时间恢复档案。想象的形式

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY

Digithum Pub Date : 2017-07-01 DOI:10.7238/D.V0I20.3092

Natalia Taccetta

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引用次数: 0

摘要

本文旨在探讨Albertina Carri在Sala Pays展出的装置，该装置位于阿根廷布宜诺斯艾利斯纪念公园(Parque de la Memoria)的国家恐怖主义受害者纪念碑(Monumento a las victims del Terrorismo de Estado)旁边。2015年9月至11月，导演(Los rubios, gemini, Cuatreros)以作品《Operation fracaso y el sonido recobrado》(Operation failure and the sound recovered)进入装置领域或所谓的扩展电影院，提出了一种异托邦的方式，将图像作为一个空间来处理，在这个空间中图像本身被转化。本文通过阅读它作为一个地图集，在档案逻辑的强制性参考——艾比·沃伯格，沃尔特·本雅明——和幽灵的形象——雅克·德里达——的光下探索工作。

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Time regained archive. The form of imagination

This Article seeks to explore the installation Albertina Carri exhibited in the Sala Pays, next to the Monumento a las Victimas del Terrorismo de Estado (Monument to the victims of State Sponsored Terrorism) in the Parque de la Memoria (Remembrance Park) (Buenos Aires, Argentina). From September to November 2015, with his work Operacion fracaso y el sonido recobrado (Operation failure and the sound recovered), the filmmaker (Los rubios, Geminis, Cuatreros), makes an incursion into field of installation or the so called expanded cinema, proposing a kind of heterotopia to approach image as a space in which the image itself is transformed. This paper explores the work by reading it as an atlas in the light of obligatory references on the archive’s logic –Aby Warburg, Walter Benjamin- and on the figure of the specter –Jacques Derrida-.

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来源期刊

Digithum HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.80

自引率

0.00%

发文量

审稿时长

24 weeks

期刊介绍： Digithum applies a relational perspective in the analysis of processes of inclusion and social exclusion, subjective experiences, social ties, cultural heritage and cultural production and consumption.