Abstract

This article explores the work of Didi-Huberman as both an “art historian” and a “philosopher of art.” In particular, Schwarte examines the political turn that Didi-Huberman’s recent works have taken, for example in relation to the ethics of “looking” developed in Images in Spite of All, and to the political philosophy expounded in works such as Peuples exposés, peuples figurants and in the Soulèvements exhibition. Schwarte questions why Didi-Huberman, instead of delivering a more systematic political philosophy, prefers to analyse specific cases. Moving beyond these, Schwarte seeks in Didi-Huberman’s work possible criteria for distinguishing between emancipatory uprisings of the people, on the one hand, and what might be categorized as reactionary or even fascist uprisings, on the other.