Siła dotyku - nowoczesność anachronizmu. O filozofii sztuki G. Didi-Hubermana [przeł. H. Marciniak]
The Power of Touch – the Modernity of an Anachronism: Georges Didi-Huberman’s Philosophy of Art [trans. H. Marciniak]

Summary/Abstract: Georges Didi-Huberman, the philosopher of art and painting theoretician, focuses on a complementary association of visuality and tactility, the touch and the track/mark, the body and the picture (painting), visuality and ‘readability’ of a painting. His philosophy of art is original as it consists in a basically new inventive ‘reading’ of the great twentieth-century personages in the history and theory of art: Aby Warburg and Alois Riegl, as well as Walter Benjamin or Georges Bataille. This article focuses on one of the central topics of Didi-Huberman’s afterthought: the materiality of a work of art and of touch/track. Dealing with, for instance, posthumous masks or wax figures, he considers impression of tracks/prints to be the fundamental ‘anthropological paradigm’, showing that the value of track – in spite of its being depreciated as an instance of ‘primitivism’ and ‘anachronism’ – proves to be essential and key.

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