Disappearing Objects in Georges Didi‑Huberman’s Curatorial Practices

In this essay, I undertake an analysis of the first exhibition curated by Didi‑Huberman, L’Empreinte(Imprint), which took place in Centre Pompidou in 1997. In this project, the Frenchphilosopher and art historian intentionally bypassed the usual products of artmaking, insteadchoosing to focus on what is left alongside this process. The project in Centre Pompidoutransferred the technique of imprinting into the context of art of the 20th-century,investigating the tactile transmission of form from one surface to another. I will examinehow Didi‑Huberman’s attempt was influenced by the notion of survivance of forms, formulatedby Aby Warburg, and how it offers an alternative to traditional approaches to original/copy issue.