The breath of the images also comes from within
The present text approaches the exhibition “Don't follow the wind", set up within the exclusion zone of the Fukushima nuclear disaster, from a dialogue with the warburguian concepts of "imaginary breeze" and "survival". The theme of the winds is the promoter of the co-i...
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| Main Author: | |
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2018
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| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/visuais/article/view/12112 |
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| Summary: | The present text approaches the exhibition “Don't follow the wind", set up within the exclusion zone of the Fukushima nuclear disaster, from a dialogue with the warburguian concepts of "imaginary breeze" and "survival". The theme of the winds is the promoter of the co-incidence between the work in Fukushima and the warburguian theory, here conducted by the French art historian Georges Didi-Huberman. The hypothesis brought is that the works in the exhibition carry with them a double emanation: on one hand, they are saturated with the radiation that has pierced them for years; on the other hand, they carry the imagetic heritage of works of art in a post-nuclear culture - where the danger of an ultimate end always surrounds us. |
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| ISSN: | 2447-1313 |
