Interiority and Repetition: Edvard Munch and Avisual Culture

This essay posits the changes in Edvard Munch’s stylistic treatment of interiority together with his increasing use of repetition in the mid-1890s within an “avisual” framework. The text draws on the work of Akira Lippit that describes avisuality as a new rupture in visual regimes originating at the end of the nineteenth century. Tracing a trajectory of avisuality from 1895 to 1945, the conclusion suggests new ways to extend the posthumous relevance of Munch’s art into the so-called Postwar era that the artist nearly lived to see.