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Diego Rojas By Diego Rojas ITS T Share Facundo de Zuviría, recognized for his work, makes an interesting intervention by referring to the beginnings of photography (Photo: Juan Lopetegui) Facundo de Zuviría, recognized for his work, makes an interesting intervention by referring to the beginnings of photography (Photo: Juan Lopetegui) In his classic essay The work of art in the era of technical reproducibility, the critic and essayist Walter Benjamin confirms how, with the passage of time and the transformation of the mode of production (from feudal to capitalist, let's say) technology advances hand in hand with politics in the democratization of societies. At this point, he highlights how the possibility of almost infinite reproduction (that is to say) of the work of art, particularly in cinema and photography, makes it lose the aura that art previously held, when it was dedicated to priests and kings, and they made private use of artistic production. That aura of the unique work was lost with the advance of technology, which allowed, for example, the reproduction of the films of Charles Chaplin, which were seen in England, France, the United States and Argentina, at the same time, in crowded theaters. At a certain point, the democratization of the
consumption of the work of art and its reproducibility was proposed, which allowed the loss of the aura. With the advent of fascism, the reactionary power took the side of carrying out an aestheticization of politics, an aestheticization (one can remember the Italian futurists and their odes to the war machine and war and, of course, the WhatsApp Number List great Nazi architecture). . From the artistic forces that opposed fascism, the politicization of art was promoted. It's not a subtle difference. Zuviría's experience links photography, memory and literature Zuviría's experience links photography, memory and literature And all this for what? To discuss the question of aura again through a work. Facundo de Zuviría, one of the most important art photographers today (some of his pieces were acquired by the MoMa in New York), proposes a strange and productive intervention that refers to the beginnings of photography, to personal memory and a certain “aura” that revives in the book object, converted into an image. The books presents 43 cyanotics made with copies from his own library, on the back of which, by writing in pencil, De Zuviría marks the narrative possibilities of that primitive technique and produces a very strange work, one of those that summon the presence of the famous ostranenie, that is, the estrangement that art produces. It should be clarified that cyanotype is one of the first techniques
created in order to capture the image on a given support, in this case, paper; a search that was carried out at the same time in France, England and even Brazil, by scientists who shared their findings. This series of 43 cyanotypes, created from copies from his personal library, capture the personal narrative and aura of books This series of 43 cyanotypes, created from copies from his personal library, capture the personal narrative and aura of books Cyanotype was the procedure invented in 1842 by the English astronomer Sir John Herschel (who disputes paternity with the also English , from 1853, Atkins is considered the first woman photographer. British Algae his greatest enthusiast. For her series and her book Anna Atkins) but had in the figure of the British botanist William Henry Fox Talbot What is the procedure? It consisted of a mixture of salts that, applied to a sheet of paper, made it sensitive to light, thus being able to create photocopies in a monochromatic range of Prussian blue. Herschel used it to reproduce his notes in what would be the first photocopies. Atkins placed algae on the processed sheet of paper, let it sit in the sun, and then the record of those aquatic plants remained in that powerful blue, cyan, close to turquoise.
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发表于 2023-12-16 23:38:22