En las páginas 91-104 encontrarán un artículo titulado “Deleuze and Didi-Huberman on Art History” escrito por Gustavo Chirolla y el suscrito .
The work of Georges Didi-Huberman has rethought art history in a number of fun-damental ways, and has drawn signifcantly on the work of Gilles Deleuze and Felix Guattari to do so. In particular, the notions of the survival (Nachleben) of the image, of the dynamogram of art history, of a non-humanist art history, and of a rhizom-atic temporality, or ‘Renaissance’ as Didi-Huberman puts it, owe a signifcant debt to Deleuze and Guattari. Tere are two important mediators of this relationship: Aby Warburg and Friedrich Nietzsche. While Didi-Huberman has written a book on Warburg, and has been deeply infuenced by him, Deleuze and Guattari – per-haps surprisingly – never mention Warburg’s work.1 Nevertheless, they share a great predecessor in the fgure of Nietzsche, who through Deleuze’s book Nietzsche and Philosophy enables Didi-Huberman to bring the work of Warburg and Deleuze and Guattari together in his own revaluation of many fundamental art historical values.