Montaż nowoczesności. Wystawa „Atlas nowoczesności” wobec wybranych wątków filozofii historii sztuki
Streszczenie
In this article I examine the notion of “montage” in the contexts of both
Muzeum Sztuki exhibition “Atlas of Modernity” and contemporary
trends in aesthetics. In the exhibition folder there appears the word
“montage” which describes a specific methodology of the exhibition.
The way “montage” is being used metaphorically in the discourse of
aesthetics is by no means new. Thus I decided to dig into the roots of
the usage of this notion, which goes back to the beginning of 20th
century when Aby Warburg established a new methodology in the
visual studies, Walter Benjamin elaborated on his literary montage, and
Sergey Eisenstein contributed to general theory of montage.
Nevertheless, the very central figure is contemporary theorist Georges
Didi-Huberman and his original reading of the above mentioned
thinkers. Thus, using this constellation of names, I try to examine, how
the notion deriving from cinematography happened to play such an
important role in contemporary aesthetics.
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