| Why, after the ZKM, did you decide to propose the exhibition to an institution like the HKW? It was your idea to propose it, right? It is a legend, but nobody knows exactly why.ī.M. As I often say, the Bilderatlas Mnemosyne is more famous than known. And that has only changed over the last twenty years. Following Gombrich, academia always refused to take the Atlas seriously, considering it unimportant. First, for Gombrich, and later for the whole Warburgian community. ![]() One answer could be: should we wait another ninety years? The Mnemosyne undertaking was very problematic after Aby Warburg’s death in 1929. Everyone asks us why we organize the exhibition now. Another one is that the Atlas was made ninety years ago. So we see the conflicts of how the Italian artists could find a position in such circumstances, dealing with figures like Van Eyck and, for example, Hugo van der Goes.Īnd that is only one issue related to our show at the HKW in Berlin. Even the Medici were collecting Flemish painting at that time. It’s quite the opposite of what is happening from panel 30 to 39 when Italian artists were struggling with the success of old Flemish painting at the beginning of the 15th century all over Europe. It is more or less in the end when Warburg is commenting on how, from Mantegna to Dürer, the Renaissance is wandering back to Northern Europe. That’s all the high Renaissance in the Atlas. In the Atlas, only two panels show Raphael: Panel 54, the School of Athens, and in Panel 56, there we find Michelangelo’s The Last Judgement. Also, consider that what we see in the panels is the early, rather the high Renaissance. Warburg is showing us the conflicts which made it possible. I call this ‘ Konflikt Geschichte’ (a History of Conflicts). Warburg does not focus on the Renaissance as we know it, but on the breakthrough moment that created it. Everyone has a specific image of it as an ‘era’ that is not at all presented here. ![]() First of all, it is about the Renaissance. It’s not a typical exhibition, and there are some problems related to it. Are they also uncertain about the reception of the show? | Such a show can represent a challenge for these big institutions. “Now, I am rehabilitated”, he later told me.ī.M. When we inaugurated the show, luckily, it was a success. In the beginning, the director, Peter Weibel, was the only one in the institution who not only believed in us but supported the mission that we wanted to achieve. Roberto Ohrt | Let’s start by saying that back then, in 2016, the exhibition at the ZKM was a highly doubted project. Reconstruction - Commentary - Revision”, at the ZKM (Center for Art and Media) in Karlsruhe in 2016. Bianca Maria Fasiolo | The exhibition at Haus der Kulturen der Welt (HKW) and the publication of the folio, “Aby Warburg: Bilderatlas Mnemosyne - The Original” represent a significant step forward in comparison to your last show on the Atlas, “Aby Warburg.
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