Titulo:
The Visual Archive: the self as author and actor
.
Sumario:
AbstractThis article intends to discuss how in some contemporary photography, the author participates as character of the work (as much as he reveals himself or the character that embodies him) and which metamorphoses take place in this photographic narrative. The work of the British twins Jane and Louise Wilson, specifically the video Hypnotic Suggestion 505, made in Portugal for the Walter Benjamin’s Briefcase (1993) exhibition from the curator Andrew Renton in Oporto and the works Oddments Room (2008-09) and Unfolding The Aryan Papers (2009) will be analyzed. Starting from the ambiguity of the construction of the author and character in Roland Barthes by Roland Barthes (1975), the understanding of how much is shown and hidden through thi... Ver más
Guardado en:
1794-7111
2462-8115
12
2015-01-01
84
91
Revista Kepes - 2015
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The Visual Archive: the self as author and actor The Visual Archive: the self as author and actor AbstractThis article intends to discuss how in some contemporary photography, the author participates as character of the work (as much as he reveals himself or the character that embodies him) and which metamorphoses take place in this photographic narrative. The work of the British twins Jane and Louise Wilson, specifically the video Hypnotic Suggestion 505, made in Portugal for the Walter Benjamin’s Briefcase (1993) exhibition from the curator Andrew Renton in Oporto and the works Oddments Room (2008-09) and Unfolding The Aryan Papers (2009) will be analyzed. Starting from the ambiguity of the construction of the author and character in Roland Barthes by Roland Barthes (1975), the understanding of how much is shown and hidden through this fragmentary writing is sought. According to John Roberts, in the essay Photography after the Photograph (2009), the critique of photography assumed a Barthesian discourse, where photography in a public context (magazines) or in an instrumental context (technical publications) was not exempt of a discursive montageand therefore there would not be transparency in the image.These works by Jane and Louise Wilson represent a discourse of visual archive where the authors use real spaces and facts as motto, assuming themselves as characters. What was once inherent to the photographic medium –the documental value of the record without mise en scène– is now redefined through subtle articulation between public domain and private space. This essay aims to contribute to the critique of contemporary photograph, namely for an actual redefinition of the documental value of the moment of photographic record.ResumoCom este texto pretendemos discutir de que modo em certa fotografia contemporânea o autor se assume como personagem da obra (quanto revela de si e do personagem que corporifica) e que metamorfoses se dão nessa narrativa fotográfica. Para isso, analisaremos a obra das gémeas britânicas Jane e Louise Wilson, especificamente o vídeo Hypnotic Suggestion 505, realizado em Portugal para a exposição A Pasta de Walter Benjamin (1993) do curador Andrew Renton, e no espaço da Fábrica de Moagens Harmonia no Porto e, recentemente, as obras Oddments Room (2008-09) e Unfolding The Aryan Papers (2009). Partindo da ambiguidade da construção do personagem e do autor em Roland Barthes por Roland Barthes (1975), procuraremos compreender quanto se mostra e se oculta através dessa escrita fragmentária. De acordo com John Roberts no artigo Photography after the Photograph (2009), a crítica da fotografia assumiu um discurso barthesiano segundo o qual a fotografia no âmbito de um contexto público (revistas), ou no âmbito de um contexto instrumental (publicações técnicas) não estaria isenta de uma montagem discursiva o que impossibilitaria a transparência da imagem.Estas obras de Jane e Louise Wilson corporificam um discurso visual arquivístico onde as autoras tomam como mote factos e espaços reais e a partir dos quais se assumem como personagens.O que outrora fora ínsito ao meio fotográfico — o valor documental do registo sem mise en scène — é hoje redefinido através de uma subtil articulação entre contexto público e espaço privado.Este artigo procura contribuir para o discurso crítico da fotografia contemporânea, nomeadamente, para a actual redefinição do valor documental do registo fotográfico. Baltazar, Maria João Photography staging identity character document 12 11 Núm. 11 , Año 2015 : Enero - Junio Artículo de revista Journal article 2015-01-01T00:00:00Z 2015-01-01T00:00:00Z 2015-01-01 application/pdf Universidad de Caldas Kepes 1794-7111 2462-8115 https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/494 10.17151/kepes.2015.12.11.5 https://doi.org/10.17151/kepes.2015.12.11.5 spa https://creativecommons.org/licenses/by-nc-sa/4.0/ Revista Kepes - 2015 84 91 https://revistasojs.ucaldas.edu.co/index.php/kepes/article/download/494/419 info:eu-repo/semantics/article http://purl.org/coar/resource_type/c_6501 info:eu-repo/semantics/publishedVersion http://purl.org/coar/version/c_970fb48d4fbd8a85 info:eu-repo/semantics/openAccess http://purl.org/coar/access_right/c_abf2 Text Publication |
