Fotografía y vida cotidiana como construcción de la imagen y el tiempo contemporáneos. Reflejo en el arte contemporáneo

Matèria. Revista internacional d'Art

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Title Fotografía y vida cotidiana como construcción de la imagen y el tiempo contemporáneos. Reflejo en el arte contemporáneo
Photography and everyday life as a construction of contemporary image and time. Reflection in contemporary art
Fotografía y vida cotidiana como construcción de la imagen y el tiempo contemporáneos. Reflejo en el arte contemporáneo
 
Creator Martí Marí, Silvia
 
Subject fotografía, vida cotidiana, tiempo, imagen, construcción, realidad
photography, everyday life, time, image, construction, reality
fotografía, vida cotidiana, tiempo, imagen, construcción, realidad
 
Description La vida cotidiana y la fotografía son, respectivamente, un nuevo concepto filosófico, un nuevo estado tempo-espacial de la Modernidad y una nueva tecnología para una nueva representación/construcción de la realidad. Las estrategias y los formatos cambiantes de la fotografía reflejan loscambios y las evoluciones sociales, que, a su vez, implican conceptualizaciones y modos filosóficos paralelos. La historia de la vida cotidiana y la de la fotografía/imagen siguen caminos entremezcladosa medida que la cultura que vivimos se vuelve más y más marcada por lo visual. Las teorizaciones sobre la vida cotidiana (sobre el tiempo en el presente) han ido de la mano de teorías artísticas sobre esta imagen. Las producciones artísticas reflejan y, a la vez, ilustran esta conexión. Nos basaremos en las ideas al respecto de algunos autores como Benjamin, Lefebvre, Debord, Baudrillard, Boris Groys o Hito Steyerl, entre otros.
Everyday life and photography are, respectively, a new philosophical concept, for a new tempo- spatial state from Modernity, and a new technology, for a new representation / construction of reality. The strategies and changing formats in photography, reflect changes and social evolutions that, in turn, involve conceptualizations and parallel philosophical modes. The history of everyday life and that of photography / image follow paths intermingled as the culture that we live becomes more and more marked by the visual. Theorizations about everyday life (about time in the present) have gone hand in hand with artistic theorizations about image. The artistic productions reflect and at the same time illustrate this connection. We will base ourselves on the ideas of some authors like Benjamin, Lefebvre, Debord, Baudrillard, Boris Groys or Hito Steyerl, among others.
La vida cotidiana y la fotografía son, respectivamente, un nuevo concepto filosófico, un nuevo estado tempo-espacial de la Modernidad y una nueva tecnología para una nueva representación/construcción de la realidad. Las estrategias y los formatos cambiantes de la fotografía reflejan loscambios y las evoluciones sociales, que, a su vez, implican conceptualizaciones y modos filosóficos paralelos. La historia de la vida cotidiana y la de la fotografía/imagen siguen caminos entremezcladosa medida que la cultura que vivimos se vuelve más y más marcada por lo visual. Las teorizaciones sobre la vida cotidiana (sobre el tiempo en el presente) han ido de la mano de teorías artísticas sobre esta imagen. Las producciones artísticas reflejan y, a la vez, ilustran esta conexión. Nos basaremos en las ideas al respecto de algunos autores como Benjamin, Lefebvre, Debord, Baudrillard, Boris Groys o Hito Steyerl, entre otros.
 
