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The show is comprised of three video works and 33 photos of art, literature and, well, photographs.The photographs that make up the main part of the exhibition have been reproduced as 3.1x2.4-meter images and applied end-to-end, directly to the gallery like wallpaper."Afteratlas" sieves these themes through the work of German art historian Aby Warburg (1866-1929), specifically his "Mnemosyne Atlas," an atlas of art images.Both works are effectively catalogues of images, each employing distinct approaches to exhibition.Panning shots of a surface festooned with photos are punctuated when Didi-Huberman zooms to momentarily assess one individual work after another.The 30-odd still images that loom between Didi-Huberman's videos and Gisinger's slideshow range from discrete studies of art's relationship to images to (occasionally amusing) interrogations of the place of "authenticity" in art: none of the images in this show are, after all, originals.Rather than using the load-bearing columns that project from the walls as natural frames for the 33 stills, the wallpaper-like images deliberately run over them.
Love, grief and righteous vengeance in Berlin
Cairo though a film noir lens
Revisiting the monstrous Box
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