The art album from the era of the "Imaginary Museum".

- What criteria did Malraux use to construct his associations of works from different cultures in his "Imaginary Museum"? - A topical question at a time when museums are mixing Western works and primitive arts or contemporary arts and ancient arts in the same presentation.

- Lecture series by the author at the Louvre Auditorium September 16, 19, 23, 26, 30, 2013, 7 p.m. Georges Didi-Huberman, philosopher and art historian, currently teaches at the École des Hautes Études en Sciences Sociales in Paris. With more than thirty books published since 1982, he is today one of the most active theorists in the contemporary landscape of image research. The lectures of the Louvre Chair and the accompanying book concern André Malraux's Imaginary Museum. The aim will be to examine André Malraux's work on the illustrations of his Imaginary Museum, a work explicitly inspired by Benjamin's theory of "technical reproducibility" and "the author as producer." We will study the opening of the imaginary field that Malraux's practice of the art book supposes, as an album of images supported by a sort of expressiveness of the frame, the light and the montage. We will see how, in this practice of montage, Malraux constructs the authority of his visual style and the closure of his literary field. We will especially question – critically – the anti-historical and anti-political destiny of his aesthetic, which thus ends up far from that of Benjamin.