Tenth International Conference on The Image

Abstract

The image of art remains at the centre of philosophical discussions. From Plato, Kant, Hegel, and Warburg to the present day, thinkers dedicate themselves to the enigmas contained in these images by searching links between them and different periods of production. This paper aims to contribute to the debate that has been developed currently as well as internationally, placing the image as a phenomenon of encounter, rather than an exclusive domain of visuality; therefore, immersed in political and historical circumstances as a mediating interface of exchange between subjects. Thus, we take distance from the aesthetic readings in favor of a logic that recognizes the acts of authors and observers before the image and, above all, the processes that contextualize the production and originate these works of art. The importance of the studies on the processes of artistic creation is presented, which also remarks upon other academic approaches on History of Art as a science. Contemporary theorists place the image of art into a philosophical perspective that refutes the conventionally accepted categories, and by doing so approach themselves towards the study of creation processes. In order to investigate this matter in a different perspective, we look further into these processes and the creative networks in which they are developed. So, the paper introduces a creation processes theory that constitutes a strong academic basis towards the image of art, establishing dialogue between these theorists – Georges Didi-Huberman and Jacques Rancière among them – and the artistic processes critics.