Posthumanism and Art History

Posthumanism is a philosophical concept that evolved in the second half of the 20^th century. Today, it is vaunted as “the philosophy of our time” (Francesca Ferrando), as a paradigm shift, as an epoch term following postmodernism – in short as our Geistesgeschichte. It deals both with the figure of the ‘posthuman’ – a human-machine hybrid, called cyborg (Donna Haraway) – and with a critical stance on Humanism. The concept is heterogeneous and covers a wide range of subordinate notions that even exclude each other, such as Transhumanism – i.e. technical enhancements of human beings (e.g. with mechanical prostheses or the use of AI) on an evolutional phase to become ‘posthuman beings’ – and Post-Anthropocentrism – the radical critique of speciesism in the Anthropocene.

In my dissertation project I investigate the concept and meanings of posthumanism as a discourse. I elucidate the genesis of this train of thought, the ways it was applied historically, before analysing when and how the term was adapted to art works and art history. Is there any ‘posthuman art’ and what does the term imply? This question arouses a discussion on what art is and if it can only be practiced by human beings. What can we gain from using the concept(s) of posthumanism in art history? What new insights can we get on historical art? What does a posthumanist method look like and what does it add to our discipline? How can it be distinguished from other critical approaches like Feminism, Postcolonialism, Animal Studies, and Eco Art History?

Above all, we must ask: How is ‘humanist art’ criticised by a posthumanist approach? Does it change our view on Italian Renaissance human(ist) art? The aim of this project is to provide a critical reference book on the concept as well as proposals for art historical methodology and museum exhibition practices. Is it possible to grasp a contemporary concept at all? This work always wants to keep a scientifically critical stance.