg, which includes the collection and systematization of his
library, devoted to the mother of the Muses, his last unfinished
book, the Atlas, and also documents that testify a praxis of
Warburg research methodology, the exhibition. This paper collects
critical considerations on these issues and proposes an inedited
chronology of documentary photographs exhibitions – Bilderreihen
and Bilderdemonstrationen – by the Kulturwissenschaftliche
Bibliothek Warburg and of the preparatory stages of the Mnemosyne
book.
Georges Didi-Huberman, Mnemosyne Atlas as a Montage
Mnemosyne is an avant-garde object since it dares to reconstruct a
historicist album of recollections about the „impact of antiquity”,
replacing it with a wandering album of memories modelled on the
unconscious, full of diverse images, imbued with anachronic and
ancient elements and suffused with the blackness of a backdrop in
which life plays the part of an empty space, a missing link, a gap
in the memory. The original model of the Mnemosyne Atlas
should thus be sought in the very structure of the objects appearing
in it, which become analytically „disassembled” and „assembled
anew”.
Giorgio Agamben, Aby Warburg and the Birth of the Cinema
The research conducted by Warburg coincides with the birth of the
cinema. That which at first glance appears to be shared by the two
phenomena is the question of a presentation of motion. Warburg’s
interest in the depiction of the body in motion was connected with
his obsession with something that could be described as the „life of
images”. He was the first to become aware of the fact that images
transmitted by historical memory are not immobile but lead a
peculiar life, which he called posthumous life and survival.
Philippe-Alain Michaud, Crossing the Frontiers: Mnemosyne
– between Art History and Cinema
The Mnemosyne Atlas stressed the intrusion of photography into the
discourse of the history of art and the assumption of a place
traditionally reserved for the text. The Atlas does not restrict
itself to describing the migration of images in the history of
representation, but reproduces them. In other words, Mnemosyne is
based on a cinematic way of thinking – it uses figures not to
express meanings but to yield effects. It is precisely in the cinema
that we may encounter the strongest links with the Warburg
undertaking.
Andrzej Leśniak, Introduction to a Political Analysis of
the Mnemosyne Atlas by Aby Warburg
The unnamed science proposed by Aby Warburg is an intellectual
project within whose range images are treated as complex cultural
phenomena. The Mnemosyne Atlas, its most radical fragment, is
critically valuable not only vis à vis the limits of the history of
art as a discipline but also the hierarchy that defines visual art.
For this reason, there exists a need for a political analysis of the
Atlas that would take into consideration the significance of the
„moment of the new exchange” programmed by Warburg on the modern
scene of the visual.
Paweł Mościcki, Seismography of a Breakthrough.
Revolutionary Gestures as Pathosformeln
Apparently, not much brings modern revolutionary tradition close to
Warburg’s research. Do studies into Nachleben der Antike not
contradict the tradition of revolutionary change? Is „unnamed
science” doomed to be „reactionary”, to constantly seek the return
of that which is primitive, or is it capable to tell about the fate
of the nameless in whose name revolutions are, as a rule, carried
out? The search for analogies between the formulas of pathos present
in the history of the culture of antiquity, the Renaissance or late
modernity, on the one hand, and the depictions of the revolution and
its participants, on the other hand, is not supposed to exclusively
portray some sort of a continuum within the range of the „tradition
of the oppressed” alone or to persuade us to accept its cultural
enrootment. In a certain sense, this is a hermeneutic of the
revolution as such. In the reanimated scenes of lofty pathos and
dramatic suffering there stirs yet another utopian vision of
historicism itself and that which revolution wants to accomplish
within it.
Matthew Rampley, Archives of Memory: Walter Benjamin’s
Arcades Project and Aby Warburg’s Mnemosyne Atlas
The Warburg method of a montage of images reflects his comprehension
of culture as a space of memory, in which visual symbols (and not
only) fulfill the function of a sui generis archive of contrasted
reminiscences. In this aspect, his work can be compared to
Benjamin’s Passagenwerk, with Benjamin writing about the
dialectic of that which is visible while Warburg conceived the
dialectic of perception rather literally: the most economical way of
examining the process of sublimation is an actual comparison of
visual representations.
