20世纪70年代阿根廷的摄影经验和实验

IF 0.2 0 ART
Juliana Robles de la Pava
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引用次数: 0

摘要

尽管拉丁美洲,特别是阿根廷的摄影实验主义一直被艺术和视觉文化的历史和社会文化研究所取代,但近年来,这种美学现象在媒介研究中获得了更大的相关性。在这篇文章中,我建议分析70年代阿根廷关于技术图像实验的论述和实践。在这十年里,举办了摄影媒介展览,展示了几个摄影团体对探索摄影图像的物质可能性的兴趣,这是美学反传统主义的关键。为了开展这项工作,我们将首先调查关于摄影实验主义的争论,从各种角度将其理解为对媒介的具体理解,然后确定这些摄影概念与《实验摄影团体宣言》的案例之间的联系,在利罗莱展出的贝塔小组的直接照片,以及在奥丁画廊的摄影媒体视觉体验中展出的照片。最后,我们将考察该技术作为材料基底的地位,它使在这种背景下设置摄影实验成为可能。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Experiencias y experimentación fotográfica en la Argentina de los setenta
Despite the fact that photographic experimentalism in Latin America, and particularly in Argentina, has been constantly displaced from the lines of historical and socio-cultural research on the arts and visual culture, in recent years this aesthetic phenomenon has acquired greater relevance in research on the medium. In this article I propose to analyze the discourses and practices on the experimentation of technical images in the Argentina of the seventies. During this decade, exhibitions of the photographic medium were held that showed the interest of several photographic groups in exploring the material possibilities of the photographic image in the key of an aesthetic anti-conventionalism. To carry out this work, we will first investigate the debates on photographic experimentalism, understood from various perspectives as a specific understanding of the medium, and then determine the links between these conceptions of photography and the cases of the Manifesto of the Experimental Photographic Group, the direct shots of the Beta Group presented in Lirolay and the photograms exhibited in Visual Experiences with Photographic Media in Odin’s Gallery. Finally, we will examine the place of the technique as a material substrate that made possible to set the photographic experiments in this context.
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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
35
审稿时长
12 weeks
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