Exhibitions
Georges Didi-Huberman: in the philosopher's workshop
A look at the philosopher's creative process at the Filmoteca de Catalunya.
Considered one of the most prominent voices in contemporary reflection on art and visual thought, Georges Didi-Huberman has developed a career that goes beyond written texts. His intellectual universe also expands through working techniques and the organization of his personal archive, visual experimental films, conferences that break with the usual academic schemes, moments of shared reading, ambitious exhibition projects and collaborations with artists from various disciplines. This wide range of practices is the point from which Didi-Huberman formulates questions, investigates and disseminates thought.
Currently, the Filmoteca de Catalunya is presenting Georges Didi-Huberman. In the Philosopher's Workshop, an exhibition that does not follow a chronological order nor focuses on a closed work. The purpose is to get closer to the way of working of a thinker who understands thought as an activity built from connections, heterogeneous materials and forms that often escape conventional academic expectations.
Georges Didi-Huberman, fotograma de Face à face à matière, 1998
The exhibition, which will be on view until the end of August, takes as its starting point the original exhibition presented in 2024 at the Círculo de Bellas Artes in Madrid and has been curated by Lucía Montes Sánchez. What is exhibited is not only the text written by the French philosopher, but also everything he has done with and from images. For the first time, his audiovisual works are brought together, as well as a selection of collaborations with artists who have worked with him on experimental projects.
Among the pieces that can be seen are L'Optogramme (1983) and Face à face à matière (1997), as well as joint creations with figures such as Israel Galván, Jean-André Fieschi and Arno Gisinger. The latter presents Diapoteca, a double projection based on Didi-Huberman's personal archive of slides, now practically unused, but which is part of his very unique way of constructing knowledge. Also noteworthy is De la mesa a la tapa: compás (2023), a film by Henri Herré that shows how the philosopher organizes the notes he has written to structure a chapter of a future book, while playing the flamenco guitar.
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Diapoteca (Arno Gisinger, 2024). A partir de les diapositives de Georges Didi-Huberman.
The exhibition highlights that, for Didi-Huberman, thought is not limited to words or generated from a single place. The Filmoteca proposal, despite being part of the usual line of exhibition-essays in spaces such as the CCCB, adopts a less pedagogical and more open approach here, thanks to the philosopher's personal style. For this reason, "workshop" is a more appropriate term than "study", since there is a clear will for trial and error, for constant experimentation, for dismantling and reassembling, for exploring the same theme through different formats and contexts.
The result is a space where visitors can sense how his way of thinking works, which does not seek to offer definitive answers but rather to generate new questions. As he himself states: “Images do not lie: it is we who lie. What happens with images is that they are very partial.” Perhaps in this idea lies the key to his practice: using images not to reveal the truth, but to help us better pose questions.
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