Abstract
Didi-Huberman conceptualizes images as unstable and incongruent events in disagreement with the art historiographic discourses that reduce visuality to the contents of representation. I analyze the link between Freud’s dream-theory and Didi-Huberman’s philosophy of images, focusing on the notion of dreams and images as instance of (up)rising against repression and erasure. Didi-Huberman does not simply “apply” psychoanalysis to disrupt the dominant art historiography; his interpretation of the dream book speaks to his originality as a reader of Freud who brings to the fore the importance of visual categories in psychoanalysis. Viewing images as disunified and “rent” has also political implications. The name of this power in Didi-Huberman’s project is anadyomene (“she that rises”); the imaginal rhythm of pendular dialectical movement between appearance and disappearance. I discuss Didi-Huberman’s analyses of photographs of camps and ghettos, and of uprisings, which highlight the link between the imaginal unconscious and aesthetics of anadyomene, and political subjectivization and resistance.
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