Nicoletta Isar, Copenhagen:
THE INVISIBILITY OF IMAGE. Time of the Shortest Shadow 

University Copenhagen, The Department of Art and Cultural Studies 
 / HUM Campus, Copenhagen
10. September 2014, Wednesday, 11.15-12.15, ROOM 27.0.09 

In searching to strengthen and refine the skills of approaching the new phenomena of Visibility and Visuality, the theory of image should not exclude the ever expanding contemporary phenomena of invisibility of image. Yet many “invisibilities” have been called upon the image since the Twilight of the Idols. The concept of invisibility has been addressed under the new premises, and revised da capo. Phenomenology provided the frame to address the sensible things in their own character, and at the same time to allow image to present an in-visible entirely embedded in-the-visible.
There is however a distinct and unparalleled manifestation of the invisible in contemporary art, often experienced in some of Bill Viola’s or Olafur Eliasson’s installations, which this paper intends to examine. The un-expected event emerging out from their works saturates the horizon thematizing wonder as a state of visuality susceptible to visual erasure. The phenomenology of the saturated phenomenon of the French philosopher Jean-Luc Marion will be instrumental to seize the imaginal poietics of these awesome visions, and to ponder how the unseen appears as the most appearing possible, as well as the unbearable appearing of dazzling radiance. Finally, to show how these images in excess expose body to devastating and transformative experiences.

Nicoletta Isar is Associate Professor at the Institute of Art History, Department of Arts and Cultural Studies at Copenhagen University.
Docteur ès lettres Byzantine Studies (Sorbonne Paris IV)
MA (DEA) Classical Archaeology (Sorbonne Paris IV)
BA (Arts) ; BA (Musicology, Violin) ; BA (International Relations)

Involved as she has long been with the theory of image as a scholar equipped in Classical studies, image has long been on her horizon. This enabled her in seizing the paradigm shifts of image throughout time, and in conducting comparative discussions around new phenomena in contemporary visual culture, although Visual Culture is not truly her ‘subject.’ Her research reflects her academic formation, as well as her intellectual horizon of all-embracing propensity for eclecticism within the comparative cultural studies, focusing continuously and consistently on themes reflecting the patterns of imagination and their, visible and in-visible, imaginal poietics.

She is the author of Chorography (2011), a breakthrough in Byzantine studies, and she has extensively published a broad spectrum of articles ranging from Mediterranean culture to contemporary ritual performances, and from para-theatre to video art (especially on video artist Bill Viola), as well as on subjects from other disciplines, such as psychology, music, and the anthropology of image.