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| title |
The Visual Archive: the self as author and actor |
| spellingShingle |
The Visual Archive: the self as author and actor Baltazar, Maria João Photography staging identity character document |
| title_short |
The Visual Archive: the self as author and actor |
| title_full |
The Visual Archive: the self as author and actor |
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The Visual Archive: the self as author and actor |
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The Visual Archive: the self as author and actor |
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visual archive: the self as author and actor |
| title_eng |
The Visual Archive: the self as author and actor |
| description |
AbstractThis article intends to discuss how in some contemporary photography, the author participates as character of the work (as much as he reveals himself or the character that embodies him) and which metamorphoses take place in this photographic narrative. The work of the British twins Jane and Louise Wilson, specifically the video Hypnotic Suggestion 505, made in Portugal for the Walter Benjamin’s Briefcase (1993) exhibition from the curator Andrew Renton in Oporto and the works Oddments Room (2008-09) and Unfolding The Aryan Papers (2009) will be analyzed. Starting from the ambiguity of the construction of the author and character in Roland Barthes by Roland Barthes (1975), the understanding of how much is shown and hidden through this fragmentary writing is sought. According to John Roberts, in the essay Photography after the Photograph (2009), the critique of photography assumed a Barthesian discourse, where photography in a public context (magazines) or in an instrumental context (technical publications) was not exempt of a discursive montageand therefore there would not be transparency in the image.These works by Jane and Louise Wilson represent a discourse of visual archive where the authors use real spaces and facts as motto, assuming themselves as characters. What was once inherent to the photographic medium –the documental value of the record without mise en scène– is now redefined through subtle articulation between public domain and private space. This essay aims to contribute to the critique of contemporary photograph, namely for an actual redefinition of the documental value of the moment of photographic record.ResumoCom este texto pretendemos discutir de que modo em certa fotografia contemporânea o autor se assume como personagem da obra (quanto revela de si e do personagem que corporifica) e que metamorfoses se dão nessa narrativa fotográfica. Para isso, analisaremos a obra das gémeas britânicas Jane e Louise Wilson, especificamente o vídeo Hypnotic Suggestion 505, realizado em Portugal para a exposição A Pasta de Walter Benjamin (1993) do curador Andrew Renton, e no espaço da Fábrica de Moagens Harmonia no Porto e, recentemente, as obras Oddments Room (2008-09) e Unfolding The Aryan Papers (2009). Partindo da ambiguidade da construção do personagem e do autor em Roland Barthes por Roland Barthes (1975), procuraremos compreender quanto se mostra e se oculta através dessa escrita fragmentária. De acordo com John Roberts no artigo Photography after the Photograph (2009), a crítica da fotografia assumiu um discurso barthesiano segundo o qual a fotografia no âmbito de um contexto público (revistas), ou no âmbito de um contexto instrumental (publicações técnicas) não estaria isenta de uma montagem discursiva o que impossibilitaria a transparência da imagem.Estas obras de Jane e Louise Wilson corporificam um discurso visual arquivístico onde as autoras tomam como mote factos e espaços reais e a partir dos quais se assumem como personagens.O que outrora fora ínsito ao meio fotográfico — o valor documental do registo sem mise en scène — é hoje redefinido através de uma subtil articulação entre contexto público e espaço privado.Este artigo procura contribuir para o discurso crítico da fotografia contemporânea, nomeadamente, para a actual redefinição do valor documental do registo fotográfico.
|
| author |
Baltazar, Maria João |
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Baltazar, Maria João |
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Photography staging identity character document |
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Photography staging identity character document |
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Photography staging identity character document |
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12 |
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11 |
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Núm. 11 , Año 2015 : Enero - Junio |
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Universidad de Caldas |
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Kepes |
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