Benjamin Buchloh, Gerhard Richter’s Atlas: The Anomic
Archive
During the twentieth century, an age of fading belief in empiricism
and aspirations towards a comprehensible completeness of
positivistic systems of knowledge, the term „atlas” assumed a
metaphorical significance. The most prominent example of this
anti-positivistic tendency is the Mnemosyne Atlas – a monumental
project whose purpose is gathering identifiable forms of collective
memory. The several decades later Atlas by Gerhard Richter
appears to treat photography and its assorted practices as one of
the instruments with whose assistance collective anomy, amnesia and
denial are socially encoded.
Marta Dziewańska, Exercise in Imagination.
„Atlas. How to Carry the World on One’s Back?” by
Georges Didi-Huberman at the Museo Reina Sofia in Madrid
Inspired by the Mnemosyne-Atlas method, the exhibition is an
experiment composed of works belonging to different orders
(paintings, photographs, documentation sketches and notes) arranged
upon the basis of the principle of “affiliation by choice” (known
from Warburg and Goethe). The perilous show – fragmentary,
selective, concentrated on the detail and not belonging to any
synthesis – became a sui generis search for that which may be
described as a ”form of visual knowledge”. Formally bold, it poses a
challenge both for the practice of holding exhibitions and the
routine of art institutions, while for the recipients it is a
specific “exercise in imagination”.
Giovanni Careri, Aby Warburg. Ritual, Pathosformeln and
the Intermediate Form
In the iconographic tradition of the West certain configurations of
gestures return after a long periods of concealment, albeit carrying
already a new emotional burden. Can this phenomenon be understood
while limiting ourselves to an analysis of the images alone, or
should we rather embark upon an analysis starting with ritual
activity, myths and tales that accompany a depiction of those
gestures? How are those relics to be perceived within the
perspective of the anthropology of the image without succumbing to
generalities of the „social context” at the cost of the complex
formal specificity of the „work of art”? Such questions, situated
along the crossing point of anthropology, aesthetics and the history
of art were posed at the academic onset of this discipline by one of
its founders – Aby Warburg.
Emilia
Olechnowicz, Nachleben der Antike. The
Medici Intermezza from 1589
The 29 years-old Warburg wrote a text about the Medici intermezza
from 1589, regarding them as intermediate forms between life and
art. An analysis of iconography, predominantly costumes and props,
guided Warburg towards traces of the posthumous life of antiquity.
Jacek Jaźwierski, Expression and the Tradition of Artistic
Borrowings: Warburg – Gombrich – Reynolds
An attempt at following the mutual dependencies of two key problems
examined by Aby Warburg – artistic expression and the praxis of
borrowing image motifs from the past – in the light of the targets
of his method of studying culture and art. A comparison with the
conceptions launched by the eighteenth-century theoretician Joshua
Reynolds, on the one hand, and Ernst H. Gombrich, the director of
The Warburg Institute, on the other hand, intends to demonstrate not
solely methodological fluctuations in historical reflections on art,
but also the topical nature of the method applied by the Hamburg
scholar.
Wiesław Juszczak, Odysseus’ Thalamos
The author described assorted interpretations of a fragment of The
Odyssey and considered the problem of creating a work of art. He has
in mind the principle „that incessantly comes into being in
non-fulfillment. […] A work that belongs to the domain of produced
things constantly attacks, as if challenging the order of created
things. This challenge must be regarded as initially (and thus also
essentially) distant from the principle of emulation and even
hostile towards it”. While analysing the fragment concerning
Odysseus’ bedchamber, the author posed a crucial question about
creativity conceived as emulation and theories opposing the
classical principle of mimesis.
Małgorzata Sobieraj, Like Two Mirrors...
In 1912 Jacek Malczewski attained the zenith of his professional
career and painted a Self-portrait with Tobias and the Parcae
with which, similarly to Luca Cambioso and his Self-portrait,
he paid homage to his father. Malczewski could have seen the work by
the Genoese artist at the Uffizi in Florence and the phototeque of
Karol Lanckoroński in Rozdół. It is difficult to imagine that he
could have overlooked it even if only due to the physical
resemblance to its author. There are, however, no sufficient
premises for attributing an inspiring role to the Italian master.
