Abstract

The article critically addresses Boris Groys’ interpretation of photographs by Alexandre Kojève. In 2012, Groys organized the exhibition After History: Alexandre Kojève as a Photographer, which intended to demonstrate the “posthistorical” dimension in Kojève’s artistic output. The article questions the adequacy of that perspective, given the somewhat tendentious curatorial presentation of the photos as showing an empty, dehumanized world. Considering the aesthetic and ontological aspects of the analysis of visual images that were central to Kojève’s brief account of his 1920 visit to the Borghese Gallery in Rome and to his 1936 article on Kandinsky, Groys’ reading of Kojève’s photographic stance is subject to revision. The notion of aura, as proposed by Walter Benjamin, is operative in a comparative treatment of the photos by Kojève and Eugène Atget.