Publisher Universitat de Barcelona
 
Contributor


 
Date 2018-12-20
 
Type info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion



 
Format application/pdf
 
Identifier http://revistes.ub.edu/index.php/materia/article/view/20922
10.1344/Materia2018.13.5
 
Source Matèria. Revista internacional d'Art; No 13 (2018); 67-78
Matèria. Revista internacional d'Art; No 13 (2018); 67-78
2385-3387
1579-2641
 
Language spa
 
Relation http://revistes.ub.edu/index.php/materia/article/view/20922/28301
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(comp.) </span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="en-GB"><em>Art After Modernism: Rethinking Representation</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="en-GB">, Nueva York, New Museum of Contemporary Art, 1984.</span></span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">BENJAMIN</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, W., </span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Sobre el concepto de historia</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, Obras I, 2, Madrid, Abada, 2008.</span></span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">DEBORD, G., </span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>La sociedad del espectáculo</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, Valencia, Pre-textos, 2000.</span></span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">DURAND</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, R., </span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>El tiempo de la Imagen</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, Salamanca, Universidad de Salamanca, 1998.</span></span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">FONTCUBERTA,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">J.</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">(ed.),</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Estética Fotográfica</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, Barcelona, Gustavo Gili, 2003.</span></span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">FOSTER,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">H.,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>E</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>l</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>retorno de lo real</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, Madrid, Akal, 2001.</span></span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">GROYS,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">B.</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Volverse público. La transformación del arte en el ágora contemporánea</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, Buenos Aires, Caja Negra Editora, 2014.</span></span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">HERNÁNDEZ NAVARRO, M. A.,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">«Hacer visible el pasado. El artista como historiador (benjaminiano)», </span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Sociedades en Crisis. Europa y el concepto de estética. Actas Congreso</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, Madrid, Ministerio de Cultura, Universidad Autónoma de Madrid, 2010, p. 238-249.</span></span></span></span></span></span></span></span></p><p align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">M</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">ARTÍ MARÍ</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">S.,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">«Territorios del desuso: El potencial del arte para su reactivación crítica»,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Territorios del desuso. 4as. Jornadas (los) Usos del arte, </em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">Valencia, La Imprenta CG, 2016, </span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">p. 1-6.</span></span></span></span></span></span></span></span></p><p align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">MIRZOEFF,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">N.</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Una introducción a la cultura visual</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">, Barcelona, Paidós, </span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">1999</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">.</span></span></span></span></span></span></span></span></p><p align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">PIERCE</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">Ch. S.,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Écrits sur le signe</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">(recopilados, traducidos y presentados por Gérard Deledalle), París, Seuil, col. L’ordre philosophique, 1978.</span></span></span></span></span></span></span></span></p><p align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="en-GB">ROGOFF,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="en-GB">I.</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="en-GB">, «Studying Visual Culture», Nicholas Mirzoeff (comp.), </span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="en-GB"><em>The Visual Culture Reader</em></span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="en-GB">, Londres, Routledge, 1998.</span></span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><a name="_Hlk513915584"></a><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">STEYERL</span></span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR">,</span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR">H,</span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Los condenados de la pantalla</em></span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR">, Buenos Aires, Caja Negra Editora, 2014.</span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">TORRES,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">A.</span></span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR">, «La </span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>post-truth</em></span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR">es un contexto en el que no importa si los hechos son verdadero o falsos».</span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR">[Consulta el 2 dic. 2018] Disponible en:</span></span></span></span><span style="color: #0000ff;"><span style="color: #000000;"><span><span lang="fr-FR"><a href="https://psicologiaymente.net/social/posverdad">https://psicologiaymente.net/social/posverdad</a>.</span></span></span></span></span></span></span></p><p class="sdfootnote" align="justify"><span style="color: #ce181e;"><span style="font-family: 'Times New Roman', serif;"><span><span><span><span style="color: #000000;"><span><span lang="fr-FR">ZUNZUNEGUI,</span></span></span></span></span><span><span><span style="color: #000000;"><span><span lang="fr-FR">S.</span></span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR">,</span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR"><em>Pensar la imagen</em></span></span></span></span><span><span style="color: #000000;"><span><span lang="fr-FR">, Madrid, Cátedra, 1998.</span></span></span></span></span></span></span></p>
 
Rights Copyright (c) 2018 Silvia Martí Marí
https://creativecommons.org/licenses/by-nc-nd/4.0/deed.ca
 

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