Malczewski owed the idea of his composition rather to a familiarity
with the Bible in which generational continuity and changes are
depicted in an intriguing and, at the same time, poignant fashion.
Joanna M. Sosnowska, The Feet of Barbara Radziwiłłówna
The history of art is full of examples proving that reciprocated
feelings were a factor stimulating artistic creativity. In his
painting Death of Barbara Radziwiłłówna Józef Simmler disclosed the
feet of a dying woman – the painter was looking at his wife who
acted as a model. This canvas was part of Victorian ambience,
characteristic for an epoch when bourgeois morality concealed
sexuality but did not obliterate it; sexuality expanded in assorted
forms, today difficult to capture and hidden under various cotsumes.
An academic, formalistic and historical discourse dimmed the
subjectivity of this painting, The fact that it immediately became
public property also contributed to this approach. The private
sphere became dominated by its historical counterpart, in which the
queen’s naked feet became meaningless. The work was extracted from
concrete social space, in which art had for centuries a certain
place in the history of art, whose formative element was the public
collection/musem. This was the onset of the discourse on modernity.
Jacek Dobrowolski, The Symbolic of the Willow as the Tree
of Life and Death in Poland within the Context of the Cultures of
Europe, the Mediterranean and Asia
The author of the essay presented the symbolic of the willow in
assorted cultures. While analysing texts, carrying out meticulous
philological research, examining works of art and conducting
hermeneutic comparisons he presented an extremely wide spectrum of
meanings ascribed to this particular plant in various parts of the
world.
Renata
Rogozińska, Treiz. On Paintings by Jerzy Ćwiertnia
(1928–2009)
A presentation of the works of Jerzy Ćwiertnia, painter, poet,
essayist and philosopher, against the background of the artist’s
world outlook – original and suffused with mysticism and idealism.
The fundamental goal of his oeuvre was the extraction of the
spiritual beauty of Nature, which, in his opinion, is the source and
essence of all being. By transcending the framework of the Judaeo-Christian
sacrum–profanum dichotomy Ćwiertnia fully shared the convictions of
Hindu aesthetics, namely, that it is impossible to realise beauty
and attain liberation by turning away from the world. Although in
Ćwiertnia’s paintings references to Nature remain only allusions,
they play a fundamental role; after all, without them the unchanging
original harmony permeating the universe could never disclose
itself. The author focused her attention on the painting entitled
Treiz – the first in a series of canvases planned by the artist;
each composition was to deal with a successive number of the
Pythagorean Sacred Decade.
Actually, it turned out to be Ćwiertnia’s last work. Reflections
concerning the painting created as the quintessence of the discussed
oeuvre fill a copious text, a meticulous analysis of the artist’s
achievements. His limited participation in artistic life,
ostentatious and radical convictions enrooted in the spirituality of
the East, protest against the system of (anti)values dominating in
Christian Europe responsible for the suffering of creatures close to
him, alienation vis à vis national specificity, and lofty ethical
and aesthetic demands – all these factors were the reason why the
artist’s comprehensive activity has up to now never become the topic
of a suitable study.
Monika Milewska, Fascism and Its Roman Myth
The ideological stratum of Italian fascism was based on the myth of
ancient Rome propagated by, i. a. excavations initiated on an
extensive scale in Italy and abroad as well as the redesigning of
Città Eterna, which was to emphasise its ancient greatness. The
apogee of the Roman myth took place in 1936 when after the conquest
of Ethiopia Italy was pronounced an Empire and Mussolini received
the titles of its ”Founder”. The empire was, therefore, not a “myth
of the past” but a ”myth of the future”. The fascists did not wish
to be mere guardians of inherited tradition but the creators of a
new civilisation, which was to encompass the whole of Europe.
Ethiopia and later Albania were only the beginning of the reinstated
Imperium Romanum. Already in 1925 Mussolini was obsessed with a
Roman Mare nostrum – the Mediterranean comprehended as the
internal lake of an empire stretching along all its shores. This
idea was to compel him to take part in World War II, which brought
conquests in North Africa, Yugoslavia and Greece. The concept of
Romanità was supposed to not only expand fascist dominion but,
first and foremost, to reach the heart of every Italian. Similarly
to other totalitarian ideologues, fascism brought an anthropological
revolution. In this case, however, ”new man” was not all that new,
and the “New Italian” was cast directly from the bronze matrix of
the ancient Roman.
Katarzyna Prot, From the Asylum and the Madhouse to One’s
Own Home
The author outlined assorted conceptions of “madness” across the
ages, from antiquity to contemporary times. In doing so, she
described attempts at a humanistic approach to the afflicted: the
eighteenth-century ”moral healing” movement, derived from the Quaker
ideology, the nineteenth-century asylum, i.e. the “great enclosure”,
the first half of the twentieth century with Freud and his
conception of psychoanalysis and the analytical treatment method.
The period in the wake of World War II witnessed the creation of
“therapeutic communities” envisaged as a method for curing mental
illness. This conception became a point of departure for the reform
of mental hospitals in the 1960s in Europe and the USA. The new
experiment of the second half of the twentieth century was the
emergence of “home treatment teams”, which appears to have been
important for producing the present-day situation in which the epoch
of the “asylum” – the psychiatric institution – will already become
part of the past.
Przemysław Strożek, Fotodinamismo 100! Bragaglia,
Boccioni, Bergson and Problems of Futuristic Photography
The article was intended for the hundredth anniversary of the
experiment of photo-dynamism, recognised as the first symptom of
avant-garde photography. The Bragaglia brothers, residents of Rome,
fascinated with the quests conducted by Italian Futurism, wanted to
apply Futuristic ideas in the domain of photography – to bring forth
in the photograph absolute motion expressing the truth about the
dynamically changing world. Despite such a bold and revolutionary
experiment their search was never accepted by Umberto Boccioni – the
ideologue of Futuristic visual arts. Not until the 1930s, when
photography (alongside the cinema) became the most important medium
of avant-garde artistic works, photo-dynamism was fully
rehabilitated by the Futurists as the first symptom of modern
solutions in art.
Krzysztof Lipka, The Audible Landscape Sphinxes.
Significant Motifs as an Attempt at a Semantisation of Musical
Structure
The author used the term “significant motif” (or ”sphinx”) in music
to describe a small motif structure composed, as a rule, of several
sounds, which apart from emotions and mood transmits also detailed
non-musical and non-illustration information – concrete semantic
contents: own name, brief linguistic phrases, etc. The article
discusses (using many examples) three types of “sphinxes”: (1)
morphological (the semantic meaning of the musical motifs stems from
the letter or solmisation names of particular sounds); (2) apodictic
(the source of the motif is the composer’s arbitrary declaration);
(3) situational (the source of the meaning ascribed to a particular
motif is an anecdote).
Ireneusz Guszpit, Apocalypsis cum figuris – Life after
Life
This text concerns the legacy of Jerzy Grotowski, and upon the basis
of archival material dealing with the famous spectacle
Apocalypsis cum figuris, or primarily its filmed account
directed by Ermanno Olmi, it deli- berates on the possibilities and
purposefulness of a contemporary interpretation of the Grotowski
oeuvre. The basic problem involving the Olmi film is Grotowski’s
request not to render it available. Researchers specialising in
Grotowski thus face a fundamental question whether despite his will
and the flaws of the film version it should be shown and, more
important, treated as one of the sources for studies on the legacy
of the founder of the Theatre of 13 Rows. Guszpit considered this
problem while describing his own attempts at analysing the film,
conducted as part of his didactic work.
Małgorzata
Dziewulska, Zbigniew Benedyktowicz, Grotowski-Flaszen.
A Registered Conversation on film
Grotowski-Flaszen by Małgorzata Dziewulska
Zbigniew Benedyktowicz, The History of a Single Painting –
A Conversation with Piotr Borowski
Iwona Luba, The Australian Landscape, 1923 by Stanisław
Ignacy Witkiewicz
Magdalena Kraszewska, About „The Australian Landscape”, dr
Kraszewski and the Home in Zakopane
Kuba Szpilka,
Zakopiańczycy
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